A presente dissertação se propõe a estudar a criação do espaço Centro Cívico de Curitiba, partindo de três momentos. O primeiro refere-se ao Plano Agache de Curitiba, elaborado na década de 1940 pelo arquiteto que deu nome ao plano. O segundo refere-se ao Projeto do Centro Cívico propriamente dito, de 1951, que é elaborado atendendo a uma demanda do governo do estado do Paraná para a comemoração de seu centenário. O terceiro momento refere-se ao desdobramento de releituras feitas do projeto original, que culminarão com a criação do Museu Oscar Niemeyer, projeto do arquiteto que dá nome ao Museu. O nexo condutor do trabalho é a simbologia desses projetos para a criação de uma identidade coletiva. / The proposition of this dissertation is the study of the space known as Centro Cívico de Curitiba, in three different moments. The first refers to the Plano Agache, elaborated by the architect that named the plan in 1940. The second refers to the original Project of the Centro Cívico, from 1951, responding to a demand of the government of the state of Paraná, as part of the celebrations of its first centenary. The third moment refers to new lectures of the original project that led to the construction of the Museu Oscar Niemeyer, project of the architect that named the museum. The central idea that is developed in this dissertation is the simbology of these projects in the articulation of a collective identity.

Orientadores: Léa Maria Leme Strini Velho, Tamas Jósef Márton Käroly Szmrecsányi / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Geociências / Made available in DSpace on 2018-08-21T23:15:33Z (GMT). No. of bitstreams: 1 Medeiros_TharsilaReisde_D.pdf: 4762434 bytes, checksum: 6a26f396d5471087ac0cb25a426c9912 (MD5) Previous issue date: 2012 / Resumo: O tema central do presente trabalho reside no desenvolvimento da física experimental com aceleradores de partículas na Universidade de São Paulo (USP), mais especificamente nos empreendimentos científicos do físico Oscar Sala. O ponto de partida da narrativa aqui proposta se encontra em 1934, ano em que a atividade de investigação científica do recém criado Departamento de Física da USP deu seus primeiros passos em direção à Física dos Raios Cósmicos, sendo este seu principal ramo de pesquisa experimental nos próximos dez anos. Argumenta-se que esse período foi de fundamental importância à posterior inserção da USP na era dos aceleradores de partículas, devido à continuidade instrumental verificada entre a Física Nuclear e a dos Raios Cósmicos. Foi nesse último ramo que Oscar Sala realizou sua iniciação científica, começando, logo após a Segunda Guerra Mundial, seu primeiro empreendimento científico - projetar e construir, na sua própria universidade e com a colaboração de empresas instaladas em São Paulo, um acelerador de partículas do tipo Van de Graaff. Constata-se que a consolidação do Laboratório do Acelerador Eletrostático se tornou possível graças à filantropia científica norte americano e à cooperação científica firmada com o Departamento de Física Nuclear da Universidade de Wisconsin. Em meados dos anos 1960, a obsolescência do acelerador Van de Graaff engendrou, naquele mesmo laboratório, um processo de atualização tecnológica pautado na aquisição de uma nova máquina eletrostática, do acelerador Pelletron, e na informatização do trabalho experimental. Demonstra-se que a reprodução daquela mesma estratégia utilizada na construção do primeiro acelerador eletrostático foi descartada, devido à incapacidade da indústria nacional de fornecer os materiais necessários à construção de uma máquina tecnologicamente mais sofisticada que a anterior, aliada às mudanças de orientação na política nacional de ciência e tecnologia, que garantiram os recursos financeiros necessários à estruturação do novo laboratório. Como frutos dessa experiência, além da produção de conhecimentos e artefatos de informática, atividade então incipiente no país, foram elaborados, pela própria equipe de Oscar Sala, soluções tecnológicas originais para os diversos problemas apresentados pelo Pelletron em sua fase inicial de funcionamento. Por fim, observa-se, em 1982, o início do último empreendimento científico de Sala, direcionado à expansão do Laboratório Pelletron através do acoplamento de mais um acelerador ao arranjo experimental. Conclui-se que fatores de ordem material diferenciam o desenvolvimento da Física Nuclear em São Paulo daquele verificado nos países desenvolvidos. Nesses últimos países, a estrutura industrial deu suporte ao desenvolvimento da tecnologia dos aceleradores de partículas; já no Brasil, os laboratórios dirigidos por Oscar Sala se tornaram núcleos de inserção de novas tecnologias no setor produtivo nacional / Abstract: The central theme of this work is founded on the development of experimental physics with particle accelerators in the University of São Paulo (USP), and specifically on the scientific accomplishments of the physicist Oscar Sala. Here, our narrative begins in 1934, year in which the scientific investigations of the recently created Department of Physics of USP gave their first steps towards Cosmic Ray Physics, the latter becoming the department's main branch of experimental research for the following ten years. We discuss that this period was essentially important for the insertion of USP in the epoch of particle accelerators, due to the instrumental continuity between Nuclear Physics and Cosmic Rays. It was in the second branch that Oscar Sala carried out his scientific initiation, starting, after the Second World War, his first scientific enterprise - to project and build, in his own university and with the collaboration of companies settled in São Paulo, a Van de Graaff-type particle accelerator. We discuss that the consolidation of the Electrostatic Accelerator Laboratory was viable thanks to north-American scientific philanthropy and to scientific cooperation established with the Nuclear Physics Department of the University of Wisconsin. In the mid-1960s, the disuse of the Van de Graaff accelerator engendered, in that same lab, a process of technological renovation based on the acquisition of a new electrostatic machine, the Pelletron accelerator, and the digitalization of experimental work. We demonstrate that the reproduction of the same strategy used in the construction of the first electrostatic accelerator was put aside, due to national industry's incapability to supply the materials needed for the construction of a more technologically advanced machine than the last, allied to changes in national policies of science and technology, which guaranteed the financial resources needed for the organization of the new lab. As consequence to this experience, more than the production of knowledge and computing artifacts, an activity until then just commencing in the country, Oscar Sala's own team developed original technological solutions to the many problems presented by the Pelletron in its initial usage. Finally, we observe, in 1982, the beginning of Sala's last scientific enterprise: the expansion of the Pelletron Laboratory by joining yet another accelerator to the experimental arrangement. We conclude by stating that factors of a material order differentiate the development of Nuclear Physics in São Paulo from that observed in developed countries. These countries presented an industrial structure that sustained the development of particle accelerator technology whilst, in Brazil, the laboratories directed by Oscar Sala became the centre of insertion of new technologies in the national production sector / Doutorado / Politica Cientifica e Tecnologica / Doutor em Política Científica e Tecnológica

