Morgan Ndlovu, Student no 0000141H, MA thesis, School of Arts, Faculty of Humanities, 2006. email: mn59@sussex.ac.uk / The emergence and development of tourism attractions in inner cities throughout the world has given rise to a number of scholarly debates in the academic study of urban tourism. While academic scholarship in the field of urban tourism began with the cities of the developed states mostly in the 1980s, the emergence and development of tourism initiatives in the inner cities of the developing states in 1990s has drawn a great deal of attention to the South as well. This research explores the emergence and development of an inner city tourism initiative in the form of a craft project known as Beautiful Things. Beautiful Things is a two-year-old craft project located at Newtown’s Cultural Precinct, in the inner city of Johannesburg. The project was inaugurated at the World Summit on Sustainable Development in August 2002, and has since its relocation to the inner city of Johannesburg in December 2002, contributed significantly to the physical, social and economic regeneration of this area. The study of this project is very important in that it is shedding some light on the role of heritage and cultural industries in rejuvenating declining inner cities. It gives light on how Newtown Cultural Precinct as a whole functions within the inner city of Johannesburg. In spite of this project’s role in the development of the Johannesburg inner city, Beautiful Things has not yet been explored for academic research. This research on Beautiful Things is set to be informative on a number of theoretical issues underpinning the development of urban heritage and cultural tourism in general and the development of tourism in Johannesburg. The findings of the study of Beautiful Things hopes to reveal important international trends on the development of heritage and cultural attractions in inner cities and to elucidate a number of similarities in the development of tourism policies across the cities of the world. This research begins with a chapter on the international experiences of heritage and cultural tourism developments in inner cities and is then followed by a study of Johannesburg’s tourism policy and strategy developments. Both chapters are vital in providing the context under which Beautiful Things came to emerge in the inner city of Johannesburg, performing an important role of regenerating the declining inner city. The last part of this research is an empirical confirmation study of physical, social and economic contributions of Beautiful Things in the inner city of Johannesburg. The research is informed by theories of neo-liberalization, local economic development, and inner city regeneration.

Submitted by Ricardo Cedraz Duque Moliterno (ricardo.moliterno@uefs.br) on 2017-08-02T22:04:14Z No. of bitstreams: 1 disserta??oversaofinal2.pdf: 1065331 bytes, checksum: c88e11f95b0954ece643263b58971fc8 (MD5) / Made available in DSpace on 2017-08-02T22:04:14Z (GMT). No. of bitstreams: 1 disserta??oversaofinal2.pdf: 1065331 bytes, checksum: c88e11f95b0954ece643263b58971fc8 (MD5) Previous issue date: 2016-03-23 / Funda??o de Amparo ? Pesquisa do Estado da Bahia - FAPEB / This work?s purpose was to consider, comparativly, female representation models disposed on Benjamim and Beautiful Losers narratives throughout the desconstructivist aspect fomented by memory, since this, that presents itself as an artifice to the narrative construction, manifest female reality representation in the corpus selected to our analisys as a problem. Memory, more than the female, presents itself as the central problem in these stories which impels the biographic overthrow of male characters created, respectively, by Chico Buarque and Leonard Cohen. Furthermore, for its ambiguity feature, the notion of memory enables the deconstruction of universal truths related by several fields of human sciences. The thesis that rises from this research corroborates with the deconstruction idea of universal models for female representation, guided by steriotype construed in a patriarcalism scope, makeing possible to dislocate the operationalized and semiotised truth by which history?s and cultural?s discursive codes configures social individuals. Thus, considering other extrinsic and not immediatly textual perspectives in these fictions, and comparing them in its similarity and differences, it is possible to comprehend these narratives in its critics dimension, on which the moment of female image desconstruction makes possible rereading universal models regulated by a group usually seen as a dominant one. / A proposta deste trabalho foi de refletir, comparativamente, sobre os modelos de representa??o do feminino dispostos nas narrativas de Benjamim e de Beautiful Losers atrav?s do aspecto desconstrutivista fomentado pelo estatuto da mem?ria, visto que esta, que se apresenta como artif?cio de constru??o dessas narrativas, manifesta o problema da representa??o da realidade do feminino das personagens recortadas para o corpus de nossa an?lise. A mem?ria, mais do que o feminino, se apresenta como problema central dessas narrativas que impele a derrocada biogr?fica dos personagens masculinos criados, respectivamente, por Chico Buarque e por Leonard Cohen. Al?m disso, por seu car?ter de ambiguidade, a no??o de mem?ria possibilita a desconstru??o de verdades universais que se relacionam aos mais diversos campos das ci?ncias humanas. A tese levantada neste trabalho corrobora com a id?ia de que a desconstru??o do modelo universal da representa??o do feminino, pautada nos esteri?ripos constru?dos no ?mbito do patriarcalismo, possibilita o deslocamento das verdades operadas e semiotizadas pelos c?digos discursivos da hist?ria e da cultura que configuram o ethos dos indiv?duos representados. Desse modo, ao refletir sobre outras perspectivas extr?nsecas ao campo imediatamente textual dessas fic??es, e comparando-as em suas similaridades e diferen?as, ? poss?vel compreender as narrativas em sua dimens?o cr?tica, cuja releitura de modelos universais pautados por um grupo usualmente dominante se estabelece no momento da desconstru??o da imagem do feminino.

