Ce travail a pour objet une étude théorique des formes de société politique et des contraintes de production de leur unité collective. Le questionnement qui l’anime interroge les modalités de base génératrices d’une dimension collective, par laquelle faire tenir les agents sociaux ensemble, dans un espace commun. Ces formes sont considérées à partir de l’enseignement apporté par l’œuvre de Marcel Gauchet. Les travaux de ce dernier ont approfondi les modes différenciés de structuration de l’existence collective, selon le déploiement d’un fonctionnement autonome des collectivités humaines-sociales, par extraction hors de l’hétéronomie. Autour de l’instauration et de la modification possible des configurations d’un espace humain-social, il s’agit de s’interroger spécifiquement sur les contraintes de mise en forme, inhérentes aux possibilités de déploiement de cet espace. Cette formation interne sera appréhendée par un angle dynamique, issu des travaux fournis par l’œuvre morphologique de René Thom. Au travers de la théorie des catastrophes (TC), il a dressé une liste de formes stables et de processus de changement, instables dans le temps, mais robustes dans les dimensions qui en permettent le déploiement. Depuis l’analyse d’un système dynamique nécessaire à l’intelligence de ce déploiement, une articulation problématique se découvre : l’organisation de la dimension collective dans l’immanence, et la gestion politique de la dimension historique, incitent à questionner l’historicité interne des collectivités, à partir de la notion de processus morphologique et selon les déformations que ce processus peut connaître. Les éclairages que cette notion de processus apporte, indiquent l’effectivité d’un travail de la forme, dans l’étude du tenir ensemble des collectivités politiques. / This work aims to understand the way societies are shaped and to identify the constraints within they move themselves. It tries to answer the question of how social agents turn out to act collectively in shared social space, in other words to make society. This work take forms into account following Marcel Gauchet’s work. Indeed Marcel Gauchet has managed to grasp the differentiated patterns structuring collective life, characterising them as resulting from the deployment of an autonomous functioning of human-social communities, by extraction from heteronomy. The present work goes on step further and, considering the establishment and possible change of the configurations of a human-social space, it wonders about the constraining framework of the formation of this space. This internal shaping is looked into from René Thom’s morphological approach. Indeed, through his Catastrophe Theory (CT), René Thom compiled a list of stable forms and processes of change, unstable over time, but steady as far as the conditions of their formation are concerned. It accentuates the core issue: the organization of the collective dimension through immanence, and the political management of the historical dimension drive us to examine the inner historicity of communities from the concept of morphological process and according to the distortions it may undergo. This concept proves useful to understand the morphological dynamic which enable communities to hold together.

Multifunctional centre is standing in Brno, Masaryk quarter. Originally military objects will be use like space for meeting of local population, cultural events and activities for people of all age groups. Currently it will be use like Kraví hora park background. This park is in the immediate neighbourhood.

No description available.

No description available.

In recent years, the existence of youth centers in Stockholm has been disputed and voices have been raised for their dissolvement. This highlights the question the relevance of youth centers today, and why they were introduced in the first place. Earlier statements have linked the establishment of youth centers due to demographic development during the 1950s. However, previous research has identified the Swedish government’s ambition to assert control over youth through discipline and restrictions in schools and other organizations. Yet, the topic of the city-funded youth centers tends to have been overlooked. Therefore, this thesis aims to study city-funded youth centers in Stockholm during 1947–1962. Moreover, socio-spatial theory has been used to analyze the youth centers as producers of social space. Additionally, the emphasis is on representing space and spatial practices as driving forces in developing a space designed for young people. The thesis concludes that the youth centers aimed to limit the movement of suburban youth into the city center of Stockholm. Furthermore, they acted as an educational tool to secure the future of democratic citizenship.

