Este trabalho tem como objetivo compreender o sentido atribuído, por jovens moradores da periferia de Porto Alegre, à prática da dança de rua como elemento componente da cultura Hip-Hop. Visando a compreender a prática da dança em um universo cultural específico, e privilegiando seus aspectos microssociais, o estudo tem como abordagem metodológica a investigação etnográfica, e como principais instrumentos de coleta de dados, a observação participante e a entrevista semiestruturada. A reflexão final é efetuada a partir de dois eixos de análise: a dança de rua como aprendizado e a dança de rua como lazer. A prática da dança, aliada aos princípios ideológicos colocados pelos elementos da cultura Hip-Hop e simbolizados pela atitude, possibilita aos jovens a construção de um projeto, que tem como objetivo a construção de uma vida digna para si e o resgate daqueles em situação de marginalidade. / This work aims to understand the meaning attributed, by young residents of the periphery of Porto Alegre, to the practice of street dance as a component element of the Hip-Hop. Aiming to understand the practice of dance in a specific cultural universe, and giving preference to its micro-social aspects, the study has as methodological approach the ethnographical investigation, and as main instruments of data gathering, the participative observation and the semi-structured interview. The final consideration is made from two main perspectives: street dance as learning and street dance as leisure. The practice of dance, along with the ideological principles of the Hip-Hop culture, symbolized by the attitude, makes possible to the youth the construction of a project that has as objective the building of a worthy life for oneself, and the redeeming of those who live marginally.

O objetivo geral nesta tese foi compreender as culturas organizacionais territorializadas da atividade de camelô realizada na cidade de Três Lagoas/MS. Para tanto, os primeiros passos na escrita desta tese foi dado em direção à construção do conceito de culturas organizacionais territorializadas. Assim, houve a necessidade de explorar os conceitos de culturas organizacionais e territórios, como forma de subsidiar a construção do conceito central nesta tese. Além disso, como forma de contextualizar e evidenciar os atributos ligados à atividade de camelô, foi necessária algumas discussões sobre as concepções de cidade e também de trabalhos etnográficos desenvolvidos junto à atividade de camelô. Isso pelo fato de que a atividade de camelô ocorre em contexto urbanos específicos, o que exigiu um entendimento mais abrangente sobre os atributos ligados a essa atividade. Todas essas discussões teóricas possibilitaram não apenas a construção do conceito de culturas organizacionais territorializadas, mas também focar nas discussões realizadas por autores que enfatizam os atributos micro das ações humanas, assim como a heterogeneidade nas atividades e nos atributos simbólicos compartilhados. Por esse motivo, o problema de pesquisa que contemplou essa tese foi: como as culturas organizacionais são territorializadas nos processos e ações desenvolvidas na atividade de camelô de Três Lagoas/MS, tendo em vista as relações entre essa modalidade de comércio, o poder público e os consumidores? Neste problema de pesquisa fica evidente que uma das bases existentes neste estudo e também na construção do conceito de culturas organizacionais territorializadas é dada pelas relações de poder. Sendo assim, os objetivos específicos contemplaram: identificar as formas de apropriação e dominação material e cultural do espaço onde a atividade de camelô se constitui; entender as relações de poder estabelecidas entre os camelôs, poder público e comerciantes, no que tange aos processo legais e ilegais de apropriação dos espaços e realização das atividades; e identificar as relações materiais e culturais desenvolvidas entre os camelôs e os consumidores, como forma entender a sustentação desse tipo de atividade no contexto das cidades. Foi a partir destes objetivos que o trabalho de pesquisa foi desenvolvido através de estudo etnográfico. Num primeiro momento a intenção foi entender as relações culturais e materiais estabelecidas entre os camelôs e destes com os consumidores. Logo depois, foram realizadas entrevistas com os sujeitos que estabeleciam ou estabeleceram relações com os camelôs de Três Lagoas/MS, que foram: os secretários da Indústria e Comércio, o representante do Ministério Público, alguns comerciantes e os presidentes da Associação Comercial, para entender as relações de poder existentes. Os achados mostram que apesar da relações de poder serem evidentes entre esses atores, ainda há um busca pelo fortalecimento da atividade de camelô. Além disso, algo importante e que norteou algumas discussões sobre as contribuições da atividade de camelô na cidade de Três Lagoas/MS, foi a centralidade que esta atividade possui na cidade, dado o potencial de abastecimento do mercado local com uma série de produtos que não são comercializados pelos lojistas da cidade. Para finalizar, ficou evidente que a construção do conceito de culturas organizacionais territorializadas possibilitou uma intersecção importante para evidenciar possíveis contribuições do mercado camelô de Três Lagoas/MS para com o desenvolvimento local. / The overall objective of in this thesis was to understand the organizational cultures territorialized of the activity street vendor place in the city of Três Lagoas/MS. To this end, the first step in the writing of this thesis was made toward the construction of the concept of organizational cultures territorialized. Thus, it was necessary to explore the concepts of organizational cultures and territories as a way to subsidize the construction of the central concept in this thesis. Moreover, in order to contextualize and show the attributes associated with the activity of street vendor, it took some discussion on the concepts of city and also developed the ethnographic work with the street vendor. This is because the activity street vendor occurs in the context urban specific, requiring a more comprehensive understanding about the attributes related to this activity. All these theoretical discussions not only enabled the construction of the concept of organizational culture territorialized, but also to focus on the discussions held by authors who have emphasize the specific attributes of human actions, as well as the heterogeneity in the activities and symbolic attributes shared. For this reason, the research problem that this thesis was contemplated: how organizational cultures are territorialized processes and actions development in the activity of the street vendor in Três Lagoas/MS, in view of the relationship between this form of commerce, municipal government and consumers? In this research problem is clearly one of the bases in this study and also in the construction of the concept of organizational cultures territorialized is given by the relations of power. Thus, the specific objectives included: to identify the forms of appropriation and domination of the material and cultural space where the street vendors is, to understand the power relations established between the street vendors, municipal government and traders, with respect to the process legal and illegal appropriation of the space urban and conduct of activities, and identify the material and cultural relations developed between the street vendors and consumers as a way to understand the sustain that type of activity in the context of cities. It was from these objectives that the research was developed through ethnographic study. At first the intention was to understand the cultural and material relations established between them with the street vendors and consumers. Soon after, we conducted interviews with the subjects who established or established relationships with the street vendors of Três Lagoas/MS, which were the secretaries of Commerce and Industry, the public prosecutor, some traders and the presidents of the Chamber of Commerce, to understand relations of power. The results show that although the power relations are evident between these actors, there is still a search for the strengthening of the activity of camels. In addition, some important and some guided discussions about the contributions of street vendor activity in the city of Três Lagoas/MS, was the centrality that this activity has in the city, given the potential for supplying the local market with a series of products that are not sold by traders in the city. Finally, it was evident that the construction of the concept of organizational cultures territorialized allowed a major intersection to show potential contributions of the market street vendor a Três Lagoas/MS to local development.