Após mais de duzentos anos, o interesse pela obra de Karl Philipp Moritz (15 de setembro de 1756 26 de junho de 1793) só tem aumentado. Diferentes autores como Herman Hesse e Walter Benjamin, e, mais recentemente, Hans Joachin Schrimpf, Tzvetan Todorov, Peter Szondi, Arno Schmidt e Peter Handke têm escrito ressaltando a importância e a fecundidade desse autor. Moritz pode ser considerado um dos autores inaugurais do romantismo alemão. Este mestrado em filosofia, área de estética, pretende, por meio de seleção, tradução e introdução dos textos de Karl Philipp Moritz, contribuir para a valorização dessa importante obra em nossa cultura. Os textos selecionados são de teoria da linguagem, estética e filosofia. / After over two hundred years, the concern for the works of Karl Philipp Moritz (September 15th 1756 June 26th 1793) has increased steadily. Different authors such as Herman Hesse and Walter Benjamin and more recently Hans Joachin Schrimpf, Tzvetan Todorov, Peter Szondi, Arno Schmidt and Peter Handke have written on the relevance and fecundity of this author. Moritz can be said to be one of the inaugural authors of German Romanticism. This Masters in Philosophy, in the Aesthetics field, intends, by means of selection, translation and introduction of Karl Philipp Moritz texts, to contribute to the appreciation of this important work in our culture. The selected texts belong to the fields of Language Theory, Aesthetics and Philosophy.

Objective: This study investigates the application of aesthetic principles to designed objects with which we interact, specifically looking at the impact of perceived function of the objects on perceptions of visual appeal. Background: Previous studies have demonstrated that a product’s judged beauty or visual appeal is related to perceptions of its usability. Arguments have been put forward for both directions of causality leading to “what is beautiful is usable” and “what is usable is beautiful” hypotheses. Explanations for the relationship between usability and beauty judgments include stereotype effects, ecological explanations, and cognitive processing viewpoints. The current studies contribute to this debate by manipulating usability and aesthetic principles independently to determine whether well-established aesthetic principles are contingent on perceived function. Method: 248 participants were recruited for two experiments. In Experiment 1, participants viewed sixteen illustrations that varied in ways that frequently increase the beauty of objects (i.e., basic principles such as symmetry, balanced massing, curvature, and prototypicality) and rated their degree of visual appeal. In Experiment 2, participants rated the appeal of the same stimuli as in Experiment 1 but were primed by instructions describing the illustrations as either alternative designs for microwave control panels or designs of building façades. Results: Strong support for the aesthetic principles of symmetry and spatial massing, but not curvature, were found in both experiments. Participants generally preferred stimuli that were symmetrical and evenly massed (i.e., "balanced"). Additionally, the manipulation of a functional prime significantly interacted with several aesthetic principles that relate to the match between the supplied prime and the prototypicality of the stimulus for the primed class of objects. Conclusions: Aesthetic principles of symmetry and spatial massing can be considered very potent ways to influence a user’s degree of perceived visual appeal that are resistant to specific use cases or situations. Other principles, such as curvature preferences, seem to be limited by the prototypicality of curvature for a primed class of objects. So when considering whether “what is beautiful is usable” or “what is usable is beautiful," the results from the current study demonstrate that it may be more appropriate to say "what is familiar is beautiful."

