Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study aims to address the issue of crafts and symbolic market, with a view to marketing gauchescos products in the rural community of Vila Progresso artisans in Caçapava do Sul / RS, which initially developed to work with traditional techniques of wool crafts, practiced by generations and transmitted through women. This knowledge in practice produce symbolic pieces of the gaucho way of life of the past, reinvented this Traditionalist Gaucho Movement (MTG) and various contemporary cultural elements, such as the appreciation of the authentic and rustic. From this context, the theoretical study of the thematic guide mentioned the problem of research that sought to investigate: the symbolic mercado of gauchescos products in Vila Progresso in Caçapava do Sul / RS was turning the wool crafts in the community? In this sense, these changes have occurred and have the same consequences for the community of artisans? As a goal, we try to understand the relationships that are established between craft and symbolic gauchescos market products in the affected community, as well as the possible changes that may have occurred because of this relationship and its implications for the community. This research is part of a qualitative methodology, set up as a case study, with exploratory, descriptive and reflective perspective, where the main theoretical and methodological foundations are based on Bourdieu authors (2007) Canclini (1983), and Oliven (2006). As a result of research, it is observed that there were several changes in the daily lives of artisans with the expansion of demand for symbolic products of the gaucho tradition, encouraged by traditionalism, at an early date, and the appreciation of local cultures due to a cultural hybridity experienced by contemporary society. The community of artisans began to diversify crafts to be sold in the local stalls, covering a wide variety of agricultural products in wool, leather and wood, with a view to meet the needs of a consumer who has appreciation for rustic or cultivate invented traditions as a result of this fact the craftsmen grew and achieved economic stability with the expansion of this market. Thus, diversification has brought a number of new elements for the productive and commercial aspects of the craftsmen on site, where craftsmen are building new business strategies and expand trade relations, but without losing the authorship of the production process of woolen / O presente estudo visa uma aproximação da temática artesanato e mercado simbólico, tendo em vista a comercialização dos produtos gauchescos na comunidade rural de artesãos da Vila Progresso em Caçapava do Sul/RS, a qual desenvolveu-se inicialmente trabalhando com técnicas tradicionais do artesanato em lã, praticadas por várias gerações e transmitidas através das mulheres. Esses saberes produzem na prática peças simbólicas do modo de vida do gaúcho do passado, reinventado no presente pelo Movimento Tradicionalista Gaúcho (MTG) e por vários elementos culturais contemporâneos, como o apreço pelo autentico e pelo rústico. A partir desse contexto o estudo teórico das temáticas citadas norteiam a problemática de pesquisa, a qual procurou investigar: se o artesanato na Vila Progresso em Caçapava do Sul/RS foi transformando-se em função do mercado simbólico dos produtos gauchescos? Em que sentido ocorreram estas transformações e quais foram as consequências das mesmas para a comunidade de artesãos? Como objetivo geral, procurou-se compreender as relações que se estabelecem entre artesanato e o mercado simbólico dos produtos gauchescos na comunidade citada, bem como, as possíveis mudanças que possam ter ocorrido em função dessa relação e as implicações das mesmas para a comunidade. Essa pesquisa parte de uma metodologia qualitativa, configurase como um estudo de caso, com perspectiva exploratória, descritiva e reflexiva, onde as principais bases teórico-metodológicas estão embasadas nos autores Bourdieu (2007) Canclini (1983), e Oliven (2006). Como resultado da pesquisa, observa-se que houveram várias mudanças no cotidiano dos artesãos com a ampliação da demanda por produtos simbólicos da tradição gaúcha, incentivada pelo tradicionalismo, em um momento inicial, e pela valorização das culturas locais em função de um hibridismo cultural vivenciado pela sociedade contemporânea. A comunidade de artesões passou a diversificar os artigos artesanais a serem comercializados nas tendas do local, abrangendo uma ampla variedade de produtos rústicos em lã, couro e madeira, tendo em vista, suprir as necessidades de um consumidor que tem apreço pelo rústico ou que cultiva as tradições inventadas, como consequência de tal fato os artífices cresceram e conseguiram estabilidade econômica com a expansão desse mercado. Sendo assim, a diversificação trouxe uma série de elementos novos para os aspectos produtivos e comerciais dos artesãos no local, onde os artesãos estão construindo novas estratégias comerciais e ampliando as relações comerciais, mas sem perder a autoria do processo de produção das peças em lã.

