Submitted by Marta Toyoda (1144061@mackenzie.br) on 2017-05-09T20:33:51Z No. of bitstreams: 2 Anna-Beatriz Bassalo Aflalo.pdf: 11977747 bytes, checksum: 8c62387b7f8221a365131d9b6cbcfd0a (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Paola Damato (repositorio@mackenzie.br) on 2017-05-10T16:00:40Z (GMT) No. of bitstreams: 2 Anna-Beatriz Bassalo Aflalo.pdf: 11977747 bytes, checksum: 8c62387b7f8221a365131d9b6cbcfd0a (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-05-10T16:00:40Z (GMT). No. of bitstreams: 2 Anna-Beatriz Bassalo Aflalo.pdf: 11977747 bytes, checksum: 8c62387b7f8221a365131d9b6cbcfd0a (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-02-06 / The objective of this study is to analyze the aspects that sets the Vila da Barca Residential Complex Design pondering the peculiarities of the city and land for what it was designed and the housing programs in what it was embedded. Beginning from this and recognizing the architect's creative limitations for this type of design, qualify the architectural and urban solutions of the Vila da Barca Residential Complex Design by architect Luiz Fernando de Almeida Freitas´s authorship. Vila da Barca is a community settled on the shores of Guajará bay, in an illegal and precarious way. It began as a consequence of the economic development of Belém enhaced by the Belle Epoque era. In order to pursue the objective of this work, the process of urbanization of Belém will be studied aiming to understand how the occupation of the region began. It will also be investigated how part of the stilts of the Vila is today, difficulties they face, the current housing conditions, and the problems to be solved within the housing and urbanization design. With this information, a study will be accomplished on the housing situation in Brazil and in Belém, in addition to the investigation of housing programs to which the Vila da Barca Residential Complex Design was framed, attempting to understand what elements and what criteria are considered by the national housing policy when it comes to social housing. From this information and according to other sources, an analysis of the Urban Insertion, Implantation, Housing Typology, Constructive Systems, Climatic Adequacy and Types of houses will be made. As possible conclusions, we intend to answer: what should be the solutions for the Vila da Barca Residential Complex Design, through the situation in which the community is? For what problems did the architect of the Vila da Barca Residential Complex Design find positive solutions? What new problems were created or what old problems have not been solved? / O objetivo deste trabalho é analisar os aspectos que compõem o projeto do conjunto habitacional da Vila da Barca, levando em consideração as peculiaridades da cidade e terreno para o qual foi projetado e os programas habitacionais nos quais foi encaixado. A partir disto, e reconhecendo as limitações criativas do arquiteto diante deste tipo de projeto, qualificar as soluções arquitetônicas e urbanísticas do projeto do Conjunto Residencial da Vila da Barca, de autoria do arquiteto Luiz Fernando de Almeida Freitas. A Vila da Barca é uma comunidade assentada às margens da Baía do Guajará, de forma ilegal e precária. Começou a se formar como consequência do desenvolvimento econômico de Belém causado pela Belle Époque. Para atingir o objetivo, será estudado o processo de urbanização da cidade, visando compreender como se iniciou a ocupação da região do objeto de análise. Será investigado também como a porção de palafitas da Vila se encontra hoje, quais dificuldades enfrentam, as condições atuais de moradia, e os problemas a serem resolvidos pelo projeto de habitação e urbanização. De posse destas informações, será realizado um estudo do panorama habitacional no Brasil e em Belém, além da investigação de programas habitacionais aos quais foi enquadrado o projeto da Vila da Barca, na tentativa de compreender quais elementos e quais critérios são considerados pela política nacional de habitação quando se trata de habitação social. A partir destas informações e de acordo com outras fontes, será feita uma análise dos critérios de Inserção Urbana, Implantação, Tipologia, Sistemas Construtivos e Adequação Climática, e Unidades Habitacionais. Como possíveis conclusões, pretende-se responder: o que deve resolver o projeto de habitação e urbanização da Vila da Barca, mediante a situação em que se encontrava a comunidade? Para quais problemas o arquiteto do conjunto habitacional da Vila da Barca conseguiu soluções positivas? Que novos problemas foram criados ou que antigos problemas não foram resolvidos?