Urban green spaces are one of the layers of urban pattern. The urban environment is created through the complex relationships between natural, social, economic, and politic dynamics. Similar to the urban environment, as a produced landscape, characteristics of urban green spaces vary according to the social, economic, cultural and ecological context of urban society. In the last few decades, the &ldquo / quality of urban life target&rdquo / included in the sustainability approach, has became an important touchstone to increase the quality of urban environment in today&rsquo / s world / with its tendencies of covering of perpetual subjective values and in addition to objective conditions to identify &ldquo / individual&rsquo / s satisfaction&rdquo / as a target the by, of keeping its evaluation scope broad and holistic, and of deriving supporting the daily life practices which derive from participatory processes. Among the quality of life perspective, urban green spaces are interpretated in a holistic and broad framework in boundaries of their contributions to the inhabitants&rsquo / well-being through their physical, social, economic and ecological links with life in a broad scale spectrum ranging from individual level to city scale. In today&rsquo / s urban environment, Ankara&rsquo / s urban green spaces are planned by the responsible agents within a narrow framework / separated from urban and urban life, lacked of this multi-scale and multi-dimensional perspective, stucked in the sectoral targets of institutions. At this point, the study identifies the priorities and conditions to re-establish a well-functioned planning process for the green spaces of Ankara with a particular attention to quality of life.

This particular study is about the main boulevard of the city center of Tirana that is the capital of Albania since 1920. The main boulevard, which has a function of a &quot / spine&quot / of the central business district, was designed as an idea by the Italian architects in 1925. The new government needed immediately governmental buildings like minstries, a palace and a strong form that connects all of these facilities together in a monumental way. This &quot / spinal&quot / circulation system was inspired from the urban movements of that time like near city and city beautiful movement. Tirana is studied as the case by the light of historical developments of other cities. The power of the spine and its effect to the macro form of the whole city is analyzed and determined.

L'étude présentée dans cette thèse est dédiée à l'analyse des désintégrations radiatives de mésons beaux, processus faisant intervenir le quark b ce dernier se désintégrant par interaction faible en un quark s avec émission d'un photon. Ce type de désintégration est interdit à l'arbre en théorie quantique des champs et doit donc s'opérer à l'aide de boucles. Ces désintégrations ont des rapports d'embranchement très faibles, de l'ordre de 10^{-5}. Dès lors, l’étude de ces processus à l'aide du détecteur LHCb permet de mesurer précisément des observables reliées à ces processus, telles que les rapports d'embranchement, les asymétries de CP ou des variables angulaires et d'hélicité comme la polarisation du photon. En comparant ces résultats expérimentaux avec les prédictions théoriques du Modèle Standard de la Physique des Particules, il devient possible de tester ce modèle et de contraindre l'existence d'une nouvelle physique au delà du Modèle Standard. L'analyse présentée dans cette thèse se concentre sur l'étude des désintégrations B0 -> K*0 gamma, Bs0 -> phi gamma et Bs0 -> K*0 gamma. Les événements utilisés sont ceux où le photon s'est converti en une paire électron-positron par interaction avec le détecteur afin de bénéficier de la bonne résolution sur l'impulsion des traces chargées des trajectographes de LHCb. Les mesures du rapport des rapports d'embranchement des désintégrations B0 -> K*0 gamma et Bs0 -> phi gamma ainsi que de l'asymétrie de CP directe dans le processus B0 -> K*0 gamma sont réalisées. La bonne résolution obtenue sur la masse du méson B0 a permis de déterminer une première limite supérieure au rapport d'embranchement de la désintégration supprimée de Cabbibo Bs0 -> K*0 gamma. / The purpose of the work presented in this thesis is to study the radiative decays of B mesons. These processes correspond to the decay of a b-quark into a s-quark through the weak interaction with a photon in the final state. This kind of decay is not allowed at tree level in the quantum field theory but only through virtual loops. These processes have small branching fractions of the order of 10^{-5}. The study of these decays with the LHCb detector provides precise measurements of related observable such as branching fractions, CP asymmetries or angular variables such as the photon polarisation. These results can be compared with the theoretical prediction of the Standard Model of Particle Physics. Therefore, it is possible to test this model and to constrain the existence of new physics behind the Standard Model. The analysis presented in this thesis focuses on the B0 → K*0 gamma, Bs0 → phi gamma and Bs0 → K*0 gamma decays. Only events where the photon has converted into a dielectron pair by interacting with the detector are used. This allows to take advantage of the good resolution on the charged tracks momentum obtained with the LHCb's tracking system. The measurements of the ratio of branching fractions of the B0 → K*0 gamma and Bs0 → phi gamma decays and of the direct CP asymmetry in the B0 → K*0 gamma process are performed. The good resolution obtained on the B meson mass allows to set the first upper limit on the branching ratio of the Cabbibo suppressed Bs0 → K*0 gamma decay.