The original purpose of this investigation was to prepare a series of diketones. However, since considerable difficulty was encountered in the preparation of these diketones, attention was shifted to a study of the Friedel-Craft reactions of phenolic ethers and to the reaction between phenolic ethers and dicarboxylic acids with boron trifluoride as a catalyst.

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2016-04-12T12:53:55Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Tese de doutorado - Ana Andrade - 2015.compressed.pdf: 9490756 bytes, checksum: 5028371acae7ee46385e03b49844b1c5 (MD5) / Made available in DSpace on 2016-04-12T12:53:55Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Tese de doutorado - Ana Andrade - 2015.compressed.pdf: 9490756 bytes, checksum: 5028371acae7ee46385e03b49844b1c5 (MD5) Previous issue date: 2015-02-25 / Estudiosos e pesquisadores são atraídos pelo tema design–artesanato e seus achados revelam perspectivas nem sempre convergentes. Reconhecendo a importância e provocações que o tema suscita, o interesse desta pesquisa é compreender a relação design–artesanato sob a ótica da gestão, mais especificamente da Gestão de Design, a partir do pressuposto de que os conhecimentos de Gestão de Design podem ser vantajosos para o artesanato. Esse pressuposto norteia a hipótese de que os modelos de gestão de design podem ser adaptados para auxiliar a atuação do designer no ambiente artesanal, desde que valorize a cultura local e contribua para a sustentabilidade ambiental, econômica e social de comunidades produtoras de artesanato. A atuação da pesquisadora no Laboratório de Design da Universidade Federal de Pernambuco O Imaginário junto a comunidades artesãs motivou a pesquisa na busca de um modelo de gestão de design adequado à realidade das comunidades produtoras de artesanato, observando questões relacionadas à sustentabilidade ambiental, social e econômica, a partir da análise de modelos de gestão do design utilizados no ambiente industrial. A pesquisa considerou as vantagens da metodologia de abordagem dialética para compreender a dinâmica das relações nos diferentes contextos (comunidade artesã, mercado e gestores públicos) e utilizou o estudo de caso como método de procedimento. O modelo de intervenção de design no artesanato desenvolvido pelo Laboratório O Imaginário foi tomado como objeto de estudo, enquanto as comunidades artesanais atendidas pelo Laboratório, no Cabo de Santo Agostinho e em Ponta de Pedras, foram selecionadas como unidades de análise. A partir da crítica aos modelos de gestão de design e de atuação no artesanato, a pesquisa sugere adaptações que fomentam a gestão de design, a visão empreendedora e o negócio na proposta de adaptação do modelo de gestão de design para o artesanato. A associação ensino-pesquisa-extensão e o papel da Universidade na articulação dos setores público e privado se revelaram indutores importantes para o fomento do desenvolvimento local e, inovação ão social1 e sustentabilidade de comunidades, municípios e regiões. / Scholars and researchers are attracted by the design-crafts theme and their findings reveal perspectives that are not always convergent. Recognizing the importance and provocations that the issue raises, the interest of this research is to understand the design-crafts relationship from the management perspective, more specifically the Design Management, from the assumption that its knowledge can be advantageous to crafts. This assumption guides the hypothesis that design management models can be adapted to support the work of the designer in the craft environment, provided that it values local culture and contributes to environmental, economic and social sustainability of craft producing communities. The role of the researcher at the Federal University of Pernambuco Laboratory of Design The Imaginarium, along with artisan communities, motivated the study in search of a design management model appropriate to the reality of craft producing communities, noting issues related to environmental, social and economic sustainability, from the analysis of design management models used in the industrial environment. The research considers the advantages of dialectical approach methodology to understand the dynamics of relationships in different contexts (artisan community, market and public administrators) and used the case study as a method of procedure. The design intervention model in crafts developed by The Imaginarium Laboratory was used as an object of study, and the artisanal communities served by the Laboratory, in Cabo de Santo Agostinho and Ponta de Pedras, were selected as units of analysis. Based on the criticism of design management models and performance in crafts, this research suggests adaptations that promote design management, entrepreneurial vision and business in the proposal to adapt the design management model for the craft sector. The association teaching-research-extension and the role of the University in the articulation of public and private sectors have revealed themselves important guidelines for the promotion of local development and social innovation and sustainability of 2 f communities, municipalities and regions.

