This thesis presents a detailed study of the seventeenth century diplomat Sir Anthony Sherley's Relation of his Travels into Persia (1613). Sherley and his younger brother Robert travelled to Persia with a sizeable company of experienced English military officers who had originally been detailed to bolster the defences of Ferrara against an expected invasion by the Papal States in late 1597. Sherley remained in Persia for six months, which coincided with the Shah's return from a military expedition that had effectively secured his eastern frontiers against invasion, and as he embarked on preparations for a war of reconquest against the Ottomans, which was seized on by Sherley and his brothers to produce a stream of books, assuming credit for the later outbreak of war between the Muslim powers. Anthony and Robert Sherley were celebrated for inciting the Persians to war against the Turks, and their reputation was cemented with the publication of John Day, William Rowley and George Wilkins' play entitled Travails of the Three English Brothers (1607). Day, Rowley and Wilkins' Travails, as well as the brothers' persistent self-promotion through the medium of popular print, has led to the erroneous notion that they were responsible for the establishment of Anglo-Persian diplomatic relations. This thesis provides an account of Sir Anthony Sherley's experiences prior to his journey to Persia, traces his shifting objectives as reflected in the clusters of texts published by and about the Sherley brothers, argues that his account was partly presented as an allegorical romance, and highlights the Machiavellian and Tacitean influences behind the Relation.

The diploma thesis deals with the issue of insurance risks in the area of life insurance from the perspective of the client. The first part is devoted to the basic concepts of life insurance. Then the basic ideas of optimization are described. The second part focuses on creating a model for an easier understanding of concept of life insurance and on the setting of the most optimal insurance options that respond to the client. Emphasis is put on maximizing client benefits. The created model is based on with real data and is processed in the MS Excel spreadsheet.

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Currently many city dwellers are getting sick because of unhealthy city lifestyle such as living a night lives, being surrounded by a polluted environment and consuming contaminated food. As a result, healthy and green lifestyle is becoming a mainstream popular trend in Bangkok. People started to participate in extreme sport and especially purchasing organic food, and yet they still get even more sick. It is because they have wrong perception of organic food, so they still buy products such as hydroponic vegetable, injected hormone meat, and GMO harvest from normal supermarket. Although there are some green stores in the market, they still provide non-organic products, especially hydroponic vegetable. Modern Earth is a pure organic supermarket that satisfies health-conscious city dwellers’ hunger for authentic organic food and products as an ultimate tool to live a healthy enjoyable modern lifestyle. Modern Earth offers English literate staffs who can inform and answer both Thais and expatriates about organic agriculture understanding as well as our products. Organic bakery and coffee shop, bookstores, and organic-related product store are also available in our supermarket. We believe our supermarket is one of the solutions for todays unhealthy modern lifestyle.

Esse estudo tem como objetivo realizar uma investigação acerca da obra de Jean Béraud (1849-1935), visando recuperar os aspectos profundos, mas pouco explorados, de um determinado recorte de sua poética. Com vistas a ampliar a interpretação tradicionalmente atribuída às obras desse pintor francês, que se consagra, no último quartil do século XIX, como le peintre de la vie parisienne, pretende-se, à partir da análise de quatro obras, que figuram no acervo do Museu Carnavalet, em Paris, e que retratam especificamente os bulevares da Paris modernizada, problematizar a narrativa que elas apresentam, buscando averiguar, em última instância, se seus conteúdos comunicam a simples celebração da vida moderna ou se a isso soma-se, ainda, uma perspectiva crítica sobre a chamada Belle Époque parisiense. Paratanto, o mote da pesquisa é a indagação pelo sujeito das pinturas: a pergunta pelo elemento central, cuja presença se mostra recorrente, especificamente nas representações dos bulevares símbolo emblemático das transformações sociais ocorridas na França do século XIX é o que norteia os caminhos desse estudo. A abordagem utilizada é de caráter estético e histórico-social: a formação, a trajetória e a produção do artista são postas em relação com o contexto histórico em que ele está inserido, com vistas a elucidar ou explorar melhor as motivações que possivelmente orientaram suas composições plásticas. O estudo não pretende contestar a crítica sedimentada acerca dessas obras, mas