Examensarbetet syftar till att bidra med kunskap om hur flexibla lärmiljöer beskrivs och förstås i forskningspublikationer inom det internationella forskningsfältet Lärmiljöer. Med avstamp i rumslig teori undersöks vilka resultat som tidigare forskning presenterar i relation till flexibla lärmiljöer. Vidare undersöks vilka eventuella rumsliga dimensioner som tillskrivs dem samt hur begreppet flexibilitet beskrivs, förstås och appliceras på flexibla lärmiljöer.   För att söka svar på studiens frågeställningar genomfördes en kvalitativ kunskapsöversikt genom insamling av data via databassökning. Studieobjektet utgörs av tidigare genomförda forskningsstudier från åren mellan 1989-2021. Utvalda vetenskapliga artiklar granskades, kartlades, rapporterades, analyserades och syntetiserades i framträdande teman.  Huvudresultatet visar bland annat att flexibla lärmiljöer blir ett allt vanligare inslag i och med en ökad orientering mot elevcentrerad och individbaserad undervisning. En sådan undervisning kräver att lärmiljöerna baseras på individens behov och möjliggör variationsrika metoder varför många skolor genomgår en övergång från traditionella klassrum till flexibla lärmiljöer. Ytterligare resultat pekar på att en sådan övergång är förenad med många utmaningar på grund av att utformningen av den fysiska miljön med ökad flexibilitet och de öppnare ytorna inte alltid är i samspel med organisering och pedagogisk praxis. En övergripande slutsats utifrån studien är att flexibiliteten leder till ökade valmöjligheter för lärarna vad gäller ändamålsenlig utformning av lärmiljön och att kunskap om rumslig teori och begreppet flexibilitet kan öka lärares rumsliga medvetenhet och kompetens så att den ökade flexibiliteten i högre grad kan uppfattas som möjligheter snarare än hinder.

In online learning, little is known about the impact of mixed reality and its underlying socio-technological factors on social space perceived by learners. The term social space refers to a group's socio-emotional dynamics that structure the social relationships among its members. Drawing upon extant literature on mixed reality, interaction and social presence, this research proposes and validates a theoretical model that elucidates the influence of immersion on users’ social space experiences within digital environments across different mixed realities (i.e., augmented and virtual realities, and video conferencing). Interaction and social presence are identified as two key factors mediating this relationship. To test the proposed model, a survey involving 488 participants in higher education was conducted, and the effects were examined under three conditions: video conferencing, augmented-reality, and virtual-reality. The findings show that 1) an immersion perspective plays a significant role in educational technology, particularly for its role in facilitating social space among learners in higher education; 2) the impact of immersion on social space is entirely mediated by learners’ assessment of interactions and their perception of social presence in digitally facilitated learning environments; and 3) the influences of immersion on learners to experience a prosocial space vary across virtual reality, augmented reality, and video conferencing. VR environments offer the most pronounced sensation of social presence, while AR environments prove to be optimal for interacting in digitally facilitated learning environments. Out of these three conditions, VC environments were perceived the lowest for interaction, sensation of social presence, and the establishment of a communal atmosphere of collaboration in digitally mediated learning environments. These findings make valuable contributions to theory by providing insights into the influence of immersion and variability in mixed reality on learners’ perception of social space experiences. In this respect, this research expands the body of knowledge and research in both the information systems and education fields. Furthermore, this research offers valuable insights for educators to make informed decisions regarding the selection and adoption of augmented and virtual reality technologies, as well as devising digital strategies in higher education. It contributes to our understanding of effective implementation of mixed reality in this context. / Dissertation / Doctor of Philosophy (PhD)

Pierre Bourdieu (1930–2002) war ein französischer Ethnologe und Soziologe, der von 1981 bis 2001 einen Lehrstuhl für Soziologie am Collège de France innehatte. Sein zentrales Erkenntnisinteresse richtete Bourdieu auf die Beständigkeit der sozialen Verhältnisse, deren zentralen Mechanismus er im Phänomen der symbolischen Gewalt fand. Bourdieu beschreibt dabei, wie in der sozialen Praxis über Akte des Klassifizierens Herrschafts- und Machtverhältnisse konstituiert und perpetuiert werden. Als Beispiel schlechthin für die symbolische Gewalt benennt Bourdieu die „Männliche Herrschaft“. Die Rezeption dieses Konzepts ist in der deutschsprachigen Frauen- und Geschlechterforschung bis heute jedoch eher zurückhaltend.

