In this project, I treat Sudan as an exemplary case study for the examination of kinship and agency in contexts of layered imperialisms. I juxtapose a contemporary postcolonial novel by Tayeb Salih (Mawsim al-hijra ila shamal / Season of Migration to the North (1966/69)), and four contemporary unpublished plays (1994 - 2002) by the Kwoto Cultural Center in Khartoum, Sudan, and ask how the texts, the performance traditions, and their creators appropriate kinship as a vehicle to discuss, uphold and/or challenge the reproduction of economic, social and political values and the dominant ideologies that continue to define a "North" and "South" as gendered geographies in contemporary Sudan. Rather than simply reiterate the transformative importance of the 19th century British colonial period in Sudan, I seek to build on the insights of previous scholarship by bringing to the fore the ways the vestiges and shadows of overlapping and layered imperialisms condition the architecture of the texts audiences read and witness today. I argue that within these multiple contexts, kinship is an elastic concept, one that is not static, but constantly made, remade, lived in and negotiated over the boundaries of temporalities and geographies. I argue that the texts under investigation do not force Sudan to cohere as "one nation" but rather attest to this complex present both by mirroring Sudan's diverse composition and by inviting new ways of reading and relating that help to create new configurations and new social orders that compete with "nation" as a modality of community. In the Introduction, I set out an historical framework sensitive to layered imperialisms and examine how the reconsolidation and resilience of kinship ties has impacted authority and agency. In Chapter One, "The Kinlessness of Mustafa Sa'eed: Parentage and the Migration North in Tayeb Salih's Season of Migration to the North," I suggest that Sudan's ethno-religious division into a geography of "North" and "South" is revealed through an analysis of Mustafa Sa'eed's "kinlessness" and the inextricability of that kinlessness from the reality of his parentage. My analysis suggests that this novel by a celebrated northern Sudanese author traces a submerged history of Sa'eed's parents: the Beja from the North and the slave from the South, and in this way explores the opposing ideologies of "freedom" and "servility." Chapter Two, "'Summarizing the South': Staging Kinship and Unity in Select Plays by The Kwoto Cultural Center," explores the "North"/ "South" divide from the perspective of displaced southerners living in the North of Sudan. This chapter moves to the realm of performance, from literacy to orality, and from the single author to the collective. After an introduction to the troupe and its context as well as the salient themes of the chapter, I discuss my methodology and fieldwork in Sudan, and then offer a selective overview of Sudanese performance traditions that are relevant to a reading of Kwoto's theater. I then turn to an analysis of the plays, focusing on how each play engages kinship as both content and method in the context of relations among southerners and between southerners and those external to the community, including ancestors, northerners, Westerners, and aid workers. By juxtaposing the literary and the performative, I seek to diversify the kinds of texts we consider and compare in our analysis of the postcolonial. Pairing a novel with performance texts brings into sharp relief the conditions of production and interpretation for each form, also reminding us of the historical context of a form's cultural ascendance. Additionally, the juxtaposition of unpublished manuscripts with an international novel destabilizes the boundary between "elite" and "low" cultures and arrives at a more accurate picture of the heterogeneity and multiplicity of the cultural marketplace in African societies than postcolonial scholarship has heretofore allowed. Finally, the juxtaposition of Season with Kwoto's unpublished manuscripts allows us to probe the resonances across regional, ethnic, and generic difference, and to examine how the "problem of the South" -- or more broadly, the divisions between "North" and "South" in Sudan are negotiated and become visible in different cultural products. I argue in the chapters that follow that kinship becomes one vehicle these texts use to discuss transforming Sudanese identities and that, moreover, kinship as a heuristic moves beyond nation to pave the way for imagining multiple affiliations and communities.

