Paris, capitale de la monarchie absolutiste, posa, dans sa matérialité même, des problèmes d’ordre public aux pouvoirs politiques. Ces problèmes, démographiques, hygiéniques, de circulation et d’organisation sociale (une mobilité accrue), entraînèrent la création d’une institution spécialisée dans la « police » de la ville : la Lieutenance de police. Cette institution, de 1666 à 1789, s’attacha à résoudre les désordres urbains matériels et sociaux, et pour cela déploya des dispositifs policiers nouveaux, pour lesquels elle mobilisa les savoirs du temps tout en en produisant elle-même (plus empiriques). C’est également dans les pratiques des agents sur le terrain que l’on trouve la réalité de ce qu’était la police d’Ancien Régime, qui consista avant tout à occuper l’espace urbain, à le marquer et à l’aménager à la marge afin de produire la sûreté et la propreté des rues. En ce sens, la prise en compte de la réalité urbaine invite à croiser histoire urbaine et histoire de la police. / Paris, capital of the French absolutist monarchy, was, by its materiality, a problem for public order. This problem was demographic, hygienic, and also created by bad circulation and social organization (a growing mobility). It was the reason of the creation of the Lieutenance de police, a specialised institution into the police of the town. This institution, from 1666 to 1789, aimed to reduce urban material and social problems. In order to reduce these disturbances, the Lieutenance created new police systems to control urban space, and gained scientific knowledge. It also created empiric knowledge. Police reality is truely a practice in urban spaces. This reality is found in the agents’ archives. They show the occupation of urban space, its arrangements, the inscription of police signs in the streets and, exceptionally, localised urbanism operations. The main objectives were the security and property of the town. This is why urban history and history of the police are joined within this study.

Desde finais do século XIX São Paulo vivenciou um intenso processo de mudanças, atreladas à transição da mão de obra escrava para a livre, o incentivo à imigração, a Proclamação da República, e a disponibilidade de capitais oriundos da riqueza gerada pelo café, o que permitiu sua expansão para outras áreas além do \"Triângulo\". Chácaras foram loteadas, novas ruas foram abertas, as ações governamentais que regulavam a cidade aprimoravam-se, e uma série de diferentes atores sociais entraram em cena, produzindo e vivenciando novos bairros. É a partir dessa perspectiva que o bairro do Brás surge. Procuramos estudar o bairro do Brás reconstituindo sua materialidade entre os anos de 1870 a 1915, com atenção ao seu processo de feitura, e principalmente aos seus agentes produtores, pondo luz especialmente nos setores médios que também envolveram-se na produção das cidades. Ao entrecruzarmos diferentes fontes, podemos imaginar os personagens e seus cenários de ação no passado, essencialmente a materialidade dos imóveis construídos, suas tipologias, seus programas edilícios, entrevendo alguns dos seus usos em seus respectivos endereços. Analisando a Série Obras Particulares do Arquivo Histórico de São Paulo, juntamente a cartografia, fotografias e outras fontes, podemos vislumbrar quem seriamos proprietários e construtores desses imóveis, bem como os agentes públicos que estiveram debruçados sobre cada pedido de construção solicitada à Prefeitura Municipal,ampliando a compreensão sobre o processo de urbanização do bairro atrelado às próprias mudanças que a cidade de São Paulo estava vivenciando. / At the close of the 19th century, São Paulo underwent intense changes as a result of the transition from slave labor to free, state-sponsored immigration, the overthrow of Brazil\'s empire and establishment of a republic, and increased capital availability due to the wealth generated by coffee production. These transformations allowed the city to urbanize beyond the historic \"Triangle\" that had been its center since the colonial era. Farms were divided into lots, new streets were laid out, government regulation was improved, and new social actors appeared on the scene. It was in this context that the neighborhood of Brás, so important to São Paulo\'s industrialization, was born. This study reconstructs the materiality of the construction of the neighborhood of Brás between 1870 and 1915. It focuses on the human agents who produced the neighborhood, especially the role of the middle classes, who were also involving themselves in the production of cities. By placing a variety of sources in dialogue with one another, it enables us to imagine us a series of characters and the stage they built as they played their roles on it - the materiality of the buildings, their typologies, and theirblueprints, envisioning, albeit imperfectly, some of the uses to which they were put. By analyzing the Obras Particulares series from the Historical Municipal Archive of São Paulo, along with cartography, photographs, and other sources, we can catch a glimpse of the buildings\' owners and constructors, along with civil servants as they leaned over each request for a building permit submitted to the city government. In so doing, this study enhances our understanding of Brás\'s urbanization, linking it to the broader processes of change that the city of São Paulo was experiencing.