The cultural performance of textile graffiti, or yarnbombing, dramatizes women’s contested relationship to the public/privates dichotomies that constitute neoliberal capitalism as well as liberal democracies. Across both of these institutions, privatized matters are problematically excluded from political consideration, and private sphere values—such are nurturance, interdependence, and communalism—are denied their necessity and legitimacy as public goods. Textile graffiti artists furnish an association between public and private life by placing signifiers of domesticity and caregiving onto the public streets, and adorning those nurturant signifiers with political and/or feminist messages. In so doing, textile graffiti functions to politicize caregiving, to highlight its gendered dimensions, and to remind city-goers of caregiving as a public issue and a public good that is necessary to the overall health of a functioning liberal democracy. This study explores textile graffiti from various political, aesthetic, and historical angles in order to situate it within an enduring feminist struggle to re-imagine public/private binaries through valorization of the artifacts, values, and communicative practices that are associated with the private sphere of the home.

This thesis traces the transformation of graffiti as it travels from the street to the art institution by closely examining the graffiti and installations of Barry McGee ("Twist"). As a graffitist-turned-artist, McGee looked to his environment and experiences for his art, incorporating the language of graffiti into his installations. They exhibit what I describe as his ethnography of graffiti because he creates them from his unique position as a graffiti writer, representing graffiti as both an aesthetic expression and established youth culture. In order to explain this re-mediation of graffiti, the thesis aligns McGee's works with the sculptural tableaus of Edward Kienholz to emphasize his use of the narrative to bring the audience into both the aesthetic and the social world of graffiti.

