Este trabalho parte de uma reflexão acerca da noção de espaço público a fim de debater, em dois níveis, tal conceito. Em uma primeira problematização, buscaremos evidenciar a dimensão de gênero presente na acepção dominante de espaço público ao questionar os parâmetros históricos de constituição da dicotomia público-privada como uma tecnologia de produção de espaços generificados tradicionalmente cindida entre homens-públicos e mulheres-privadas. A discussão sobre a instauração destas esferas separadas é tratada à luz da história, geografia e teoria feminista, bem como dos recentes estudos que associam as teorias de gênero a reflexões do campo da arquitetura e urbanismo. Em um segundo nível de argumentação, buscaremos vislumbrar de que maneira um modelo agonístico de democracia, preconizado por Chantal Mouffe (2013) pode ser posto em marcha a partir de práticas artísticas críticas que evidenciam o caráter sempre dissensual e disputado do espaço público. Ao considerá-lo enquanto lócus de disputas, a arte crítica (MOUFFE, 2013; RANCIÈRE, 2012) produzida em espaços urbanos por artistas feministas desponta como possibilidade de produção de dissensos (RANCIÈRE, 1996) que tornam visíveis os limites da noção hegemônica e consensual pressuposta nos termos de espaço público. A partir de imagens produzidas em performances realizadas em diferentes espaços públicos, apresentamos quatro montagens de imagens de quatro artistas visuais como modo de tramar relações visuais e teóricas que emergem da contestação pública destas ações. As montagens são analisadas à luz dos conceitos de práticas artísticas agonísticas (MOUFFE, 2013), dissenso (RANCIÈRE, 1996) e partilha do sensível (RANCIÈRE, 2009) / This work starts from a reflection about the notion of public space in order to discuss it, at two levels. In a first level, we seek to highlight the gender dimension within the dominant common sense of public space by questioning the historical parameters of constitution of the public-private dichotomy as a technology producing gendered spaces, traditionally divided between public men and private women. The establishment of these separate spheres is approached in the light of feminist history, geography, and theory, as well as recent studies that associate gender theories within the architecture and urbanism fields. In a second level of argumentation, we seek to see how an agonistic model of democracy, advocated by Chantal Mouffe (2013), can be set off from critical artistic practices that evidence the ever dissensual and disputed character of public space. In considering it as a locus of disputes, the critical art (MOUFFE, 2013; RANCIÈRE, 2012) produced in urban spaces by feminist artists emerges as a possibility of dissent production (RANCIÈRE, 1996) that makes visible the limits of the hegemonic and consensual notion assumption in the hegemonic terms of public space. Starting from images produced in artistic performances performed in different public spaces, we present four montages of images of four visual artists as a way of plotting visual and theoretical relations that emerge from the public contestation of these actions. The assemblies are analyzed in the light of the concepts of agonistic artistic practices (MOUFFE, 2013), dissent (RANCIÈRE, 1996) and the distribution of the sensible (RANCIÈRE, 2009)

Made available in DSpace on 2014-06-11T19:33:35Z (GMT). No. of bitstreams: 0 Previous issue date: 2005-03-11Bitstream added on 2014-06-13T19:44:28Z : No. of bitstreams: 1 sobarzomino_oa_dr_prud.pdf: 2979281 bytes, checksum: 539c25c5a61a58547b3171964ba19c41 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Os espaços públicos de Presidente Prudente são analisados na perspectiva de sua dinâmica geral, visando o entendimento da cidade. Nesse sentido, no seu processo de produção e apropriação demonstram a existência de uma sociabilidade segmentada. As reflexões sobre a produção do espaço público são organizadas em três níveis analíticos: a dominação política, a acumulação de capital e a realização da vida. Os dois primeiros níveis estão relacionados ao campo da dominação – no primeiro caso, trata-se da dominação política analisada por meio das ações do poder municipal e das elites locais; no segundo caso, da dominação econômica, as reflexões giraram em torno dos processos de acumulação e reprodução do capital. O terceiro nível de análise desloca o foco da dominação para a apropriação do espaço, ou seja, para as relações socioespaciais produzidas pelo uso, nas práticas cotidianas que conformam o plano do vivido. É, precisamente, nesse plano que as reflexões permitem a leitura das possibilidades de transformação e abrem campo para a esperança. / The public spaces of Presidente Prudente are analyzed in their general dynamics perspective, looking for the urban space understanding. In this sense, in their production and reproduction process they reveal the existence of a segmented sociability. The concerns about the production of the public space are organized in three analytic levels: political domination, accumulation of capital and the accomplishment of the life. The first and second levels are related to the domination ground. In the first case we argue the political domination analyzed through the local power and the local elites actions. In the second case, the economic domination, our concerns are the accumulation and reproduction of capital. In the third level the focus is the appropriation of space, we mean, the social-spatial relationships, which are produced by the use, in the everyday practices, which conform the lived space. It’s, just, in this level that our concerns allow us to read the possibilities of transformation and hope.