Esta pesquisa tem por objetivo, em perspectiva comparada, analisar o encontro de duas artes: a literatura e a pintura, observado na obra O Barão de Lavos (1891), de Abel Botelho. O romance naturalista, com traços decadentistas, do escritor Abel Botelho que abre a série intiulada Patologia Social (1891) nos mostra, como diz José Carlos Seabra Pereira, um tempo em se convegiam o romantismo,o realismo e pretensões de modernidade baudealiriana (mais ou menos satanistas) (PEREIRA, 1995) e onde as diversas categorias das artes se encontram e se conjugam. Nesse cenário caótico, mas profícuo, temos este romance que estabelece a arte plástica como ponto focal dentro do texto. Analisa, sobretudo, o processo da escrita onde foi possível constatar a deformação do belo em grotesco ao longo do romance. Investiga a questão imagética encontrada no texto botelhiano, caracterizada através da gravura Rapto de Ganimedes; litografia de grande simbologia dentro dessa obra literária, pois representa o ideal estético idealizado pelo próprio Barão, e tudo de significativo que compõe a trajetória e as emoções de D. Sebastião ao longo de sua vida, portanto permeando e atravessando toda narrativa / The objective of the research presented is analysing in a compared perspective basis the combination of two types of art: literature and painting, observed in the book "The Baron of Lavos" (1891) by Abel Botelho. The naturalist romance, with decadent traces, of the writer Abel Botelho launches the series entitled Social Patology (1891) showing, as said by José Carlos Pereira (Pereira, 1995), "a time when the romantism, realism and baudealirian modern purpose (a bit satanic) would converge". The various range of art categories are joined as well. In the caotic but fruitful scenary a romance in which plastic art is the focus of the text is set. It is mainly analysed, as the romance unfolds, the writing process where it was possible to observe the deformation of beautiful in to grotesque. The image issue caractherized by the litograph Kdinapping of Ganimedes is investigated. The cited litograph plays an important role in this literary work as it represents not only the esthetic ideal idealized by the Baron himself but also the very meaning of the trajectory and emotions of D. Sebastian during his life

