El 30 de noviembre de 1935, el entonces presidente General Óscar Raimundo Benavides Larrea escribió de su puño y letra un testamento en el cual, además de nombrar a sus hijos como sus únicos herederos, terminaba con la siguiente reflexión sobre su paso por la política hasta ese momento: “Declaro, una vez más, que en ningún momento de mi vida he aspirado a la Presidencia de la República y que mi única ambición fue ser siempre un buen soldado de mi Patria. Solo circunstancias imprevistas, contrariando mi voluntad oportunamente manifestada, me han llevado dos veces a ejercer el mando supremo de la República para salvar al país de la anarquía y del caos” / Tesis

by Amy Tak-Yee Lai. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1998. / Includes bibliographical references (leaves [106]-114). / Abstract also in Chinese. / Chapter Chapter One --- "Narcissism, Approach and Theories" --- p.1 / Chapter Chapter Two --- The Artist and His Portrait: The Picture of Dorian Gray --- p.25 / Chapter Chapter Three --- The Stutterer and His Temple: The Temple of the Golden Pavilion --- p.49 / Chapter Chapter Four --- The Poet and His Garden: Ying'er --- p.70 / Chapter Chapter Five --- "Narcissism, Culture and Self" --- p.95 / Works Cited and Consulted --- p.106

