Digital technology has expanded the designer’s creative reach, but cannot duplicate the complexity of the imperfect and unexpected results of handmade processes. By executing a series of hand-built collage and assemblage pieces, I hope to not only rediscover the pleasure of working with my hands but also to develop creative methods to incorporate into future design projects. In this body of work, I have manually executed tasks that designers perform with software — cutting, pasting, layering, aligning, and creating transparency and drop shadows. The pieces are built from new and found materials, using text and images from old family letters and photos — physical evidence of relationships from my childhood and those of my parents and grandparents. These pieces express fragments of memories and family history.

Cette thèse questionne les mises en récits, les nostalgies patrimoniales et les constructions territoriales afin de comprendre les différentes dimensions du cosmopolitisme autour du boulevard Saint-Laurent à Montréal. L’artère représente à la fois une coupure dans la ville, symbolisant pendant longtemps les « deux solitudes » (MacLennan, 1945) francophone et anglophone, et une couture, un lieu de passage et de brassage qui a été privilégié par les immigrants comme lieu d’installation tout au long du XXe siècle. Cette recherche se fonde sur des enquêtes de terrain, associant observation et entretiens, mais aussi sur l’étude de rapports, plans d’aménagement et récits de fiction. Dans l’ancien corridor de l’immigration, se rencontrent, se confrontent et parfois se superposent trois dimensions du cosmopolitisme : un cosmopolitisme politique et identitaire, des formes de marchandisation et enfin, un cosmopolitisme vécu, du quotidien. Différents niveaux de pouvoir agissent sur le boulevard (arrondissement, ville, gouvernement provincial et fédéral) pour en faire un espace de lecture des politiques de diversité et de patrimonialisation. Le boulevard est également l’objet de stratégies de branding : si les acteurs des quartiers « ethniques » mettent en avant le cosmopolitisme, les promoteurs publics et privés du quartier des Spectacles le laissent de côté. Mais ces quartiers ne sont pas réductibles aux seules stratégies de communication et mise en images : ils sont vécus, utilisés et parcourus par les communautés culturelles concernées et par d’autres habitants. Le boulevard est donc un lieu d’expériences citadines qui construisent une forme de cosmopolitisme du quotidien, qui se décline en lieux, ambiances, temporalités et qui se cristallisent dans certaines figures et lieux-moments particuliers, comme les fêtes ou les visites urbaines. / This thesis questions the geography of cosmopolitanism, through the study of narratives, practices and representations around Saint Lawrence boulevard in Montreal. The street represents a divide between the “two solitudes” – the French-speaking and the English-speaking areas -, but also a bond, a passage and melting place, where immigrants settled during the 20th century. This research is based on field studies - combining observation and interviews. It also relies on studies of planning documents, reports and literature. In this former immigration corridor, three aspects of cosmopolitanism are converging, competing and sometimes overlapping: a political and identity-led cosmopolitanism, a consumerist cosmopolitanism, and a day-to-day experienced cosmopolitanism. Several scales of power operate on the boulevard (districts, municipality, provincial and federal government) so that one can read in diversity policies and heritage designations. The boulevard is also a lever for branding strategies: while “ethnic” neighborhoods clearly highlight the assets of cosmopolitanism, public and private real estate developers keep a low profile on that front in the Quartier des Spectacles. At any rate, these neighborhoods are not only about communication and branding: they are also daily experiences, commuting and hustle for cultural communities and many other inhabitants. The boulevard is therefore a space of urban experiences, that gives birth to a form of everyday cosmopolitanism, which is underpinned by venues, atmospheres and time specificities. This notably materializes through key people and special venues in time, such as festivals or walking tours.

