The history of the art museum's growth in America is presented in this thesis to place the development of the public art museum in the proper context. The museum has absorbed its sense of worth and power from the people who shaped its policy and believed in its ability to accomplish positive feats. Its growth as a force in the art world was subtle and studied, but amazingly complete. The museum which doubts its ability to persuade, convince, educate and entertain does not long survive. Examining the people and their attitudes with whom the museums had the most contact and noting its response to the world in which it has operated, the parallels are strikingly similar. The museum is strong because groups contributed to its growth and maturity; its weaknesses are those in which the three factions were also less effective. There are no hard and fast truths to prove this theory -- but examination of its plausability is a valuable tool for understanding how the museum became such an important institution of our time.

Diploma thesis deals with methods of valuation of properties in the Slovak Republic focusing on the family house. In thesis is also described a detailed questionnaire, which is dedicated to the real estate slovak market research . Diploma thesis describes analysis of the the most common valuation methods used in Slovakia. In thesis is indicated valuation of family house situated in Žilina region using 3 methods.

Jean-Baptiste de Lagoy fut membre de la riche noblesse provençale. Dans l’hôtel familial d’Arles, il s’adonna au loisir lettré de la bibliophilie, et constitua la carte de ses savoirs. La Révolution le poussa hors de Provence. Il se réfugia à Paris, où il installa son cabinet rue Caumartin. En une vingtaine d’années, il acquit environ deux-mille cinq cents dessins. Dans un espace privé de sociabilité, Il revendiqua ses savoirs, et mit en place des critères, découlant d’une réflexion sur l’art, permettant de faire des attributions, et décider qui pouvait être admis dans leur cénacle. Il recherchait médailles, « beaux livres », et la possession de dessins. Au sein de ce cercle restreint, Lagoy rencontra ceux qui lui cédèrent des dessins de toutes les écoles, ceux qui vinrent lui rendre visite pour lui acheter des feuilles. Clarac, ami proche de Lagoy, critique d’art, s’appliqua, au travers de deux collections visitées à Paris, à définir, en cette fin du XVIIIe et début du XIXe siècle, la figure sociale du connaisseur. Ses collections devaient être classées, s’opposant à l’entassement, à la confusion de celles du curieux. Exprimer son goût, en terme de laid ou de beau, expérience esthétique, spontanée et subjective, de plaisir ou de déplaisir, fut la façon pour le connaisseur de livrer son expérience visuelle, face aux collections visitées. Lagoy, dans un Inventaire manuscrit, classa sa collection sur un mode historique et évolutif, mettant en exergue, son goût grâce à ses choix, le concept de « progrès des arts » cher aux théoriciens de l’époque, montrant qu’il participait à la recherche historique. / Jean-Baptiste de Lagoy (1764-1829), came from the rich Provence aristocracy. In his family manor at Arles, he devoted himself to the literary pastime of bibliophilia and built up his knowledge. He was forced out of Provence by the Revolution. He took refuge in Paris and organised his cabinet rue Caumartin. He acquired around 2,500 drawings in the space of twenty years. In a private sociable space, he demonstrated his expertise, and implements criteria, based on reflections on art which enabled attributions to be made, by way of comparison, and deciding who could be admitted into this circle. He bought medallions, "fine books", and drawings. Within this inner circle, Lagoy met people who sold him sheets of drawings from all the different schools and visitors who came to buy drawings from him. Clarac, one of Lagoy's close friends and an art critic, set out to establish the social figure of the connoisseur through two visited collections in Paris. His works had to be organised as opposed to the crowding together and confusion of the mere amateur collector. Expressing his taste, in terms of beauty and ugliness, the aesthetic, spontaneous, and subjective experience of pleasure or displeasure, was the way in which Clarac could express his visual experience when visiting the collections. Lagoy, in a handwritten inventory, classified his collection in terms of history and evolution, his taste informing his choices, and he highlighted the notion of "progress of the arts", a concept that was popular with theorists of the period, demonstrating how he was in tune with historical research.

