Esta pesquisa tem por objeto identificar e compreender as difusas fronteiras e os encontros entre as distintas etnias, culturas e nacionalidades presentes no bairro do Bom Retiro, zona central de São Paulo. A abordagem é multidisciplinar, e a fotografia é utilizada como método de pesquisa, meio de informação e expressão. A urbanização do lugar iniciou-se na última década do século XIX e intensificou-se com a construção da estação da Luz, no início do século XX. Desde então, o bairro é o mais cosmopolita do Brasil, porta de entrada para as mais diferentes origens; uma de suas principais características é a conexão residência-trabalho, desde a formação do bairro até os dias de hoje. O Bom Retiro tornou-se uma referência do comércio de confecções na capital paulista a partir da inserção da comunidade judaica no início do século XX, depois desenvolvido pela comunidade coreana e, mais recentemente, com o trabalho dos sul-americanos. É um pequeno universo de acentuadas diferenças étnicas e culturais e classes sociais distintas em convivência. A luta pela construção da própria narrativa pelos diferentes grupos alimentou identidades e alteridades, criando um espaço singular de polifonia cultural e de relações incomuns. / This research has the purpose to identify and understand the diffuse borders and encounters between different races, cultures and nationalities present in the neighborhood of Bom Retiro, in central Sao Paulo. The approach is multidisciplinary, and photography is used as a research method, means of information and expression. The urbanization of the place began in the last decade of the nineteenth century and intensified with the construction of the Estação da Luz, in the early twentieth century. Since then, the neighborhood is the most cosmopolitan of Brazil, gateway to the most different origins; one of its main features is the connection home-to-work, since the formation of neighborhoodup to the present day. The Bom Retiro became a reference on trading of clothing goods in São Paulo from the insertion of the Jewish community in the early twentieth century, then developed by the Korean community and more recently with the work of the South Americans. It\'s a micro world of sharp ethnic and cultural differences and coexistence of different social classes. The struggle for the construction of the narrative itself by different groups fed identities and otherness, creating a unique space of cultural polyphony and unusual relationships.

by Leung Hau Bun. / Thesis (M.B.A.)--Chinese University of Hong Kong, 1981. / Bibliography: leaves 63-64.

林曉東. / 呈交日期"一九九八年十二月". / 論文 (藝術碩士)--香港中文大學, 1999. / 參考文獻 (leaves 36-37). / 附中英文摘要. / Cheng jiao ri qi "Yi jiu jiu ba nian shi er yue". / Lin Xiaodong. / Lun wen (yi shu shuo shi)-- Xianggang Zhong wen da xue, 1999. / Can kao wen xian (leaves 36-37). / Fu Zhong Ying wen zhai yao. / 目錄 --- p.1 / 前言 --- p.3 / 提要 --- p.4 / Abstract --- p.5 / Chapter 第一章 --- 現代藝術的起始與界定 --- p.6 / 現代藝術是甚麼 --- p.6 / 現代藝術起始之歧見 --- p.7 / 現代藝術之本文界定 --- p.8 / Chapter 第二章 --- 藝術媒介的界定 --- p.11 / 傳統藝術品的功能指涉´ؤ´ؤ服務對象與之帶來的標準 --- p.11 / 藝術品的功能指涉之轉向與新媒體的出現´ؤ´ؤ媒介分劃的再界定 --- p.13 / Chapter 第三章 --- 圖像的承繼與流傳一攝影術 --- p.18 / 圖象的特質與文字的關係 --- p.18 / 攝影術中的原物與複本 --- p.24 / Chapter 第四章 --- 從一件藝術作品的完成：反思藝術媒介的本質 --- p.26 / Chapter 1. --- 社會文化 --- p.28 / Chapter 2. --- 作者 --- p.28 / Chapter 3. --- 意念 --- p.28 / Chapter 4. --- 製作 --- p.29 / Chapter 5. --- 成品 --- p.30 / Chapter 6. --- 命題 --- p.30 / Chapter 7. --- 觀眾 --- p.31 / Chapter 8. --- 觀賞 --- p.31 / Chapter 9. --- 討論 --- p.32 / Chapter 10. --- 紀錄 --- p.32 / Chapter 11. --- 流傳 --- p.32 / Chapter 12. --- 時間性 --- p.33 / Chapter 第五章 --- 總結 --- p.34 / 參考書目 --- p.36 / 附圖 --- p.38

Yu, Chak Yan Marco. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 153-178). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract also in Chinese.

