Athens insists on representing white marble as the material embodiment of the city, and consequently white marble is persistently present in mythologies of the city. This thesis argues that in perpetuating these myths that make consistent appeals to idealised ‘white places’, the reciprocal and mytho-poetic relationship between marble’s materiality and the Athenian metropolis is progressively over-simplified. The result of this particular, reductive historiography is that today the contemporary opsis (architectural surface and image) of marble stimulates an emotional (pathetic) perception of the material that, by extension, fosters a marble-image of Athens that is truly pathetic. This pathos is clear if we consider the violent gestures that accompanied a series of recent anti-austerity riots in which rioters deliberately tore marble veneers from numerous modern and contemporary urban edifices. Despite the apparent senselessness of this act of dissent toward the superficiality of the current Athenian politico-economic apparatus, these actions in fact exposed the superficial manner in which the material has been employed to re-present Athens as an imaginary place. This thesis regards the perceptible absence of marble brought (inadvertently) to the surface during these riots as an opening to a deeper understanding of marble’s materiality. ‘Following’ the agency of marble’s matter, this Architecture by Design thesis presents three potential ways of re-instituting what matters in Attica’s marble. Firstly, the thesis advances a theoretical argument for the mutually constitutive relationship between marble and Athens, where obsolete illustrations and a priori dogmas regarding notions of matter and materiality, image and opsis, landscape and ecology are challenged (Vol. 1). Secondly, the thesis presents a re-presentational visual archive as an expressive essay of both marble’s opsis and of Athens’ marbleimage (Vol. 2). Thirdly, the thesis evokes the poetics of marble as discourse along with a portfolio of architectural design as it materialises a series of speculative design propositions that are placed in specific charged contexts across the broader Attic (metropolitan) landscape, and which address practices of marble concerned with the marble-image of Athens (Vol. 3). Read in conjunction (or in disjunction), these three means of re-situating marble’s materiality within its inherently aesthetic and, by extension, political ground mobilise the material’s asperity. In this way, the material’s intrinsic textures, tensions and differences are projected into the making of marble’s opsis —an opsis that in turn re-informs and enriches the making of Athens’ imageries.

O objetivo da presente dissertação é conhecer e compreender como se dá a manifestação do culto dos fãs a um produto de entretenimento contemporâneo, assim como as motivações e desdobramentos de tal prática. O trabalho é um estudo de caso realizado a partir de uma comunidade virtual, mais precisamente, um fórum de discussão sobre a série audiovisual americana Game of Thrones, produzida e exibida pela emissora HBO. A pesquisa apresenta e discute diferentes conceitos sobre fãs, culto, comunidade virtual, cultura fandom, cultura material, gênero fantasia, experiência estética, complexidade e estratégia narrativa, se guiando pela perspectiva metodológica da materialidade da comunicação. A partir de uma questão levantada pelos próprios fãs, este trabalho busca ainda confirmar ou refutar a hipótese de que o rompimento com o clássico modelo narrativo, conhecido como Jornada do Herói, amplamente utilizado por Hollywood nas décadas de 80 e 90, poderia contribuir para a manutenção e/ou recrudescimento do culto em torno da obra audiovisual analisada. Com este propósito, também são demonstrados os dados sobre as observações realizadas em campo e o que estes representam. Por fim, são trazidos à tona novos fenômenos, experiências e intuições como possibilidades de aprofundamento em estudos futuros

Since the nineteenth century, the provenances, functions, and defining characteristics of a group of Insular portable containers, commonly called house-, tomb-, or church-shaped shrines, have been of interest to a number of disciplines such as History of Art, Archaeology, and Museology. As nearly all Insular house-shaped shrines were found empty or in fragmentary states, their original contents are a continued point of scholarly debate. In response to these examinations and based in part on the seventh-century riddle on the Chrismal found in the Ænigmata of Aldhelm, bishop of Sherborne, this thesis proposes questions such as: what type of container is best categorised as an Insular house-shaped shrine, what were their original contents and functions, and do their forms and materials communicate any specific cultural message(s)? By engaging with the two core concepts of functionality and materiality, which are further informed through direct object handlings of select Insular portable shrines, this thesis examines the forms and materials used in their construction. Taking these questions and the historical conversation into account, this thesis draws on the terminology employed to denote sacral containers in Old Irish and Latin works, which include hagiography and penitentials, discussions on the Temple of Jerusalem within early medieval exegesis, depictions of Insular house-shaped shrines and analogous