A ocorrência da poluição luminosa foi detectada a partir de 1970 pela redução da visibilidade dos corpos celestes no período noturno, sendo posteriormente associada a implicações negativas relacionadas à fauna, à flora e aos indivíduos. É definida como os efeitos nocivos causados pela iluminação elétrica inadequada, sendo a iluminação pública responsável por grande parte do problema. Em Porto Alegre o fenômeno é confirmado por imagens de satélites que medem o brilho artificial do céu noturno e apontam níveis máximos na região central da cidade. Situação essa que pode ter sido agravada por grandes projetos de modificação da iluminação pública, desenvolvidos desde 2013, para aumentar o número de luminárias e iluminâncias na cidade. Inciativas que não estão previstas no Plano Diretor de Iluminação Pública da cidade, embora esse seja um instrumento que deveria orientar a implantação do sistema e, que tem entre seus objetivos combater a poluição luminosa. Neste contexto, investigou-se como a iluminação pública do Centro Histórico de Porto Alegre pode estar contribuindo para a poluição luminosa, considerando as legislações vigentes e práticas de projeto. Essa investigação foi feita por meio de uma pesquisa qualitativa, desenvolvida a partir de revisão da literatura, pesquisa documental em Planos Diretores de Iluminação, no contexto nacional e internacional, e estudo de campo no Centro Histórico de Porto Alegre. Os resultados apontaram que na área de estudo o problema está relacionado principalmente à temperatura de cor do sistema empregado e à fotometria das luminárias que provocam iluminação intrusiva, ofuscamento e brilho do céu, que são componentes da poluição luminosa. / Light pollution has been detected since 1970 due to the reduction of visibility of celestial bodies, it was associated to the consequences to the fauna, flora and human beings. It is conceptualized as the harmful effects given by electric lighting. Public lighting is responsible for the biggest part of the problem. In Porto Alegre the phenomenon is confirmed by satellite images that measure sky glow and shows the highest levels in downtown area. The situation could be intensified due to large projects of public lighting remodeling have been developed since 2013, in order to increase the number of light fixtures and the illuminances in the city. These initiatives haven´t been on Porto Alegre´s Public Lighting Master Plan, although it is a document that could guide the implantation of the system and help to fight against light pollution. With this, to propose research of how the public lighting of Porto Alegre´s historic downtown can contribute to lighting pollution, considering the currents laws and project actions. This study was organized through a qualitative research, developed from a literature review, documental research at Urban Lighting Master Plans, from international cities as well as in Brazil, and field study in Porto Alegre´s downtown area. The results show that the main cause of lighting polluion is related to lighting fixtures´ high color temperature and the equipment that allows the up light emission, causing light trespass, glare and sky glow.

Made available in DSpace on 2014-06-11T19:32:24Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-07-31Bitstream added on 2014-06-13T20:43:29Z : No. of bitstreams: 1 silva_bsm_me_assis_parcial.pdf: 155264 bytes, checksum: b3c0b17aa164cb1252c3a9090db19f96 (MD5) Bitstreams deleted on 2015-06-03T11:42:35Z: silva_bsm_me_assis_parcial.pdf,. Added 1 bitstream(s) on 2015-06-03T11:44:03Z : No. of bitstreams: 1 000721879_20150731.pdf: 140183 bytes, checksum: f76f456dcb73fadf9c515fe17a36704f (MD5) Bitstreams deleted on 2015-08-03T12:21:09Z: 000721879_20150731.pdf,. Added 1 bitstream(s) on 2015-08-03T12:22:21Z : No. of bitstreams: 1 000721879.pdf: 1451414 bytes, checksum: 7ee10dae3e86e9a503664265445d593f (MD5) / Tomando em análise os logradouros que foram batizados com nomes de mulheres, almeja- se perceber o destaque obtido pelas mulheres no espaço público londrinense. Com isso, quer-se analisar quem são essas mulheres homenageadas e quais os papéis sociais imaginados para elas. Sobretudo, pretende-se saber quais as representações de gênero que foram criadas e explicitadas no espaço urbano dessa jovem cidade do setentrião paranaense, que conta com mais de 4 mil logradouros públicos. Para cada logradouro é escolhido um nome e assim são rendidas homenagens à natureza, aos países, estados e cidades. Mas há aquelas ruas, praças e avenidas, dotadas de nomes que evocam personagens da história local, nacional ou mundial, homenageando suas vidas e obras. No presente trabalho, partimos do pressuposto que, ao se nomear ruas e praças de uma cidade, está se dotando de significação aquele elemento urbano, ao passo que se celebra, concomitantemente, o acontecimento ou personagem ali representado / Taking in analysis the thoroughfares that were named using women names, therefore, this dissertation aims to realize the real space obtained by women in public space in Londrina. This way we intend to understand who these honored women are, and what are the social roles previously thought for them and, above all, which gender representations that have been created and explicit in the urban space of this young city in the North of Parana State which counts more than 4,000 public places. For each street a name is chosen and then homages are rendered to nature, countries, states and cities. But there are some streets, squares and avenues that are endowed with names that evoke historical characters from local, national or global history, honoring their lives and works. We assume that naming streets and squares of a city is providing symbolic meaning to the urban element chosen, while we celebrate, concomitantly, that event or character represented there