This thesis sheds new light on the origins and significance of ‘compositional inversion’ in sixteenth-century Netherlandish art. Taking Pieter Bruegel’s inverted religious narratives as primary examples of a wider phenomenon, it seeks to account for the seemingly paradoxical method of narrative obfuscation evident in these works. It does so by situating them in art theoretical, iconographic, social, political and spiritual contexts. Chapter 1 turns to the art theories of Karel van Mander, contained in the first book of Het Schilder-Boeck (1604): ‘Den Grondt … ’. Here I suggest that Bruegel’s inverted compositions exemplify an entire tradition in Netherlandish history painting – the ‘historien’ – that van Mander retroactively theorised in ‘Den Grondt’. According to his theoretical position, Netherlandish inverted ‘historien’ derive their efficacy precisely because they obscure narrative, for by doing so they ‘entangle’ the beholder’s ‘insatiable eyes’ and so encourage sustained interest in the story. Chapter 2 then examines the visual tradition in Netherlandish art that inspired Bruegel’s inverted narratives, and concludes that these works possess a distinctive formal ‘Netherlandishness’ and as such they offer fertile territory for examining Bruegel’s “vernacularity”. Finally, in Chapter 3, I argue that compositional inversion evolved as a visual counterpart to contemporary biblical exegeses, specifically Erasmus’s.

This study explores the possibilities of incorporating Bharathanatyam into the Roman Catholic Holy Mass in South India to enhance the liturgy. This thesis argues from the stand point of theology of inculturation, Pope’s encyclicals and Vatican I and II documents on culture, liturgy and the Church. It also looks into the history of the use of dance in the liturgy. A study is undertaken on Bharathanatyam to show that this is one of the Indian indigenous art forms with appropriate dance techniques to interpret the Gospel and the related messages effectively and creatively. The theology of dance discussed in this thesis forms the base for liturgical dance. This will help the congregation for active participation, to celebrate the Holy Mass more meaningfully and to make it relevant to their context. This thesis answers many questions in regard to liturgical dance. During the research, it is found that when the culture is integrated into the liturgy, it is not only the liturgy that can transform the culture but the culture can also transform the liturgy. The incorporation of Bharathanatyam in the Holy Mass can bring transformation in the local communities by bridging the gaps between the religious communities, caste identities and gender.

Made available in DSpace on 2016-04-27T19:30:06Z (GMT). No. of bitstreams: 1 Samantha Perez de Santana.pdf: 5018586 bytes, checksum: 25d6c64979cb67770bfb9d8747b0912b (MD5) Previous issue date: 2010-11-22 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This paper aims to analyze and deconstruct the image created by Getúlio Vargas through photographic production from 1930 to 1945. The images deal with several faces assigned to Vargas compose the political imaginary of the period, pointing to the importance of understanding how the use of these images was guided and by intentions, interests, conflicts and political projects. The set of documents used in this study is found in iconographic collection of CPDOC (Brazilian Contemporaneous History Research Center). The images research showed to different approaches about the social production of photography and also how the cultural filters that surround it - the photographer, the represented people, the setting and the theme assigned - can influence on the picture, building and educate the eye / Essa dissertação tem por objetivo analisar e desconstruir a imagem criada para Getúlio Vargas através da produção fotográfica de 1930 a 1945. As imagens tratam das múltiplas faces atribuídas a Vargas e compõem o imaginário político do período, apontando para a importância de entendermos como o uso dessas imagens foi norteado por intenções, interesses, conflitos e projetos políticos. O conjunto documental, usado nesta pesquisa, encontra-se no acervo iconográfico do CPDOC (Centro de Pesquisa e Documentação de História Contemporânea do Brasil). A investigação das imagens apontou para diferentes abordagens sobre a produção social da fotografia e sobre como os filtros culturais que a cercam - o fotógrafo, os representados, o cenário e as temáticas atribuídas - influem sobre a imagem, construindo e educando o olhar