forms in stonework and other mediums, and antiquarian, archaeological, and anthropological accounts of the discovery of Insular house-shaped shrines to more fully examine the functions of these enigmatic boxes. In doing so, the place of Insular house-shaped shrines within early medieval art, both Continental and Insular, will be more fully outlined. Additionally, a working definition of what can constitute an Insular house-shaped shrine is developed by examining their materiality, form, and prescribed functional terms, such as ‘reliquary’ and ‘chrismal’. Finally, this thesis shows that the functions of Insular house-shaped shrines are best understood in an overlapping and pluralistic sense, namely, that they were containers for a variety of forms of sacral matter and likely were understood as relics themselves only in later periods, which modern antiquarians later used as meaning-making devices in their writings on the spread of the early medieval ‘Celtic’ Church.

abstract: This dissertation is a detailed rhetorical analysis of interviews with rice farmers in central Java, Indonesia and documents published by the global NGOs United Nations Food and Agriculture Organization (FAO) and CGIAR. Using theories of materiality, literacies, and environmental rhetorics, I examine how seemingly distinct and disparate humans, organizations, and inanimates are actually entangled agents in a dynamic conversation. I have termed that conversation the discourse of rice farming. Studying local and global together challenges conventional dichotomous thinking about farming and food. Looking at this conversation as an entanglement reveals what Karen Barad has defined in Meeting the Universe Halfway as the intra-relatedness of all agents. I focus on rice farming because rice is a food staple around the world and a major component of global agriculture initiatives by FAO and CGIAR. I argue that farmers construct their jobs in terms of production, food sovereignty, and community. The NGOs construct agriculture in terms of consumption, food security, and poverty alleviation. In my project I emphasize the need for global agents to better account for how farmers construct agriculture. Accounting for how all agents impact the discourse of rice farming is the only way to come to an objective understanding rice farming's impact on local and global scales. My argument adds to the field of environmental rhetorics because most published case studies are about the United States and thus are limited in their applicability. And it enriches global conversations about food security and food justice because it shares accounts from actual farmers who are often conspicuously absent from literature on those topics. / Dissertation/Thesis / Doctoral Dissertation English 2015

A construção do campo pictórico: acúmulos e sobreposições baseia-se na pesquisa sobre uma prática plástica, na construção de um campo pictórico. Assim, é apresentada, nesta dissertação, uma série de pinturas, produzidas entre 2002 e 2004, que tiveram como conceitos norteadores as noções de acúmulos e sobreposições exploradas na elaboração de pinturas. A narrativa é construída em paralelo ao processo de pintar. Seguindo, preferencialmente, a mesma seqüência de construção, procura-se apresentar os elementos que dão condição à instauração desses trabalhos. A partir da análise dessa experiência, se propõe o levantamento de questões recorrentes nessa prática, desde a seleção de referenciais, passando pelas ações operatórias, bem como elementos de naturezas variadas que envolvem uma prática plástica particular e que encontram reverberações na produção. Assim, são abordados assuntos como: o uso do recurso fotográfico na pintura, a exploração da matéria pictórica, a importância da ação do tempo nesse processo, os registros de trabalho e os reflexos e os diálogos firmados com a obra de outros pintores. Essa pesquisa estrutura-se como uma documentação de um processo de trabalho. Nesse sentido, aqui são apresentadas as hesitações, os questionamentos, as hipóteses e as experimentações relativas ao pintar. / The construction of the pictorial field: accumulations and overlaps is based on research about the plastic practice, in the construction of a pictorial field. Hence, it is presented in this dissertation a series of paintings, produced between 2002 and 2004, which had as guiding concepts the notions of accumulations and overlaps explored in the elaboration of paintings. The narrative is built in parallel to the process of painting. Proceeding, preferentially, the same construction sequence, trying to present the elements that allow the instauration of these works. Starting from the analysis of this experience, one intends the rising of appealing subjects in such practice, from reference selection, considering the operative actions, as well as elements varied in nature that involve a particular plastic practice and that find reverberations in the production. Hence, the approached subjects are: the use of the photographic resources in painting, the exploration of the pictorial matter, the importance of time effect in this process, the work recordings and the reflexes and dialogues with the other painters' work. This research is structured as a documentation of a work process. In that sense, here, the hesitations, the questionings, the hypotheses and the experimentations related to painting are presented.

