Architektur als sozialer Interaktionsraum. Das Centro Cultural São Paulo 1975‒1982. Architektur ist Teil der symbolischen Dimension einer Gesellschaft. Als Gestaltungsdisziplin bedarf sie der räumlichen Materialisierung und Aneignung durch die Nutzer. Zugleich besitzt die gebaute Gestalt einen eigenen Einfluss auf die sozialen Aktivitäten im Raum. In der Dissertation wird dieser Doppelcharakter der Architektur am Beispiel des Centro Cultural São Paulo und seiner Entstehungszeit untersucht. Das Gebäude, geschaffen von den beiden Architekten Eurico Prado Lopes und Luiz Benedito de Castro Telles, wird von 1975 bis 1982 realisiert und ist ursprünglich als neue Zentralbibliothek geplant. Zwei große Argumentationslinien tragen die Arbeit. Sie formen den Doppelcharakter der forschungsleitenden Fragestellung nach der Bedeutung des Centro Cultural São Paulo als Produkt des sozialen Raums der sechziger und siebziger Jahre und nach dem Einfluss der Architektur auf die soziale Praxis der Nutzung des Gebäudes. Die erste untersucht den sozialen Raum im Spannungsfeld der brasilianischen Militärdiktatur in São Paulo von 1964 bis 1985. Dabei werden politische Abhängigkeiten und Grenzen in denen sich die Architektur als Gestaltungsdisziplin bewegt offensichtlich. Die zweite betrachtet die soziale Praxis der Architektur des Kulturzentrums am Beispiel der gebauten Gestalt. Das Konzept der Inneren Straße verkörpert die Idee der Interaktion von Aktivitäten, Nutzer und Raum. Methodisch verfolgt die Dissertation einen interdisziplinären Ansatz, der sich im Doppel-Blickpunkt von kultur- und medientheoretischer Perspektive sowie architektonischer Analyse zeigt. Die Arbeit basiert auf relevanter Primarliteratur in portugiesischer Sprache; es wird umfangreiches, auch unveröffentlichtes Material gesichtet und ausgewertet. Einen besonderen Wert bilden neun Fallstudien originalsprachiger Interviews mit Akteuren der Entstehungs- und Nutzungsgeschichte des Centro Cultural São Paulo. / Arquitetura como Espaço de Interação Social. Centro Cultural São Paulo 1975‒1982 A arquitetura é parte da dimensão simbólica de uma sociedade. Como disciplina de criação, requer a materialização e apropriação espacial pelos usuários. Ao mesmo tempo, a forma construída tem sua própria influência nas atividades sociais do espaço. Na dissertação, esse caráter dual da arquitetura é examinado usando o exemplo do Centro Cultural São Paulo e sua época de origem. O edifício, criado pelos arquitetos Eurico Prado Lopes e Luiz Benedito de Castro Telles, realizado de 1975 a 1982, foi originalmente planejado como uma nova biblioteca central. Duas grandes linhas de argumentação direcionam o trabalho. Elas formam o caráter duplo do questionamento orientado para a pesquisa sobre a importância do Centro Cultural São Paulo como produto do espaço social dos anos sessenta e setenta e a influência da arquitetura na prática social do uso do edifício. A primeira linha examina o espaço social no campo de conflito entre a ditadura militar brasileira em São Paulo, de 1964 a 1985. Dependências políticas e limites em que a arquitetura se move se tornam evidentes. A segunda considera a prática social da arquitetura do Centro Cultural São Paulo pelo exemplo da forma construída. O conceito de Rua Interna incorpora a ideia de interação entre atividades, usuários e espaço. Em termos de metodologia, a dissertação segue uma abordagem interdisciplinar, que se revela no duplo aspecto da teoria da cultura e da mídia, bem como na análise arquitetônica. O trabalho é baseado em literatura relevante de fonte primaria em português; um extenso e até inédito material foi visualizado e avaliado. De especial valor são nove entrevistas originais com pessoas marcantes no processo de criação e realização do Centro Cultural São Paulo, como o arquiteto Luiz Telles (1943–2014). / Architecture as a Space for Social Interaction. The Centro Cultural São Paulo 1975‒1982. Architecture is part of the symbolism of society. As a design discipline, it requires spatial realization and appropriation by its users. At the same time the built form has its own social influence on the activities within the space. This doctoral thesis investigates the dual character of architecture using the example of the Centro Cultural São Paulo during its period of development. The building, which was initially planned as a new central library for São Paulo was conceptualized and planned by the architects Eurico Prado Lopes along with Luiz Benedito de Castro Telles between 1975 and 1982. The dissertation is supported by two primary arguments that explore the dual nature of the research-led question: how the Centro Cultural São Paulo is a product of the social space of the sixties and seventies and how its architecture influences the social practice of using the building. The first line of argument examines the social space under the tension of the Brazilian military dictatorship in São Paulo from 1964 to 1985. This reveals the political dependencies and