Este trabalho examina a representação das cidades na obra de Woody Allen. No intuito de compreender a saída do cineasta patrimônio da cidade de Nova York para a Europa, retoma-se criticamente a questão da Era da Lista Negra, das runaway productions e dos blockbusters. Para analisar os filmes de Allen na Europa considera-se importante entender como a cidade de Nova York configura-se no início da carreira do diretor, notadamente, em filmes que estabelecem um contraponto entre o Brooklyn e Manhattan. Em seguida, examina-se a questão crítica fundamental do trabalho: o cartão-postal corporativo na Europa. Nesse sentido, propõe-se a análise dos cartões-postais de Barcelona, Paris e Roma. O filme Vicky Cristina Barcelona adquire centralidade nesta pesquisa por apresentar de maneira exemplar a paisagem postiça da cidade encarcerada sob intervenção corporativa. / This research examines the representation of cities in Woody Allens work. In order to understand Allens European sojourn, it discusses the Blacklist Era, the runaway production and the impact of the blockbuster productions in the industry. The work understands New York as the quintessential frame of Allens depiction of cities overseas, notably in the early films that juxtapose Brooklyn and Manhattan. Henceforth, the key critical core of this work is presented: the corporate postcard in Europe. In this sense, it proposes an analysis of the postcards of Barcelona, Paris and Rome. The film Vicky Cristina Barcelona presents in an exemplary manner the cityscape under corporate intervention.

O objetivo desta dissertação é apontar para a duplicidade narrativa a partir da qual a história Zelig (1983) é contada. Por um lado, tem-se um narrador tradicional de um documentário em voz over, no entanto, sua forma de narrar acaba por revelar aspectos deste gênero como produção dentro da Indústria Cultural. Por outro lado, tem-se outra instância narrativa, conhecida como autor implícito, que coloca elementos em cena para que o espectador consiga ter uma leitura totalizadora da obra. Ademais, o filme Zelig, como produção cultural do início dos anos 1980, revela os desdobramentos e consequências de viver segundo uma ordem social pós-moderna. Observa-se, dentre outros fatores, a forma-mercadoria dominando todas as instâncias da vida social, além da espetacularização da sociedade presente em diversos aspectos da vida moderna. / The aim of this dissertation is to point to the narrative duplicity from which the story Zelig (1983) is told. On the one hand, there is a traditional voiceover documentary narrator, however, his way of narrating ends up revealing aspects of this genre as a production within the Cultural Industry. On the other hand, there is another narrative instance, known as implied author, who adds elements in the scene so that the viewer can have a totalizing reading of the work. Furthermore, Zelig, as cultural production from the early 1980s, reveals the ramifications and consequences of living according to a post-modern social order. We observe, among other factors, the commodity-form dominating all levels of social life. Moreover, the spectacularization of this society found in many aspects of modern life.

Este trabalho examina a representação das cidades na obra de Woody Allen. No intuito de compreender a saída do cineasta patrimônio da cidade de Nova York para a Europa, retoma-se criticamente a questão da Era da Lista Negra, das runaway productions e dos blockbusters. Para analisar os filmes de Allen na Europa considera-se importante entender como a cidade de Nova York configura-se no início da carreira do diretor, notadamente, em filmes que estabelecem um contraponto entre o Brooklyn e Manhattan. Em seguida, examina-se a questão crítica fundamental do trabalho: o cartão-postal corporativo na Europa. Nesse sentido, propõe-se a análise dos cartões-postais de Barcelona, Paris e Roma. O filme Vicky Cristina Barcelona adquire centralidade nesta pesquisa por apresentar de maneira exemplar a paisagem postiça da cidade encarcerada sob intervenção corporativa. / This research examines the representation of cities in Woody Allens work. In order to understand Allens European sojourn, it discusses the Blacklist Era, the runaway production and the impact of the blockbuster productions in the industry. The work understands New York as the quintessential frame of Allens depiction of cities overseas, notably in the early films that juxtapose Brooklyn and Manhattan. Henceforth, the key critical core of this work is presented: the corporate postcard in Europe. In this sense, it proposes an analysis of the postcards of Barcelona, Paris and Rome. The film Vicky Cristina Barcelona presents in an exemplary manner the cityscape under corporate intervention.

