Le sujet de cette thèse est le paysage dans sa spécificité viticole analysée comme représentation spatiale dans le processus de construction de l'espace géographique de la vitiviniculture et aussi dans l'utilisation des images du paysage viticole comme l’image spatiale des vins des régions des Indications de Provenance (IP) Vale dos Vinhedos, Pinto Bandeira et Monte Belo (Brésil). Les sources théoriques sont en lien avec la Géographie Critique et la Géographie Culturelle. L'objectif a été d'expliquer le paysage viticole comme représentation spatiale des régions et d’analyser l'image du paysage viticole comme symbole spatial pour les vins des IP. L'organisation de l'espace géographique des régions des IP s'insère dans le contexte de la colonisation italienne. Le développement de la vitiviniculture régionale a occasionné des conditions de mise en place des IP, dont les associations de producteurs ont utilisé des images de paysages viticoles pour construire le lien espace-région-toponyme-vin. L'analyse des paysages a révélé six types et un sous-type avec deux formes de paysages viticoles traditionnels et cinq types de paysages viticoles modernes, y compris les éléments emblématiques naturels et construits, entre lesquels se remarquent l’Araucaria angustifolia, et l'usage des Platanus acerifolia pour soutenir les vignobles, héritage de la tradition viticole étrusque. L'analyse des images des paysages viticoles utilisées par les associations a montré qu'il y a des différences significatives et la majorité sont des paysages viticoles traditionnels. Les associations de l’IP Vale dos Vinhedos et IP Monte Belo ont établi des liaisons directes entre espace-vin-paysage, mais non celles de IP Pinto Bandeira. La recherche a montré que le paysage viticole est un symbole de la représentation de l'espace régional et du vin des IP Vale dos Vinhedos, Pinto Bandeira et Monte Belo. / The theme of this thesis is the landscape in its specificity vineyard analyzed as a spatial representation in the building process of the geographical area of viticulture growing and the use of image of vineyard landscape as spatial landscape of the wine of the regions of Geographical Indication (GI’s) Vale dos Vinhedos, Pinto Bandeira and Monte Belo, Brazil. The objective was to explain the use of vineyard landscape as spatial representation and the images of vineyard landscape as spatial symbol for the wines of GI’s. The theoretical sources to analyze are related to the Critical geography and with the Cultural geography. The organization of the geographic area of the regions of GI’s comes within the context of the Italian colonization process in which its culture was part of the cultivation of vines. The vineyard regional industry development took the conditions of implementation of GI’s, whose producers associations begun to use images of landscape wine to build wine-region-toponym. The landscape analysis revealed six types of landscapes and a sous-type of traditional wine-growing landscapes and five types of modern wine landscapes, occurring in both natural and constructed features characteristic among these was the Araucaria angustifolia and the use of Platanus acerifolia in support of the vineyards, and is the Etruscan wine growing tradition. The analysis of the landscape wine images used by associations showed that there are significant differences; the most are images of traditional wine landscape. The association of Vale dos Vinhedos and Monte Belo established direct links of wine-region- landscape, but not Pinto Bandeira. The survey showed that landscape is a representational symbol of regional area and of the wine of GI’s from Vale dos Vinhedos, Pinto Bandeira and Monte Belo.