Submitted by Yole Maria Mendonça (yolemendonca@gmail.com) on 2017-05-05T13:16:19Z No. of bitstreams: 1 dissertaçãoYoleversaofinal04-05.pdf: 3100072 bytes, checksum: 9052a65234b5d9d9badad7d16bf4974e (MD5) / Approved for entry into archive by Rafael Aguiar (rafael.aguiar@fgv.br) on 2017-05-05T20:23:03Z (GMT) No. of bitstreams: 1 dissertaçãoYoleversaofinal04-05.pdf: 3100072 bytes, checksum: 9052a65234b5d9d9badad7d16bf4974e (MD5) / Made available in DSpace on 2017-05-16T14:04:21Z (GMT). No. of bitstreams: 1 dissertaçãoYoleversaofinal04-05.pdf: 3100072 bytes, checksum: 9052a65234b5d9d9badad7d16bf4974e (MD5) Previous issue date: 2017-04-04 / This essay analyses the contribution of the great art exhibitions for the development of the public of cultural centers, through a case study of the Banco do Brasil Cultural Center of Rio de Janeiro. Based on questionnaires applied to visitors of two major exhibitions held at that center in 2015 and 2016, this research was conducted to determine the effectiveness of these events in the expansion, diversification and loyalty of this public. In a more specific way, the study investigates to what extent large exposures are able to attract people from C,D/E social classes, and what are the most appropriate strategies to make it a regular goer. For this purpose, in-depth interviews were conducted with a small contingent of new visitors from the two representative representatives of this social segment. The analysis of the results allows us to afirm that the strategy of large expositions allowed the CCBB to expand is public in numerical and social terms, presenting a profile closer to the distribution of brazilian society in relation to the average of cultural spaces. However, in relation to the D/E classes this representation is still below the social reality of the country. While taking into account that the extension of this representation interacts with dimensions that go beyond the work developed by a cultural center, this study proposes ways to increase the participation of this social segment in the CCBB public. / Este trabalho analisa a contribuição das grandes exposições de arte para o desenvolvimento do público de centros culturais, por meio do estudo de caso do Centro Cultural Banco do Brasil do Rio de Janeiro. A partir de questionários aplicados aos visitantes de duas grandes exposições realizadas naquele centro em 2015 e 2016, foi realizada pesquisa para apurar a eficácia desses eventos na ampliação, diversificação e fidelização desse público. Num aspecto mais específico, o estudo investiga em que medida as grandes exposições estão sendo capazes de atrair o público das classes C,D/E e quais seriam as estratégias mais adequadas para transformá-lo num frequentador habitual. Para tanto, foram realizadas entrevistas em profundidade com um pequeno contingente de novos visitantes das duas mostras representantes desse segmento social. A análise dos resultados nos permite afirmar que a estratégia de realização de grandes exposições possibilitou ao CCBB ampliar seu público em termos numéricos e também sociais, apresentando um perfil mais próximo da distribuição da sociedade brasileira em relação à média dos espaços culturais. No entanto, em relação às classes D/E essa representação ainda está aquém da realidade social do país. Sem deixar de levar em conta que a ampliação dessa representatividade interage com dimensões que vão além do trabalho desenvolvido por um centro cultural, este estudo propõe em seu final alguns caminhos para o crescimento da participação desse segmento social no público do CCBB.

Pouvons-nous saisir, comprendre et décrire l’expérience de visite dans un musée ? Cette étude aborde l’expérience des visiteurs à partir d’une perspective énactive comme ce qui fait sens du point de vue du visiteur dans le cours de sa visite. Les principaux résultats portent sur une méthode d’investigation originale dans le champ muséal qui autorise un nouveau point de vue sur l’expérience des visiteurs dans les musées. Nous montrons que l’analyse du cours d’expérience réalisée à partir d’un entretien en re-situ subjectif permet de décrire et de comprendre les unités élémentaires de l’expérience des visiteurs, ainsi que l’expérience globale de visite avec précision, finesse et profondeur. Nous mettons en évidence les actions et les cheminements cognitifs des visiteurs qui concourent à la construction de leurs connaissances et nous proposons des cours d’expérience typiques aux visites de musées. / Can we grasp, understand and describe the experience of museum visitors? This study focuses on the visitor experience from an enactive perspective, i.e., that which makes sense from the point of view of visitors during their visit. The main results concern the method of investigation, which is innovative in the field of museum studies and provides a new perspective on the experience of visitors in museums. The thesis shows that an analysis of the visitor’s “course of experience” carried out by means of a subjective re situ interview allows us to describe and understand the basic units of the visitors’ experiences as well as the overall experience of the visit with precision, finesse, and depth. The actions and cognitive paths of visitors, which contribute to the construction of the knowledge, are also highlighted and we offer standard courses of experience during museum visits, which repeatedly contribute to the construction of knowledge.