The purpose of this creative project was to outline the concept of Wetland Incentive Zones and to develop a site masterplan based on this concept. Meant as an alternative to large single-site wetland banks, Wetland Incentive Zones would be linear areas of land where wetland construction and preservation efforts would be concentrated. The linear structure would distribute the benefits associated with wetlands through a greater area than would a typical wetland bank. If linked together, the zones would form a network of recreational greenways and function as a travel corridor for wildlife. Participating zone landowners would benefit from tax abatements on wetland acreage and other incentive programs. The public would benefit from the preservation and construction of wetlands and the zone's recreational and educational elements.The masterplan was developed to direct wetland site development opportunities and public recreation and educational functions within a 3200 acre study site located in Allen County, Indiana. This site masterplan identified areas suitable for wetland construction, investigated their potential as wildlife habitat, and the wetland condition likely to be supported. The development plan for the site was focused on the use of an abandoned railroad line as a trail system for public recreation and educational use. / Department of Landscape Architecture

O objetivo desta dissertação é apontar para a duplicidade narrativa a partir da qual a história Zelig (1983) é contada. Por um lado, tem-se um narrador tradicional de um documentário em voz over, no entanto, sua forma de narrar acaba por revelar aspectos deste gênero como produção dentro da Indústria Cultural. Por outro lado, tem-se outra instância narrativa, conhecida como autor implícito, que coloca elementos em cena para que o espectador consiga ter uma leitura totalizadora da obra. Ademais, o filme Zelig, como produção cultural do início dos anos 1980, revela os desdobramentos e consequências de viver segundo uma ordem social pós-moderna. Observa-se, dentre outros fatores, a forma-mercadoria dominando todas as instâncias da vida social, além da espetacularização da sociedade presente em diversos aspectos da vida moderna. / The aim of this dissertation is to point to the narrative duplicity from which the story Zelig (1983) is told. On the one hand, there is a traditional voiceover documentary narrator, however, his way of narrating ends up revealing aspects of this genre as a production within the Cultural Industry. On the other hand, there is another narrative instance, known as implied author, who adds elements in the scene so that the viewer can have a totalizing reading of the work. Furthermore, Zelig, as cultural production from the early 1980s, reveals the ramifications and consequences of living according to a post-modern social order. We observe, among other factors, the commodity-form dominating all levels of social life. Moreover, the spectacularization of this society found in many aspects of modern life.

Puis-je croire ce que je vois ? Cette question surgit dans la religion, la science et l'art. Elle persiste, comme si la focale d'une caméra pouvait mesurer la distance entre la justice et la justesse. En effet, existe-t-il une éthique de la création cinématographique, interrogée tant du côté du travail d'un cinéaste que du côté de la réception, c'est-à-dire dans la façon de rendre compte d'une expérience de cinéma ? Si oui, cette éthique dérive-t-elle toujours d'un engagement politique préalable qui la guiderait ? Ou bien, son origine est-elle d'un tout autre type ? Cette thèse en esthétique du cinéma pose ces questions et confronte quelques-uns des films les plus énigmatiques et puissants du septième art avec les notions clé du philosophe français E. Levinas. La relecture serrée de son œuvre, sa critique du "dévoilement" heideggérien, jalonne les analyses détaillées de films comme Solaris, Les harmonies Werckmeister ou encore Zelig. Progressivement, chacun d'entre eux révèle sa profonde affinité avec les autres, même si tous n'appartiennent pas à la même période, ni au même style ou genre. La cohérence de l'ensemble est dans la problématique, dont chaque chapitre s'efforce d'éclairer un nouvel aspect. Ainsi, la recherche de l'autre et la pensée de Dieu représentent des points nodaux du texte sans que l'on y ait recours aux "images sacrées". / Can I believe what I see ? This question occurs in religion, science and art. As if pulling a camera's focus could measure the distance between justice and justness. Actually, is there any ethics of creation in cinema questioned from a filmmaker's inner motivation, as well as from the possibilities of transcription of such an experience ? If so, are ethics always directed by prior political involvement ? Or by another type of instruction ? This thesis in film studies asks these questions and confronts some of the most demanding and multi-leveled films by great authors with the key notions of E. Levinas (1906-1995), one of the most important French philosophers in the 20th century. Reading closely the thinker's oeuvre, his criticism of Heidegger's unveiling, this thesis offers a detailed analysis of Solaris, Werckmeister Harmonies and Zelig. Step by step, they reveal their deep-rooted affinities with each other, even though they do not all belong to the same period, style or genre. They are also connected to metaphysics in an innovative way. Both, seeking for the other and thinking of God, represent main points in this exposé without referring to holy images.

The purpose of this thesis is to preserve in an interesting, narrative form the facts connected with the founding and establishment of Allen Military Academy.

For the purpose of this study, Poe's tales were read and considered carefully in chronological order, the idea being to discover growth and development. Poe's literary career was relatively brief (1832-1849), and there are no dramatic or definite breaks or periods. Though his production shows growth in sophistication and artistry, it has been deemed more instructive to group Poets first-person narrators according to the part they play in the story, that is, (1) main actor or protagonist, (2) minor character, (3) observers and (4) combinations of the foregoing three. An attempt will be made to note both variation and pattern, and hence artistic skill, in Poe Is handling of each particular type of narrator.