<p>&nbsp;&nbsp;&nbsp; Бачка је равна и плодна регионална целина, насељена многобројним&nbsp; становништвом у сеоским и градским насељима и изукрштана путевима и&nbsp; железничким линијама. Овај простор омеђен је природним и вештачким&nbsp; границама. Природну границу Бачке чине реке: Тиса према Банату (источна граница), Дунав према Срему (јужна граница) и иста река Дунав представља&nbsp; природну границу Бачке према суседној држави Хрватској (делимично на југу и западу). У Бачкој живе различите националне мањине које негују своју културу, традицију и архитектуру. Данас се у овој прелепој равници неколицина становника још увек бави различитим старим, уметничким и занатима домаће радиности. Занат означава вештину (углавном ону мануелну, односно вештину ручног рада), али и професију која подразумева целокупан процес израде уникатних производа, уз коришћење махом једноставних алата. Занати се обично заснивају на&nbsp; традиционалним знањима и технологијама, али су истовремено код њих значајни креативност и иновативност мајстора. Такође, особеност заната је употреба природних материјала у процесу производње (дрво, кожа, глина, стакло, текстил, метал и сл).</p><p>&nbsp; &nbsp;Истраживањем на подручју Бачке потрвђене су следеће хипотезе: стари занати не угрожавају квалитет животне средине, међу онима који се баве старим занатима постоји полна диференцијација, старе занате интензивније негују мање етничке групе,предузетничке иницијативе су важна подршка старим занатима као и то да стари занати оплемењују туристичку понуду.</p><p>&nbsp;&nbsp; Радње са старим занатима, попут бомбонџије, воскара, опанчара, четкара или казанџије, некада су се могле видети на скоро сваком кораку, а данас се могу пребројати на прсте. Упркос томе што бављење овим професијама више није исплативо, у Бачкој ипак постоје занатлије који из чисте љубави чувају ова&nbsp; занимања од заборава.</p> / <p>&nbsp;&nbsp;&nbsp; Bačka je ravna i plodna regionalna celina, naseljena mnogobrojnim&nbsp; stanovništvom u seoskim i gradskim naseljima i izukrštana putevima i&nbsp; železničkim linijama. Ovaj prostor omeđen je prirodnim i veštačkim&nbsp; granicama. Prirodnu granicu Bačke čine reke: Tisa prema Banatu (istočna granica), Dunav prema Sremu (južna granica) i ista reka Dunav predstavlja&nbsp; prirodnu granicu Bačke prema susednoj državi Hrvatskoj (delimično na jugu i zapadu). U Bačkoj žive različite nacionalne manjine koje neguju svoju kulturu, tradiciju i arhitekturu. Danas se u ovoj prelepoj ravnici nekolicina stanovnika još uvek bavi različitim starim, umetničkim i zanatima domaće radinosti. Zanat označava veštinu (uglavnom onu manuelnu, odnosno veštinu ručnog rada), ali i profesiju koja podrazumeva celokupan proces izrade unikatnih proizvoda, uz korišćenje mahom jednostavnih alata. Zanati se obično zasnivaju na&nbsp; tradicionalnim znanjima i tehnologijama, ali su istovremeno kod njih značajni kreativnost i inovativnost majstora. Takođe, osobenost zanata je upotreba prirodnih materijala u procesu proizvodnje (drvo, koža, glina, staklo, tekstil, metal i sl).</p><p>&nbsp; &nbsp;Istraživanjem na području Bačke potrvđene su sledeće hipoteze: stari zanati ne ugrožavaju kvalitet životne sredine, među onima koji se bave starim zanatima postoji polna diferencijacija, stare zanate intenzivnije neguju manje etničke grupe,preduzetničke inicijative su važna podrška starim zanatima kao i to da stari zanati oplemenjuju turističku ponudu.</p><p>&nbsp;&nbsp; Radnje sa starim zanatima, poput bombondžije, voskara, opančara, četkara ili kazandžije, nekada su se mogle videti na skoro svakom koraku, a danas se mogu prebrojati na prste. Uprkos tome što bavljenje ovim profesijama više nije isplativo, u Bačkoj ipak postoje zanatlije koji iz čiste ljubavi čuvaju ova&nbsp; zanimanja od zaborava.</p> / <p>Bačka is a flat and rich region in Vojvodina inhabited by numerous population in villages and towns, and criss-crossed by roads and railways. It is bounded by natural and artificial borders. The natural border of Bačka consists of rivers: the Tisa next to Banat (eastern border), the Danube next to Srem (southern border) and the Danube again next to the neighbouring country Croatia (partially in the South and West). Different national minorities live in Bačka and they cherish their own culture, tradition and architecture. Nowadays, in this beautiful plain, there is a small number of people who still deal with old crafts and artisanship. A craft denotes a skill (usually the manual one), but also a profession, which includes the whole process of making unique items mostly using simple tools. Crafts are usually based on traditional knowledge and technologies, but at the same time the creativity and innovativeness of the artisan play a significant role. Furthermore, what is partucular for crafts is the use of natural materials in the production process (wood, leather, clay, glass, textile, metal and the like). On the territory of Bačka, a lot is done to develop and sustain the&nbsp; distribution of old crafts products. These various ways of support include the Internet&nbsp; portals, the participation of artisans in exhibitions and old crafts fairs in Bačka and abroad as well, and events where consumers are informed about the importance of developing and sustaining the old crafts. The research on the territory of Bačka confirms the following hypotheses: old crafts do not pollute the environment, there is a gender differentiation among the people who deal with old crafts, old crafts are more cherished by national minorities, the initiatives of entrepreneurs represent an important way of support for the old crafts, and old crafts enhance tourism.Old crafts shops such as candy-maker&#39;s, candle-maker&#39;s, peasants&#39; footwear maker&#39;s, brush-maker&#39;s and coppersmith&#39;s used to be found everywhere, whereas nowadays there&nbsp; are very few of them. Although dealing with these professions is no longer profitable, in Bačka there are still artisans who save these old crafts from oblivion out of sheer love.</p>

