From early eighteenth-century literature to contemporary Gothic literature, the existence of Gothic conventions is evident. These Gothic conventions include family secrets, ruins or isolated mansions, hidden passageways, and bad weather. During an era when women were viewed as inferior and were expected to conform to the domestic expectations of their male counterparts, some female writers took it upon themselves to use their writing as a way to voice and illustrate the conditions that women endured. A thorough examination of Gothic Trappings in Charlotte Brontë’s Jane Eyre and Hannah Crafts’ The Bondswoman’s Narrative shows representations of various spaces that essentially confined women resulting in their silence. When analyzing the position of women during the nineteenth-century and the spaces that they were confined to, it becomes evident that the genre of Gothic literature serves as a device to challenge the restrictions placed on women in patriarchal society.

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Made available in DSpace on 2016-04-25T20:19:58Z (GMT). No. of bitstreams: 1 Clarisse Barreiros Barbosa de Araujo.pdf: 1705246 bytes, checksum: 0749bf511c9e57d03d953e5cda113dc8 (MD5) Previous issue date: 2010-11-12 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Design interventions in Brazilian crafts are promoted by governmental institutions and non-governmental organizations, seeking renewal of crafts, as a strategy for conquering markets and thereby promoting the generation of employment and income for craft groups. This dissertation examines how the interventions proposed by SEBRAE s Program for Craft Groups influences the creation and production of craftsmen, from the application of the methodology of work adopted by SEBRAE and experienced by artisans, designers and stylists in Factory Morumbi Fashion Project. Examining different usages of crafts (craft as object of usefulness, crafts as a factor of social distinction and crafts as a resource for socioeconomic improvements), we discuss the relationship between the artisans and the market stepped in the types of production of goods from this relationship: handmade, post-handmade, handcrafted professional, and professional corporate market. Such relations provides the views of the emergence of consumer as the power of interference in determining what will be created. The artisan produces according to market demand. We still analysis in this dissertation, governmental and non-governmental institutions with incentive programs for craft groups, which are using the concept of Culture as a socioeconomic improvement. Such institutions have particular forms of intervention in crafts, aiming at generating income, formation of new businesses and/or social distinction / As intervenções de design no artesanato brasileiro são fomentadas por instituições governamentais e não-governamentais, visando a renovação dos artesanatos, como estratégia de conquista de mercados, e assim, promoção da geração de trabalho e renda dos grupos artesanais. Esta dissertação analisa como as intervenções propostas pelo Programa SEBRAE de Artesanato influenciam na criação e na produção do artesão, a partir da aplicação da metodologia de trabalho adotada pelo SEBRAE e vivenciada pelos artesãos, designers e estilistas no Projeto Fábrica Morumbi Fashion. Tendo como ponto de partida diferentes usos do artesanato (artesanato como objeto de utilidade, artesanato como fator de distinção social e artesanato como recurso para a melhoria socioeconômica de uma comunidade), abordamos as relações estabelecidas entre os artesãos e o mercado pontuando os tipos de produção de mercadorias advindos dessa relação: artesanal, pós-artesanal, profissional de mercado e profissional empresarial. Tais relações de mercado deixam visível o surgimento do consumidor como o detentor de poder de interferência na determinação do que será criado. O artesão passa a produzir de acordo com uma demanda de mercado pré-estabelecida. Figuram ainda nesta dissertação, as instituições com programas de incentivo ao artesanato, instituições essas governamentais e não-governamentais, que passam a utilizar o conceito de Cultura como um recurso de melhoria socioeconômica de uma comunidade. Tais instituições possuem formas particulares de intervenção no artesanato, visando a geração de renda, a constituição de novos negócios e/ou a distinção social