tão-somente ampliá-la, contribuindo para o enriquecimento das possibilidades de leitura e resgatando aspectos relevantes desta expressão artística que não poderiam ser ignorados, a custo de se perder de vista a real potência da obra. / The aim of this research is investigating the paintings of Jean Béraud (1849-1935), recovering profound aspects, that may have not been explored, about a specific part of his poetics. Having in view the enlargement of the traditionally interpretation assigned to the work of this painter, consecrated, at the end of 19th century, as the painter of parisian life, the objective is, by the analysis of four works of art which represent specifically the Boulevards of the modernized Paris and are maintained by the Carnavalet Museum, in Paris, to discuss the narratives they present, in order to verify whether their contents communicate a simple celebration of the golden ages or rather they show a critical perspective about the so called Belle Époque. The critical point is the enquiry about the real subject of the paintings. The question about the central element, whose presence recurrently appears, specifically on the bulevars emblematic symbol of France 19th century and its social transformations - is what guides this study. The approach used for it is aesthetic and social-historical: his education, his trajectory as an artist, his production, are put in relation with the historical context in which the painter is situated, in order to elucidate or better explore the motivations that possibly guided his plastic compositions. The study does not deny the traditional critics on the artists Works, but rather enlarges its possibilities and recovers relevant aspects of his expression, which may be the key for understanding his real potential.

Esse estudo tem como objetivo realizar uma investigação acerca da obra de Jean Béraud (1849-1935), visando recuperar os aspectos profundos, mas pouco explorados, de um determinado recorte de sua poética. Com vistas a ampliar a interpretação tradicionalmente atribuída às obras desse pintor francês, que se consagra, no último quartil do século XIX, como le peintre de la vie parisienne, pretende-se, à partir da análise de quatro obras, que figuram no acervo do Museu Carnavalet, em Paris, e que retratam especificamente os bulevares da Paris modernizada, problematizar a narrativa que elas apresentam, buscando averiguar, em última instância, se seus conteúdos comunicam a simples celebração da vida moderna ou se a isso soma-se, ainda, uma perspectiva crítica sobre a chamada Belle Époque parisiense. Paratanto, o mote da pesquisa é a indagação pelo sujeito das pinturas: a pergunta pelo elemento central, cuja presença se mostra recorrente, especificamente nas representações dos bulevares símbolo emblemático das transformações sociais ocorridas na França do século XIX é o que norteia os caminhos desse estudo. A abordagem utilizada é de caráter estético e histórico-social: a formação, a trajetória e a produção do artista são postas em relação com o contexto histórico em que ele está inserido, com vistas a elucidar ou explorar melhor as motivações que possivelmente orientaram suas composições plásticas. O estudo não pretende contestar a crítica sedimentada acerca dessas obras, mas tão-somente ampliá-la, contribuindo para o enriquecimento das possibilidades de leitura e resgatando aspectos relevantes desta expressão artística que não poderiam ser ignorados, a custo de se perder de vista a real potência da obra. / The aim of this research is investigating the paintings of Jean Béraud (1849-1935), recovering profound aspects, that may have not been explored, about a specific part of his poetics. Having in view the enlargement of the traditionally interpretation assigned to the work of this painter, consecrated, at the end of 19th century, as the painter of parisian life, the objective is, by the analysis of four works of art which represent specifically the Boulevards of the modernized Paris and are maintained by the Carnavalet Museum, in Paris, to discuss the narratives they present, in order to verify whether their contents communicate a simple celebration of the golden ages or rather they show a critical perspective about the so called Belle Époque. The critical point is the enquiry about the real subject of the paintings. The question about the central element, whose presence recurrently appears, specifically on the bulevars emblematic symbol of France 19th century and its social transformations - is what guides this study. The approach used for it is aesthetic and social-historical: his education, his trajectory as an artist, his production, are put in relation with the historical context in which the painter is situated, in order to elucidate or better explore the motivations that possibly guided his plastic compositions. The study does not deny the traditional critics on the artists Works, but rather enlarges its possibilities and recovers relevant aspects of his expression, which may be the key for understanding his real potential.

