Cette thèse s’intéresse à la mobilisation des supporters du Club Athlétique San Lorenzo de Almagro, un club de football de la ville de Buenos Aires en Argentine, qui se sont manifestés en plusieurs occasions face à l’Assemblée municipale de cette ville entre 2010 et 2012 afin d’obtenir le vote de la loi dite de Restitution historique. Cette loi, approuvée en novembre 2012, a ouvert la voie à la récupération par le club de San Lorenzo des terrains situés dans le quartier de Boedo où s’élevait son ancien stade, le Vieux Gazomètre, détruit sous la dernière dictature militaire qu’a connue l’Argentine. Au croisement de la reconfiguration et de l’actualisation de logiques d’identification entre quartiers et clubs à Buenos Aires issues du début des années 1900, cette mobilisation a également éclairé sous un jour nouveau les rapports étroits tissés entre politique et football en Argentine depuis le début du XXème siècle. L’analyse des carrières des membres de la Sous-commission du supporter – principale organisation de cette mobilisation –, des dispositifs de sensibilisation que ces supporters ont mis en place et de leurs interactions avec le champ politique a permis de décrire une fabrique du politique se footballisant par bien des aspects. Ainsi, construit par des individus se situant hors du champ politique, se pensant comme tels et revendiquant cette extériorité, le politique s’est-il vu investi et colonisé par des pratiques et des représentations reposant sur une identité supporteriste valorisée qui est considérée comme légitime à l’heure d’interagir avec les représentants du champ politique argentin. / This thesis explores the movement of the supporters of San Lorenzo de Almagro Athletic Club -a football club from Buenos Aires, Argentina- that lead a series of protests before the municipal Assembly of the city between 2010 and 2012 in order to get the City council to vote the called “Law of historical restitution”. This law, passed on November 2012, opened up the way for the San Lorenzo Club to regain the lands located within the Boedo neighborhood where its former stadium - “The Old Gasometer”, destroyed under the last military dictatorship in Argentina- stood. At a crossroads between reconfigurations and updates of the logics of identification that arose at the beginning of the 1900’s between neighborhoods and sporting clubs in Buenos Aires; this movement has brought as well a new perspective about the close relationship built between politics and football in Argentina since the beginning of the twentieth century. The analysis of the careers of the members of the Subcomission of the supporter -the main organization during this mobilization-, the role played by emotions and the interactions of the supporters with the political field allowed to describe a construction of politics which footballize itself in many aspects. Thereby, constructed by individuals outside of the political field, recognizing themselves as such and claiming this exteriority; politics were invested and colonized by practices and representations resting on a valued football fan identity that is considered legitimate when interacting with the representatives of the Argentinian political field.

Thesis (doctoral)--Technische Universität Berlin, 1982. / Includes bibliographical references (p. 647-671) and index.

Thesis (Ph. D.)--Cornell University, 1985. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 321-331).

Aprendemos danzando es un trabajo de investigación que aborda las diversas formas posibles de cómo la danza opera en el aprendizaje de los niños de primaria y secundaria en una institución educativa en el distrito de San Lorenzo de la provincia de Jauja. El estudio se llevó a cabo a través de 3 distintas entradas en el espacio elegido para compartir y recoger información sobre las experiencias y conocimientos de los niños, las iniciativas de los maestros y finalmente las percepciones de los padres de familia sobre el tema central a investigar. El uso de la etnografía y las técnicas cualitativas para el desarrollo del trabajo de campo facilitó tener acceso a toda la información esperada en el plan de acción, así mismo de la información nueva que surgió en el camino. A su vez, los procedimientos éticos para el trabajo con personas y en especial con niños estuvieron presente en todo momento. Responder a la pregunta central de ¿Cómo aprenden danzas los niños en la escuela?, ya sea con la práctica física y/o el uso de la teoría, así como de los diversos medios que permitieron acercamos a ella, apoyado por conceptos y teorías (aprendizaje, escuela, familia y danzas) facilitaron el reflexionar y analizar lo hallado en el campo.

This work questions the present migration toward prescriptive building procedures through a micro-historical reading of Michelangelo's use of architectural template drawings. Examining the artist's ten surviving paper templates (called "modani") from the facade of San Lorenzo (1516-1520), the Medici Chapel (1519-1525), and the Laurentian Library (1524-1527), Michelangelo's template-making practices are mined for possible ways to reorient current thinking toward a dynamic worksite that embraces, rather than shuns, in-progress alterations. Taking the common word origin of 'template' and 'temper' as a starting clue, the relationship between Michelangelo's template drawings and the building site are theorized as a process of tempering, a 15th and 16th century term investigated through key sources such as Ficino's writings on health ("De vita"), the commentaries on Vitruvius by Barbaro and Cesariano, and Biringuccio's treatise on metallurgy ("De la pirotechnia"). From this, key connections emerge between Michelangelo's template-making and contemporaneous practices of tempering, where dynamic, in-situ material adjustments achieve great effect through tiny alterations. Whether in the health of the body, music, or material techniques, tempering offers a method of in-progress commensuration between axiomatic proportions and those of material, sensibly present harmonies. The tempering power of templates is investigated in three parts that follow the transmutation of Michelangelo's templates between paper, tin, and stone. The investigation begins with paper and, following a close examination of the extant drawings, discredits the common conclusion that Michelangelo's templates were drawn free-hand. Rather, it is shown that the extant templates are actually a small fragment of a once robust collection of parent and offspring templates related through tracing. Next, parallel practices in bell-casting and column profiling are discussed in terms of template materials, particularly tin, and how small adjustments may be leveraged to great narrative and conceptual effect in the emerging work. The final part examines the San Lorenzo building site through assembling the body of architecture, where templates are seen as surrogate building stones in the conception and adjustment of the in-progress work. The dissertation concludes with an assertion that Michelangelo's use of templates as instruments for micro-interventions amidst an unstable building site serves as a marvelous exemplar for tempering as a method for materializing the poetic image through disciplined practice. / Ph. D.