Made available in DSpace on 2016-04-26T14:52:44Z (GMT). No. of bitstreams: 1 Clarisse Barreiros Barbosa de Araujo.pdf: 1705246 bytes, checksum: 0749bf511c9e57d03d953e5cda113dc8 (MD5) Previous issue date: 2010-11-12 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Design interventions in Brazilian crafts are promoted by governmental institutions and non-governmental organizations, seeking renewal of crafts, as a strategy for conquering markets and thereby promoting the generation of employment and income for craft groups. This dissertation examines how the interventions proposed by SEBRAE s Program for Craft Groups influences the creation and production of craftsmen, from the application of the methodology of work adopted by SEBRAE and experienced by artisans, designers and stylists in Factory Morumbi Fashion Project. Examining different usages of crafts (craft as object of usefulness, crafts as a factor of social distinction and crafts as a resource for socioeconomic improvements), we discuss the relationship between the artisans and the market stepped in the types of production of goods from this relationship: handmade, post-handmade, handcrafted professional, and professional corporate market. Such relations provides the views of the emergence of consumer as the power of interference in determining what will be created. The artisan produces according to market demand. We still analysis in this dissertation, governmental and non-governmental institutions with incentive programs for craft groups, which are using the concept of Culture as a socioeconomic improvement. Such institutions have particular forms of intervention in crafts, aiming at generating income, formation of new businesses and/or social distinction / As intervenções de design no artesanato brasileiro são fomentadas por instituições governamentais e não-governamentais, visando a renovação dos artesanatos, como estratégia de conquista de mercados, e assim, promoção da geração de trabalho e renda dos grupos artesanais. Esta dissertação analisa como as intervenções propostas pelo Programa SEBRAE de Artesanato influenciam na criação e na produção do artesão, a partir da aplicação da metodologia de trabalho adotada pelo SEBRAE e vivenciada pelos artesãos, designers e estilistas no Projeto Fábrica Morumbi Fashion. Tendo como ponto de partida diferentes usos do artesanato (artesanato como objeto de utilidade, artesanato como fator de distinção social e artesanato como recurso para a melhoria socioeconômica de uma comunidade), abordamos as relações estabelecidas entre os artesãos e o mercado pontuando os tipos de produção de mercadorias advindos dessa relação: artesanal, pós-artesanal, profissional de mercado e profissional empresarial. Tais relações de mercado deixam visível o surgimento do consumidor como o detentor de poder de interferência na determinação do que será criado. O artesão passa a produzir de acordo com uma demanda de mercado pré-estabelecida. Figuram ainda nesta dissertação, as instituições com programas de incentivo ao artesanato, instituições essas governamentais e não-governamentais, que passam a utilizar o conceito de Cultura como um recurso de melhoria socioeconômica de uma comunidade. Tais instituições possuem formas particulares de intervenção no artesanato, visando a geração de renda, a constituição de novos negócios e/ou a distinção social

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / Busca compreender as relaÃÃes que envolvem as interferÃncias de programas de polÃticas pÃblicas no artesanato por meio da atuaÃÃo de designers de moda no processo produtivo das artesÃs com a finalidade de ajustar o produto artesanal Ãs necessidades do mercado por meio da observaÃÃo de grupos de bordadeiras situados no municÃpio de Maranguape. AlÃm de descrever as conseqÃÃncias que esta nova realidade confere ao cotidiano das artesÃs, gerando muitas alteraÃÃes em seu modo de vida e na forma como valorizam o produto de seu trabalho, o presente estudo tambÃm à perpassado pelos fatores socioculturais que influenciam na criaÃÃo de demandas para os produtos artesanais na atualidade, como a necessidade de agregaÃÃo de valor simbÃlico/comercial aos bens industrializados, a necessidade de distinÃÃo entre grupos sociais e a geraÃÃo de renda para as pessoas que se encontram à margem do sistema industrial de produÃÃo. / This study wants to understand the relationships involving the interference of public policy programs in the handcraft by the role played by fashion designers in the production process of artisans in order to adjust the handcraft product to market needs by observing groups of embroiderers located in Maranguape. In addition to describing the consequences that this new reality gives the daily lives of artisans, creating many changes in their lifestyle and the way they value the product of their work, this study is also permeated by social and cultural factors that influencing the creation of demand for handcraft products at present time, the need for adding value commercial to industrial goods, the need to distinguish between social groups and income generation for people who are outside the system of industrial production.