Edgar Degas, observateur réputé de la vie parisienne du XIXe siècle, réserve tout au long de sa carrière un traitement particulier à la figure féminine. Dès les premières tentatives de tableaux d’histoire et les portraits des débuts, dont un grand nombre concerne des couples et des membres de sa famille, Degas introduit une forme de tension dans les rapports entre les hommes et les femmes. Cette tension se manifeste à la fois dans la structure des œuvres et dans le registre expressif des figures représentées. Elle perdure dans les tableaux de genre qui marquent un intérêt accru de Degas pour les scènes de la vie contemporaine. Ces dernières suggèrent une trame narrative encore aujourd’hui difficile à déchiffrer mais où continue de se manifester une forme d’opposition entre les pôles masculin et féminin de l’image. Ce sont surtout les œuvres représentant des femmes au travail ou à leur toilette, réalisées dans la période de la maturité de l’artiste, qui manifestent cette tension à son maximum et lui confèrent un supplément de résonnance personnelle et sociale. Un pivotement du dispositif figuratif maintient le pôle féminin dans l’espace de représentation alors que le pôle masculin se situe désormais du côté du spectateur. Ces figures de femmes dont la gestuelle, le positionnement dans l’espace et le mode d’adresse suggèrent qu’elles font l’objet d’une effraction du regard qui s’énonce au masculin, résistent par plusieurs aspects au scénario érotique voyeuriste qui se développe à l’époque dans beaucoup de tableaux académiques et dans les illustrations populaires. / Edgar Degas, famous observer of nineteenth century Parisian life, made a special subject of the female figure throughout his whole career. As early as his first attempts at historical paintings and his first portraits - many of which depicted couples and family members - Degas introduces some kind of tension between men and women. This tension can not only be seen in the structure of his works but also through the postures and facial expressions of his characters. It remains in the genre paintings which show Degas’ increased interest in scenes of contemporary life after he turned away from historical topics. Those scenes point to a narrative that until today is difficult to decipher but where an opposition of a sort can still be seen between the male and female poles of the picture. But it is especially in the works depicting women at work or tending to their personal hygiene in the artist’s mature period that this tension is shown at its peak. It vibrates with an increasingly more personal and social tone. A shift in the figurative structure maintains the female pole in the depicted space whereas the male pole is now located in the beholder’s space. Female wearily label even by the postures, demeanors, and expressions lead us to believe that they are subjected to some visual intrusion of male origin, one akin to the existing voyeurism developing in the same period in many academic paintings and popular illustrations.

Edgar Degas, observateur réputé de la vie parisienne du XIXe siècle, réserve tout au long de sa carrière un traitement particulier à la figure féminine. Dès les premières tentatives de tableaux d’histoire et les portraits des débuts, dont un grand nombre concerne des couples et des membres de sa famille, Degas introduit une forme de tension dans les rapports entre les hommes et les femmes. Cette tension se manifeste à la fois dans la structure des œuvres et dans le registre expressif des figures représentées. Elle perdure dans les tableaux de genre qui marquent un intérêt accru de Degas pour les scènes de la vie contemporaine. Ces dernières suggèrent une trame narrative encore aujourd’hui difficile à déchiffrer mais où continue de se manifester une forme d’opposition entre les pôles masculin et féminin de l’image. Ce sont surtout les œuvres représentant des femmes au travail ou à leur toilette, réalisées dans la période de la maturité de l’artiste, qui manifestent cette tension à son maximum et lui confèrent un supplément de résonnance personnelle et sociale. Un pivotement du dispositif figuratif maintient le pôle féminin dans l’espace de représentation alors que le pôle masculin se situe désormais du côté du spectateur. Ces figures de femmes dont la gestuelle, le positionnement dans l’espace et le mode d’adresse suggèrent qu’elles font l’objet d’une effraction du regard qui s’énonce au masculin, résistent par plusieurs aspects au scénario érotique voyeuriste qui se développe à l’époque dans beaucoup de tableaux académiques et dans les illustrations populaires. / Edgar Degas, famous observer of nineteenth century Parisian life, made a special subject of the female figure throughout his whole career. As early as his first attempts at historical paintings and his first portraits - many of which depicted couples and family members - Degas introduces some kind of tension between men and women. This tension can not only be seen in the structure of his works but also through the postures and facial expressions of his characters. It remains in the genre paintings which show Degas’ increased interest in scenes of contemporary life after he turned away from historical topics. Those scenes point to a narrative that until today is difficult to decipher but where an opposition of a sort can still be seen between the male and female poles of the picture. But it is especially in the works depicting women at work or tending to their personal hygiene in the artist’s mature period that this tension is shown at its peak. It vibrates with an increasingly more personal and social tone. A shift in the figurative structure maintains the female pole in the depicted space whereas the male pole is now located in the beholder’s space. Female wearily label even by the postures, demeanors, and expressions lead us to believe that they are subjected to some visual intrusion of male origin, one akin to the existing voyeurism developing in the same period in many academic paintings and popular illustrations.