Nesta dissertação apresenta-se uma reflexão acerca do Espaço Pessoal, Espaço Parcial, Espaço Total, Espaço Social, Espaço Cênico e a espacialidade Ma, Tendo como bases a extensa bibliografia e a também extensa experiência artística e pedagógica da autora como atriz-dançarina, professora, pesquisadora, diretora e coreógrafa. A dissertação visa servir de ponto de partida para que alunos e professores em Artes Cênicas pensem a abordagem do corpo cênico em sala de aulas e em criações artísticas. No início há definições de conceitos a respeito do corpo, assim como o estudo sobre abordagens teóricas significativas, tais como a teoria do Corpomídia e a Teoria do Corpo Sem Órgãos, para que sirvam como referência compartilhada com a autora, a fim de que se possa seguir para a reflexão acerca dos espaços propostos. A seguir há a apresentação de cada espaço. Ao se referir à espacialidade Ma, pela sua complexidade, já que se trata de um conceito da cultura japonesa de difícil compreensão pelos ocidentais, dadas as diferenças que existem entre as culturas ocidental e oriental, a autora se dedica ao estudo detalhado da tese de Doutorado de Michiko Okano, Ma: Entre-espaço da Comunicação no Japão Um estudo acerca dos diálogos entre Ocidente e Oriente, relacionandoa com as Artes Cênicas para, ao final, se esforçar em apontar espacialidades Ma nas montagens cênicas O Olho do Tamanduá, com direção de Takao Kusuno, e Lucíola cena 1, com direção da própria autora, sendo que em ambas ela participa como atrizdançarina- criadora. São mencionados especificamente os trabalhos de Rudolf Laban, Michiko Okano, Patrícia Stokoe, Eugênio Barba, Takao Kusuno, Antonin Artaud, Hideki Matsuka, Akira Kasai, Ko Murobushi, Gilles Deleuze, Felix Gattari, Helena Katz, Christine Greiner, Cassiano Quilice. / This dissertation presents a reflection on the Personal Space, Partial Space, Total Space, Social Space, Scenic Space and the Ma spatiality, having as basis the extensive bibliography and the extensive artistic and pedagogical experience of the author as an actress-dancer, teacher, researcher, director and choreographer. The dissertation aims to function as a starting point for Performing Arts pupils and teachers to think bodys scenic approach in classroom and in artistic creation. At the beginning there are definitions of concepts about the body and the study of major theoretical approaches, such as the Corpomedia and Body Without Organs theories, which serve as a shared reference to both author and reader and define a way of reflection about the spaces mentioned. Then we have the presentation of each space. As it concerns Ma Spatiality, because of its complexity and also because of the fact that it is a Japanese cultural concept of difficult understanding (concerning the differences between Western and Eastern cultures) the author engaged herself in the detailed study of the doctoral thesis of Michiko Okano, Ma: an inter-space of communication in Japan - a study on the dialogues between East and West. At the end, the author links it to Performing Arts and focuses on appointing the presence of Ma spatiality on Takao Kusunos work O Olho do Tamanduá, in which she has participated as an actress-dancer-creator, and Lucíola cena 1, directed and performed by the author herself. The work of Rudolf Laban, Michiko Okano, Patricia Stokoe, Eugenio Barba, Antonin Artaud, Kusuno Takao, Hideki Matsuka, Akira Kasai, Ko Murobushi, Gilles Deleuze, Felix Gattari, Helena Katz, Christine Greiner and Cassiano Quillice are specifically mentioned.