This PhD by publication draws on a range of publications from the last five years. These books, papers and chapters explore tourist motivation and experiences in a range of contemporary contexts. The body of work moves from mainstream discussion around sustainability and slow tourism in the tourist decision making process to the use of visual media to explore, understand and co-create tourist spaces, investigating related tourist subcultures and counter-cultural destinations. In particular the work focuses on Urban Exploration and, later, on cold war sites. My papers consider both tourist decision making in relation to planned visits, and the subsequent publication of images of places which have been visited. The work considers authenticity and visuality as components of the dissatisfaction with modern tourism, and the experiences it offers, I argue that this dissatisfaction is driving tourists to understand, engage with and experience tourist sites in new ways, seeking liminality and embodiment within the tourist experience. The study will develop this analysis through four key areas:  A clarification of the role of tourism within advanced societies and as a multidisciplinary field of research.  An evaluation of authenticity, visuality and urban exploration  A critical review of tourist consumption, prosumption and co-creation  A review of the methodologies adopted through the papers submitted for this PhD by publication to explore the mixed-method approaches to data collection and the centrality of visual methodologies and discourses in understanding tourism and tourism geography. An exploration of the role of real and virtual experiences in deconstructing and reconstructing urban tourist experiences to evaluate the factors which influence and inform tourist decision making.

This thesis is an archaeological and ethnographic exploration of historic military sites associated with the Cold War. It takes a multi-sited approach to former radar installations in the UK and examines the range of meanings and values that surround them, as well as their mediation, management and curation in the contemporary landscape. This thesis provides a detailed study of a range of related (although not necessarily overlapping) practices, which have accumulated around these places since the 1990s. Much has been written about the ruined-aesthetic of abandoned military sites. Moreover, conservation professionals have undertaken extensive research and granted heritage status to a number of key sites. However, little academic research has been carried out concerning the contemporary social life of former military installations. Furthermore, despite valuable archaeological research concerning the character and form of Cold War historic sites, little attention has been given to the ways in which they are involved in the production of ideas surrounding the Cold War and Cold War heritage in the present; this thesis aims to cover both of these issues. Each of the main chapters in this thesis focuses on a particular set of practices or relationships surrounding historic radar sites, which have been treated in a relatively sporadic and uneven fashion – some have been demolished, others left in ruination and limbo, whereas as a few have been designated as nationally important heritage sites. Therefore, a number of heritage and memory practices are covered, including conservation management, militarisation and nostalgia, as well as the museumification of Cold War sites and objects and the (often) disparate memory practices of former radar veterans. Principally, the analysis in this thesis focuses on extensive ethnographic research undertaken by the author at a number of sites in the UK. This includes semi-structured interviews, participant observation and archival research undertaken in England and Scotland. The key case-studies are the listed and scheduled monuments at RAF Neatishead in Norfolk; the Air Defence Radar Museum, which is located on the same site; and a former early warning site at Saxa Vord in Unst, Shetland. Research conducted at a number of other Cold War sites and museums is also discussed. The principal aim of this thesis is to contribute a set of nuanced and detailed accounts surrounding the archaeology and heritage of the recent past. The Cold War was a varied and complex phenomenon – one which is much debated. Manifold legacies of the Cold War also continue to shape and influence the contemporary world. In a similar manner, concepts and practices surrounding heritage and memory are widely studied, but remain slippery and resist straightforward interpretation. Therefore, the complexities surrounding these phenomena are magnified when they are combined in the present through the notion of Cold War heritage. In order to add some specificity to these related issues, this thesis focuses on two main questions (which are really two-sides of the same coin): what kind of heritage emerges in relation to historic Cold War radar sites? And, what kind of Cold War is produced in the context of heritage and memory practices? Throughout the thesis, it is argued that the Cold War is an uneven, complex and occasionally difficult heritage to deal with in the UK. Mostly, this relates to practical problems such as the complexities surrounding the ownership of former military sites, as well as a number of other conceptual and philosophical issues. For example, in the context of designation and management, this emerges as a tension between the idea of the Cold War as avant-garde heritage and modern conservation principles that underpin contemporary heritage management practices. Furthermore, the emphasis placed on materiality, place and continuity in heritage and memory practices are also brought into relief. At times, these are shown to be complicated by the (at times) elusive, unpredictable and uncertain character of the Cold War in the present. Using radar sites as a microcosm, it is argued that former Cold War sites are seldom the product of coherent or unified approaches to heritage and memory. Instead, they are often at the centre of a variety of converging, conflicting and confounding agendas. Practices surrounding radar sites also present a number of ethical and political challenges. Moreover, it is also argued that radar sites, despite their billing as Cold War heritage, cannot simply be reduced or collapsed into the concept of the Cold War. Nonetheless, the author argues that this kind of fragmentation and complexity might form the basis of a more comprehensive approach to the Cold War and the recent past in the present. Therefore, in the conclusions to this thesis, the author presents a number of avenues for future research and examines the implications of his findings.