Esta dissertação insere-se no âmbito do estudo da história dos museus, com o objectivo de analisar o projecto de modernidade nos museus da cidade do Porto. Procurou-se emquadrar a sua análise através da interpretação da epistemologia do conhecimento em Michel Foucault, no contexto do desenvolvimento do conceito de museu na Europa Ocidental. A pesquisa sobre o Museu Municipal do Porto procura abordar, num primeiro momento, os coleccionadores e as suas colecções desde o início do século XIX na cidade do Porto, para depois analisar os prolongamentos e rupturas dos padrões ideológicos que terão determinado a expressão do primeiro museu particular do país aberto ao público, o Museu João Allen. Num segundo momento, a fundação do Museu Municipal do Porto e as suas perspectivas de evolução até ao final do século XIX. O primeiro museu municipal do país, incompreendido, não aobedecia a qualquer política museológica. O processo de fossilização preconizou a sua extinção em 1940, quando foi integrado no Museu Nacional de Soares dos Reis, obedecendo à política do espírito do Estado Novo.

Earth's plasmasphere persists as an extension of the ionosphere into space. The toroidal region of plasma is shaped by electric and magnetic forces in the terrestrial magnetosphere. As a dense population of cold plasma, the plasmasphere interacts with particles in the hot ring current and energetic radiation belts. Evolution of plasmaspheric density under the driving influence of the solar wind crosses many physical scales. Convective erosion during geomagnetic storms occurs on the order of hours, reducing the size of the plasmasphere by forming an abrupt plasmapause density gradient that varies in radial and diurnal location. The history of geomagntic activity determines the presence of morphological structures as small as notches and as large as plumes. Plasma of atmospheric origin is carried sunward by convection through drainage plumes towards the magnetopause where it can diminish the effectiveness of magnetic reconnection. Long-lived plumes are sustained by a higher rate of refilling than typically observed during plasmasphere recovery from geomagnetic disturbances. The response of the plasmasphere, then, is an integral part of the feedback cycle between the magnetosphere and ionosphere in the exchange of energy and particles. This thesis aims to address three questions concerning the nature of the plasmasphere through the development of empirical and physics-based models under recent observations provided by the Van Allen Probes (RBSP-A & -B). First, what is the distribution of density content in the plasmasphere? For a two year period with full MLT coverage by RBSP, the upper-hybrid resonance frequency in plasma wave spectra is used to identify sudden changes consistent with the plasmapause feature and to calculate the magnetic equatorial electron density. Plasmapause encounter radial locations for both spacecraft are correlated with a geomagnetic activity index showing significant scatter around a linear fit. On average, the predicted plasmapause location does account for the separation between the saturated plasmasphere and the depleted plasmatrough. A density threshold corresponding to the plasmapause boundary is used to sort RBSP measurements into these two classified plasma regions. Model profiles are developed for each region and compared to the results from previous missions. The importance of solar wind properties in regulating the severity of plasmasphere erosion is demonstrated. Second, how does the plasmapause form and vary with geomagnetic activity? The two-dimensional plasmasphere density model, RAM-CPL, is employed to simulate two geomagnetic storms observed by the RBSP spacecraft. Inner-magnetospheric convection is parameterized by the Kp-index and solar wind properties. The performance of RAM-CPL is evaluated by the correspondence between virtual and actual plasmapause encounters. Overall, RAM-CPL achieved good agreement with RBSP observations of the plasmapause to within 0.5 L and measurements of electron density to within one order of magnetude inside the plasmasphere. An empirical model of ring current-ionosphere feedback was included to account for asymmetric erosion, but did not contribute significantly in the MLT sectors of interest when compared to electric field measurements. The difference in background activity level during quiet conditions between the two convection parameterizations was found to lead to 1 L difference in plasmapause location for each simulation trial. Solar wind driven simulations produce sharper and deeper erosion of the plasmapause at the onset of a geomagnetic storm, but also allow for larger recovery of the plasmasphere when compared to Kp-index driven simulations. Third, what is the role of the ionosphere in sustaining the plasmasphere? Four geomagnetic events are observed by RBSP in opposing MLT sectors to exhibit undisturbed plasmasphere refilling following significant erosion of the plasmapause. RAM-CPL simulations of the strongest storm parameterized by solar wind properties shows the full evolution of plasmasphere density from the narrowing of a sunward plume at the onset of erosion, that begins to corotate into a duskside bulge as activity diminishes, to the outward recovery of the plasmapause over several days. A piecewise empirical model of plasmasphere refilling is composed from profiles of equatorial electron density and the observed correlation between the Kp-index and plasmapause location. The RAM-CPL timescale of refilling mediates the increase in density from plasmatrough to plasmasphere levels matching RBSP measurements during the quiet period after the storm. Density observations of the other geomagnetic events are consistent with reports of a two-stage refilling process.