Made available in DSpace on 2016-04-04T18:22:04Z (GMT). No. of bitstreams: 1 Daniela da Silva Santos Krogh.pdf: 6044610 bytes, checksum: 30dd5f8e6cd0ba3116ba1c77484fa9b4 (MD5) Previous issue date: 2013-02-25 / The objective of this study is to investigate the urban reconfiguration of the City of Campinas in the period between 1880 and 1900. During the big yellow fever epidemics in 1889, the city was in poor sanitary conditions, lack of water and waste supply infrastructure and also with some flooding areas. Those conditions made this city a favorable place to epidemics diffusion in the urban area. In the period between 1893 and 1990, the actions of sanitary authorities were strengthen in fighting against epidemics and sanitary improvements among urban area promoting a urban reconfiguration of Campinas. The study evaluate this reconfiguration analyzing two different moments: from 1893 to the beginning of 1896, when there was activities from the city sanitary authorities, the "Intend?ncia Municipal" and from July 1896 to 1900, when the activities were under the responsibility of the Sanitary Commission of S?o Paulo State lead by Doctor Em?lio Ribas and also the Sanitary Commission lead by the sanitary Engineer Saturnino de Brito. / Este trabalho tem como objetivo investigar a reconfigura??o urbana de Campinas, no per?odo entre 1880 e 1900. Quando da grande epidemia de febre amarela ocorrida em 1889, a cidade se encontrava em prec?rias condi??es sanit?rias, com falta de redes de infraestrutura de abastecimento domiciliar de ?gua e canaliza??o de esgoto sanit?rio e ainda, com a presen?a de ?reas alagadi?as, condi??es estas que tornaram a cidade um local prop?cio para a difus?o de epidemias em sua ?rea urbana. No per?odo entre 1893 e 1900, a atua??o das autoridades sanit?rias foi conduzida com maior rigor no combate ?s epidemias e no saneamento do meio urbano promovendo uma reconfigura??o urbana de Campinas. O trabalho analisa esta reconfigura??o atrav?s do estudo do per?odo que foi dividido em dois momentos: de 1893 at? os primeiros meses de 1896, onde h? a atua??o das autoridades sanit?rias municipais, ou seja, a Intend?ncia Municipal e engenheiros da C?mara; e de julho de 1896 at? 1900, onde h? a atua??o da Comiss?o Sanit?ria do Estado de S?o Paulo, chefiada pelo m?dico Em?lio Ribas e da Comiss?o de Saneamento, sob a responsabilidade do engenheiro sanit?rio Saturnino de Brito.

Esta dissertação tem por tema o estudo do circuito social de uma pintura histórica voltada à representação urbana. Trata-se da tela Fundação de São Paulo, concluída pelo pintor brasileiro Oscar Pereira da Silva em 1907, e pertencente ao acervo do Museu Paulista da Universidade de São Paulo. Produzida em um momento em que o sucesso político e econômico das elites dirigentes paulistas era associado à construção de um passado heróico para a capitania de São Vicente e de São Paulo, esta pintura integra-se ao processo de produção de representações iconográficas que tinham por intenção oferecer uma narrativa visual sobre esse passado. Sua musealização permitiu um contínuo processo de apropriação social, que permitiu integrá-la ao imaginário paulistano e paulista. Percorrer o circuito desta pintura (composto por sua concepção/realização, exposição, fortuna crítica,aquisição, musealização e reprodução) é o objetivo deste trabalho, tendo em vista que a obra é um dos principais suportes da representação de momentos fundadores de espaços urbanos produzidos no Brasil republicano e peça fundamental no corpus de imagens que embasaram um imaginário nacional, paulista e paulistano. / The theme of this dissertation is the study of the social circuit of a historical painting with a urban representation motif. It discusses the painting Fundação de São Paulo, concluded by the Brazilian painter Oscar Pereira da Silva in 1907, and belonging to the collection of the University of São Paulo\'s Museu Paulista (São Paulo Museum). Produced in a moment in which the political and economic success of the São Paulo ruling upper classes was associated with the construction of a heroic past for the São Vicente and São Paulo captaincies, this painting integrates itself with the production process of iconographical representations that intended to offer a visual narrative for this past. Its museumization permitted a continuous social appropriation process, that allowed its integration with the São Paulo state\'s and city\'s imagery. To browse through this painting\'s content (composed by its conception/production, exposition, critic fortune, aquisition, museumization and reproduction) is this work\'s goal, since the picture is one of the main sustainment of the representation of founding moments in urban spaces produced in republican Brazil, and keystone to the images\' corpus that supported an imagery for the country, the state and the city.