Tese (doutorado)—Universidade de Brasília, Faculdade de Arquitetura e Urbanismo, 2018. / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) e Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq). / A presente tese aborda uma avaliação bioclimática nas edificações modernistas. Surge a partir da hipótese de que o movimento modernista é precursor dos conceitos bioclimáticos, no entendimento de que o bioclimatismo busca integrar a arquitetura, o clima, o lugar e o usuário, características marcantes das edificações modernistas (ROMERO, 2000). Com base neste entendimento, estudou-se o movimento modernista brasileiro desde os acontecimentos antecedentes à Semana de Arte Moderna, a materialização do período com o projeto do Ministério da Educação e Saúde do Rio de Janeiro em 1936, até a construção da nova capital do país, Brasília. Destaque para a importância dos valores dos patrimônios e sua preservação, estudados por Alois Riegl. Estudou-se a trajetória do arquiteto Oscar Niemeyer, referência brasileira e internacional sobre arquitetura modernista, para a partir de suas obras, extrair os padrões arquitetônicos que serviram de estudo de casos desta tese, o Palácio do Planalto, o Palácio do Supremo Tribunal Federal, o Palácio do Itamaraty e o Palácio da Justiça. Baseado nos conceitos e características arquitetônicas do movimento modernista, desenvolveu-se a proposta de Avaliação Qualitativa da Presença dos Elementos Modernistas, visando a identificação dos principais conceitos modernistas na arquitetura construída. Posteriormente, foram levantados parâmetros para o entendimento da influência das variáveis ambientais na edificação, tais como a radiação solar, velocidade e orientação dos ventos, umidade e temperatura do ar, precipitação, dentre outros, relacionando-as ao clima de Brasília e aos conceitos de arquitetura bioclimática. Assim, foi possível realizar a Avaliação Bioclimática Qualitativa das Edificações Modernistas, que teve como parâmetros de análise o uso da Ficha Bioclimática (ROMERO, 2007), da Caracterização Ambiental, da Avaliação Qualitativa da Forma Urbana (ROMERO, 2011), da Avaliação Qualitativa da Presença dos Elementos Modernistas, da Avaliação Qualitativa do Edifício (ROMERO, 2011), do Diagrama Morfológico (AMORIM, 2007), e de Simulações Computacionais visando o microclima urbano com o software ENVI-met e o Percentual de horas Ocupadas em Conforto com o software DesignBuilder. Estes parâmetros foram avaliados nos estudos de casos, inter-relacionando-os nas escalas de análises bioclimáticas: Escala do Setor, Escala do Lugar e Escala do Edifício. Como resultado, obteve-se uma análise qualitativa, positiva, da hipótese apresentada nesta tese, comprovando que os princípios bioclimáticos estão inseridos nos conceitos adotados pelo arquiteto para os Palácios Modernistas de Brasília. / The present thesis approaches a bioclimatic evaluation in modernist buildings. It comes from the hypothesis that the modernist movement is the forerunner of bioclimatic concepts, in the understanding that bioclimatism seeks to integrate architecture, climate, place and user, which are striking characteristics of Modernist buildings (ROMERO, 2000). Based on this understanding, the Brazilian modernist movement was studied from the events preceding the Modern Art Week, the materialization of the period with the project of the Ministry of Education and Health of Rio de Janeiro in 1936, until the construction of the new capital of the country, Brasília. Highlighting the importance of heritage values and their preservation, studied by Alois Riegl. It was studied the trajectory of the architect Oscar Niemeyer, a Brazilian and international reference on modernist architecture. From his works, to extract the architectural patterns that served as case studies of this thesis, the Palace of the Planalto, the Palace of the Supreme Federal Court, the Itamaraty Palace and the Palace of Justice. Based on the concepts and architectural features of the modernist movement, the proposal for a Qualitative Assessment of the Presence of Modernist Elements was developed, aiming at identifying the main modernist concepts in the constructed architecture. Subsequently, parameters for the understanding of the influence of environmental variables in the building, such as solar radiation, speed and orientation of the winds, humidity and air temperature, precipitation, among others, were related to the climate of Brasilia and to the concepts of bioclimatic architecture. Thus, it was possible to perform the Qualitative Bioclimatic Assessment of Modernist Buildings, which had as parameters of analysis the use of the Bioclimatic Sheet (ROMERO, 2007), Environmental Characterization, Qualitative Assessment of the Urban Form (ROMERO, 2011), Qualitative Assessment of the Presence of Elements Modernists, the Qualitative Evaluation of the Building (ROMERO, 2011), the Morphological Diagram (AMORIM, 2007), and Computational Simulations aimed at urban microclimate with ENVI-met software and environmental performance with DesignBuilder software. These parameters were evaluated in the case studies, interrelating them in the scales of bioclimatic analyzes: Scale of the Sector, Scale of the Place and Scale of the Building. As a result, a qualitative, positive analysis of the hypothesis presented in this thesis was obtained, proving that the bioclimatic principles are inserted in the concepts adopted by the architect for the Modernist Palaces of Brasília. / La presente tesis aborda una evaluación bioclimática de las edificaciones modernistas. Parte de la hipótesis de que el movimiento modernista es precursor de los conceptos bioclimáticos entendiendo que el último busca integrar a la arquitectura los conceptos de clima, lugar y usuário, características notorias en las edificaciones modernistas (ROMERO, 2000). Sobre la base de este concepto, se estudia el movimiento modernista brasileño desde los acontecimientos previos a la Semana de Arte Moderno, pasando por la materialización del período simbolizada en el Ministerio de Educación y Saludo de Rio de Janeiro en 1936 hasta la construcción de la nueva capital del país, Brasilia. Se destaca el valor patrimonial de las obras y su preservación, estudiados por Alois Riegl. Se estudia la trayectoria del arquitecto Oscar Niemeyer, referencia brasileña e internacional en arquitectura modernista. A partir de sus obras tales como el Palacio del Planalto, el Palacio del Supremo Tribunal Federal, el Palacio de Itamaraty y el Palacio de Justicia se extraen los patrones arquitectónicos que sirvieron de estudio de casos para esta tesis. Basado en los conceptos y características arquitectónicas del movimiento modernista se desarrolló la propuesta de Evaluación Cualitativa de Presencia de Elementos Modernistas en búsqueda de la identificación de los principales conceptos modernistas en la arquitectura construida. Posteriormente, se plantearon parámetros para comprender la influencia de las variables ambientales tales como la radiación solar, la velocidad y dirección del viento, la humedad y la temperatura del aire, las precipitaciones, entre otros, en la edificación según el clima de Brasilia y los conceptos de arquitectura bioclimática. De este modo fue posible realizar la Evaluación Bioclimática Cualitativa de las Edificaciones modernistas, para la que se utilizaron los siguientes parámetros de análisis: la Ficha Bioclimática (ROMERO, 2007), la Caracterización Ambiental, la Evaluación Cualitativa de la Forma Urbana (ROMERO, 2011), la Evaluación Cualitativa de la Presencia de los Elementos Modernistas, la Evaluación Cualitativa del Edificio (ROMERO, 2011), el Diagrama Morfológico (AMORIM, 2007), y las Simulaciones Computacionales para el microclima urbano con el software ENVI-met y el desempeño ambiental con el software DesignBuilder. Dichos parámetros fueron evaluados en el estudio de casos interrelacionándolos con las siguientes escalas de análisis bioclimáticos: Escala del Sector, Escala del Lugar y Escala del Edificio. Finalmente, se obtuvo un análisis cualitativo, positivo, de la hipótesis presentada en esta tesis comprobando que los principios bioclimáticos están insertados en los conceptos adoptados por el arquitecto para los Palacios Modernistas de Brasilia.