A construção do campo pictórico: acúmulos e sobreposições baseia-se na pesquisa sobre uma prática plástica, na construção de um campo pictórico. Assim, é apresentada, nesta dissertação, uma série de pinturas, produzidas entre 2002 e 2004, que tiveram como conceitos norteadores as noções de acúmulos e sobreposições exploradas na elaboração de pinturas. A narrativa é construída em paralelo ao processo de pintar. Seguindo, preferencialmente, a mesma seqüência de construção, procura-se apresentar os elementos que dão condição à instauração desses trabalhos. A partir da análise dessa experiência, se propõe o levantamento de questões recorrentes nessa prática, desde a seleção de referenciais, passando pelas ações operatórias, bem como elementos de naturezas variadas que envolvem uma prática plástica particular e que encontram reverberações na produção. Assim, são abordados assuntos como: o uso do recurso fotográfico na pintura, a exploração da matéria pictórica, a importância da ação do tempo nesse processo, os registros de trabalho e os reflexos e os diálogos firmados com a obra de outros pintores. Essa pesquisa estrutura-se como uma documentação de um processo de trabalho. Nesse sentido, aqui são apresentadas as hesitações, os questionamentos, as hipóteses e as experimentações relativas ao pintar. / The construction of the pictorial field: accumulations and overlaps is based on research about the plastic practice, in the construction of a pictorial field. Hence, it is presented in this dissertation a series of paintings, produced between 2002 and 2004, which had as guiding concepts the notions of accumulations and overlaps explored in the elaboration of paintings. The narrative is built in parallel to the process of painting. Proceeding, preferentially, the same construction sequence, trying to present the elements that allow the instauration of these works. Starting from the analysis of this experience, one intends the rising of appealing subjects in such practice, from reference selection, considering the operative actions, as well as elements varied in nature that involve a particular plastic practice and that find reverberations in the production. Hence, the approached subjects are: the use of the photographic resources in painting, the exploration of the pictorial matter, the importance of time effect in this process, the work recordings and the reflexes and dialogues with the other painters' work. This research is structured as a documentation of a work process. In that sense, here, the hesitations, the questionings, the hypotheses and the experimentations related to painting are presented.