The problem considered was the nature of traditional Appalachian chairmaking in a northern metropolis. The subject was an Appalachian migrant who moved to Cincinnati, Ohio. Culture change was viewed through the sociological, socioeconomic, and cultural effects of urbanization. Fieldwork focused on interrelated factors of individual personality, style and creativity, and chair production. Information on the chairmaker's background was extracted from Michael Owen Jones's, "Chairmaking in Appalachia: A Study in Style and Creative Imagination In American Folk Art" (Ph.D. dissertation, Indiana University, 1970). Dramatic changes in the folk art tradition occurred as a result of culture change. Given economic solvency and personal self—respect, the Appalachian migrant adopted certain aspects of the urban image. His personality changed in the new environment. This traditional artisan created unusual chairs in order to become successful in an urban area. A certain style was accepted by the urban consumer group. Creativity was not encouraged because the customer specified how the chair was to be built. This observation suggests that folk art traditions in an urban area persist or die cut depending on the rapport between the craftsman and the consumer. A successful craftsman cannot stabilize his art in an urban setting; influences for change and opportunities to change are too numerous.

@font-face { font-family: "Cambria Math"; }@font-face { font-family: "Palatino Linotype"; }p.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0in 0in 0.0001pt; font-size: 12pt; font-family: "Times New Roman"; }.MsoChpDefault { font-family: Cambria; }div.WordSection1 { page: WordSection1; } In recent years there has been growing consensus among academics and policy makers that cultural industries are key drivers of contemporary economic growth. For geographers and economists, the roles of agglomeration and knowledge flows are important factors that sustain the cultural industries. However, existing research focuses overwhelmingly on elite cultural industries in global cities. In addition, there has been little effort to account for new technologies that create a more complex landscape for the cultural economy by allowing cultural producers to collaborate, communicate, and operate from remote locations. This dissertation uses the independent (indie) crafting phenomenon to examine a grassroots, technologically driven alternative to elite cultural industries. In particular, the research employs mixed methods to examine agglomeration tendencies and networking in the digital age. The results of quantitative inquiry demonstrate that clustering and agglomeration are still defining features of the cultural industries in the digital age, but not in ways that are previously acknowledged. Independent cultural production clusters in second- and third-tier cities, suggesting that those places can use online resources to overcome geographic constraints to some extent. Following up with qualitative methods, this research finds that local support mechanisms such as business groups and small business resources reinforce clustering. Online communications tools also reinforce clustering. The Internet’s most important function is to help cultural producers find and organize information relevant to a local community. Although it is possible to make contacts on the other side of the world or access non-local information, the utility of those contacts and information is limited. The prevailing notion in current cultural economic literature is that technology decentralizes cultural production and increases the physical distance of market and social interactions. The dissertation argues, however, that the Internet provides a quicker, more efficient way for individuals to make contacts virtually, which then leads local connections and collaborations in “the real world.”

Alkylidene Meldrum’s acids are very reactive acceptors in conjugate additions, and are known to be significantly more electrophilic than other α,β-unsaturated carbonyl electrophiles. They also offer advantages in terms of ease of preparation, purification and storage. Despite this, they are relatively underused in organic synthesis, and have been treated as something of a curiousity in the literature. The goal of my research was to demonstrate the utility of these molecules in new reactions that are not readily available to other electrophiles. To facilitate this work, new conditions for the Knoevenagel condensation of aldehydes with Meldrum’s acid were developed. This allowed access to a broader range of monosubstituted alkylidenes than was previously possible from any single method. In a reaction that exploits the acylating ability of Meldrum’s acid, a domino addition of phenols to alkylidene Meldrum’s acids was developed. Here, Yb(OTf)3 catalyzed the addition of a phenol to the alkylidene as well as acylation through activation of the electrophile. The unique properties of these acceptors permitted synthesis of 3,4-dihydrocoumarins and coumarins through C-alkylation/O-acylation, and also 4-chromanones and chromones through O-alkylation/C-acylation. The predictable and general reversal of chemoselectivity is dependent on the number of substituents on the alkylidene. The same properties that make alkylidene Meldrum’s acids strong electrophiles also make them excellent dienophiles. A one-pot Diels-Alder/Friedel-Crafts process was used as an entry into the 6-5-6-tricyclic skeleton of a family of natural products that have been of interest in our group. The modular nature of the reaction allowed structural variation at nearly every position around both 6-membered rings. An attempted extension of this work into the synthesis of ergot alkaloids provided insight into the factors affecting Friedel-Crafts acylation of 4-substituted indoles. These results provided a highly regioselective entry into 4,5-fused indole ring systems. The electrophilicity of alkylidene Meldrum’s acids was combined with Lewis acid activation for development of a mild conjugate allylation reaction. The use of allyltriphenyltin as nucleophile for addition to monosubstituted alkylidenes avoided many of the practical disadvantages of working with trialkylstannanes. By employing such a relatively weak allylating agent, functional group compatibility was maximized to include groups susceptible to nucleophilic allylation. Additions to chiral, non-racemic alkylidenes were highly diastereoselective. It was also shown that functionalized all-carbon quaternary stereocentres can be formed by this process.