boundaries within which architecture, as a design discipline, moves. The second line of argument uses the cultural centre's built form to study the social practice of architecture. The architectural concept of an Inner Street embodies the idea of interaction between activities, users and space. Methodically, this dissertation pursues an interdisciplinary approach that is expressed in the ambiguity between a cultural- and media-theoretical perspective as well an architectural analysis. The work is based on the interpretation of relevant primary literature in Portuguese. Unpublished material is combined. Of special value is the analysis of nine case studies of original interviews, which were conducted with participants involved in the development and subsequent use of the Centro Cultural São Paulo.

Notre mémoire cherche à identifier les traces du cinéma de “l’âge d’or” dans le cinéma mexicain des années quatre-vingt-dix. Au Mexique, l’apogée que le cinéma industriel a connu entre 1935 et 1955 a établi les principaux genres et normes du cinéma national. Le cinéma produit durant cette période, abondamment diffusé par la télévision et la vidéo et apprécié de la critique, continue d’influencer la production contemporaine. En concentrant notre analyse sur deux films en particulier, Danzón (1991) de María Novaro et La ley de Herodes (1999) de Luis Estrada, nous étudions d’une part, comment le cinéma des années quatre-vingt-dix rend hommage au cinéma de l’âge d’or et, d’autre part, comment on l’utilise pour commenter les nouvelles tendances dans la politique et la production culturelle. La diffusion continue du cinéma de l’âge d’or nous permet d’expliquer en partie son influence sur les cinéastes mexicains contemporains. Par ailleurs, le contexte de néolibéralisme et de globalisation des années quatre-vingt-dix nous permet d’avancer d’autres hypothèses concernant les raisons qui ont amené ces cinéastes à récupérer des éléments de la culture “nationale-populaire”. Nous pensons que ce contexte pourrait expliquer autant l’hommage que la critique que font les films contemporains du cinéma de l’âge d’or. Notre analyse des références au cinéma de l’âge d’or dans le cinéma des années quatre-vingt-dix s’appuie sur la théorie de l’intertextualité dans le cinéma. / This thesis studies the traces of the so-called “golden age” of Mexican cinema in films produced in the nineties. In Mexico, the upsurge of cinematic production between 1935 and 1955 established the principal norms and genres of a national cinema. The cinema of this era, critically acclaimed and widely diffused through television and video, continues to influence contemporary filmmaking. Focusing our analysis on two films, María Novaro’s Danzón (1991) and Luis Estrada’s La ley de Herodes (1999), we study how films from the nineties at once render homage to golden age cinema and use it to comment upon new trends in Mexican politics and cultural production. The continued diffusion of golden age cinema allows us to partially explain its influence on Mexican filmmakers working in the nineties. The nineties’ historical context, strongly marked by neoliberalism and globalization, allows us to propose further hypotheses as to why contemporary filmmakers have recuperated elements of “national-popular” cinema. We believe that this context explains both the homage and the criticisms that today’s films direct towards the cinema of the golden age. Our analysis of the dialogue between the films produced in these two periods borrows from theories of filmic intertextuality. / Nuestra memoria busca identificar las huellas del cine de la llamada “época de oro” en el cine mexicano de los años noventa. En México, el auge de la producción cinematográfica que tuvo lugar entre 1935 y 1955 estableció las normas y los géneros principales del cine nacional. El cine de esta época, altamente difundido por la televisión y el video, y apreciado por los críticos, sigue influyendo en la producción contemporánea. Concentrando nuestro análisis en dos películas en particular, Danzón (1991) de María Novaro y La ley de Herodes (1999) de Luis Estrada, estudiamos cómo el cine de los noventas rinde homenaje al cine de la época de oro, por un lado, y cómo se refiere a ese cine para comentar las nuevas tendencias en la política y en la producción cultural, por otro. La difusión continua del cine de la época de oro a través el tiempo nos permite explicar en parte su influencia en los cineastas mexicanos de los años noventa. Por otra parte, el contexto de neoliberalismo y de globalización de los años noventa nos permite avanzar otras hipótesis en cuanto a las razones que empujaron a los cineastas a recuperar elementos de la cultura “nacional-popular”. Pensamos que ese contexto explica tanto el homenaje como la crítica que las películas contemporáneas hacen hacia el cine de la época de oro. Nuestro análisis del diálogo entre las películas producidas en estas dos épocas se apoya en la teoría de la intertextualidad en el cine.