Dans les récits de voyages des années 1800, la région de la mer Baltique est présentée commeun espace de découverte diversifié – c’est en quelque sorte un patchwork multicolore deconstructions imagologiques. Pourtant, la conception d’une région de la mer Baltique étaitdéjà fondée à l’époque de la «Sattelzeit» sur le besoin de pouvoir situer les riverains de la merBaltique comme une unité culturelle, quelque part dans le grand Nord. Dans l’imaginationdes voyageurs en 1800, la région de la mer Baltique est en fait déjà cet espace d’interactionset d’imbrications qui constitue la base évidente des approches modernes de la recherche.Bien sûr, il y avait les divers royaumes, provinces ou villes qui jouèrent un rôle pour lesvoyageurs. Cela ne signifie pourtant pas qu’il soit impossible de retrouver dans les récits devoyages certains points communs, manifestés sous forme d’un caractère «nordique»supérieur de ces riverains. C’est pourquoi ce caractère «nordique» est sans cesse exprimédans les récits de voyages à partir de divers niveaux de perception – dans la description de lanature, de la mer, du climat, mais aussi dans les perceptions des villes et les rencontresculturelles. Par conséquent, la littérature de voyage indique une tendance qui est égalementimportant pour la recherche historique actuelle: une évaluation de la région de la merBaltique comme un macro-région unique, qui accepte aussi les différences dans leursdifférents pays et régions. / This Franco-German analysis examines the Baltic Sea region as a center for cultural exchangebased on German and French travel reports from 1750 to 1815 in a comparative perspective.The objective is to examine the countries around the Baltic Sea as places of encounter fortravelers and to raise the awareness of historical travel research and research of culturalexchange for the subject ‘space’. This approach scrutinizes several forms of German andFrench imaginations of nature, sea shore and different forms of urbanity, but also theperception and reception of identities and alterities, the consolidation and the departure ofstereotypes as well as the possibilities and limits of cultural transfer processes by travelling.Furthermore, this approach allows to gain a deeper understanding of the progress of complexphenomena such as, ‘percipience', 'contemplation' and 'delineating' of foreign cultures in aperiod which was marked by a radical change in socio-political and cultural thinking.