Between 1880 and 1920, both urban England and essays published in urban England underwent seismic shifts and splits, as population grew, education and technology advanced, and periodical publishing expanded. The city grew both larger in size and smaller in units of comprehensibility, and many of its people were (or were perceived by certain thinkers to be) less free and more instrumental. The periodical essay too grew more common and, at the same time, smaller in size, less free, and more instrumental, as it developed closer ties with journalism, with the industrial city, and with readers of all classes. By an examination of various forms of essaying in the period, this thesis argues that the essay's transitions parallel modernity's transitions, not only because the essay reflects or enacts or follows trends in modernity, but also because modernity at the time was conditioned by the essay's way of thinking through its form and cannot be fully understood without reference to the activities of the urban periodical essay at the time. The essay between 1880 and 1920 was a highly social genre, and this sociability manifested in a number of ways this thesis will explore. Its periodical context allowed it a ritual, patterning relationship with its readers; its brevity and limitations pushed it into dialectical, double-glancing modes of thought that complemented its fragmented setting; its tendency to direct attention away from its own form gave it a unique, constitutive role in literary modernisms; its material connections to new technologies implicated it in new doubts concerning urban modernity, and its massed readership embroiled it in fears over anti- or a-intellectual over-simplification. This thesis tells the stories of the periodical essay, in London, as an actor in modernity's transitions, by examining four concepts central to both the essay and to emergent modernity: play, the trick, doubt, and wisdom. These concepts are treated, primarily, through the work of three writers-Oscar Wilde, G. K. Chesterton, and Virginia Woolf-all of whom, in their styling of the essay, embody different moments and essayistic registers in the transitions of modernity and reveal the cross-fertilising relationship between essaying and what is meant by 'the modern'.

Made available in DSpace on 2016-04-26T18:14:38Z (GMT). No. of bitstreams: 1 Adriana Maciel Gurgel Santos.pdf: 85785499 bytes, checksum: f265f58d16674dbf87dac0c882abebda (MD5) Previous issue date: 2014-10-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The empirical object of this work is the city of São Paulo, downtown São Paulo more specifically (marked by the Copan building, designed in the 1950s by Oscar Niemeyer), and the Hansaviertel neighborhood in Berlin, Germany (rebuilt at the end of the 1950s based on the premisses of the Modern Movement). This thesis proposes to investigate the conflict between the programmed space (which was designed rationally in accordance to the Modern Movement principles) and the living experience of the city, delineated by everyday life and its expressions. Such investigation will take advantage of the observation and analysis of mediating and interactive processes, or those situated between mediation and interaction. The conflict between the designed reality and the one effectively experienced can be methodologically observed through random movements instructed by expressions of communication. Such analysis focuses on the visual characteristics that communicate distinct living models and that go beyond mere descriptive and analytical phenomena. In sum, this thesis proposes to investigate how the Modern ideals related to architectural design were experienced in everyday life, through the analysis of images obtained both in Sao Paulo (at the Copan) and Berlin (at the Niemeyer-Haus, the building designed by Niemeyer in Hansaviertel). These images, taken as signs of visualities and visibilities, are the product of the life of the inhabitants of these buildings, who transform the original designs and reinvent the space through everyday life. The basic hypothesis is that these transformations promote an endless renovation of urban communication, thus making it possible to know the city by understanding living as a cultural act. The authors and concepts that are relevant to this analysis concern: the relationship between the designed space and the experienced city, and the notions of visuality and visibility developed by Lucrécia Ferrara; the characterization of the everyday living and its expressions described in the work of Michel de Certeau, Milton Santos and Jane Jacobs; the dialogue between living and inhabiting as invention/transcreation (Haroldo de Campos e Julio Plaza); and finally the semiotic horizon of C. S. Peirce, that guided the development of this research / O presente trabalho tem como objeto empírico a cidade, especificamente o centro de São Paulo (marcado pelo edifício Copan, projetado na década de 1950 por Oscar Niemeyer) e o bairro berlinense Hansaviertel (reconstruído no final de 1950 de acordo com as premissas do Movimento Moderno). Busca-se, a partir da observação e análise de processos ora mediativos, ora interativos ou ainda situados entre a mediação e a interação, investigar o confronto entre o espaço programado (racionalmente projetado a partir do ideário que caracterizou o Movimento Moderno) e a instância vivida da cidade (modelada pelo cotidiano e por suas manifestações sígnicas). O embate entre o programado e o vivido pode ser metodologicamente flagrado a partir de deslocamentos feitos à deriva, orientados por manifestações comunicativas, e sua análise abrange principalmente as características de visualidade que, indo além da descrição e análise fenomênica, constroem-se como visibilidades e comunicam distintos modos de viver. Este trabalho consiste, assim, na investigação do programa moderno relacionado ao morar e de sua apropriação pelo uso cotidiano (o habitar), a partir de imagens flagradas em São Paulo e em Berlim, especificamente no Copan e no Niemeyer-Haus, edifício projetado por Niemeyer no Hansaviertel. Estas imagens, entendidas como signos de visualidades e visibilidades, são continuamente construídas pelos habitantes que, neste contexto, configuram-se como transformadores ordinários dos planos, ou seja, inventam (transcriam) cotidianamente lugares do habitar. Trabalha-se principalmente com a hipótese de que estas apropriações pelos usuários podem promover uma incessante renovação comunicativa urbana, capaz de engendrar o conhecimento da cidade a partir do habitar como ato cultural. Os autores e conceitos relevantes envolvem as relações entre espaço programado e cidade vivida, e as noções de visualidade e visibilidade desenvolvidas por Lucrécia Ferrara; a caracterização do cotidiano e suas maneiras de fazer, presente nos estudos de Michel de Certeau, Milton Santos e Jane Jacobs; o diálogo entre o morar e o habitar como invenção/transcriação a partir das ideias de Haroldo de Campos e Julio Plaza; e o horizonte semiótico de C.S. Peirce, que guia o desenvolvimento desta pesquisa