Essa dissertação representa um esforço teórico e prático na busca de conectar os vínculos estruturais entre a condição de vida urbana, os modos de apropriação do espaço e as contradições das desigualdades inerentes à expansão capitalista no acelerado processo de urbanização das cidades, tendo a cidade do Rio de Janeiro como objeto de análise e observação empírica. A motivação principal está em tratar qual impacto da urbanidade na realização da vida coletiva, tendo como pano de fundo a experiência profissional de trabalho social nas áreas da saúde pública e habitação popular. Nesse sentido, foram levantados alguns dados empíricos que revelam as mudanças no comportamento e nas práticas sociais - estas associadas à condição de vida no meio urbano, tais como: o déficit habitacional, o acesso precário ao saneamento, o cotidiano da violência nos espaços populares de moradia, a peleja na mobilidade urbana e os dados da saúde pública com destaque para o alarmante e crescente índice de mortalidade de jovens por causas externas (morte violenta). Procurou-se, para tanto, fazer um mergulho na história e buscar algumas explicações, a partir dos clássicos da teoria política (Hobbes, Locke, Rousseau, Marx e Engels) sobre a realização da vida coletiva, as formas de regulação social, o papel do Estado e a concepção de cidadania burguesa características ainda presentes que revelam a lógica da sociabilidade marcada pela órbita do capital na modernidade. Procurou-se nessa análise constatar o quanto que a lógica da propriedade privada ainda delineia o formato de regulação da vida social na atualidade. O urbano aqui constitui o espaço onde se processam as relações econômicas, sociais e políticas, e, portanto, espaço de gestão de interesses financeiros que devem ser regulados através de instrumentos legais. Destaca-se que alguns instrumentos vêm sendo apropriados na atual gestão da cidade do Rio de Janeiro numa concepção excessivamente gerencial, matizando uma lógica de política urbana que contradiz a função social da propriedade. A especulação do uso do solo, a irregularidade e precariedade da moradia, as dificuldades na mobilidade urbana marcam o cenário da cidade e reproduzem as condições sociais e o cotidiano da vida urbana. / This thesis aims to present a theoretical and practical effort in seeking to connect the structural links between the condition of urban life, the ways of appropriation of space and the contradictions of inherent inequalities due to the capitalist expansion in the accelerated process of the cities urbanization, being the city of Rio Janeiro the object of analysis and empirical observation. The main motivation consists of addressing the impact of the "urbanity" in implementing the collective life, which "backgrounds" the professional experience of social work in public health and housing. In this sense, there were collected some empirical data that show changes in behavior and social practices these associated with living conditions in urban areas, such as: the housing shortage, the poor access to sanitation, the everyday violence in popular housing areas, the struggle on urban mobility and public health data with special attention to the alarming and rising rates of youth mortality from external causes (violent death). It was pursued, in this work, to give a deep look in history and get some explanations from the classics of political philosophy (Hobbes, Locke, Rousseau, Marx and Engels) on the achievement of collective life, the forms of social regulation, the role the State and the bourgeois conception of citizenship still present characteristics that reveal the sociality logic marked by the orbit of the capital in modern life. It was aimed, in this analysis, to check how the logic of private property still outlines the shape of social life regulation nowadays. "Urban" here means the space where the economic, social and political relations are processed, and, therefore, the area of management of financial interests that must be regulated through legal instruments. It was emphasized, in this work, that some instruments have been appropriated in the current management of the city of Rio de Janeiro in an over-managerial conception, blending the logic of urban policy which contradicts the social function of property. Speculation in the use of land, the irregularity and precariousness of housing and the difficulties in urban mobility mark the city's scenery and reproduce the social conditions and the everyday urban life.