This MA thesis presents the results of an investigation about the Hispanic Americans in Prague. Relying on a transnationalist theoretical approach, this research presents an empirical description about the existing ties between the transmigrants and their city of residence, analyzing the migration networks and the transnational practices that arise during the migratory experience. We wish to demonstrate the measure in which the transnational migration is going to foment the exchange of symbolic goods between the country of origin and the country of reception of the transmigrant, and how this exchange is often triggered by the feeling of nostalgia that is frequently associated with the transmigrants experience. To approach these problems in the thesis we focus on the portrait of the migration networks, and on various strategies adopted by migrants from Latin America. Thus we are able to discover the transnational practices of migrants, their integration strategies, and the tools which facilitate to keep the contact with their homeland, and native civilization/culture. The exchange of symbolic goods is one of the very important instruments. We discover them through the testimonies of the transmigrants, which constitute the frame of this investigation, and function as a window on the nature of the...

This paper is a theoretical and aesthetic exploration of my MFA thesis film- an autobiographical documentary. This documentary was entirely shot in China, with both high-definition footage and Super 8 film; it takes a journey in my hometown to discuss the contemporary housing problem across generations in modern China. By focusing on ordinary family life, the film attempts to reveal the tension and conflicts arising between Chinese people's need for roots and the shifting socioeconomic system. The first part of the paper addresses the highly contrasted filmic textures that establish various temporal dimensions in the film. Taking an autobiographical approach, the first person perspective is employed to connect these times and spaces. The second part of the paper will examine the subjectivity in the film and discuss how the self functions as a storyteller, an outsider and a family member at the same time. The following chapter will visit the physical familiar space. The lens searches for marks and signs left by everyday practices, in order to trace the change of the concept of home in Chinese culture after the invasion of industrialization and consumerism. Such an enormous socioeconomic transformation has eventually given birth to a wave of nostalgia in contemporary China. This nostalgia answers a cultural need that counters the irresistible process of modernization, urbanization and commercialization in the transitional China.