En observant le foisonnement de métaphores de la lumière et de la vision dans l’œuvre de Reinaldo Arenas – l’accentuation de la couleur, l’éblouissement, la brûlure et le dédoublement – cette thèse s’interroge sur la vision de l’écriture formulée dans et à partir de ces images, et sur les implications de cette vision. Constatant à travers cette réflexion l’inscription à même le langage des images de la lumière et de la vision – de la réflexion à la clarté, en passant par l’image et la lucidité – cette thèse délibère, à travers l’œuvre de Reinaldo Arenas et celle de Jorge Luis Borges, sur une définition de l’écriture comme intensité, notion et image empruntées au registre du sensible par le détour de la physique. Le premier chapitre s’intéresse à la couleur comme phénomène de la vision, du sensible, de l’affect et de la nuance, ainsi qu’à la métaphore de la cécité abordée par Borges et par Paul de Man comme phénomène de la lecture, points d’entrée à une réflexion sur l’écriture. Le second chapitre aborde la notion d’éblouissement en tant qu’intensité de la lumière et temporalité de la prise de conscience lucide, définissant ainsi une vision du temps et les affinités entre la temporalité de l’écriture et celle de l’image poétique. Le troisième chapitre, réitérant la question de la relation au temps – historique et narratif –, réaffirme les inflexions du langage en fonction de la lumière, c’est-à-dire la relation entre l’aspect « lumineux » du langage, l’intensité de la lumière et l’intensité de l’écriture (entendue comme écriture littéraire), en explorant le seuil (la destruction par le feu) mis en lumière par l’image du phénix, figure mythique et littéraire de la transformation des images, selon la définition de l’imagination proposée par Gaston Bachelard. Enfin, la double conclusion (une conclusion en deux parties, ou deux conclusions réfléchies l’une dans l’autre), relie les images poétiques de la lumière évoquées et leurs implications en examinant la portée d’une vision de l’écriture comme intensité. Cette idée est élaborée à travers l’image finale du double, figure littéraire constitutive et omniprésente à la fois chez Arenas et chez Borges, image non seulement de la relation entre le personnage et son double (qui relève de l’hallucination ou de l’imagination, images, encore une fois, de la vision), mais aussi de la relation entre l’auteur et le texte, le lecteur et le texte, l’écriture et le temps. La double conclusion vise le dédoublement et redoublement comme figures de l’intensité dans l’écriture. Le lien entre la vision métaphorique et l’écriture comme intensité est donc articulé par la métaphore, telle qu’entendue par Borges, élargie à l’image poétique dans la perspective de Gaston Bachelard ; elle s’appuie sur la vision de la littérature pensée et écrite par Arenas. La réflexion est double : dans le texte et sur le texte, au plan poétique et au plan d’une réflexion sur l’écriture d’Arenas ; sur l’écriture et, implicitement, sur la littérature. / Plunging into the work of Cuban writer Reinaldo Arenas, this thesis examines the connection between Arenas’ exuberant choice of metaphors related to light and vision – such as color, dazzle, fire, the double – and the potential meanings and implications of a narrative strategy based on such images. By underlining the persistence, within language itself, of images related to light and vision – such as reflection, clarity, lucidity and illumination –, as well as by examining the work of Reinaldo Arenas as well as of Jorge Luis Borges, this thesis offers a definition of writing as an experience characterized by intensity. The first chapter analyzes how color as a visual phenomenon relates to the emotional realm and to the senses, as well as to their nuances ; following which, it exposes the metaphor of blindness within the experience of reading, as evoked by Borges and Paul de Man, leading to a reflection on writing. The second chapter deals with the notion of dazzle as being, at once, a visual experience, and the very moment of awareness, thus reflecting on the concept of time, and on the understanding of writing, although perceived as linear, as grounded in a temporality similar to that of the poetic image. The third chapter expands on the notion of a relationship between historical time, fictional