Made available in DSpace on 2014-06-11T19:33:35Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-10-23Bitstream added on 2014-06-13T21:06:34Z : No. of bitstreams: 1 loboda_cr_dr_prud.pdf: 5569448 bytes, checksum: abac79c978d174a6077e166f905821f0 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Por meio dessa pesquisa, realizamos uma reflexão acerca do espaço público no contexto da cidade. Num momento em que a sociedade clama por direito à cidade, procuramos enfatizar que lugares do espaço urbano podem contribuir para a formação de uma noção de espaço público enquanto lugares de sociabilidade urbana. Assim posto, esse trabalho aborda o processo de produção do espaço urbano na cidade de Guarapuava, Estado do Paraná, considerando sua dinâmica e relação com o espaço público, por meio das práticas socioespaciais que lhes são inerentes. Do ponto de vista teórico-conceitual, buscamos uma noção mais clara de espaço público, frente a uma generalização das acepções em torno do conceito, fato que leva à incompreensão do que, realmente, seja o espaço público na cidade, considerando as atuais circunstâncias. A partir desses pressupostos, trabalhamos com algumas acepções e perspectivas sobre o espaço público, destacando certas distinções teórico-conceituais que possam subsidiar a qualificação e atribuição de um estatuto a determinados lugares da cidade, enquanto espaços públicos. Ainda, no que concerne aos aspectos teóricos, essa pesquisa visa contribuir para os estudos da cidade e do urbano, enfatizando as práticas socioespaciais enquanto mediadoras das múltiplas formas de utilização e apropriação do espaço público, ou seja, os conteúdos que dão movimento ao processo de constituição da cidade, enquanto um espaço complexo e de múltiplos lugares e identidades. Tendo como base o trabalho de campo (instrumental empírico), associado ao referencial teóricometodológico, voltados a dimensões analíticas apoiadas nas idéias de centralidade e acessibilidade, além da opinião dos diferentes sujeitos sociais, buscamos compreender, com base na articulação dialética desse conjunto de procedimentos, como o espaço... / The aim of this research was analyzing public spaces in urban contexts. When society demands its right to the city, we have sought to emphasize which locales in urban space may contribute to develop a public space concept as a place for urban sociability. This investigation, held in Guarapuava, a city in Paraná State, had its focus on the process which produces urban space, taking into account its dynamic and relation to public spaces, by means of its intrinsic social-spatial practices. On the theoretic-conceptual point of view, we have tried to clarify the idea of public spaces, since this concept generalization has not helped to understand the real meaning of urban public spaces, considering the current circumstances. Based on this premise we have analyzed some public spaces perspectives and acceptations, considering theoretic-conceptual distinctions which permit classify certain city locales by attributing them the status of public space. This research aims also to contribute to city and urban studies, giving emphasis to the role of social-spatial practices as mediators of the multiple ways public spaces are used and appropriated, in other words, the elements responsible for the city constitution as a complex space with many locales and identities. After having performed field work (empirical procedure), related to theoretic-methodological reference, focused on analytic dimensions based on the ideas of centrality and accessibility, as well as on different social individuals’ opinions, and trying to articulate dialectically all these procedures, we have sought to understand the way public spaces appear in city constitution processes by studying the expression of different social-spatial practices. Starting with these assumptions, public spaces have been analyzed as socially generated places, considering their general dynamic... (Complete abstract click electronic access below)