We can perceive in the contemporary advertising scenario the presence of verbal and non-verbal texts related to styles and movements of past decades – sometimes other centuries. These manifestations are discursive materialities that are usually designated as retro, vintage or traditional. Such texts have in common the fact that they appeal to a nostalgic scenography towards the necessary persuasion for their success. Packages, beer labels, images on margarine tubs etc. are commercialized with verbal and non-verbal traces of past decades; all of them are representations of nostalgic persuasion. The general objective of this doctoral research is: To investigate how contemporary discourse of advertising uses persuasive and nostalgic materialities on the promotion of products, institutions and people. Readings from several areas were done: Advertising, Sociology, Discourse Analysis etc. Different notions were studied, for example: Maingueneau (2007; 2008) and Sarfati (2010) about Discourse Analysis; Achard (2007), Huyssen (2000), Orlandi (2005) and Pêcheux (2007) about discursive memory; Halbwachs (2006) and Wertsch (2010) about collective memory; Maingueneau (2014; 2015) about discursive ethos; Cook (2001) and Goddard (2002) about advertising. The analyzed advertisements were the following: an advertising campaign for retro kitchen appliances; a chef‘s website; a restaurant menu; the advertising campaign ―No mundo de hoje, tudo envelhece muito rápido‖; the website and the webseries of an educational institution. After an interpretative analysis of the advertisements, some results can be shown: i) discursive materialities which are related to the past usually have exquisite and fine values; ii) nostalgia is a persuasive aggregative element, working for contemporary advertising; because of it, some materialities can be nominated as persuasive-nostalgic ones; iii) there is an indistinct use of the expressions retro, vintage and traditional; iv) memory and discursive ethos are elements strongly constructed in persuasive-nostalgic scenography. / Submitted by Francielli Lourenço (francielli.lourenco@unisul.br) on 2017-05-05T18:29:24Z No. of bitstreams: 2 Tese Ciências da Linguagem Richarles Souza de Carvalho.pdf: 4943843 bytes, checksum: 7a0ee60dad9338437fed97ca0e6dc080 (MD5) Contrato de cessão de direitos autorais - Richarles Souza de Carvalho.pdf: 760539 bytes, checksum: 82fd17bc67079534614bfb3e1a941fe9 (MD5) / Approved for entry into archive by Francielli Lourenço (francielli.lourenco@unisul.br) on 2017-05-05T18:29:50Z (GMT) No. of bitstreams: 2 Tese Ciências da Linguagem Richarles Souza de Carvalho.pdf: 4943843 bytes, checksum: 7a0ee60dad9338437fed97ca0e6dc080 (MD5) Contrato de cessão de direitos autorais - Richarles Souza de Carvalho.pdf: 760539 bytes, checksum: 82fd17bc67079534614bfb3e1a941fe9 (MD5) / Made available in DSpace on 2017-05-05T18:29:50Z (GMT). No. of bitstreams: 2 Tese Ciências da Linguagem Richarles Souza de Carvalho.pdf: 4943843 bytes, checksum: 7a0ee60dad9338437fed97ca0e6dc080 (MD5) Contrato de cessão de direitos autorais - Richarles Souza de Carvalho.pdf: 760539 bytes, checksum: 82fd17bc67079534614bfb3e1a941fe9 (MD5) Previous issue date: 2016-08-10 / Podemos perceber na publicidade contemporânea a presença de textos verbais e não verbais que remetem a estilos e movimentos de décadas passadas – por vezes de séculos passados. Essas manifestações constituem-se em materialidades discursivas que frequentemente recebem o nome de retrô, vintage ou tradicional. O que tais textos têm em comum é o fato de recorrerem a uma cenografia nostálgica para atingir a persuasão necessária para seu sucesso. São comercializadas embalagens, rótulos de cerveja, desenhos em potes de margarina etc., com traços verbais e não verbais de décadas passadas, todas elas representações da persuasão-nostálgica. Nesta pesquisa de doutorado pretende-se, como objetivo geral: Investigar como o discurso publicitário contemporâneo utiliza materialidades persuasivas e nostálgicas na promoção de produtos, instituições e pessoas. A pesquisa contou com leituras das áreas da Publicidade, Sociologia, Análise do Discurso, sobre diferentes noções, das quais destacam-se as principais: Maingueneau (2007; 2008) e Sarfati (2010) sobre Análise do Discurso; Achard (2007), Huyssen (2000), Orlandi (2005) e Pêcheux (2007) sobre memória discursiva; Halbwachs (2006) e Wertsch (2010) sobre memória coletiva; Maingueneau (2014; 2015) sobre ethos discursivo; Cook (2001) e Goddard (2002) sobre publicidade. As peças publicitárias analisadas foram: a campanha publicitária de uma linha de eletrodomésticos retrô; o website de uma chef; um cardápio de restaurante; a campanha publicitária ―No mundo de hoje, tudo envelhece muito rápido‖; o website e a websérie de uma rede educacional. Após a análise interpretativa das peças publicitárias, alguns resultados podem ser elencados: i) Materialidades discursivas que em sua constituição remetem ao passado têm frequentemente o valor de fino e requintado; ii) A nostalgia figura como elemento de agregação persuasiva, fortalecendo assim a publicidade contemporânea; por essa razão, poder-se-ia nominar determinadas materialidades como persuasivo-nostálgicas; iii) Há um uso indistinto das expressões retrô, vintage e tradicional; iv) A memória e o ethos discursivo são elementos fortemente ativados/construídos na cenografia persuasivo-nostálgica.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2015-12-01T23:27:09Z No. of bitstreams: 1 GeiseKellyTeixeiraDaSilva_DISSERT.pdf: 1571411 bytes, checksum: 0ce9a113623c8b765d4cdf26163c5ac9 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2015-12-08T23:24:54Z (GMT) No. of bitstreams: 1 GeiseKellyTeixeiraDaSilva_DISSERT.pdf: 1571411 bytes, checksum: 0ce9a113623c8b765d4cdf26163c5ac9 (MD5) / Made available in DSpace on 2015-12-08T23:24:54Z (GMT). No. of bitstreams: 1 GeiseKellyTeixeiraDaSilva_DISSERT.pdf: 1571411 bytes, checksum: 0ce9a113623c8b765d4cdf26163c5ac9 (MD5) Previous issue date: 2014-07-29 / Esta disserta??o aborda a obra memorial?stica do escritor potiguar Lu?s da C?mara Cascudo (1898 - 1986) a partir de uma leitura integrada das quatro obras que a comp?e: O Tempo e Eu (1968), Pequeno Manual do Doente Aprendiz (1969), Na Ronda do Tempo (1971) e Ontem (1972). Produzidas sob a conting?ncia do moderno, do movimento e da reforma urbana, as mem?rias de C?mara Cascudo evocam as velhas paisagens de outrora, povoadas por aqueles que pertenceram ? velha Natal rom?ntica e provinciana que j? n?o existe, mas que ainda sobrevive idealizada na mem?ria do autor e que ? (re)constru?da por ele a partir de uma escrita permeada de toques de imagina??o e por um sentimento de nostalgia. Buscando analisar como se d? o processo de constru??o memorialista de Cascudo, bem como refletir sobre o papel que a mem?ria exerce na (re)constru??o de um tempo e de um espa?o perdidos, recorremos aos estudos de Maurice Halbwachs (2006) e Ecl?a Bosi (1994). Dentro desse quadro te?rico, buscamos, sobretudo, compreender n?o apenas o modo como as experi?ncias vividas por Cascudo no presente ir?o trabalhar a mat?ria de sua mem?ria, mas tamb?m como esta ir? nortear uma escrita que toca na hist?ria e nos quadros sociais do passado. / This dissertation addresses the work of the memoirs of the potiguar writer Lu?s da C?mara Cascudo (1898 - 1986) from an integrated reading of four works that comprise: O Tempo e Eu (1968), Pequeno Manual do Doente Aprendiz (1969), Na Ronda do Tempo (1971) and Ontem (1972). Produced under the contingency of the modern movement and urban reform, memories Cascudo evoke the old landscapes of old, populated by those who belonged to the old romantic and provincial Natal that no longer exists, but which still survives in the idealized memory author and that is (re)constructed by him from a written permeated with touches of imagination and a sense of nostalgia. Seeking to analyze how is the process of building memoirist of Cascudo, as well as reflect on the role that memory plays in the (re)construction of a time and a lost space, we used the studies of Maurice Halbwachs (2006) and Ecl?a Bosi (1994). Within this theoretical framework, we seek, above all, to understand not only how the lived experiences of Cascudo will work in this matter of his memory, but also as this will guide a writing that touches on the history and social frameworks of the past