Made available in DSpace on 2016-04-28T19:59:04Z (GMT). No. of bitstreams: 1 Flavia Regina Oliveira Leao.pdf: 1078930 bytes, checksum: 82670d39a47c0fa85a8a7818f1fc4e5c (MD5) Previous issue date: 2007-10-04 / Secretaria da Educação do Estado de São Paulo / This dissertative work promotes a stylistic-literary approach between two short stories from the Portuguese Literature, from the nineteenth century  Singularidades de uma rapariga loura, by Eça de Queiroz, and Manuel Maçores, by Trindade Coelho  through the comparative description of the construction of their characters. As they are transitory and transitive between two realities, the romantic and the realistic, we have defined our objectives which consists of differentiating the treatement that is dedicated to them, based on the ficcional techniques used by their respective narrators in their ficccional projects: the manking and the unmasking. In particular, we analyse the role of the transformation of the indirect speech into the direct one, and the lexical choice as a complementary technique, keeping in mind that this analysis led us to the reading of alternatives in the critical space of the relation narrator and character. In the first chapter, studies of Ernesto Da Cal, Wayne Booth, Mikhail Bakhtin and Jean Starobinski, among others, assisted us in presenting the narrator-character discursive play, in Singularidades de uma rapariga loura, short story that keeps in itself the complexity of the structure between being and seeming in the ficcional context in discursive revelation. In the second chapter, we resort to Segolin s contemporary studies, in order to prove the autonomy that the character achieves by means of narrating technique, in Manuel Maçores, a handmade work which revealed the transitivity of the character from Romantism to Realism, by using the critical space in the narrative setting. In the third chapter, with theoretical supporters as Lukács and Barthes, we deal with the differentiation of the language in the composition of the Portuguese realistic short story that favored the drawing of a parallel between the transitive characters in Singularidades de uma rapariga loura and Manuel Maçores. We conclude, therefore, that the operational variations occured in the narrator-character s distance provoke a diversion in the characters voices in a perspective that takes the tale to the platform of a potential educational novel, under a methodological dominance in the act of permutation, which we believe that contributes to a higher level of social singularity of the Portuguese short story in a historical moment of transformation / Este trabalho dissertativo promove uma aproximação estilístico-literária entre dois contos da Literatura Portuguesa, do século XIX  Singularidades de uma rapariga loura, de Eça de Queiroz, e Manuel Maçores, de Trindade Coelho , através da descrição comparativa da construção de suas personagens. Sabendo-as transitórias e transitivas entre duas realidades, a romântica e a realista, definimos nosso objetivo que consiste em diferenciar o tratamento que lhes é dedicado, a partir das técnicas ficcionais utilizadas pelos respectivos narradores em seus projetos ficcionais: o mascaramento e o desvelamento. Em particular, analisamos o papel da transformação do discurso indireto em discurso direto, e a escolha lexical como técnica complementar, sabendo que essa análise nos conduziu à leitura de alternativas no espaço crítico da relação narrador e personagem. No primeiro capítulo, estudos de Ernesto Da Cal, Wayne Booth, Mikhail Bakhtin e Jean Starobinski, entre outros, auxiliaram-nos na apresentação do jogo discursivo narrador-personagem, em Singularidades de uma rapariga loura, conto que reserva em si a complexidade da estruturação entre o ser e o parecer no contexto ficcional em revelação discursiva. No segundo capítulo, recorremos aos estudos contemporâneos de Segolin, para comprovar a autonomia que a personagem logra por meio da técnica do narrar, em Manuel Maçores, trabalho artesanal esse que nos revelou a transitividade da personagem do romantismo para o realismo, pela via do espaço crítico no cenário narrativo. No terceiro capítulo, com suportes teóricos como Lukács e Barthes, lidamos com a diferenciação da linguagem na composição do conto realista português, o que nos favoreceu o traçado de um paralelo entre as personagens transitivas em Singularidades de uma rapariga loura e Manuel Maçores. Concluímos, portanto, que as variações operacionais ocorridas no distanciamento narrador-personagem provocam desvios nas vozes das personagens em uma perspectiva que lança o conto para o estrado de um possível romance de formação, sob uma dominante metodológica em ato de permuta, e que julgamos contribuir para um maior grau de singularização social do conto português em histórico momento de transformação