Submitted by Ronan Torres Quintão (rtquintao@gmail.com) on 2015-04-01T21:52:00Z No. of bitstreams: 1 Dissertation Ritual v.24 entregue secretaria CMCD.pdf: 9377234 bytes, checksum: 547226fde411215191d5cc0181cf9393 (MD5) / Approved for entry into archive by Pamela Beltran Tonsa (pamela.tonsa@fgv.br) on 2015-04-07T13:28:15Z (GMT) No. of bitstreams: 1 Dissertation Ritual v.24 entregue secretaria CMCD.pdf: 9377234 bytes, checksum: 547226fde411215191d5cc0181cf9393 (MD5) / Made available in DSpace on 2015-04-07T13:28:42Z (GMT). No. of bitstreams: 1 Dissertation Ritual v.24 entregue secretaria CMCD.pdf: 9377234 bytes, checksum: 547226fde411215191d5cc0181cf9393 (MD5) Previous issue date: 2015-03-05 / Although the consumer culture field has addressed the role ritual plays in consumption, defining and describing this construct and explaining its dimensions, cultural meanings, elements, components, and practices, as well as revealing the differentiation in consumer practices, no research has yet identified how consumers, through ritual practices, establish and manipulate their own differentiation from other consumers during their rite of passage from one cultural category of person to another. Drawing on key concepts from ritual theory, my research addresses the role played by ritual in connoisseurship consumption. Conducting an ethnographic study on connoisseurship in specialty coffee consumption, I immersed myself in the field, visiting and observing consumers in high-end independent coffee shops in North America—Toronto, Montreal, Seattle, and New York—from August 2013 to July 2014. I also immersed myself in the Brazilian specialty coffee field, in Belo Horizonte and São Paulo, from August 2014 to January 2015, to compare and contrast the specialty coffee consumption cultures of Brazil, the United States, and Canada. I used long interviews, participant observation, netnography, introspection, and historical newspaper analysis to collect the data, which was then interepreted using a hermeneutic approach, comparing consumers’ stages in their connoisseurship rites of passage. To extend my understanding of connoisseurship consumption, I also collected data from the wine consumption context. In this dissertation, I introduce the idea of the taste transformation ritual, theorizing the process as a connoisseurship rite of passage, which converts regular consumers into connoisseur consumers. My research reveals that connoisseur consumers are amateurs in different stages of the connoisseurship rite of passage. They transform themselves by establishing and reinforcing the oppositions between mass and connoisseurship consumption. The taste transformation ritual involves the following elements: (1) variation in the choices of high-quality products, (2) the place to perform the tasting, (3) the moment of tasting, (4) the tasting act, (5) time and money investment, (6) increased subcultural and social capital, and (7) perseverance on the rite of passage. Connoisseur consumers participate in the connoisseurship consumption community. This heterogeneous community is composed of outstanding professionals, connoisseurs, and regular consumers. The forces that drive the community, as identified in this study, are the production of subcultural and social capital, emulation of professional and ritual consumption practices, enactment tensions between the community members, commercial friendship, and status games. I develop a broader theoretical account that builds on and extends a number of concepts regarding ritual consumption, taste, heterogeneous community, and connoisseur consumers. / Apesar de o campo da cultura de consumo ter abordado o papel do ritual no consumo, definindo e descrevendo este constructo e explicando suas dimensões, significados culturais, elementos, componentes e práticas, assim como revelando a diferenciação nas práticas dos consumidores, nenhuma pesquisa ainda identificou como os consumidores, por meio de práticas de ritual, estabelecem e manipulam suas próprias diferenciações em relação a outros consumidores durante o rito de passagem deles de uma categoria cultural de pessoa para outra. Tendo como base conceitos-chaves da teoria sobre ritual, minha pesquisa aborda o papel do ritual no consume de apreciação. Conduzindo um estudo etnográfico sobre consumo de apreciação de cafés especiais, eu realizei uma imersão no campo, visitando e observando consumidores em cafeterias independentes de destaque na América do Norte – Toronto, Montreal, Seattle e Nova York – de agosto de 2013 a julho de 2014. Eu também realizei uma imersão no contexto de cafés especiais no Brasil em Belo Horizonte e São Paulo, de agosto de 2014 a janeiro de 2015, para comparar e contrastar as culturas de consume de cafés especiais de Brasil, Estados Unidos e Canadá. Eu usei entrevistas longas, observação participante, netnografia, introspecção e análise histórica de artigos de jornais para coletar os dados, que foram interpretados utilizando a abordagem hermenêutica, comparando os consumidores em diferentes estágios durante o rito de passagem de apreciação. Para estender meu entendimento sobre o consumo de apreciação, eu também coletei dados sobre o contexto de consumo de vinho. Nesta tese, eu introduzo a ideia de ritual de transformação do gosto, teorizando sobre o processo do rito de passagem de apreciação, que converte consumidores regulares em consumidores apreciadores. Minha pesquisa revela que consumidores apreciadores são amadores em diferentes estágios do rito de passagem de apreciação. Eles se transformam pelo estabelecimento e reforço de oposições entre o consume de massa e de apreciação. O ritual de transformação do gosto envolve os seguintes elementos: (1) variação nas escolhas de produtos de alta qualidade, (2) o lugar para realizar a degustação, (3) o momento da degustação, (4) o ato de degustar, (5) investimento de tempo e dinheiro, (6) aumento do capital subcultural e social, (7) perseverança no rito de passagem. Os consumidores apreciadores participam da comunidade de consumo de apreciação. Essa comunidade heterogênea é composta por profissionais excelentes, apreciadores e consumidores regulares. As forças que direcionam a comunidade, de acordo com o que foi identificado no estudo, são a produção de capital social e subcultural, emulação do profissional e das práticas de ritual de consumo, tensões de performance entre os membros da comunidade, amizade comercial e jogo de status. Eu desenvolvo uma ampla consideração teórica que desenvolve e estende um número de conceitos em relação a ritual e consumo, gosto, comunidade heterogênea e consumidores apreciadores.