(in English): The diploma thesis deals with the specific conception of body and corporeality in fairy tales, especially with morbid elements which are often reflected as non-fairy tale. The fairy tales of Karel Jaromír Erben, Hans Christian Andersen and Oscar Wilde are the main focus. The thesis also introduces the theory of the Swiss scholar Max Lüthi formulated in The European Folktale: Form and Nature into the Czech context. The thesis is divided into a theoretical and a practical part. The theoretical section provides a complex explication of Max Lüthi's theory of the fairy tale. It examines the main terms that Luthi defined for the fairy tale: One-dimensionality, Depthlessness, Abstract Style, Isolation and Universal Interconnection, Sublimation and All-Inclusiveness. Then the frame of this theory is extended into the field of the authorial fairy tale. The diploma thesis then sums up the differences and the points of contact between those two subgenres using The Story of the Eldest Princess as an example. The practical part focuses on relevant strategies of handling the body and corporeality in fairy tales. The last chapter deals with techniques of breaking the surface of the fairy tale characters' bodies, with internal destruction of the body and with the elements in between. All is...

The objective of this thesis is observing the process of launching the small independent movie in the context of big film industry and its hegemony. We will observe the differences between low budget, independent, the auteur film and well known ’blockbuster' entertainment cinema products. In the analysis, we will not focus on the creative aspects of preproduction and production - such as script writing, film directing, casting, photography, and production design. We will observe the film from the pragmatic point of view in postproduction, film placement and distribution, from the last clip to the first introduction to the audience at film festivals. The complexity of the task is to make a distinction between defining free, independent, auteur film as a piece of art and expression, and everything else that auteur film is not, despite the pragmatism in realisation of each film.  This research will focus on film as art and as a sum of artistic teamwork, following its marketing and placement. Our aim is to find the factors that influence the success of launching low budget films of the independent film production in the US.  Analysing the literature and researching the adequate examples, accomplished results will give us an idea of forming a pattern or directions for successfully launching an Independent film in the US film market.  The example given in this paper is the authors' low budget film Boys Don't Cry(1999)produced by Chrisitne Vachon, where we can clearly analyse the way of developing of the film and postproduction activities of the producer, from the utmost postproduction margin, to winning an Oscar for the best female role by Hilary Swank, in the year of 2000. This film was chosen as an example in this thesis for being a successful low budget film with a strong women's author's identity, which finds its path in media from a marginalized queerfilm to a highly ranked film with great market placement. We pay special attention to an important detail - that women are in the role of the director and the producer.