《兩個閒蕩徒弟的懶惰旅行》(The Lazy Tour of Two Idle Apprentices, 1857) 是一本由查理‧狄更斯(Charles Dickens)與威爾基‧柯林斯(Wilkie Collins)根據他們的旅途見聞再加上各自創作的兩篇短篇故事所集結而成的小說。在過去，許多批評家只單論文本中的兩篇短篇故事，而忽略鑲嵌短篇故事的主架構，把文本切割至互不相連的碎片。本論文主要採取昂希‧列斐伏爾(Henri Lefebvre)對於空間三面向的理論概念來剖析《兩個閒蕩徒弟的懶惰旅行》在文本中反覆出現，並且被不同主體所論述的閒蕩(idleness)一詞，試圖藉由呈現閒蕩的多重意義而把《兩個閒蕩徒弟的懶惰旅行》視為一有機的整體。論文第二章借助空間的再現(representation of space)概念論述看似懶散、不事生產的地景是如何被規劃，最終喪失其神性(deity)。論文的第三章則檢視空間使用者與空間的互動。本章從空間實踐(spatial practice)的角度切入，試圖證明文本中的精神病院(lunatic asylum)、火車站(railway station)與賽馬週(race-week)的空間規劃異化(alienate)了生活在其中的空間居民，而居民無所事事的遊蕩正是此異化的展現。第四章援引再現的空間(space of representation)之概念，試圖證明閒蕩也有其積極面向。藉由檢視故事主人翁法蘭西‧古柴爾德(Francis Goodchild)與湯瑪士‧艾朵(Thomas Idle)既合作又競爭的夥伴關係，閒蕩對於湯瑪士‧艾朵而言，是一種在文本中爭取發言權的手段。至於對缺乏官方實證的怪談野史而言，閒蕩也是一種抵抗大論述收編、並且同時揭露資本主義中金錢對於人性腐蝕的路徑。 / The Lazy Tour of Two Idle Apprentices is a travelogue worked in collaboration between Charles Dickens and Wilkie Collins. Besides noting down what they observe and encounter during the trip, Dickens and Collins also enclose two gothic tales which is written respectively by them. Nevertheless, when most critics mention The Lazy Tour, they limit their concerns to simply the two interpolated tales, which violates the integrity of The Lazy Tour by dissecting it into disconnected pieces. This thesis proposes to apply Henri Lefebvre’s conceptual triad to analyze the recurring theme, idleness, which is interpreted by different subjects. By presenting the variations of the concept of idleness, this thesis attempts to see The Lazy Tour as an organic whole. Applying the idea of representation of space, Chapter Two explains how the seemingly inoperative landscapes are programmed and designed, which results in the demise of the deity of Nature. With the support of the concept of spatial practice, Chapter Three proposes to demonstrate how the spatial designs of the lunatic asylum, railway station, and the festive occasion, the race-week, respectively alienate the spatial inhabitants. The idleness manifested by these spatial inhabitants is the syndrome of their alienation. Chapter Four analyzes the constructive aspect of the idleness with the assistance of Lefebvre’s idea of space of representation. In terms of Thomas Idle, one of the protagonists, idleness serves as a resistant measure to develop his own narrative. As far as the two interpolated tales are concerned, idleness can be compared to a way to resist the incorporation of the narrative framework of The Lazy Tour, and in the meanwhile discloses the moral corruption brought by Capitalism.

Numerical cognition has been shown to share many aspects of spatial cognition, both behavioural and neurological. However, it is unclear whether a particular type of spatial cognition, visuospatial mental imagery (VSMI), may play a role in symbolic numerical representation. In this thesis, I first show that mental rotation, a form of VSMI, is related to two measures of basic numerical representation. I then show that number-space synaesthesia (NSS), a rare type of VSMI involving visualised spatial layouts for numbers, does not show an advantage in mental rotation, but shows interference in number line mapping. I next present a study investigating links between NSS and the ability to learn novel numerical symbols. I demonstrate that NSS shows an advantage at learning novel numerals, and that transcranial random noise stimulation, which increases cortical excitability, confers broadly similar advantages that nonetheless differ in subtle ways. I present a study of transcranial alternating current stimulation on the same symbol learning paradigm, which fails to demonstrate effects. Lastly, I present data showing that strength of numerical representation in these newly-learnt symbols is correlated with a measure of mental rotation, and also with visual recognition ability for the symbols after, but not before, training. All together, these findings suggest that VSMI does indeed play a role in numerical cognition, and that it may do so from an early stage of learning symbolic numbers.