La presente investigación tiene como objetivo general diseñar una colección de vestidos de novia a partir del análisis teórico y visual de las características del bordado ayacuchano. El bordado ayacuchano se enmarca dentro de la artesanía peruana, y más precisamente, dentro de la artesanía “textil” peruana, la cual es considerada como la actividad artesanal de mayor desarrollo y práctica común en nuestro país que se transmite de generación en generación, donde las mujeres mayores les enseñan a sus hijas el arte del bordado. El origen del bordado Ayacuchano se remonta al distrito de Luricocha en la provincia de Huanta, zona donde hasta el día de hoy se ha mantenido la tradición de bordar y tejer mantas multicolores. / The present research has as general objective to design a collection of wedding dresses from the theoretical and visual analysis of the characteristics of Ayacuchano embroidery. Ayacuchano embroidery is part of Peruvian craftsmanship, and more precisely, within Peruvian "textile" craftsmanship, which is considered as the most developed and common craft activity in our country that is passed down from generation to generation, where older women teach their daughters the art of embroidery. The origin of Ayacuchano embroidery dates back to the district of Luricocha in the province of Huanta, an area where to this day the tradition of embroidering and weaving multicolored blankets has been maintained. / Trabajo de investigación

The subject of the Master's Thesis is the design activity of architect Dušan Samo Jurkovič for Josef and Cyril Bartoň from Dobenín in Nové Město nad Metují. In a separate chapter, she first introduces the chateau in Nové Město nad Metují in its construction development and also introduces the urban and cultural context of the city in its individual historical periods. In other chapters she exhibits the personality of Dušan Samo Jurkovič and his work before the rebuilding of the chateau in Nové Město nad Metují, as well as the assignment given to Jurkovič in Nové Město. The core of the work is an analysis of Jurkovič's interventions in the chateau. Their further interpretation is used for the independent processing of Jurkovič's buildings in Peklo, a restaurant and tourist cottages. The concluding chapter deals with the evaluation of Jurkovič's work in Nové Město nad Metují and an overview of further development of his architectural work and his work in the preservation of monuments. The work includes a pictorial supplement. Key words: Dušan Samo Jurkovič; Vernacular architecture; Nové Město nad Metují; Arts and Crafts; Art Nouveau; Modern Architecture