This essay highlights The Happy Prince’s advantageous use of conventions of the fairy tale genre to stress critical issues of the Victorian period: the challenge of the established Christian socio-moral order, the rising of the bourgeois industrial society, and the advent of aestheticism as a response. Using the close reading technique supported by the Victorian socio-historical background, the analysis establishes that the criticism proceeds by double associations. Firstly, the clear structure of the tale, enriched by a plethora of aesthetical features and suitable narrative processes, is propitious for children’s access to a message calling for more human generosity. Meanwhile, subtle analogies to the Christian imagery appear blurred by paradoxical elements. This prevents a definite religious interpretation from adults to which those messages are intended. Secondly, in connection with aestheticism, a social and moral criticism takes the form of a satire of the utilitarian vision of the bourgeoisie and a questioning of the common Victorian beliefs: the link between beauty and moral integrity, as well as the moral code of femininity. Finally, the utilitarian discourse and the disapproval of the research for pleasure from beauty merging with a hedonist vision, advocate an “art for art’s sake” free of these respective considerations.

Studiepark: Södermalm Rätten till utbildning är en av våra mest värdefulla och bör vara en självklarhet, oberoende av vilket skede i livet man befinner sig i. Statusen på vuxenutbildningar tenderar dock att vara låg i förhållande till andra utbildningsformer och de lokaler där undervisning sker är ofta eftersatta eller förpassade gamla kontorslokaler. Studiepark: Södermalm är ett förslag på en ny byggnad tillägnad vuxenutbildning med målsättning att bli en viktig symbol för vuxenutbildningen och att höja statusen på undervisningsformen. Studiepark: Södermalm är belägen i Fatbursparken på Södermalm i Stockholm där den tillsammans med Oscar I:s minne utgör en del i ett nytt kunskapscentrum. Här hålls dags- och kvällskurser såväl som seminarier i de många lektions- och föreläsningssalarna av varierande storlek. En öppenhet präglar byggnaden, och de rymliga kommunikationsytorna fyller även  funktionen som självstudiesalar för universitets- och högskolestudenter i staden. Att ta en offentlig yta i anspråk medför ett stort ansvar. Med ambition att ge något tillbaka till de människor som redan vistas på platsen, görs de lägre våningarna offentliga med tillgång till bland annat utställningshall, teaterverksamhet, resturang, studievägledning, konferenssalar, grupprum, datorsal och projektionssal. Delar av byggnaden kan anpassas till mässhall vid eventuella evenemang. Öppna och tillgängliga studiesalar försäkrar att byggnaden är kontinuerligt aktiv och skapar liv och rörelse på platsen. / Study Park: Södermalm The right to education is one of our most valuable and should be seen as such regardless of a person’s age. However, the status of adult education in Sweden tends to be lower than that of other forms of education. Venues where the teaching takes place are often outdated and ill-fitted for their purpose. Study Park: Södermalm is a proposal for a new study building dedicated to adult education with the aim of becoming an important symbol for adult education and raising the status of the study form. Study Park: Södermalm is located in Fatbursparken in Södermalm, Stockholm, where it together with the building Oscar I:s Minne forms a new knowledge centre. Courses and seminars will be held both daytime and evenings in the Study Park's many lecture halls of varying sizes. An openness characterizes the building and the spacious communication areas also fill the function of self-study rooms for university and college students in the city. Placing oneself in a public area entails a major responsibility. With the ambition to give something back to the people already on the site, the lower floors are made public with access to an exhibition hall, theatre activities, a restaurant, study guidance, conference rooms, group rooms, computer rooms and a projection room. Parts of the building can be adapted to expo halls at major events. Open and available study rooms ensure that the building is continuously active and bring life and movement on the site.

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Abstract   This thesis investigates the interactions between human and nonhuman characters that express a particular concern regarding nature and the environment in Oscar Wilde's four fairy tales in A House of Pomegranates. The author utilizes a significant number of nonhuman characters to communicate with humans, which is a fairy-tale convention in which truth wins over falsehood, kindness is rewarded, and virtue triumphs over evil. However, Wilde's stories move beyond the fairy tale convention based on their ecocritical and political viewpoints. Based on a close reading of the four tales in Wilde's book, the thesis argues that the involvement of nonhuman characters, and their participation in events with human figures, raises several ecocritical matters. It also contends that nonhuman characters display interest in guiding human characters in their transformational journeys to support them in understanding that they all share one Earth and must be concerned about all species, nature, and the environment. Finally, this study argues that nonhuman characters communicate and talk mostly for their and nature’s rights, but sometimes they represent Victorians’ society. The analysis highlights the depth of the ecocritical approaches and how they are expressed in the texts. In addition, the discussions shed light on Victorian ecocriticism, including some theories and ideas of Anthropomorphism and Anthropocentrism within animal studies and transformation, which complete the analysis.