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Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

After the Council of Trent, Catholic Spain in the seventeenth century increasingly turned to the arts to articulate their identity and mission as a church. Writing for the Spanish Court in the early 1630s, Pedro Calderón de la Barca uses La cena del rey Baltasar to portray the Church as an essential mediator for the relationship between the congregant and the divine, specifically through the use of didactic imagery and authoritative interpretation of God’s word. This essay reviews elements in the play that support this message and articulates the eucharistic and allegorical elements therein. The action of the Biblical narrative and the play culminates in the divine manifestation of the hand of God, a moment also captured in paint by the Catholic Spanish painter Jusepe de Ribera and the Protestant Dutch painter Rembrandt van Rijn. These painted works serve as visual hermeneutics articulating the contrasting views of Catholics and Protestants in post-Tridentine Europe.

Esta tesis consiste en un estudio literario sobre los aspectos centrales de la comedia de santos Las cadenas del Demonio y en los prolegómenos de su edición crítica. Está constituida por tres partes. En el primer capítulo, dedicado al estudio literario, se recoge el debate respecto de la autoría calderoniana, se aborda el subgénero de la comedia, la probable fecha de composición, sus representaciones y traducciones y, finalmente, se revisan las posibles fuentes en las que Calderón se pudo haber basado para la elaboración de esta comedia. El segundo capítulo presenta el estudio de la transmisión textual. A partir del análisis de las variantes en los testimonios más representativos, se determinó que el testimonio G, correspondiente a una suelta temprana, es el más cercano al arquetipo y que, en la transmisión de los testimonios estudiados, existen dos subarquetipos perdidos. El tercer capítulo contiene el texto crítico fijado a partir del stemma obtenido en el capítulo anterior. Dicho texto crítico aparece enriquecido por la revisión de las acotaciones, la introducción de las enmiendas que se consideren necesarias, así como notas al pie de página que permitan esclarecer ciertos términos y recoger comentarios críticos pertinentes.

Ce travail prend en considération deux champs disciplinaires: d'un côté on trouve la représentation actuelle du théâtre du Siècle d'Or espagnol, et de l'autre, les nouveaux langages technologiques de la scène contemporaine. Dans la très vaste production du 17e siècle espagnol, cette étude se concentre sur un auteur: don Pedro Calderon de la Barca (1600-1681) ; et parmi ses diverses oeuvres, on choisit comme objet de recherche le texte El Castillo de Lindabridis, (Le Château de Lindabridis, 1661ca). La thèse comprend une analyse théâtrologique qui couvre autant le contexte dans lequel la pièce a été conçue et montée pour la première fois, que l'horizon d'attentes du public d'aujourd'hui. On vise deux objectifs: 1) Caractériser le discours de spectacle de Calderon, qu'on a associé au développement technologique du théâtre au 17e siècle; et 2) Élaborer une proposition dramaturgique du texte, en actualisant sa dimension technologique. À chacun de ces objectifs correspond une des deux parties de la thèse. Ainsi, la deuxième partie, et plus spécifiquement le chapitre de la proposition dramaturgique, se veut une approche théorique nettement théâtrale, qui diverge et s'éloigne des études littéraires, car on décrit la démarche artistique et expérimentale de façon plus technique. Le lecteur devra faire appel aux sens de l'imagination visuelle pour suivre efficacement le contenu. Donc, dans cette recherche on essai d'approfondir l'étude des pièces de spectacle de Calderon à travers des explorations des nouveaux langages scéniques. On offre aussi une manière alternative de rapprocher la production des textes classiques au public contemporain. La richesse de l'oeuvre de Calderon et la nature même du théâtre, un art vivant que se transforme avec le temps selon son public et ses interprètes, fournissent beaucoup de matériel artistique et académique pour poser des nouveaux questionnements et développer des nouvelles possibilités créatives.

My graduate film at Virginia Commonwealth University, "Nunna Mia e la Barca," explores the traditions behind narrative and documentary film construction. With this project, my goal was to blend narrative story telling techniques - for example continuity editing - with that of documentary approaches in order to communicate the story of my Italian grandmother, Nunna, and her journey on the Andrea Doria in 1956. These documentary approaches focus more on the specific details of Nunna's American home as I have experienced them growing up. Everything in the motion picture frame has been lit, composed, rehearsed, and edited as in any fictional film, but the actors are my family and do play themselves and others throughout the piece. Although the work is scripted, the actuality of Nunna being herself and acting out her daily tasks creates a soft merging of fiction and nonfiction that makes the film nearly docudramatic. The docudramatic elements(elements dramatized from a true story) stem from both the biographical information as well as the perception of the abstracted objects in Nunna's house. As in most of my films, my interest lies in the relationship between past and present events and the effect they have on the individual experiencing them. In order for me to tackle the combination of narrative and documentary, I had to define the terms as I understood them to be.