time, narration, and light, emphasis being placed on the parallel between light intensity and narrative intensity, based on the “igniting” origins of language. Drawing on Gaston Bachelard’s definition of imagination, it discusses the notion of threshold (where ignition leads to destruction) symbolized by the Phoenix, a mythical and literary figure of the transformation of images. Finally, the two-fold conclusion (a double conclusion or two reflecting conclusions) brings together the metaphors related to light that have been discussed in the previous chapters within the perspective of writing as an experience characterized by intensity. Through the metaphor of the double that pervades and informs Arenas’ as well as Borges’ works, the relational and double nature of narration comes to life at the intersection between the character and his doubles (also an effect of vision as a creation of imagination or hallucination), between the author’s expression and the reader’s interpretation, between literature and time. The metaphors related to doubling recurring in Arenas’ work offer a sense of intensification which summons up a vision of writing characterized by intensity. Thus, the connection between poetic thinking and narration is established through a metaphor, as defined by Borges and expanded through Gaston Bachelard’s notion of poetic imagery, and it is grounded in Reinaldo Arenas’ constant play between formal expression and narrative content. Implicit is a double reflection, on literature and time.

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

Made available in DSpace on 2016-04-28T18:24:12Z (GMT). No. of bitstreams: 1 Vivian de Mello Martins Mestriner.pdf: 1427276 bytes, checksum: 91455c035c6c488f6ad0367a033bc067 (MD5) Previous issue date: 2009-10-19 / This research aims to identify and analyze linguistic and conceptual metaphors in presidential speeches of Lula and Bush. To this end, we sought theoretical support in Corpus Linguistics (CL), which deals with the collection and use of corpora, or sets of linguistic textual data carefully collected, with the purpose of searching for a language or language variety. As such, the CL is dedicated to the exploration of language by means of empirical evidence, extracted by computer (BERBER SARDINHA, 2004:03). Besides the Corpus Linguistics, this study is based on the Conceptual Metaphor Theory postulated by Lakoff and Johnson (1980) and the approach of metaphors in Cameron (2003), on the premise that both views of metaphor are complementary, considering that the conceptual metaphor is investigated through cognition and metaphor in use by means of expressions that occur in language. One of the contributions of this work is showing how metaphors in corpora can be identified with computer help. The identification of metaphor presents several challenges for Corpus Linguistics as it depends on human trial; at the same time, CL has been criticized for not making the connection between thought and language. However, contemporary theory of metaphor have shown the relationship between the systematic use of verifiable language corpora and cognition (LAKOFF & JOHNSON, 1980). As material for analysis were selected speeches of Presidents Bush and Lula, the first due to his recent political leadership of the largest global economic power, and the second for having been leader of a country on the run to development Brazil. Although the two presidents defend quite different policy options, they share some similarities as both have had difficulties to take the second term: Lula with the fame of corruption in his government, Bush with the Iraq war. Written and spoken on-line statements and speeches have been gathered covering the first five-year mandate of both presidents, totaling 868 speeches by Lula and 819 by Bush. The program Metaphor Identifier with free availability at CEPRIL (LESS) was used to search for words with metaphorical probability. Next, the correlation of these candidates was raised through the Concord program (WordSmith Tools, version 3.0) to attest possible methaphorical use. Finally, upon identification of the linguistic and conceptual metaphors, speeches of the two presidents were contrasted seeking to understand how metaphors shape such speeches / Esta pesquisa objetiva identificar e analisar metáforas