Este trabalho parte de uma reflexão acerca da noção de espaço público a fim de debater, em dois níveis, tal conceito. Em uma primeira problematização, buscaremos evidenciar a dimensão de gênero presente na acepção dominante de espaço público ao questionar os parâmetros históricos de constituição da dicotomia público-privada como uma tecnologia de produção de espaços generificados tradicionalmente cindida entre homens-públicos e mulheres-privadas. A discussão sobre a instauração destas esferas separadas é tratada à luz da história, geografia e teoria feminista, bem como dos recentes estudos que associam as teorias de gênero a reflexões do campo da arquitetura e urbanismo. Em um segundo nível de argumentação, buscaremos vislumbrar de que maneira um modelo agonístico de democracia, preconizado por Chantal Mouffe (2013) pode ser posto em marcha a partir de práticas artísticas críticas que evidenciam o caráter sempre dissensual e disputado do espaço público. Ao considerá-lo enquanto lócus de disputas, a arte crítica (MOUFFE, 2013; RANCIÈRE, 2012) produzida em espaços urbanos por artistas feministas desponta como possibilidade de produção de dissensos (RANCIÈRE, 1996) que tornam visíveis os limites da noção hegemônica e consensual pressuposta nos termos de espaço público. A partir de imagens produzidas em performances realizadas em diferentes espaços públicos, apresentamos quatro montagens de imagens de quatro artistas visuais como modo de tramar relações visuais e teóricas que emergem da contestação pública destas ações. As montagens são analisadas à luz dos conceitos de práticas artísticas agonísticas (MOUFFE, 2013), dissenso (RANCIÈRE, 1996) e partilha do sensível (RANCIÈRE, 2009) / This work starts from a reflection about the notion of public space in order to discuss it, at two levels. In a first level, we seek to highlight the gender dimension within the dominant common sense of public space by questioning the historical parameters of constitution of the public-private dichotomy as a technology producing gendered spaces, traditionally divided between public men and private women. The establishment of these separate spheres is approached in the light of feminist history, geography, and theory, as well as recent studies that associate gender theories within the architecture and urbanism fields. In a second level of argumentation, we seek to see how an agonistic model of democracy, advocated by Chantal Mouffe (2013), can be set off from critical artistic practices that evidence the ever dissensual and disputed character of public space. In considering it as a locus of disputes, the critical art (MOUFFE, 2013; RANCIÈRE, 2012) produced in urban spaces by feminist artists emerges as a possibility of dissent production (RANCIÈRE, 1996) that makes visible the limits of the hegemonic and consensual notion assumption in the hegemonic terms of public space. Starting from images produced in artistic performances performed in different public spaces, we present four montages of images of four visual artists as a way of plotting visual and theoretical relations that emerge from the public contestation of these actions. The assemblies are analyzed in the light of the concepts of agonistic artistic practices (MOUFFE, 2013), dissent (RANCIÈRE, 1996) and the distribution of the sensible (RANCIÈRE, 2009)

Orientador: Aurea Maria Guimarães / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-04T20:15:51Z (GMT). No. of bitstreams: 1 Rechia_TaniaMaria_D.pdf: 1398977 bytes, checksum: aa47f23dcee442d2232b84bd84cf8d93 (MD5) Previous issue date: 2005 / Resumo: Este estudo trata do imaginário da violência a partir do filme Minha vida em cor-de-rosa, de Alain Berliner. Define-se como uma pesquisa qualitativa, baseada nos pressupostos da fenomenologia. A partir das descrições de algumas seqüências do filme, escolhidas intencionalmente, procedeu-se a uma reflexão que buscou compreender e não explicar uma das modulações da violência, isto é, a violência sutil que impõe determinados papéis sociais. Os sentidos produzidos dizem respeito ao mito de Dionísio e à vítima expiatória ¿ sentidos que nos levam a pensar que, apesar de nossa vida ser alicerçada em artifícios que produzem padrões comportamentais exemplares veiculados pelo cinema e pela televisão, há também possibilidade de recriar esses sentidos e escapar de todo domínio e controle, uma vez que os modos de socialidade existentes não são os únicos e nem tampouco definitivos / Abstract: This study deals with violence imagery, as exposed in Alain Berliner¿s motion picture Ma vie en rose, and is defined as a qualitative research based on phenomenology presuppositions. From the description of some intentionally chosen scenes of that film, a reflection was made to understand, not to explain, one of violence¿s modulations, i. e., the subtle violence that imposes certain social roles. Senses produced refer to Dionysius myth and to expiatory victim ¿ senses that lead to think that, no matter how our life is founded on artifices that produce exemplar behavioral patterns transmitted by movie and TV, there is also the possibility of recreating those senses and of escaping all domain and control, for existing sociality ways are not the only nor definitive ones / Doutorado / Educação, Sociedade, Politica e Cultura / Doutor em Educação

The role of architecture, public space and a valid architectural expression in the African City were all issues that were explored in the dissertation. It is a speculative work that proposes strategies and tactics and looks at a city beyond architecture, in which the emphasis shifts from urban forms to urban processes. The strategies were implemented on Paul Kruger Street to explore the possibilities of what an African City could or should be. / Dissertation (MArch(Prof))--University of Pretoria, 2008. / Architecture / unrestricted

Developing a point of orientation whereby users can navigate the Pretoria inner city. Integrating public resources to promote efficient and integrated public service delivery. Gateway to mark entry to the city at Boom street, along Paul Kruger street to act as a catalytic intervention for the regeneration of the northern district. / Dissertation (MArch(Prof))--University of Pretoria, 2008. / Architecture / unrestricted