Le premier livre mis sous presse à Venise est publié en 1469. Entre cette date et les années 1530, l'imprimerie s'installe dans la ville et Venise devient la première productrice de livres incunables. D'un côté, nous avons un métier nouveau, qui se développe en dehors des cadres institutionnels des arts et des corporations. Les imprimeurs et libraires créent progressivement un nouveau circuit commercial, celui du livre imprimé, qui adapte ou s'affranchit de celui préexistant du livre manuscrit. La nouveauté de cette activité crée également de fortes inégalités et des incertitudes quant au statut social qu'il faut conférer à ses acteurs, qui doivent s'adapter au contexte social local. D'autre part, les imprimeurs exerçant à Venise sont pour la plupart d'origine étrangère. Dans les premières années, la majorité d'entre eux sont d'origine germanique. D'autres minorités ou communautés ont également contribué au développement de l'industrie. Leur activité était extrêmement instable et précaire. Il s'agit donc de comprendre comment ces artisans et marchands étrangers se sont organisés et comment ils se sont ou non intégrés dans la géographie urbaine et la sociabilité vénitienne. Finalement, ce travail vise à questionner l'existence d'un monde du livre à Venise entre 1469 et 1530, la construction progressive d'un milieu professionnel nouveau autour de l'imprimerie. Notre étude vise à comprendre comment cette industrie nouvelle, apportée par des acteurs étrangers, est parvenue à s'implanter et à croître dans la ville, en s'enracinant dans des institutions, des pratiques législatives, mais également dans le tissu urbain à la fois géographique et social. / The first book to be printed in Venice was published in 1469. Between this date and the 1530s, the printing industry expanded and Venice became the first production hub in Europe for incunabula. On the one hand, printing was a new trade, which was established in Venice outside of the guild system. Printers and booksellers managed to build their commercial network gradually, by either building upon the pre-existing manuscript network, or by creating their own commercial system. Since that activity was entirely new, there were many uncertainties and inequalities as far as the status of the printers was concerned, all the more so since they had to adapt to the local social context. On the other hand, most Venice-based printers were in fact foreigners. During the first years, they were mainly of German origin, although other minorities or communities also contributed to the development of the industry. Theirs was a very precarious and unstable activity. Hence the need to understand how these craftsmen and merchants organized themselves, which also raises the related question of whether and how they integrated into Venice’s urban geography and sociability. Finally, this thesis aims at questioning the existence of a Venetian printing world between 1469 and 1530, and at examining the construction of a professional milieu based on printing and the selling of printed books. I wish to understand how this new industry, shaped by foreigners, managed to take root and grow in the city; how the actors interacted with the institutions and the legislation; and how they integrated into Venice’s social fabric.

Esta dissertação tem por tema o estudo do circuito social de uma pintura histórica voltada à representação urbana. Trata-se da tela Fundação de São Paulo, concluída pelo pintor brasileiro Oscar Pereira da Silva em 1907, e pertencente ao acervo do Museu Paulista da Universidade de São Paulo. Produzida em um momento em que o sucesso político e econômico das elites dirigentes paulistas era associado à construção de um passado heróico para a capitania de São Vicente e de São Paulo, esta pintura integra-se ao processo de produção de representações iconográficas que tinham por intenção oferecer uma narrativa visual sobre esse passado. Sua musealização permitiu um contínuo processo de apropriação social, que permitiu integrá-la ao imaginário paulistano e paulista. Percorrer o circuito desta pintura (composto por sua concepção/realização, exposição, fortuna crítica,aquisição, musealização e reprodução) é o objetivo deste trabalho, tendo em vista que a obra é um dos principais suportes da representação de momentos fundadores de espaços urbanos produzidos no Brasil republicano e peça fundamental no corpus de imagens que embasaram um imaginário nacional, paulista e paulistano. / The theme of this dissertation is the study of the social circuit of a historical painting with a urban representation motif. It discusses the painting Fundação de São Paulo, concluded by the Brazilian painter Oscar Pereira da Silva in 1907, and belonging to the collection of the University of São Paulo\'s Museu Paulista (São Paulo Museum). Produced in a moment in which the political and economic success of the São Paulo ruling upper classes was associated with the construction of a heroic past for the São Vicente and São Paulo captaincies, this painting integrates itself with the production process of iconographical representations that intended to offer a visual narrative for this past. Its museumization permitted a continuous social appropriation process, that allowed its integration with the São Paulo state\'s and city\'s imagery. To browse through this painting\'s content (composed by its conception/production, exposition, critic fortune, aquisition, museumization and reproduction) is this work\'s goal, since the picture is one of the main sustainment of the representation of founding moments in urban spaces produced in republican Brazil, and keystone to the images\' corpus that supported an imagery for the country, the state and the city.