Doctor of Philosophy / Department of Hospitality Management / Chihyung Ok / Carol W. Shanklin / Impulse buying has gained interest from both researchers and practitioners because of its contribution to sales and profits. The past decade has seen a dramatic increase in the number of mobile food vending in the United States. Open-air selling by vendors may encourage consumers to buy food on impulse. Food sold on streets involves sensory cues that strongly induce impulse buying. Unlike normal buying behavior, impulse buying is greatly affected by emotion, but it may also be explained by cognition. Although impulse buying of food is a prevalent phenomenon, little academic research has been conducted regarding food consumption impulse. Further, there remains a lack of clear understanding of the link between emotions and impulse buying. The purpose of this study was to explore and empirically test consumers’ impulse buying behavior of food from street vendors and to identify determinants such as sensory cues, arousal and pleasure as emotional responses, perceived risk as a cognitive response, and the urge to buy impulsively. In particular, Study 1 proposed a theoretical model identifying the effects of sensory cues on arousal, pleasure, and perceived risk and, in turn, the urge to buy impulsively and impulse buying behavior. Study 2 proposed food neophobia and perceived human crowding as a possible moderator that may function in the relationship between emotions and impulse buying. Data were collected from 361 consumers who were 18 years or older and had purchased food from mobile vendors at a participating festival or event in the United States. The proposed relationships were tested using structural equation modeling and hierarchical multiple regression analysis. In terms of direct effects, Study 1 found that sensory cues were positively related to arousal, pleasure, and the urge to buy impulsively and were negatively related to perceived risk; arousal and pleasure were positively associated with the urge to buy impulsively; perceived risk was negatively associated with the urge to buy impulsively; and the urge to buy impulsively was positively linked with impulse buying behavior. Further, arousal, pleasure, and perceived risk partially mediated the relationship between sensory cues and the urge to buy impulsively. Study 2 concluded that perceived human crowding moderates the effect of arousal and pleasure on the urge to buy impulsively and, in turn, impulse buying behavior. Food neophobia had no moderating effect. The study findings add to the understanding of consumer impulse buying in the context of street food. In addition to its contribution to the literature, practical applications that mobile food businesses could use to attract and retain customers are provided. The study concludes with general discussions of limitations and areas for future research.

Made available in DSpace on 2014-06-11T19:22:29Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-06-29Bitstream added on 2014-06-13T20:27:36Z : No. of bitstreams: 1 andriani_bc_me_ia.pdf: 2743782 bytes, checksum: fd4bf7871fa96a94c6fc4d66b9ab6746 (MD5) / Universidade Estadual Paulista (UNESP) / A Arte de Rua se tornou uma forte manifestação cultural ao longo dos últimos trinta anos, elaborando uma linguagem própria e se estabelecendo no mercado artístico. Contudo, o reconhecimento deste tipo de prática enquanto arte ainda é paradoxal, pois tange diversos pontos problemáticos nas relações sociais. A intervenção chega aos olhos do espectador sem pedir permissão, insere-se no contexto urbano quase que naturalmente, e em alguns casos chega a se camuflar como se já fosse parte da arquitetura. Seja qual for a sua base estética, a intervenção urbana alcança um vasto espectro de espectadores, mesmo que eles não queiram. O que se pretende nesta dissertação não é catalogar de forma cartesiana os diversos estilos encontrados nas ruas, mas sim refletir acerca desta prática, sobre seu funcionamento, seus desdobramentos, em uma leitura mais densa e tanto quanto possível objetiva / Street Art became a strong cultural manifestation during the last thirty years, creating a personal language and establishing itself into the art market. However, recognizing this practice as an art form is still a paradox. The intervention comes to the viewer's eyes without permission, inserts itself almost naturally into the urban context, and in some cases camouflages as it was already part of the architecture. Whatever the aesthetic bases are, the urban intervention reaches a huge specter of viewers, even if they don't want to. What is intended in this work is not to catalogue the different styles found in the streets in a Cartesian way, but supply a denser and as possible objective reading about this practice and also reflect about hot it works and unfolds