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

1) Section création Au fil de l'eau... Ma section création se compose de dix contes que j'ai réunis sous le titre : Au fil de l'eau... Mon recueil se divise en deux parties. La première est composée de cinq contes qui s'adressent à des enfants ayant entre cinq et huit ans. Ils ont pour titre : Samson, le serpent trop coquet ; Bernard-l'ermite et l'étoile de mer ; Jean et ses deux souris ; À la recherche de l'oiseau de feu ; Les deux najas. La deuxième partie réunit cinq autres contes qui s'adressent à des enfants ayant entre huit et onze ans. Ils ont pour titres : La Dame des marais ; Le masque vénitien ; La paysanne au grand cœur ; Le fils mendiant ; Les abeilles du père Martin. Au cours de ces récits, mes petits lecteurs feront la connaissance de la fée des lutins, de deux serpents poètes, d'une méchante hydre, de korrigans velus ou encore d'un masque étrange... Les thèmes abordés sont variés : la cupidité, la coquetterie, le bien, le mal, la mort du père, la recherche d'un être disparu. Le thème principal qui relie tous ces contes entre eux est le thème de l'eau, thème que je reprends également dans ma partie réflexion. A l'instar de Gaston Bachelard dans son ouvrage L'Eau et les rêves, j'ai choisi d'entraîner mes lecteurs dans une rêverie sur l'eau. Car l'eau est un élément magique, une matière universelle et si l'on peut dire privilégiée par les différentes formes qu'elle peut prendre. Certaines eaux, comme celles des lacs et des oasis, sont des eaux reflets, des eaux miroirs, propices aux métamorphoses. C'est l'histoire de Samson le serpent qui, après s'être miré dans un nénuphar du lac Tika, devient un serpent rose. Lieu de miroitement et de tranquillité, elles peuvent toutefois abriter en leur sein des monstres. C'est le récit du fils mendiant qui, après s'être assis sur les bords d'une oasis, voit surgir devant lui une hydre qui terrifie depuis sept lunes tous les habitants d'un village. D'autres eaux sont mobiles comme la vie. Elles courent tels les ruisseaux, les cascades ou les fleuves. Leur langage est dans le mouvement. Ce sera l'histoire des deux najas qui, placés dans une corbeille sur les eaux du Gange, glisseront au fil du courant en récitant des vers. Et puis, il y a la mer. Une eau maternelle qui porte et berce les êtres qu'elle abrite. La paysanne au grand cœur trouvera en son sein la baleine bleue qui la mènera aux confins de la terre pour retrouver sa petite Mariette. Mais la mer peut aussi être hostile. C'est elle qui détourne les abeilles du père Martin des fleurs de la montagne pour leur faire butiner ses fleurs de sel. Enfin, la mer peut se révéler très violente. Dans L'oiseau de feu, petit Pierre doit affronter son courroux pour aller chercher l'oiseau lumineux qui doit éloigner les bateaux des dangereux récifs de l'île aux Oiseaux. Enfin, il y a les eaux dormantes qui baignent la ville de Venise ou qui s'étendent en longs marécages d'où d'affreux petits korrigans sortent la nuit pour attirer les humains dans leurs pièges. Ami lecteur, retrouve ton âme d'enfant et laisse-toi conduire au fil de l'eau... 2) Section réflexion critique Étude sur la thématique de la liquidité dans le roman Le Portrait de Dorian Gray d'Oscar Wilde. En parallèle à ma partie création, je me suis attachée, dans la section critique de ce mémoire, à cet élément fascinant qu'est l'eau. J'ai donc fait une étude de l'élément liquide dans le roman d'Oscar Wilde. Le fait d'aborder ce texte sous l'angle thématique de la liquidité m'a amenée à explorer des voies nouvelles, à envisager le récit sous un autre point de vue. Pour mener à bien mon travail, j'ai recensé tous les thèmes, tous les signes récurrents ayant trait à la liquidité, qu'ils soient visibles (eau, vin, sang...) ou plus subjectifs (le miroir, Narcisse, Ophélie...) Puis, en me basant sur l'ouvrage de Gaston Bachelard L'Eau et les rêves, je les ai constitués en réseaux afin d'obtenir une constellation d'associations. J'ai ainsi été en mesure de découvrir le rapport privilégié qu'entretenait chaque personnage du roman avec l'élément liquide : à Basil Hallward, les « eaux composées »^ ; à Sybil et à Hetty, << les eaux printanières »^ et << le complexe d'Ophélie »^ ; à James Vane, la mer ; à Lord Henry, le vin ; à Dorian Gray, le mythe de Narcisse. Enfin, à travers ces différents réseaux, j'ai tenté de mettre à jour un principe organisateur, révélateur de l'univers d'Oscar Wilde, principe qui m'a amenée à constater combien l'eau était synonyme de destruction et de mort pour l'écrivain anglais.