O objetivo geral da pesquisa é ranquear alguns contextos (frames) que impactam subjetivamente no julgamento de materialidade que os auditores ponderam, abordando, além da visão global das demonstrações contábeis apresentadas para asseguração, distorções materiais e não conformidades, procedimento analítico, perfil dos gestores e ambiente de controle de negócios. A pesquisa é quantitativa e qualitativa, utilizando como coleta de dados a Metodologia Q (Stephenson, 1953) e Narrativa Oral (Llewellyn, 1999). Os participantes da pesquisa são sócios, gerentes e seniores de auditoria de firmas Big 5 e sócios de firmas de pequeno porte. O instrumento de pesquisa contou com a apresentação de 27 cenários (frames) dispostos em cartões livremente ordenáveis de forma decrescente em percepção de relevância pelo participante como situações que o faria alterar a materialidade em um cliente. A coleta de dados contou com 18 entrevistas. O tratamento estatístico dos dados contou com a análise fatorial exploratória (AFE), e o tratamento qualitativo com análise interpretativa e análise por templates. A materialidade é influenciada para níveis mais conservadores em dois momentos: no planejamento de auditoria ou durante a coleta de evidências em campo, de acordo com a percepção do auditor da relevância de informações negativas. Porém, é influenciada para níveis menos conservadores apenas no planejamento de auditoria, quando há uma percepção acumulada historicamente pelo auditor sobre a efetividade dos controles internos e do bom caráter dos gestores do cliente. Para os estudos acadêmicos, esta dissertação objetiva contribuir para o aumento de pesquisas nacionais na área. Para a profissão contábil, objetiva-se refletir sobre os conhecimentos do dia a dia dos auditores em campo, visto que qualquer contador pode ser um auditor independente (CFC, 1983). Para a sociedade, objetiva-se oferecer mais informações sobre o auditor para, potencialmente, milhões de shareholders (investidores, credores, prestadores de serviço, funcionários, governo etc.) que depositam confiança nesses profissionais em suas decisões. O estudo é pioneiro na apresentação da materialidade como uma probabilidade da percepção de um risco de exposição do auditor e na compreensão dos fatores de julgamento de materialidade ex ante a entrega do relatório final de auditoria. / This research aims to to rank contexts (frames), which subjectively shall impact the judgment of materiality that auditors assess, addressing, aside from the global view on the accounting statements report for assurance, material distortions and nonconformities, analytical procedure, profile of managers and business control environment. The research is both quantitative and qualitative, using for data collection purposes the Q Methodology (Stephenson, 1953) and Oral Narrative (Llewellyn, 1999). Participants were partners, managers and senior auditors from Big 5 companies and members of small-sized enterprises. The research instrument comprised the presentation of 27 scenarios (frames) presented in cards arranged in random randomly in descending order according to how relevance was perceived by the participant as situations that would change the materiality of a client. Data collection included 18 interviews. The statistical treatment of the data included the Exploratory Factorial Analysis (EFA) and the qualitative treatment of the information was through analysis both interpretative and by templates. Materiality is influenced at more conservative levels in two circumstances: in the audit planning or upon field evidence collection, and according to the perception by an auditor of the relevance of a negative piece of information. However, it is influenced at less conservative levels only in audit planning when there is a historically acquired perception by the auditor on the effectiveness of internal controls and concerning the good character of the client\'s managers. As for academic studies, this dissertation aims to contribute towards increasing nation wide research on the subject area. As for accounting as a profession, it aims to reflect on the daily knowledge of the auditing field, that is considering that any given accountant may be an independent auditor (CFC, 1983). To society, it aims to provide more education on the work of an auditor to potentially millions of shareholders (investors, creditors, service providers, employees, government, etc.) who depend upon the trust placed in such professionals to their decisions. The study is a pioneer in the subject regarding the presentation of the subject materiality as a probability of perception of exposion risk to an auditor and in the understanding of the factors involved in the materiality judgment ex ante to the delivery of a final audit report.