Alkylidene Meldrum’s acids are very reactive acceptors in conjugate additions, and are known to be significantly more electrophilic than other α,β-unsaturated carbonyl electrophiles. They also offer advantages in terms of ease of preparation, purification and storage. Despite this, they are relatively underused in organic synthesis, and have been treated as something of a curiousity in the literature. The goal of my research was to demonstrate the utility of these molecules in new reactions that are not readily available to other electrophiles. To facilitate this work, new conditions for the Knoevenagel condensation of aldehydes with Meldrum’s acid were developed. This allowed access to a broader range of monosubstituted alkylidenes than was previously possible from any single method. In a reaction that exploits the acylating ability of Meldrum’s acid, a domino addition of phenols to alkylidene Meldrum’s acids was developed. Here, Yb(OTf)3 catalyzed the addition of a phenol to the alkylidene as well as acylation through activation of the electrophile. The unique properties of these acceptors permitted synthesis of 3,4-dihydrocoumarins and coumarins through C-alkylation/O-acylation, and also 4-chromanones and chromones through O-alkylation/C-acylation. The predictable and general reversal of chemoselectivity is dependent on the number of substituents on the alkylidene. The same properties that make alkylidene Meldrum’s acids strong electrophiles also make them excellent dienophiles. A one-pot Diels-Alder/Friedel-Crafts process was used as an entry into the 6-5-6-tricyclic skeleton of a family of natural products that have been of interest in our group. The modular nature of the reaction allowed structural variation at nearly every position around both 6-membered rings. An attempted extension of this work into the synthesis of ergot alkaloids provided insight into the factors affecting Friedel-Crafts acylation of 4-substituted indoles. These results provided a highly regioselective entry into 4,5-fused indole ring systems. The electrophilicity of alkylidene Meldrum’s acids was combined with Lewis acid activation for development of a mild conjugate allylation reaction. The use of allyltriphenyltin as nucleophile for addition to monosubstituted alkylidenes avoided many of the practical disadvantages of working with trialkylstannanes. By employing such a relatively weak allylating agent, functional group compatibility was maximized to include groups susceptible to nucleophilic allylation. Additions to chiral, non-racemic alkylidenes were highly diastereoselective. It was also shown that functionalized all-carbon quaternary stereocentres can be formed by this process.

This thesis analyzes Rabi­ Yehuda Halevy synagogue, which Victor Babani designed and Francisco Canovas built from 1941 to 1942 in the Colonia Roma Sur of Mexico City. I focus on its formal characteristics, as well as its socio-historical context. I examine late-nineteenth century to mid-twentieth century life for Sephardic Jews in Mexico: their cause for immigration, experience in their new homeland, and relations with other Jewish groups and non-Jews in the city. I explore the use of style and iconography in the synagogue in relation to the history and prior employment of these architectural features. Defining "style" in the Rabi­ Yehuda Halevy demands an understanding of the employment of a particular formal language in the design of minority groups' architecture. The process of finding a style to portray national identity in Mexico was parallel to the Mexican Sephardim's use of architecture to articulate their own identity in the city.