linguísticas e conceptuais nos discursos presidenciais de Lula e Bush. Para tanto, buscou-se suporte teórico na Linguística de Corpus (LC), que se ocupa da coleta e exploração de corpora, ou conjuntos de dados linguísticos textuais coletados criteriosamente, com o propósito de servirem para pesquisa de uma língua ou variedade linguística. Como tal, a LC dedica-se à exploração da linguagem por meio de evidências empíricas, extraídas por computador (BERBER SARDINHA, 2004:03). Além da Linguística de Corpus, este estudo fundamenta-se na teoria da Metáfora Conceptual postulada por Lakoff e Johnson (1980) e na abordagem da Metáfora no Discurso (CAMERON, 2003), partindo da premissa de que ambas as visões de metáfora se complementam, tendo em vista que a metáfora conceptual investiga as metáforas por meio da cognição e a metáfora em uso por meio de expressões que ocorrem na linguagem. Uma das contribuições deste trabalho é mostrar como metáforas em corpora podem ser identificadas com o auxílio do computador. A identificação de metáforas apresenta vários desafios para a Linguística de Corpus, pois depende do julgamento humano; ao mesmo tempo, a LC tem sido criticada por não fazer a ligação entre pensamento e linguagem. No entanto, teoria contemporânea de metáfora têm mostrado a relação entre o uso sistemático da língua verificável em corpora e a cognição (LAKOFF & JOHNSON, 1980). Como material para a análise, foram selecionados os discursos dos presidentes Bush e Lula, o primeiro por tratar-se de recente líder político da maior potência econômica mundial, e o segundo por ser líder de um país em franca ascensão e desenvolvimento, como é o caso do Brasil. Embora os dois presidentes apresentem opções políticas bastante diferentes, são comparáveis no sentido de que ambos passaram por dificuldades para assumir o segundo mandato: Lula com a fama da corrupção em seu governo, e Bush com a guerra no Iraque. Partindo daí, foram coletados pronunciamentos e discursos escritos e falados (on-line) dos cinco primeiros anos de mandato de ambos os presidentes, sendo 868 pronunciamentos de Lula e 819 de Bush. O programa Identificador de Metáforas, disponível gratuitamente no CEPRIL (LAEL), foi utilizado na busca de palavras com probabilidade metafórica; em seguida, foram levantadas as concordâncias desses candidatos por meio da ferramenta Concord do programa WordSmith Tools (versão 3.0) para atestar o uso metafórico. Por fim, identificadas as metáforas linguísticas e conceptuais, contrastaram-se os resultados auferidos nos discursos dos dois presidentes buscando entender como as metáforas configuram tais discursos

Made available in DSpace on 2016-04-28T19:59:00Z (GMT). No. of bitstreams: 1 LCL - Debora Betania de Santana.pdf: 193181 bytes, checksum: 4c1406b1dbff36954314754bbe4f3191 (MD5) Previous issue date: 2006-10-03 / The purpose of this research was to study the use of the chronicle in the history of Brazilian literature and also the different facets of irony in the chronicles of Luís Fernando Verissimo. The origin of chronicle and the theory about it as a literary genre is also studied. Besides, we discuss the opinion of some literature critics - Portella, Antonio Candido and Arrigucci - on this genre, showing how adpated it is to Brazil. We remark the hybrid form and irony in the chronicle as its main features. We referred to Socrates and some theorists such as Mucke and Hutcheon to understand the origins and the evolution of the use of irony in literature. Luís Fernando Veríssimo s chronicles were used in this study because he is a contemporary chronicist who makes use of ironic language to portray modern society with its ambiguity and indetermination / O objetivo deste trabalho foi estudar a função da crônica na história da literatura brasileira e também as diferentes faces da ironia presentes nos textos cronísticos de Luís Fernando Verissimo. Estudamos a origem e a teorização do gênero crônica. Exploramos, ainda, a opinião de alguns críticos literários Portella, Antonio Candido, Arrigucci sobre este gênero, mostrando como ele está bem adaptado ao Brasil. Ressaltamos a hibridização e a ironia como suas principais características. Recorremos a Sócrates e alguns teóricos, como Mucke, Hutcheon, para entender as origens e a evolução do uso da ironia na literatura. O escritor Luís Fernando Verissimo serviu de corpus para a pesquisa por ser um cronista contemporâneo, que utiliza uma linguagem irônica para retratar a sociedade moderna com suas ambigüidades e indeterminações