Submitted by FERNANDO LUIZ ALENCAR FILHO null (fernandoalencarfilho@gmail.com) on 2018-04-20T20:58:25Z No. of bitstreams: 1 A CRÍTICA DE HANSLICK À MUSICA ENQUANTO MEIO A PARTIR DA PERSPECTIVA DA DÉCADENCE NIETZSCHIANA.docx: 1101044 bytes, checksum: 597cda126b1291295cb8664680b03655 (MD5) / Rejected by Satie Tagara (satie@marilia.unesp.br), reason: Para enviar o arquivo contendo sua dissertação ou tese é necessário que: - o arquivo esteja no formato Portable Document Format (PDF); - o arquivo não esteja protegido; - o texto do arquivo PDF submetido ao Repositório deve ser idêntico à versão impressa e ser a versão final do trabalho, incluindo as modificações realizadas após a defesa. on 2018-04-23T14:38:46Z (GMT) / Submitted by FERNANDO LUIZ ALENCAR FILHO null (fernandoalencarfilho@gmail.com) on 2018-04-23T20:16:09Z No. of bitstreams: 1 A CRÍTICA DE HANSLICK À MUSICA ENQUANTO MEIO A PARTIR DA PERSPECTIVA DA DÉCADENCE NIETZSCHIANA.pdf: 814665 bytes, checksum: 78dea8e4bf6b92e50bb63ca461015f48 (MD5) / Approved for entry into archive by Satie Tagara (satie@marilia.unesp.br) on 2018-04-24T14:22:51Z (GMT) No. of bitstreams: 1 alencarfilho_fl_me_mar.pdf: 814665 bytes, checksum: 78dea8e4bf6b92e50bb63ca461015f48 (MD5) / Made available in DSpace on 2018-04-24T14:22:51Z (GMT). No. of bitstreams: 1 alencarfilho_fl_me_mar.pdf: 814665 bytes, checksum: 78dea8e4bf6b92e50bb63ca461015f48 (MD5) Previous issue date: 2016-03-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Em Do Belo Musical, Hanslick se detém em uma pormenorizada análise do que seja propriamente o belo na música. Para tanto, antes de enunciá-lo, o autor tece duras críticas à perda de autonomia da música que se verificava largamente em sua época. A referida perda de autonomia se evidenciava através da fruição estética predominante, a qual se traduzia como um mero voltar-se para o sentimentos e “imagens” supostamente suscitados e representados pela música. A essa particular espécie de fruição estética Hanslick denomina de fruição patológica, posto que tal espécie de fruição privilegia outra coisa que não exclusivamente a relação e concatenação entre os sons. Enquanto isso, em seus últimos anos de atividade filosófica e, particularmente, com O Caso Wagner, Nietzsche nos presenteia com uma análise excepcionalmente original e minuciosa do procedimento wagneriano na música, identificando-o com o que ele conceitua como décadence artística, sendo esta mero sintoma de uma outra espécie primordial de décadence, a saber, a fisiológica. O presente trabalho ambiciona estabelecer um ponto de contato firme entre o fruir patológico tal como Hanslick o compreende e o conceito de décadence em sua completude. Mais ainda, pretende-se, mediante a perspectiva da décadence, estabelecer a causa prima da fruição patológica diagnosticada por Eduard Hanslick. / In Vom Musikalisch-Schönen, Hanslick dwells on a detailed analysis of what is beautiful in music. To this end, before expressing it, the author criticizes the loss of autonomy of music that was widely verified in his time. The aforementioned loss of autonomy was evidenced by the prevailing aesthetic fruition, which was translated as a mere turning to the feelings and "images" supposedly aroused and represented by music. To this particular kind of aesthetic fruition Hanslick calls the pathological fruition, since such a kind of enjoyment privileges something other than exclusively the relation and concatenation between sounds. Meanwhile, in his later years of philosophical activity and particularly with Der Fall Wagner, Nietzsche presents us with an exceptionally original and thorough analysis of the Wagnerian procedure in music, identifying it with what he conceptualized as artistic décadence, being this mere symptom of another primordial species of décadence, namely, physiological. The present work aspires to establish a firm point of contact between the pathological fruition as Hanslick understands it and the concept of décadence in its completeness. Moreover, it is intended, through the perspective of décadence, to establish the primary cause of the pathological fruition diagnosed by Eduard Hanslick.

Esta pesquisa tem por objetivo, em perspectiva comparada, analisar o encontro de duas artes: a literatura e a pintura, observado na obra O Barão de Lavos (1891), de Abel Botelho. O romance naturalista, com traços decadentistas, do escritor Abel Botelho que abre a série intiulada Patologia Social (1891) nos mostra, como diz José Carlos Seabra Pereira, um tempo em se convegiam o romantismo,o realismo e pretensões de modernidade baudealiriana (mais ou menos satanistas) (PEREIRA, 1995) e onde as diversas categorias das artes se encontram e se conjugam. Nesse cenário caótico, mas profícuo, temos este romance que estabelece a arte plástica como ponto focal dentro do texto. Analisa, sobretudo, o processo da escrita onde foi possível constatar a deformação do belo em grotesco ao longo do romance. Investiga a questão imagética encontrada no texto botelhiano, caracterizada através da gravura Rapto de Ganimedes; litografia de grande simbologia dentro dessa obra literária, pois representa o ideal estético idealizado pelo próprio Barão, e tudo de significativo que compõe a trajetória e as emoções de D. Sebastião ao longo de sua vida, portanto permeando e atravessando toda narrativa / The objective of the research presented is analysing in a compared perspective basis the combination of two types of art: literature and painting, observed in the book "The Baron of Lavos" (1891) by Abel Botelho. The naturalist romance, with decadent traces, of the writer Abel Botelho launches the series entitled Social Patology (1891) showing, as said by José Carlos Pereira (Pereira, 1995), "a time when the romantism, realism and baudealirian modern purpose (a bit satanic) would converge". The various range of art categories are joined as well. In the caotic but fruitful scenary a romance in which plastic art is the focus of the text is set. It is mainly analysed, as the romance unfolds, the writing process where it was possible to observe the deformation of beautiful in to grotesque. The image issue caractherized by the litograph Kdinapping of Ganimedes is investigated. The cited litograph plays an important role in this literary work as it represents not only the esthetic ideal idealized by the Baron himself but also the very meaning of the trajectory and emotions of D. Sebastian during his life