abstract: Residential historic preservation occurs through inhabitation. Through day-to-day domesticities a suite of bodily comportments and aesthetic practices are perpetually at work tearing and stitching the historic fabric anew. Such paradoxical practice materializes seemingly incompatible relations between past and present, people and things. Through a playful posture of experience/experiment, this dissertation attends to the materiality of historic habitation vis-à-vis practices and performances in the Coronado historic neighborhood (1907-1942) in Phoenix, Arizona. Characterized by diversity in the built and social environs, Coronado defies preservation's exclusionary tendencies. First, I propose a theoretical frame to account for the amorphous expression of nostalgia, the way it seeps, tugs, and lures `historic' people and things together. I push the argument that everyday nostalgic practice and performance in Coronado gives rise to an aesthetic of pastness that draws attention to what is near, a sensual attunement of care rather than strict adherence to preservation guidelines. Drawing on the institutional legacy of Neighborhood Housing Services, I then rethink residential historic preservation in Coronado as urban bricolage, the aesthetic ordering of urban space through practices of inclusivity, temporal juxtaposition, and the art of everyday living. Finally, I explore the historic practice of home touring in Coronado as demonstrative of urban hospitality, an opening of self and neighborhood toward other bodies, critical in the making of viable, ethical urban communities. These three moments contribute to the body of literature rethinking urbanism as sensual, enchanted, and hospitable. / Dissertation/Thesis / Ph.D. Geography 2013

Le théâtre de Yasmina Reza s’inscrit dans le cadre du théâtre contemporain. La présente étude aborde la problématique de la quête identitaire. Dans cet espace conflictuel, les personnages rezaldiens – écrivains en manque d’inspiration, critiques ou historiens – sont en perte d’identité. Ces protagonistes souffrent de l’angoisse de la mort, de la disparition d’un proche ou de leur vieillissement, vécu comme un naufrage. Ils ne peuvent que subir les circonstances qui leur sont imposées et vivent une vie vouée à la répétition des scénarios du passé. Dans ce théâtre sans action, le drame intérieur transparaît à travers l’absurdité d’une vie remplie d’actes dérisoires et de paroles insignifiantes ou d’un retour vers le passé familial. Seul le langage est le lieu de l’action constituant la clé qui va résoudre le nœud dramatique. Dans cette quête d’unification identitaire, chacun essaie douloureusement, par le récit, d’accepter son passé et ce qu’il est devenu, loin de ce qu’il aurait rêvé d’être. Cette fragilité identitaire se montre un moteur de la création. L’écriture théâtrale de Reza, pleine de contradictions, conduit vers la pacification. C’est dans une écriture du quotidien que l’auteur invente son style et son identité. Une telle quête théâtrale montre la volonté de Reza d’emmener ses personnages vers une quête de sécurité, d’identité et du sens de leur vie. / Yasmina Reza’s theatre is a part of the contemporary theatre. This study approaches the identity’s quest. In this theatre of conflict, the rezaldians ─ writers lacking in inspiration, critics or historians ─ are in loss of identity. These protagonists suffer from fear of death, of living in the memory of close relative or of the fact of getting older, experienced as a shipwrecked. They can only suffer of the imposed circumstances upon them and live a life doomed of a repeat scenarios of the past. In this kind of theatre without action, the inner drama transpires through the absurdity of a life filled with ridiculous acts and insignificant words or remembering family’s history. In this kind of plays, the language is the only action as the key which solves the dramatic plot. In this quest for unification of identity, each one tries painfully, through the story, to accept his past and the fact how he becomes now, far away from what he can imagine himself. This fragility of the identity is thus tending to end up as an engine creation. Reza’s writing, full of contradictions, is a looking for pacification. The author of this play invents her own style and identity by describing the quotidian life of her character. Such quest theatrical shows how Reza wants to make her character doing his quest of security, of his own identity and looking for a meaning in his life.