Made available in DSpace on 2016-04-28T19:59:14Z (GMT). No. of bitstreams: 1 Maria Madalena Resina.pdf: 625606 bytes, checksum: 3ef35c5b04bfc05cd08fe7de812602b0 (MD5) Previous issue date: 2009-02-12 / Secretaria da Educação do Estado de São Paulo / The present dissertation aimed at studying the laughter manifestation and the risible in Luís Fernando Veríssimo s chronicles, especially in Bobos I (1982) and Ri, Gervásio (1987) which, according to the humor theory, emphasizes both, the laughter ambivalence and ambiguity, principally its serious perspective. Firstly, it is briefly explained the main characteristics of the chronicle genre, in which Veríssimo s humor it is manifested. The objective is to observe a certain relationship between genre and the object of study. Secondly, inside the risible context, it is pointed out not only the differences between the humorous and humor, based on the Pirandello s work (1996), but also the imprecisions which involve the humorous, according to Propp (1992) arguments and other authors, and the most part of them it is mentioned by him. It is exposed some of the humoristic characteristics used in the present study manifesting a ludic laughter and, above all, a reflexive laughter, which is proper of humor. Apart from that, an overview of Veríssimo s biography was developed, pointing out his mainly works, his way of writing and peculiar style. The referred chronicles which composed this research corpus were analyzed employing the language resources related to the humorous and humor. In order to conclude, anguish is presented not only as a strategy and a language phenomenon, but mainly as a powerful tool that the author makes use to critically portray situations which brings to light the anguish, the weakness and the human addictions, and also to provoke into the reader s mind a reflexive analysis on such situation / A dissertação tem por objeto de estudo a manifestação do riso e do risível, em crônicas de Luís Fernando Veríssimo, sobretudo em Bobos I (1982) e Ri, Gervásio (1987), que, analisadas à luz da teoria da comicidade e do humor, põem em evidência a ambivalência e a ambigüidade do riso, principalmente, sua face séria. Num primeiro momento, são brevemente explanadas as principais características do gênero cronístico, texto em que se manifesta o humor de Veríssimo, a fim de que se faça notar uma afinidade entre gênero e objeto de estudo. Numa segunda etapa, adentrando no universo do risível, apontamos não só as diferenças entre o cômico e o humor, apoiando-nos na obra de Pirandello (1996), mas também as imprecisões que envolvem o cômico, segundo os apontamentos de Propp (1992) e de outros teóricos, sendo que a maioria é citada por ele; expusemos alguns dos artifícios da comicidade utilizados em nosso estudo, que acabam manifestando não só um riso lúdico, mas, sobretudo, um riso reflexivo, próprio do humor. Além disso, fizemos um panorama da carreira literária de Veríssimo, destacando suas principais obras, sua escritura e estilo peculiares; analisamos as duas crônicas tomadas como corpus de pesquisa, aplicando os recursos de linguagem referentes à comicidade e ao humor e, por fim, procuramos apresentar a ironia não só como estratégia e fenômeno de linguagem, mas, principalmente, como arma poderosa, de que se vale o cronista, para retratar criticamente situações que põem à luz as angústias, as fraquezas e os vícios humanos, e suscitar, no leitor, uma análise reflexiva em torno de tais situações