Submitted by Jorge Silva (jorgelmsilva@ufrrj.br) on 2017-06-28T19:29:57Z No. of bitstreams: 1 2017 - Andr? Henrique Sousa Barros.pdf: 1989209 bytes, checksum: ca3e69fe77f40e3964b777b098e088d9 (MD5) / Made available in DSpace on 2017-06-28T19:29:57Z (GMT). No. of bitstreams: 1 2017 - Andr? Henrique Sousa Barros.pdf: 1989209 bytes, checksum: ca3e69fe77f40e3964b777b098e088d9 (MD5) Previous issue date: 2017-03-24 / CAPES / In the last decades, patriarchal family models have shown a significant reduction in occurrences in Brazil, whereas single-parent family arrangements composed of women's exclusive leadership show constant growth (IBGE, 2015; LEONE et al., 2010; COSTA & MARRA, 2013; SCHIMANSKI & PEREIRA, 2013). Thus, changes in consumer practices during the family cycle offer a broader universe for consumer studies in the national context (CASSOTI & SUAREZ, 2015). It is in this sense that goods have the capacity to function as a path to the creation of a family identity, evidencing the interactions and reformulations that exist in the family (EPP & PRICE, 2008, COMMURY & GENTRY, 2000, MILLER, 2010). Therefore, the present research sought to investigate how the woman of the family who becomes a single parent uses the material culture to minimize and face the effects caused by the separation or death of the spouse during the construction of the identity of the female single parent family. Data collection was done through an in-depth interview with 12 female heads of single-parent families living in the metropolitan region of Rio de Janeiro (MCCRAKEN, 1988). As a basic requirement to be interviewed, women should have assumed the responsibility of family in the last 7 years, a period of time in which the process of restructuring after divorce or death takes place (BURNS & DONALD 1980, Commury & Gentry 2000). The data collected were analyzed through content analysis (BARDIN, 2011). In this sense, comparing the results obtained and relating them to the family identity construction scheme proposed by Epp & Price (2008), the present study seems to point out that the construction of a single-parent family identity occurs exactly through thrusters such as; Marital disruption, a new form of leadership, greater integration among members, and limited family budget. In view of this, all these attributes are determinants in the forms of relation between family and materiality, because they stipulate the levels of intensity of this dialectical interaction. These forms of use, meaning, and interactions between individuals and goods seem to create two family stereotypes. The first was called a renewed family, which includes the units with the greatest flexibility to insert changes, both in the acquired assets and in the forms of negotiations and participation in the decision-making process. The second group corresponded to the gradual families, which were less prone to drastic changes in relation to the customs and consumption of family assets. These families often see the continuity of consumption patterns as essential to family harmony. / Nas ?ltimas d?cadas, os modelos de fam?lia patriarcal t?m apresentado uma redu??o significativa de ocorr?ncias no Brasil, enquanto que arranjos familiares monoparentais compostos pela exclusiva lideran?a da mulher apresenta crescimento constante (IBGE, 2015; LEONE et al 2010; COSTA & MARRA, 2013; SCHIMANSKI & PEREIRA, 2013). Desse modo, as transforma??es nas pr?ticas de consumo durante o ciclo familiar oferecem um amplo universo para os estudos de consumo em contexto nacional (CASSOTI & SUAREZ, 2015). ? nesse sentido que os bens possuem a capacidade de funcionar como caminho para a cria??o de identidade familiar, evidenciando as intera??es e reformula??es existentes na fam?lia (EPP & PRICE, 2008; COMMURY & GENTRY, 2000; MILLER, 2010). Diante disso, a presente pesquisa buscou investigar como a mulher da fam?lia que se torna monoparental utiliza a cultura material para minimizar e enfrentar os efeitos causados pela separa??o ou falecimento do c?njuge durante a constru??o da identidade da fam?lia monoparental feminina. A coleta de dados foi realizada por meio de entrevista em profundidade com 12 mulheres chefes de fam?lias monoparentais moradoras na regi?o metropolitana da cidade do Rio de Janeiro (MCCRAKEN,1988). Como requisito b?sico para ser entrevistada as mulheres deveriam ter assumido a condi??o de respons?vel da fam?lia nos ?ltimos 7 anos, per?odo de tempo o qual o processo de restrutura??o p?s divorcio ou falecimento incorre (BURNS & DONALD, 1980; COMMURY & GENTRY, 2000). Os dados coletados foram analisados por meio da an?lise de conte?do (BARDIN, 2011). Nesse sentido, comparando os resultados obtidos e os relacionando com o esquema de constru??o de identidade familiar proposto por Epp & Price (2008), o presente estudo parece apontar que a constru??o de uma de identidade de fam?lia monoparental ocorre exatamente atrav?s de propulsores como; rompimento conjugal, nova forma de lideran?a, maior integra??o entre os membros e limita??o or?amentaria da fam?lia. Diante disso, todos esses atributos s?o determinantes nas formas de rela??o entre a fam?lia e a materialidade, pois, estipulam os n?veis de intensidade dessa intera??o dial?tica. Essas formas de uso, significado e intera??es entre os indiv?duos e os bens parecem criar dois estere?tipos de fam?lia. A primeira foi denominada de fam?lia renovada, a qual compreende as unidades com maior flexibilidade para inser??o de mudan?as, tanto nos bens adquiridos quanto nas formas de negocia??es e participa??es no processo decis?rio. J? o segundo grupo correspondeu as fam?lias gradativas, sendo estas menos propensas as mudan?as dr?sticas em rela??o aos costumes e consumo dos bens familiares. Essas fam?lias geralmente enxergam a continuidade dos padr?es de consumo como algo essencial para a harmonia familiar.