This thesis is about the adaptive reuse of an old turbine hall at the Pretoria West Power Plant. As part of a proposed urban framework the Power Plant is developed as a node that connects the Pretoria CBD to Atteridgeville. The driving concept generator for this scheme is the idea of progress. The Turbine Hall has progressively been extended over time. This progress is demonstrated through increasingly dominant new interventions which also demonstrate where the building opens up to the public. A program for the building is based on the results of site analysis, and in response to the urban framework. This program stimulates progress for people by creating a place that supports the production of entrepreneurs and encourages economic upliftment. The adapted building will contain an affordable housing component, rentable workshops, training facilities where people can learn business skills and crafts, a large artists’ studio, a restaurant and an arts and crafts exhibition gallery. These functions support each other and create and environment where people can live, work and socialise. / Dissertation (MArch(Prof))--University of Pretoria, 2010. / Architecture / unrestricted

Syringolin A, a plant elicitor, was isolated in 1998 and has been identified as a potential anti-cancer compound based on its activity against proteasome. The unique structure of this natural product consists of a 12-membered diamide ring, formed by two non-proteinogenic amino acids 3,4-dehydrolysine and 5-methyl-4-amino-2-hexenoic acid, and a bis(valinyl)urea side chain which is connected to the macrocycle by a peptide bond. The construction of this challenging macrocylic core was achieved by a macrolactamization reaction using peptide coupling reagents BOP/HOAt, while the two (E)-configured double bonds in the ring were introduced by a Johnson-Claisen rearrangement and Wittig olefination respectively. Ru(bpy)3Cl2 which is an excellent visible light photoredox catalyst, has been extensively applied to organic syntheses in recent years. Although much research has focused on the study of the reductive quenching pathway, the oxidative quenching pathway has rarely been explored. Using persulfate as the electron acceptor, we have successfully developed a protocol for the oxidative functionalization of dialkylamides under mild reaction conditions. Further application has demonstrated a Friedel-Crafts amidoalkylation methodology applying various nucleophilic alcohols and arenes. The reaction can also be conducted under thermolysis condition without the photocatalyst, but requires elevated temperature. Both of the reactions generate N-acyliminium ion in situ as the key intermediate. The first example of photocatalytic halogenation has been achieved at room temperature using Ru(bpy)3Cl2 and polyhalomethanes (CBr4 and CHI3) as the electron acceptors. Excellent yields and high functional group tolerance have been established. Mechanistic studies indicate a single electron transfer (SET) pathway and the transformation is via a Vilsmeier-Haack type intermediate. Further expansion of this methodology to anhydride formation was achieved, providing a mild avenue for the synthesis of symmetric anhydrides. Furthermore, the use of a continuous flow reactor enabled the efficient large scale synthesis of anhydrides.

Philosophiae Doctor - PhD / The catalytic support materials used in the present study are zeolite HBEA and MCM-41. These high silica zeolites were synthesised from coal fly ash (CFA) waste via a novel approach that involved a fusion step, acid assisted silica extraction and removal of Al, Ca and Na from the silica by treatment with oxalic acid. The generated silica was converted to HBEA and MCM-41 via conventional hydrothermal treatment. The metal incorporation onto HBEA was done via two approaches namely; liquid phase ion exchange (LIE) and wet impregnation (WI) while the loading on MCM-41 was only done via WI since the material does not possess exchange sites. The metal solution precursors were AMD and Fe extracted from CFA (FeAsh) via acid leaching followed by pH regulation by concentrated NaOH. This is the first time these solutions were tested as possible metal precursors in catalyst synthesis. / 2021-08-30

Echolot, 2017, Linoldruck, mehrfarbig, 30 x 42 cm