Submitted by Socorro Albuquerque (sbarbosa@ufpa.br) on 2018-12-05T17:18:52Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Tese_DinamicaOrganizacaoTuristicas.pdf: 4004081 bytes, checksum: 9716f893780b98a5648f73a34986d45d (MD5) / Approved for entry into archive by Socorro Albuquerque (sbarbosa@ufpa.br) on 2018-12-05T17:19:13Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Tese_DinamicaOrganizacaoTuristicas.pdf: 4004081 bytes, checksum: 9716f893780b98a5648f73a34986d45d (MD5) / Made available in DSpace on 2018-12-05T17:19:13Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Tese_DinamicaOrganizacaoTuristicas.pdf: 4004081 bytes, checksum: 9716f893780b98a5648f73a34986d45d (MD5) Previous issue date: 2018 / CNPq - Conselho Nacional de Desenvolvimento Científico e Tecnológico / Esta tese discute os limites e as possibilidades do recurso natural água tornar-se oportunidade de vantagem competitiva no setor de turismo, particularmente nas organizações turísticas de meios de hospedagem. Nessa perspectiva, surgem os questionamentos acerca do lugar e do papel destas organizações turísticas no cenario político e socioambiental da água. Com isso, o objetivo foi analisar em que medida as implicações do consumo de água posicionam as organizações turísticas de meios de hospedagem de São Luís (MA) e Belém (PA), a formulação de estratégias de sustentabilidade para a eco-inovação. Para tal baseia-se numa revisão de literatura sobre as teorias que explicam o desenvolvimento econômico, a partir de uma visão schumpeteriana e neoschumpeteriana, assim como a abordagem do desenvolvimento sustentável na via para a sustentabilidade da água no setor de turismo. Com base na revisão de literatura, uma hipótese foi sugerida e testada na parte empírica da tese através de uma análise da dinâmica das organizações turísticas concernente às implicações do consumo de água nestas duas cidades amazônicas, em questão. A metodologia teve a orientação interdisciplinar entre a economia e a antropologia, por meio do desenvolvimento da pesquisa qualitativa de tipo exploratória, descritiva e explicativa com o procedimento do estudo de caso de caráter múltiplo. Para isso, utilizou-se a técnica da entrevista semiestruturada com a aplicação do instrumento formulário. Esta análise baseia-se em dados obtidos através de entrevistas-formulário realizadas aos gestores das organizações turísticas e concessionárias de água. Os resultados obtidos mostram que as estratégias adotadas pelas organizações turísticas são meramente paliativas diretamente proporcionais à otimização de custos financeiros. Com isto, salienta-se a importância da questão da água para a pesquisa, principalmente em face às possibilidades de crescente crise hídrica e, no setor de turismo, a água pode ser uma oportunidade de estratégia de sustentabilidade para a eco-inovação, promovendo o turismo responsável e inteligente. / This thesis discusses the limits and possibilities of the natural water resource to become an opportunity of competitive advantage in the tourism sector, particularly in tourist accommodation organizations. From this perspective, questions arise about the place and role of these tourist organizations in the political and socioenvironmental water scenario. Therefore, the objective was to analyze the extent to which the implications of water consumption position the tourist organizations of accommodation, in São Luís (MA) and Belém (PA), the formulation of sustainability strategies for eco-innovation. For this purpose, the study is based on a review of the literature on theories that explain economic development from a Schumpeterian and Neoschumpeterian view, as well as the approach to sustainable development on the path to water sustainability in the tourism sector. Based on the literature review, a hypothesis was suggested and tested in the empirical part of the thesis through an analysis of the dynamics of tourism organizations concerning the implications of water consumption in these two amazonian cities in question. The methodology had the interdisciplinary orientation between economics and anthropology, through the development of qualitative research of an exploratory, descriptive and explanatory type with the procedure of the case study of multiple character. For this, the technique of semi-structured interview with the application of the instrument form was used. This analysis is based on data obtained through interviews-formulary aimed at chief executives of the tourism organizations and water companies. The results show that the strategies adopted by tourism organizations are merely palliative measures directly proportional to the optimization of financial costs. With this, the water issue, especially in the face of the possibilities of a growing water crisis, becomes important for research and, in the tourism sector, water can be an opportunity for sustainability strategy for eco-innovation, promoting the responsible and smart tourism.