Esta tese analisa o processo de estabelecimento do Monumento à Independência como \"lugar de memória\" da emancipação política brasileira. Criada no contexto das comemorações do Centenário da Independência, a obra tornou-se elemento central dos festejos paulistas e revelou-se como um projeto de afirmação da cidade de São Paulo como centro simbólico do país, num embate evidente com a cidade do Rio de Janeiro na criação de uma história oficial brasileira. A trajetória dessa obra foi reconstituída, desde as primeiras intenções de edificação de um monumento no Ipiranga, ocorridas no período imperial brasileiro, até a inauguração do que ali se fez, em 1923. Analisou-se processo de escolha da obra, selecionada por meio de um concurso público internacional, examinando os debates em torno do edital, os projetos concorrentes e as críticas publicadas na imprensa em relação aos diferentes projetos. Constatou-se a importância de se ter selecionado o projeto de Ettore Ximenes, um artista italiano de grande reconhecimento profissional, como uma estratégia de consagração nacional e internacional do novo monumento paulista. Foram evidenciados os paralelos e sinergias entre os temas dos conjuntos escultóricos e relevos do Monumento à Independência com a exposição do Museu Paulista criada por Affonso Taunay para a comemoração de 1922, convergência favorecida pelo fato de que o historiador atuara simultaneamente como membro da comissão julgadora do concurso e diretor da instituição museológica. Além da obra escultórica e da exposição histórica, o projeto de consagração da colina do Ipiranga previa também o estabelecimento de um eixo urbano monumental, pontuado por esculturas e áreas ajardinadas, que ligaria o conjunto histórico ao centro da cidade. As intenções celebrativas da elite dirigente paulista, no entanto, foram impactadas pela incompletude do monumento e das obras a ele relacionadas em 1922 e pela diminuta repercussão que a inauguração do Monumento à Independência obteve na imprensa nacional e internacional. / This thesis analyses the process of establishing the Monument to the Independence of Brazil as a \"place of memory\" representing Brazilian political emancipation. Created within the context of the centennial celebrations of the 1822 Independence, this sculpture was central to São Paulo\'s festivities, and proved to be a representation of the city\'s project to assert itself as the symbolic center of the country, in an overt dispute with the city of Rio de Janeiro for the creation of an official history of Brazil. The history of this piece was retraced back to the earliest intentions of erecting a monument in the Ipiranga district - during the Imperial period - up to its dedication in 1923. The selection process of this sculpture, which was carried out publicly, is herein analyzed, while also examining the debates engendered by its official announcement, its contending projects, and the criticisms published in the press regarding the various projects. The election of a design by Ettore Ximenes - a widely renowned Italian artist - is deemed as a strategy to confer distinction and fame, in national and international levels, to this new monument in São Paulo. The themes found in this set of sculptures and reliefs are shown to be correlated and synergized with the Museu Paulista exhibition - set up by historian Affonso Taunay - for the 1922 celebrations. This convergence of compositions was favored by the fact that Taunay acted simultaneously as member of the public selection\'s judging committee and as director of the aforementioned museum. In addition to the sculpture and to the historical exhibition, the project of aggrandizing and promoting the Ipiranga hill also included creating a monumental urban axis, filled with sculptures and gardens which would connect this historical site to the city center. However, the celebratory intentions of the paulista elite were marred by the delayed construction of the monument and other works connected to it - unfinished in 1922 -, and by the limited repercussion engendered by the inauguration of the Monument to the Independence of Brazil in local and international media.

No description available.

This thesis analyzes how social and environmental inequalities have interacted throughout Washington, D.C.’s urban and environmental history to shape the Anacostia River and its Near Southeast waterfront into urbanized and industrialized landscapes. Drawing on the principles of environmental justice, urban political ecology, and environmental history, I examine the construction of urban rivers and waterfront space over time. I link the ecological and social decline of the Anacostia River and Near Southeast neighborhood to a broader national pattern of environmental degradation and social inequality along urban rivers that resulted from urban industrialization and federal water management. Finally, I discuss the recent national trend in redevelopment of formerly industrial urban waterfronts. In particular, I focus on two brownfield redevelopment projects in Near Southeast: the Washington National’s baseball stadium at Nationals Park, completed in 2008, and the ongoing construction of The Yards mixed-use development complex. The Anacostia River has served as a touchstone throughout Near Southeast’s shifting neighborhood identity and land use. This thesis uses the river as a starting point at which to begin an exploration of a long history of social and environmental inequality in waterfront Washington, D.C.