Made available in DSpace on 2014-06-11T19:29:03Z (GMT). No. of bitstreams: 0 Previous issue date: 2004-03-22Bitstream added on 2014-06-13T20:38:11Z : No. of bitstreams: 1 galbiattifilho_ja_me_assis.pdf: 159300 bytes, checksum: db2123b2d88b3d6467673b448a260f49 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Nesta pesquisa realizamos um estudo sócio-moral cujo objetivo foi verificar quais regras e noções de justiça são abstraídas por crianças de rua submetidas à apreciação de uma situação hipotética de conflito envolvendo agressão. Utilizando o método clínico de Piaget e tendo por base suas idéias sobre o juízo moral, observamos e entrevistamos 20 crianças de rua, de sete a treze anos, do sexo do sexo masculino, que freqüentam uma Casa Abrigo localizada na cidade de Jaboticabal (SP). Os dados foram analisados e classificados conformes as tendências de desenvolvimento moral e noções de justiça propostas por Piaget. Os resultados mostraram que as crianças, diante de uma situação de agressão, demonstram mais características heterônomas em suas respostas. As noções de justiça concentram-se entre retributivas e distributivas. Conclui-se que a agressão é uma característica enraizada na formação da moral da criança de rua e que influência fortemente o seu desenvolvimento. Sendo a agressão uma poderosa forma aprendida de resolver problemas em seu contexto de vida, nela espelha-se para solucionar os conflitos do cotidiano. / In this research we carried out a sociomoral study whose objective was to verify which rules and notions of justice are abstracted by street children subject to observation from a hypothetical situation of conflict involving assault. Applying the clinical method of Piaget and having as base his ideas about moral judgment, we observed and interviewed 20 male street children, from seven to thirteen years old, who often stay in a shelter located in the city of Jaboticabal (SP). The data were analyzed and classified according to the trends of moral development and notions of justice proposed by Piaget. The results showed that the children, under a situation of assault, exhibit more self-serving cognitive distortion characteristics in their responses. The notions of justice constrict in rewarding and distributing ones. We can conclude that the assault is an embedded characteristic in the moral formation of the street child, and that affects directly the child's development. Once the learned pattern to solve problems in the child's life context is the assault , it is in that that the he or she rests to resolve his or her everyday conflicts.

Esta dissertação apresenta uma abordagem sócio-histórica e tem como objeto gerador de reflexões o teatro de rua. Discute a tecnologia como mediadora de saberes, processos e fazeres humanos, trabalha o conceito de Certeau que pensa o espaço como lugar praticado e aborda os sujeitos como portadores de qualidades responsáveis e responsivas, pois considera que a existência do sujeito se dá, pelo contato, relação e resposta ao outro (a). Para pensar a tecnologia no teatro de rua, esta pesquisa apresenta a descrição de observações e a transcrição de entrevistas feitas com dois grupos de teatro de rua da cidade de Curitiba-PR. Dialoga com autores (as) da área da Tecnologia, do Teatro, dos Estudos CTS, da Lingüística, da Comunicação, Cultura, dentre outras áreas. As reflexões desta pesquisa têm como objetivo principal perceber e compreender as relações, processos e artes de fazer que geram poéticas, pensando a tecnologia como meio de ação, que liga processos e maneiras de fazer a pessoas. Outro objetivo é dar voz aos artistas que integram os grupos de teatro de rua pesquisados, para compreensão do objeto de pesquisa, mediados (as) pelo que os (as) próprios artistas enunciam via as materialidades apresentadas em cena. / This work presents a social-historical approach and it aims to reflect upon the street theater. This work discusses technology as a mediator of the knowledge, processes and human activities. It works with the Certeau’s principle that treats space as Practice’s Space and approaches the subjects as bearers of responsible and responsive qualities. Therefore, it considers the subjects existence as given by the relation or response to others. Aiming to think on technology on street theaters, this research presents observations and interview transcriptions performed with two street theater groups from Curitiba-PR. This work dialogues with Technology, Theater, Linguistics, Communication and Culture areas together with STS studies and other areas. This work’s main objective is to perceive and comprehend the relations, processes and performing art which generates poetics thinking technology as a mean of action, that connects processes and means of and ways to make people. Another objective is let the researched groups speak, aiming to understand the researched object mediated by these artists speech on the “materiality” presented in scene.