The Thesis „Comparison of fruit trees prices ascertained by the simplified and yield method“ deals with the comparison of both pricing methods, where there are defined factors on the basis of ascertained facts which have essential influence on price difference of fruit trees and subsequently the proposal to their modification is made.

La gastronomie peut être considérée comme une attention portée à la dimension esthétique de l’alimentation. Les biens gastronomiques sont donc des biens symboliques dont l’échange sur le marché passe par l’existence de dispositifs de valorisation particuliers. En tant qu’il contribue à orienter les consommateurs sur un marché opaque et à leur indiquer le « bon » produit ou la « bonne » manière de cuisiner, le journalisme gastronomique constitue un dispositif de médiation marchande. À partir notamment d’entretiens, d’observations, d’une enquête quantitative et de statistiques textuelles, cette thèse s’attache à rendre compte de la manière dont se construit un tel dispositif. Dans une perspective diachronique, les premiers chapitres sont consacrés à l’émergence du dispositif au XIXe siècle et à sa construction à l’articulation de différents espaces sociaux (gastronomique, amateur et journalistique). Il apparaît qu’à la fin du XXe siècle, un marché de la presse gastronomique se met en place qui rend le point de vue des titres dépendant de leur positionnement dans la concurrence et de leur modèle économique. Ce sont ensuite les acteurs individuels de la fabrication de l’information journalistique qui sont étudiés. L’analyse des parcours et des compétences des journalistes ainsi que de leurs concurrents potentiels que sont les blogueurs culinaires met en évidence différentes formes d’écriture gastronomique et les types de confiance qui en découlent. Enfin, l’étude du travail concret des journalistes permet de rendre compte de la similitude des contenus médiatiques et l’analyse du parcours de journalistes renommés autorise à saisir leurs modes de différenciation professionnelle. / Gastronomy can be regarded as a particular attention paid to the aesthetic dimension of food. Gastronomic goods are thus symbolic goods and their market exchange needs the existence of specific valuation devices. As a tool that directs consumers in an opaque market and that indicates the “right” product, or the “right” way to cook, food journalism can be considered as a market device. This thesis is based upon a fieldwork including in-depth interviews, observations, statistics and text analysis. It focuses on the way such a device is built. In a diachronic approach, the first chapters deal with the emergence of this device during the 19th century and with its construction at the crossroads of different social spaces (food world, connoisseurs’ world and journalistic world). It appears that at the end of the 20th century, with the setting up of a food magazines’ market, the vision carried by magazines becomes dependent on their position in competition and on their business model. Then, the individual actors and the making of news are studied. The analysis of the trajectories and the skills of journalists and food bloggers who may compete with them put the light on different forms of food writing and different kinds of trust associated with them. Finally, the study of the actual work of food journalists allows to account for the similarity of media content. The analysis of the career paths of renowned food journalists helps to understand the way they manage to differentiate themselves from the others.