(Constance) Stanzie Tooth’s thesis exhibition titled, Hand to Ground, explores ideas of origin; both the mythology of a personal origin as well as the origins of painting and representation. Interrogating the history of landscape painting, the exhibition skews notions of identity by reconsidering representations of the landscape. Inspired by Margaret Atwood’s novel Surfacing, and paired with reminiscences of her childhood in rural Ontario, Tooth’s paintings unfold oblique narratives of a communion with land. These questions of personal ecology are filtered through an intense material expression, reinforcing the idea of coming into being. The exhibition was on view at the Karsh Masson Gallery in Ottawa from August 1st to September 10th, 2015.

Le son est souvent qualifié de postmoderne, dans la mesure où les installations sonores associent son et visuels, enfreignant ainsi le principe de la séparation des genres qui constitue l'un des fondements de l'art moderniste. Cependant, dans de nombreux cas, le son manifeste une matérialité et des fonctionnalités relevant du moderne. Cela est vrai dans l'architecture, où l'on retrouve la notion de son moderne associée aux techniques d'isolation sonore pratiquées dans les immeubles modernes des premières décennies du XXème siècle. Ces techniques ont donné lieu à un son qui incarnait l'idée d'efficacité et qui soulignait la maîtrise technique de l'homme sur son environnement physique - autant de caractéristiques de la culture moderne. Il existe d'autres situations dans lesquelles se manifeste le son moderne. L'installation associant le son et les visuels peut dans certains cas être qualifiée de moderne, et dans le cas d'œuvres sonores portant sur les notions de temps et d'espace, nous avons pu identifier une conception de la spatio-temporalité tout à fait moderne. Ce sont autant de domaines qui permettent de déceler l'empreinte du moderne non encore révélée. Car si le récit du moderne dans son ensemble a été raconté de nombreuses fois, ce n'est pas le cas de l'histoire peu connue, mais tout aussi mouvementée, du son moderne - une histoire qui permet de revenir sur la question du moderne, et de révéler son actualité. / Sound installations are generally classified as postmodern: by associating sound and visuals, they infringe the principle of the separation of the genres typifying modernist art. Yet sound can nonetheless manifest a materiality and functionality that tie in with modem ideals. ln architecture for instance, we can identify the notion of modem sound in the context of the soundproofing techniques employed in modernist buildings in the early 20th century. These techniques gave rise to a sound that epitomized the modern idea of efficiency: stripped of any extraneous elements, it encouraged efficient behaviour among its listeners, while underscoring man's technical mastery over his physical environment - yet another modem trait. The notion of modem sound also manifests itself in other situations: certain installation associating sound and visuals can be described as modem, while many sound works addressing the notions of space and time testify to a modem concept of spatio-temporality. The story of modernist has been told many times, but yet to be told is the equally eventful story of modem sound - a narrative that revisits the question of modernism and underscores its relevance today.