Essa dissertação representa um esforço teórico e prático na busca de conectar os vínculos estruturais entre a condição de vida urbana, os modos de apropriação do espaço e as contradições das desigualdades inerentes à expansão capitalista no acelerado processo de urbanização das cidades, tendo a cidade do Rio de Janeiro como objeto de análise e observação empírica. A motivação principal está em tratar qual impacto da urbanidade na realização da vida coletiva, tendo como pano de fundo a experiência profissional de trabalho social nas áreas da saúde pública e habitação popular. Nesse sentido, foram levantados alguns dados empíricos que revelam as mudanças no comportamento e nas práticas sociais - estas associadas à condição de vida no meio urbano, tais como: o déficit habitacional, o acesso precário ao saneamento, o cotidiano da violência nos espaços populares de moradia, a peleja na mobilidade urbana e os dados da saúde pública com destaque para o alarmante e crescente índice de mortalidade de jovens por causas externas (morte violenta). Procurou-se, para tanto, fazer um mergulho na história e buscar algumas explicações, a partir dos clássicos da teoria política (Hobbes, Locke, Rousseau, Marx e Engels) sobre a realização da vida coletiva, as formas de regulação social, o papel do Estado e a concepção de cidadania burguesa características ainda presentes que revelam a lógica da sociabilidade marcada pela órbita do capital na modernidade. Procurou-se nessa análise constatar o quanto que a lógica da propriedade privada ainda delineia o formato de regulação da vida social na atualidade. O urbano aqui constitui o espaço onde se processam as relações econômicas, sociais e políticas, e, portanto, espaço de gestão de interesses financeiros que devem ser regulados através de instrumentos legais. Destaca-se que alguns instrumentos vêm sendo apropriados na atual gestão da cidade do Rio de Janeiro numa concepção excessivamente gerencial, matizando uma lógica de política urbana que contradiz a função social da propriedade. A especulação do uso do solo, a irregularidade e precariedade da moradia, as dificuldades na mobilidade urbana marcam o cenário da cidade e reproduzem as condições sociais e o cotidiano da vida urbana. / This thesis aims to present a theoretical and practical effort in seeking to connect the structural links between the condition of urban life, the ways of appropriation of space and the contradictions of inherent inequalities due to the capitalist expansion in the accelerated process of the cities urbanization, being the city of Rio Janeiro the object of analysis and empirical observation. The main motivation consists of addressing the impact of the "urbanity" in implementing the collective life, which "backgrounds" the professional experience of social work in public health and housing. In this sense, there were collected some empirical data that show changes in behavior and social practices these associated with living conditions in urban areas, such as: the housing shortage, the poor access to sanitation, the everyday violence in popular housing areas, the struggle on urban mobility and public health data with special attention to the alarming and rising rates of youth mortality from external causes (violent death). It was pursued, in this work, to give a deep look in history and get some explanations from the classics of political philosophy (Hobbes, Locke, Rousseau, Marx and Engels) on the achievement of collective life, the forms of social regulation, the role the State and the bourgeois conception of citizenship still present characteristics that reveal the sociality logic marked by the orbit of the capital in modern life. It was aimed, in this analysis, to check how the logic of private property still outlines the shape of social life regulation nowadays. "Urban" here means the space where the economic, social and political relations are processed, and, therefore, the area of management of financial interests that must be regulated through legal instruments. It was emphasized, in this work, that some instruments have been appropriated in the current management of the city of Rio de Janeiro in an over-managerial conception, blending the logic of urban policy which contradicts the social function of property. Speculation in the use of land, the irregularity and precariousness of housing and the difficulties in urban mobility mark the city's scenery and reproduce the social conditions and the everyday urban life.