This thesis focuses on the active dialogue between the visual storefront/building edge and the adjacent public space. Pretoria's inner city arcades are the public spaces of the city. However, the current design of most of the defining edges presents very few opportunities for lingering. In most cases the dialogue between interior and exterior has died down, causing a loss in commercial activity. The study investigated how specific design features of the visual storefront edge influence the city dweller's experience of the surrounding public space and associated commercial activity. Insights gained through mapping and studying various arcades and thoroughfares were reworked for incorporation into a document - called Edge handbook - that provides guidelines for bringing the storefront edge to its full potential when seen in relation to its surrounding public space. The guidelines were implemented in a detailed design proposal for President Arcade. The reality of the inner city is that the arcades and thoroughfares are city dwellers' main form of public space, which thus calls for a redefinition of the economic retail ideal. It was found that the storefront edge cannot be seen as an entity separate from the surrounding public space and therefore does not justify merely giving the retail tenant as much clear display area as possible. The needs of the urban city dweller - for example, to observe a variety of activities and exert a choice in the level of exposure - must be considered and used to guide the design of the edge within an inner city arcade. The treatment of this edge can re-establish a sense of place, previously lost. A strong sense of identity associated with the edge can furthermore help to orientate the dweller within the urban fabric. This treatment also functions the other way around: a public space where city dwellers feel comfortable and which satisfies their social needs can make them more aware of the edges surrounding them. The design therefore cannot focus only on the public arcade space or the storefront edge, but it is the dialogue between the two that will determine if the space becomes a destination for the city dweller, rather than just another thoroughfare. Copyright / Dissertation (MInt(Prof))--University of Pretoria, 2010. / Architecture / unrestricted

This dissertation is about the stories people tell about animals when they don’t do what they are expected to do in contemporary social life. More specifically, it examines three case studies where “wild” animals unexpectedly challenge, transgress, or blur socially defined boundaries in public spaces. Drawing on cultural and interactionist studies of animals and environment, I explore popular animal stories written in news media, social media, and enacted in situ. Each qualitative case study illustrates a moment in time/space where the surprising movements or presence of wild animals causes the cultural categories of wildness/order to breakdown and destabilize. These “surface breaks” of social expectations provide an occasion to tell “animal stories.” Animal stories help people explain how the lives of animals can be allegorical strategies modern people use to communicate and enact moral lessons about the social world. In the first chapter, I analyze news stories that emerged after Terry Thompson, an eccentric and estranged war veteran, released 54 exotic animals from his private 73-acre farm near Zanesville, Ohio. I suggest that when wild things challenge our taken-for-granted reality, people turn to mythical stories of fantasy to distract themselves from the more obvious social issues at hand. In the second chapter, I reconstruct the story of one feral Rhesus Macaque monkey whose adventure through Tampa Bay inspired extensive reporting in both social media and traditional news media. I suggest that the monkey’s story was akin to a mythical tale of American heroism. As an emblem of “good ol’ American Freedom,” his glorified feats of escape inspired a monkey loving populace to elevate his status to a celebrity-hero, with big government as the evil villain hunting him down. In this way, public debate surrounding the monkey’s life story beckons us to reflect on the role of liberty and repression in American discourse. Lastly, in the third chapter, I draw on ethnographic field notes to show how animals are understood and talked about by visitors in a Manatee Viewing Center in central Florida. I examine how animals challenge social expectations in everyday life situations, and how these breaches lead to situational storytelling and coordinated social activity. I suggest that animals can become messengers of a sacred nature, which is celebrated in the social performance of wildlife viewing. In conclusion, I follow Levi-Strauss (1966) to argue that animals are “good to think with” because they provide people with an “animal mirror” to look at themselves (Haraway 2008). Furthermore, I indicate that hidden meanings in animal stories inform how people think, feel, and act towards animals in different social contexts, and are thereby reinforced through cultural, institutional, organizational, and personal practices. Animal stories have power because they are often translated into modes of activity and used to realize people’s hopes and fears. In other words, animal stories are alternative forms of wildlife management that act to segregate animals from particular social activities, and designate them to appropriate places in society. Findings from this dissertation are not limited to animals, and may be applied to various cultural logics and socially defined boundaries.

This project is interested in the ways that second-generation Muslim women experience public space, in particular with respect to how their identities and sense of belonging are shaped through everyday encounters in public. This implicates the reactions and behaviours of strangers who they meet in public, their own bodily comportment, and the ideas and values communicated by their parents and other co-ethnics about women’s place in public space, as well as the ways that religiosity may enhance or hinder everyday belonging. Through the use of qualitative, one-on-one interviews, this research seeks to investigate daily experiences within Ottawa, Canada, particularly with respect to how such interactions inform a sense of (dis)comfort and belonging in public space in Canadian society. Moreover, this project is interested in the negotiation that many second-generation Muslim women undertake between family and ethno-religious community values and those of mainstream Canadian society in urban public spaces. In order to address these topics, the study examines Muslim women’s everyday experiences in public – the ways in which visibility and generational status can influence daily encounters and (dis)comfort, as well as women’s ability to actively negotiate their identity and belonging through engagement with strangers and acquaintances.