Oscar Jacobson was founded in 1903 in Sweden, which at the timewas a leading country in the textile industry. During the 1960s morecompetitors arose as the fashion industry grew stronger and theglobalization became a fact. Today there is an abundance of brandsand products in the fashion- and textile industry. This has given thecustomers a greater range of products to choose from. We can seetendencies of customer not being as brand loyal as they used to. Toattract and keep the customers loyal the fashion companies need todevelop a unique proposition that differentiates them for theircompetition.It is easy to establish that satisfied customers are the foundation of aprofitable company. It is however harder to define how a companycreates satisfied customers. During our work with this paper wehave discovered that the customer value proposition is a subjectivefactor. A value proposition is the description of the customer’sproblem, the solution of the customer’s problem and the value ofthis solution from the customer’s perspective. Despite a company'sattempts to create value in an objective way with good quality andservice something is missing. So the question is; how will acompany create a relevant customer value proposition?The purpose with our study has been to investigate, describe andanalyses how a Swedish textile company preferably should work tocreate customer value. We have chosen to apply our newfoundknowledge on our investigation company Oscar Jacobson. This willincrease our understanding for factors affecting the customer value.We have used scholarly thesis and qualitative interviews with bothOscar Jacobson’s end customers and retailers. We have alsoconducted an interview with Henrik Schneider, Chief MarketingOfficer, at Oscar Jacobson.We have realized that the value creating process is complex. Allparts within a company need to be pervaded with a clear andconsistent message. After our empirical investigation of OscarIIJacobson’s end customer and retailers we can declare thatsafetyness is a very important factor for Oscar Jacobson’s endcustomers and retailers. safetyness is however nothing that OscarJacobson themselves pointed out as an important factor. We canalso see that the attitude towards Oscar Jacobson is differentdepending on the end customer’s age. The brand awareness ofOscar Jacobson is lower in the younger parts of the target group,which is something Oscar Jacobson needs to take intoconsideration. / Program: Textilekonomutbildningen