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-09-12T13:09:58Z No. of bitstreams: 1 José João Name.pdf: 61896518 bytes, checksum: 748295c88a0b436907b486e18ed44728 (MD5) / Made available in DSpace on 2016-09-12T13:09:58Z (GMT). No. of bitstreams: 1 José João Name.pdf: 61896518 bytes, checksum: 748295c88a0b436907b486e18ed44728 (MD5) Previous issue date: 2016-04-14 / The production of photographic images is intense today and their poetic characteristics – like photogeny, for instance – become a permanent debate. Connections between the concepts of photogeny and aura expand boundaries and widen the analytical range of this subject. According to Walter Benjamin, aura as an element which declines due to the technical reproducibility starting in the XIXth century; except specific works offering a poetic approach, despite their reproducibility. Edgar Morin defines photogeny as the poetic quality of beings and things intensified in the image. These assumptions may be evaluated especially in settings of the modern metropolis and in virtual structures and digital cultural environments overlapping and merging with the physical metropolis. The reflection on the contemporary flâneur is emphasized at the intersection between modern metropolis and cybercity. These new characters and environments require a relational approach regarding concepts such as objectivity and subjectivity, documental and fictional, also emerging as criteria for the reception of photographic images. The purpose of this thesis is to analyze the interaction present in the relation between production, product and reception using photoessays which I made: a) Impactos da Copa 2014: Favela Vila da Paz e arredores (FVP); of a documental nature; b) Cidade dos Crocodilos: incertezas e estranhamentos (CC), of a fictional nature. São Paulo (Itaquera) and New York, the two metropolises where the essays were made are shown from the perspective of their dynamics of construction and reconstruction. The photographer and the receptors chosen for this study were also part of the metropolises. The theoretical foundation used to carry it out and analyze the results is found in the mediation theory developed particularly by J. Martín Barbero and Guillermo Orozco G.; and in the study on the reception of soap operas by M. Immacolata V. Lopes, Silvia H. S. Borelli and Vera Rezende. The mediation of situational and demographic references and photographic narrativity allowed thinking on the connections and cultural matrices underlying the interaction receptor/product/producer. By using the mediation perspective, the present study assumes that the photographic narrativity is based not only on elements resulting from the media, the interviewees’ cultural background but also based on a material related to the poetic aspect, aura and photogeny of images / A produção de imagens fotográficas tem se intensificado na atualidade e suas características poéticas, como a fotogenia, por exemplo, continuam em permanente debate. As aproximações entre os conceitos de fotogenia e aura propiciam um alargamento das fronteiras e ampliam o alcance analítico sobre a temática. Walter Benjamin situa a aura como um elemento que se atrofia diante da reprodutibilidade técnica a partir do século XIX; reserva, entretanto, para certas obras, uma abordagem poética apesar da reprodutibilidade que as caracteriza. Edgar Morin define fotogenia como a qualidade poética dos seres e das coisas, intensificada na imagem. Esses pressupostos podem ser analisados especialmente nos cenários da metrópole moderna e nas estruturas virtuais e também nas atmosferas das culturas digitais que se sobrepõem e se mesclam à metrópole física. A reflexão sobre o flâneur contemporâneo destaca-se na intersecção entre a metrópole moderna e a cybercity. Estes novos personagens e ambientes demandam um posicionamento relacional para os conceitos de objetividade e subjetividade, de documental e de ficcional, e emergem também como critérios para a recepção de imagens fotográficas. Esta tese objetiva analisar as interações estabelecidas na relação entre produção, produto e recepção, por meio de dois ensaios fotográficos de nossa autoria: a) “Impactos da Copa 2014: Favela Vila da Paz e arredores” (FVP), de caráter documental; b) e “Cidade dos Crocodilos: incertezas e estranhamentos” (CC), de caráter ficcional. As metrópoles de São Paulo (região de Itaquera) e de Nova Iorque, locais da realização dos ensaios, foram analisadas sob o ponto de vista de suas dinâmicas de construção e reconstrução, nas quais encontravam-se também inseridos tanto este fotógrafo quanto os receptores selecionados para esta pesquisa. A base teórica para estruturação do campo e da análise dos resultados encontra-se na teoria das mediações desenvolvida, em particular, por J. Martín Barbero e Guillermo Orozco G., e, no Brasil, por pesquisa de recepção de telenovelas realizada por M. Immacolata V. Lopes, Silvia H. S. Borelli e Vera Rezende. As mediações situacional, demográfica/ de referência e narratividade fotográfica possibilitaram estudar os vínculos e matrizes culturais que estruturam a interação receptor/ produto/ produtor. Esta pesquisa considera, por meio da perspectiva das mediações, que a narratividade fotográfica se estrutura não só embasada por elementos provenientes das mídias e da formação cultural dos entrevistados mas também de faculdades vinculadas ao poético, à aura e à fotogenia das imagens

Neste texto apresento um modo de perceber o ambiente da arte sob o ponto de vista da filosofia da fotografia. Inicialmente, elaboro a noção de uma natureza fotográfica da arte utilizando como base os pensamentos de Malraux, Dubois e Flusser. Em seguida, ao relacionar os três autores, desenvolvo a ideia de uma sistema de funcionamento para a arte baseado na própria fotografia. Para finalizar, utilizo meu trabalho visual como ponto de partida para cultivar a filosofia da fotografia e essa natureza da arte específica / In this text I present a way of perceiving the art environment from the point of view of the philosophy of photography. Initially, I elaborate a notion of an photographic art nature based on the thoughts of Malraux, Dubois and Flusser. Then, I relate these three authors to develop the idea of an art system based on photography itself. Finally, I use my visual work as a starting point to cultivate the philosophy of photography and the nature of this particular art.

This thesis is aiming to reveal different characters of wedding photographic market in Sweden, China and Pakistan and give an overview, including history and trends on the three distinctive markets. Through the comprehensive comparison, an entire business plan is presented to enter into the Swedish market by mixing with unique Asian visual characters. / Program: Magisterutbildning i fashion management med inriktning modemarknadsföring