This dissertation describes the musical and religious support of the Medici family to the Medici Chapel in Florence and the historical role of the church of San Lorenzo in the liturgical development of the period. During the later Middle Ages polyphony was allowed in the Office services only at Matins and Lauds during the Tenebrae service, the last three days of Holy Week, and at Vespers anytime. This practice continued until the end of the sixteenth century when more polyphonic motets based on the Antiphon and Responsory began to be included in the various Office hours during feast days. This practice is documented by the increased number of pieces that appear in the manuscripts. Two of the transcriptions from the church of San Lorenzo included in the appendix are selected from this later repertoire.

Durante a Idade Moderna, na Espanha governada pela dinastia dos Habsburgos, religião e política se fundiam em muitos aspectos para criar a expressão característica da forma de governo desses monarcas, sobretudo durante o reinado de Felipe II (1556-1598). Junto a esse rei, importantes colaboradores criaram a imagem de seu governo. Nesta dissertação, chamamos a atenção para a atuação de Juan de Herrera, arquiteto de Felipe II, finalizador da obra emblemática do Monastério de San Lorenzo el Real del Escorial. Ao estudar a trajetória desse nobre, percebemos como a arquitetura ganha importância dentro da burocracia real, assim como as matemáticas. Herrera contribuiu para um projeto mais amplo do que a expressão estética e arquitetônica de um período, um projeto que expressava as inquietações políticas e religiosas da monarquia. / During the Modern Age, in Spain governed by the dynasty of the Habsburgs, religion and politics were fused in many aspects to create the characteristic expression of the form of government of these monarchs, especially during the reign of Philip II (1556-1598). Close to this king, important collaborators created the image of his government. In this thesis, we call attention to the work of Juan de Herrera, architect of Philip II, who completed the emblematic work of the Monastery of San Lorenzo El Real Del Escorial. Studying the trajectory of this noble, we realize how the architecture won importance within the royal bureaucracy, as well as mathematics. Herrera contributed to a more extensive project than the aesthetic expression and architectural design of a period, a project that expressed the political and religious inquietudes of the monarchy.

Durante a Idade Moderna, na Espanha governada pela dinastia dos Habsburgos, religião e política se fundiam em muitos aspectos para criar a expressão característica da forma de governo desses monarcas, sobretudo durante o reinado de Felipe II (1556-1598). Junto a esse rei, importantes colaboradores criaram a imagem de seu governo. Nesta dissertação, chamamos a atenção para a atuação de Juan de Herrera, arquiteto de Felipe II, finalizador da obra emblemática do Monastério de San Lorenzo el Real del Escorial. Ao estudar a trajetória desse nobre, percebemos como a arquitetura ganha importância dentro da burocracia real, assim como as matemáticas. Herrera contribuiu para um projeto mais amplo do que a expressão estética e arquitetônica de um período, um projeto que expressava as inquietações políticas e religiosas da monarquia. / During the Modern Age, in Spain governed by the dynasty of the Habsburgs, religion and politics were fused in many aspects to create the characteristic expression of the form of government of these monarchs, especially during the reign of Philip II (1556-1598). Close to this king, important collaborators created the image of his government. In this thesis, we call attention to the work of Juan de Herrera, architect of Philip II, who completed the emblematic work of the Monastery of San Lorenzo El Real Del Escorial. Studying the trajectory of this noble, we realize how the architecture won importance within the royal bureaucracy, as well as mathematics. Herrera contributed to a more extensive project than the aesthetic expression and architectural design of a period, a project that expressed the political and religious inquietudes of the monarchy.

Ocularium Lucis: Light and Optical Theory in Guarino Guarini's Church of San Lorenzo is intended to provide theoretical advancement in the understanding of the work of the Baroque architect Guarino Guarini by employing his Church of San Lorenzo as an example. In Part One an historical account of Guarini's life and work is presented. In Part Two, Guarini's methods as an architect are analyzed according to their intersection with the philosophy of science, geometry and astronomy, presented within his many treatises on such subjects. A syllogistic correlation is demonstrated in Guarini's writings between the study of optics, geometry and architecture, which reveals that the architectonic forms which he creates are configured according to a profound interest in light and opticality. In this manner, Guarini's Church of San Lorenzo is understood as an instrument of light and a vessel of divine illumination.

La siguiente investigación tiene como propósito describir las diversas formas de ejercicio de la representación por los pueblos indígenas dentro de la micropolítica urbana y multiétnica de la ciudad de San Lorenzo (capital provincial de Datem del Marañón, Loreto) y su relación con la creación de nuevas formas de entender el liderazgo indígena. Mediante una metodología cualitativa y etnográfica, a lo largo del siguiente documento planteamos describir el desarrollo de la historia política de esta localidad con un énfasis en el rol y protagonismo que los representantes por los pueblos indígenas han tenido en la misma. Asimismo, buscamos explorar los espacios de encuentro entre la multiplicidad de actores dentro del contexto urbano y las trayectorias políticas personales de los mismos. En este sentido, la investigación se enmarca dentro de los parámetros de la antropología política amazónica, y de forma más específica, las diversas formas de participación y articulación política entre los pueblos indígenas amazónicos y el Estado peruano. / Tesis