Made available in DSpace on 2017-07-21T18:15:21Z (GMT). No. of bitstreams: 1 Jasmine Cardozo Moreira.pdf: 5455170 bytes, checksum: 1b22241f34bc2ae9ce2bcfc91067156d (MD5) Previous issue date: 2015-11-24 / This project had the goal identify the perception of visitors of the Ecotouristic Municipal Park São Luis Tolosa ( PEMSLT ), located in the city of Rio Negro-PR during the year of 2014. Analyzed how the old Seraphic Seminary revitalization process that was active between the 1910s to 1970, transformed the place into an important integral protection conservation unit. It is now considered the main municipal park visitation and also disseminating awareness of preservation and conservation of native species, and a proposal for inter-relations between society and the environment as well as ecotourism. It also proposed public use strategies taking into account its principles of creation, trying to analyze the tourist nature of the protected area based on theoretical frameworks and perception of visitors by relating their habits and attitudes in PEMSLT. Also tried to verify how environmental education is carried out in the protected area, as an instructional tool to boost the participation of urban and tourism collective within the park. The methodology used was interviews to visitors from April to September 2014, with the development of direct and indirect questions, applied to visitors during their tour and visitation, and also behavioral analysis of visitors during their activities in the park. Most visitors realize that the most significant theme of PEMSLT's environmental focus, with emphasis on animal and plant species present. Highlight the preservation of the area in harmony with the architectural beauty of these buildings. However, visitors identify management needs in the direction of improvement of signs, constant presence of monitors trails enrichment of visitation and environmental awareness, greater coordination between the different spheres of the management team, improved fast-food infrastructure, responsibility and suggestions for the visitation trails. / Este trabalho teve por meta identificar a percepção dos visitantes do Parque Ecoturístico Municipal São Luís de Tolosa (PEMSLT), localizado no município de Rio Negro-PR, durante o ano de 2014. Analisou como o processo de revitalização do antigo Seminário Seráfico que esteve em atividade entre as décadas de 1910 a 1970, transformou o lugar em uma importante unidade de conservação de proteção integral. Atualmente é considerado o principal parque de visitação do município e também o disseminador da sensibilização de preservação e conservação de espécies nativas, e uma proposta de inter-relações entre sociedade e meio ambiente e também do ecoturismo. Propôs também estratégias de uso público levando em consideração seus princípios de criação, procurando analisar a natureza turística da unidade de conservação baseando-se em referenciais teóricos e na percepção dos visitantes, relacionando seus hábitos e atitudes no PEMSLT. Também procurou verificar como a educação ambiental é realizada na unidade de conservação, como ferramenta instrucional para dinamizar a participação do coletivo urbano e turístico dentro do parque. A metodologia utilizada foi a de entrevistas aos visitantes no período de abril a setembro de 2014, com a elaboração de perguntas diretas e indiretas, aplicadas aos visitantes, durante seu passeio e visitação, e também análise do comportamento dos visitantes durante suas atividades no parque. A maior parte dos visitantes percebeu que a temática mais expressiva do PEMSLT é o de enfoque ambiental, com destaque às espécies animais e vegetais presentes. Destacam a preservação da área em harmonia com a beleza arquitetônica das edificações presentes. Contudo, os visitantes identificaram necessidades de gestão no sentido de melhoramento das sinalizações, presença constante de monitores de trilhas para enriquecimento da visitação e da sensibilização ambiental, maior articulação entre as diferentes esferas da equipe de gestão, melhorias na infraestrutura de lanchonetes, de receptividade e sugestões para as trilhas de visitação.

The Latin American centennial celebrations of independence (ca.1909-1925) constituted a key moment in the consolidation of national symbols and tropes, while also producing a renewed focus on transnational affinities that generated a series of discourses on continental unity. At the same time, a boom in archaeological explorations, within a general climate of scientific positivism, provided Latin Americans with new information about their ‘grandiose’ former civilisations, such as the Inca and the Aztec, which some then argued for as an American equivalent to ancient Greek and Egyptian cultures. These discourses moved from the political to the cultural sphere, themselves shaping ideas about Latin American national and continental identity. In the arts, and particularly in music, artists as a result began to move from using European techniques and depicting European themes, to produce an art that could be considered Latin American. This dissertation explores discourses surrounding the Inca in particular as a source for the creation of a ‘national’ and ‘continental’ art music during the first three decades of the twentieth century, with a concentration on ‘nationalist’ composers of Peru, Ecuador and Argentina. Three main topics bind together my analysis: interpretations of the Inca musical system, the postcolonial style called yaraví, and the composition of opera. To this end, I look into early twentieth-century writings on Inca music and its origins, investigate attempts to reconstruct it, describe how certain composers applied ‘Inca’ techniques into their own works, and consider how this music was perceived by local audiences. Ultimately, I argue that faced with the difficulties of constructing national unity at the time, the turn to Inca culture and music in pursuit of such unity could only succeed within particular intellectual circles, and that the idea that the Inca example could produce a ‘music of America’ would ultimately remain a utopia.