This dissertation examines the motif of idolatry in the work of two modernist authors, Oscar Wilde and Joseph Conrad, and one modernist filmmaker, Alfred Hitchcock. The idols in these texts serve a contradictory role, signifying both increasing commodification under capitalism and an attempt to formulate a new ethics of image-making in response to this global transition. Chapter 1 analyzes Wilde’s play Salomé. Attending to the original French and to biblical allusion, I demonstrate that the text’s key generative trope is idolatry, which occupies a position both sacred and profane. The play superimposes two moments of historical rupture, positing Salomé as the embodiment of a new artistic potential of idolatry under monopoly capitalism. Chapter 2 analyzes Conrad’s early fiction, particularly The Nigger of the “Narcissus,” “The Return,” “Karain,” and Nostromo. I track a three-stage development in Conrad’s representations of idols, whereby the idol is associated with utopian fantasy, false ideals, and the artistic process. I also identify a new image-making technique, “retroactive modification,” which attempts to destabilize the image and thus counter problems of narrative representation, particularly reification and historical inauthenticity. Chapter 3 analyzes Hitchcock’s Blackmail, Saboteur, and Shadow of a Doubt, and challenges the notion of Hitchcock as auteur. The first two films culminate in sequences featuring monumental and iconic statuary. In the earlier British film, this process signifies a reckoning with history; in the later American film, it signifies the threat of history’s erasure and the degradation of art. Shadow of a Doubt signals a shift to a post-modern global-capitalist paradigm and a focus on the celebrity idol. My methodology builds on the work of Fredric Jameson and Slavoj Žižek to elucidate cultural fantasies underlying the texts and the ways in which the texts perform the psychical maneuver of disavowal, whereby a proposition is simultaneously asserted and denied. This double movement in Wilde, Conrad, and Hitchcock’s texts bespeaks a striving, through the motif of idolatry, to represent the image in motion. Though this desire is finally realized in the technology of film, the authenticity of that realization is undermined by the historical contradictions that enable its production. / 2020-12-11T00:00:00Z

<p>Denna uppsats undersöker Oscar Wildes sagosamling A House of Pomegranates sagor: The Young King, The Birthday of the Infanta, The Fisherman and his Soul och The Star-Child. Med en modifierad form av den tematiska kritiken analyseras hur makt tar sig uttryck i sagorna –hur makten utövas, vilka som har tillgång till den, vilka som drabbas av den och vilka konsekvenser den har.</p><p>En slutsats som dras är att samtliga sagor påvisar att makt innehåller något ont eller negativt i sin natur, på samma gång som godhet är relativt inkompetent. Då någon av de grymma makthavarna omvänds i sagorna slutar det ofta med deras död, som The Star-Child är ett exempel på. Begreppet makt definieras med hjälp av handboken Vad är makt? av Fredrik Engelstad, som också erbjuder utblickar mot olika både nutida och äldre maktteorier, och därmed sätter in analysen i en maktteoretisk kontext.</p><p>Det är tydligt att A House of Pomegranates inte är ämnet för forskares och kritikers ögon lika ofta som andra av Wildes verk, varför denna uppsats har förhoppningar om att fylla en viss del av det tomrummet i forskningen.</p>

Denna uppsats undersöker Oscar Wildes sagosamling A House of Pomegranates sagor: The Young King, The Birthday of the Infanta, The Fisherman and his Soul och The Star-Child. Med en modifierad form av den tematiska kritiken analyseras hur makt tar sig uttryck i sagorna –hur makten utövas, vilka som har tillgång till den, vilka som drabbas av den och vilka konsekvenser den har. En slutsats som dras är att samtliga sagor påvisar att makt innehåller något ont eller negativt i sin natur, på samma gång som godhet är relativt inkompetent. Då någon av de grymma makthavarna omvänds i sagorna slutar det ofta med deras död, som The Star-Child är ett exempel på. Begreppet makt definieras med hjälp av handboken Vad är makt? av Fredrik Engelstad, som också erbjuder utblickar mot olika både nutida och äldre maktteorier, och därmed sätter in analysen i en maktteoretisk kontext. Det är tydligt att A House of Pomegranates inte är ämnet för forskares och kritikers ögon lika ofta som andra av Wildes verk, varför denna uppsats har förhoppningar om att fylla en viss del av det tomrummet i forskningen.

This thesis examines the sexual development and characterization of the title character in Richard Strauss’s Salome (1905). It contends that Salome experiences a sexual evolution—a "maturing"—that Strauss derives from Oscar Wilde's play and further emphasizes through Salome's musical language and character development. Three structural phases in Salome's sexual development are proposed: a pre-pubescent phase, a phase of sexual awakening, and a phase of dangerous sexuality. The characterization of Salome is also explored through the lens of performance theory, in an examination of the film versions of Götz Friedrich (1974), Jürgen Flimm (2004), and David McVicar (2008). In addition, the thesis applies Wildean literature on aestheticism and spirituality to Strauss’s opera to show that Salome’s sexual transformation presents an alternative path to self-fulfillment apart from religious salvation. Strauss’s setting reveals a secular, or temporal, aestheticism that leads to an earthly spirituality.