The culture center studied has gone from being organized by enthusiasts and ideals, to being institutionalized with a educational association responsible for the management. The questions discussed are – how this change affects the active people in the house and what consequences these changes make for the institution of the house and for the regular management. / Kulturhuset som studeras har gått från att med eldsjälar och idealism vara ett fritt drivit replokalshus, till att bli en tydlig institution med ett studieförbund som sköter driften. Uppsatsen behandlar frågor om hur denna förändring påverkar de aktiva i huset och vad dessa förändringar får för konsekvenser, både för huset som institution och för den praktiska driften.

La educación musical en el Perú afronta una problemática de carácter social, que se refleja en el centralismo de las entidades educativas que imparten este conocimiento. A su vez, se reconoce esta profesión como una salida laboral más que factible para miles de jóvenes estudiantes e interesados en la misma los cuales curiosamente provienen de sectores socioeconómicos precarios. Ante esta situación contradictoria surge la pregunta, si es factible y necesario descentralizar la enseñanza musical a puntos más pobres de la ciudad. Esta investigación concluye que no solo es pertinente debido a un análisis de oferta y demanda poblacional. si no que, además, la educación musical como actividad tiene el potencial de aminorar otras problemáticas sociales en la juventud, Además de otorgar un proyecto público que sea beneficioso para el desarrollo de la comunidad. Ante este último punto se analiza la situación de la Arquitectura pública del país, identificando como principal problema la pobreza Arquitectónica, la precariedad de la infraestructura, la falta de relación de este tipo de edificaciones públicas con la ciudad y el poco compromiso en entender como la arquitectura puede influir en sus usuarios. para finalizar, se analizan ejemplos referenciales a fin de lograr un entendimiento claro de las posibilidades a desarrollar en el proyecto. Se plantea es una Escuela Superior de Música destinada a Jóvenes matriculados y alumnos libres quienes quieran involucrarse con esta actividad además de otras actividades complementarias beneficiosas para la comunidad. / Music education in Peru faces a social problem, which is reflected in the centrality of the educational entities that impart this knowledge. In turn, this profession is recognized as a more than feasible job opportunity for thousands of young students and those interested in it, who curiously come from precarious socioeconomic sectors. Faced with this contradictory situation, the question arises, whether it is feasible and necessary to decentralize music education to poorer parts of the city. This research concludes that it is not only relevant due to a population supply and demand analysis. if not, in addition, music education as an activity has the potential to reduce other social problems in youth, in addition to granting a public project that is beneficial for the development of the community. Faced with this last point, the situation of public architecture in the country is analyzed, identifying as the main problem Architectural poverty, the precariousness of the infrastructure, the lack of relationship of this type of public buildings with the city and the little commitment to understand how the architecture can influence its users. Finally, referential examples are analyzed in order to achieve a clear understanding of the possibilities to be developed in the project. It is proposed to be a Higher School of Music for young people enrolled and free students who want to get involved with this activity as well as other complementary activities that are beneficial to the community. / Tesis

The goal of the thesis is to suggest a study of Moravian wine and cultural center (MVKC) in the locality historically tied to the cultivation of wine. The plot of land is also attractive because it is a part of the southern slope below the castle Špilberk. The property is a house with a developed network of cellars which the new proposal must take into account. Urban and mass solution of the proposal assume completing the street lines as well as the creation of the original solution which consists of a street facade formed by a large glass wall shaded by perforated aluminum plates. The plates create a unique mosaic with the design of grapevine.

La creación del Centro Cultural de Arte Urbano como espacio público integrador en el distrito de Barranco nace a partir de encontrar en el artista, un usuario especifico y protestante con ideas fuertes, el cual busca siempre intervenir y comunicar algo en la ciudad. Este usuario y su ideología, llegan a apoderarse de la propuesta arquitectónica mediante espacios que representen su diálogo y se adapten a sus necesidades. En medio de ambientes adaptados, con infraestructura precaria para la cultura, un contexto vulnerable y una falta de equilibrio en uno de los distritos más pequeños de la capital, nace una propuesta que representa un cambio y una mejora para la zona A-1 de Barranco. Sin embargo, a pesar de tener un objetivo inmediato y local, el proyecto busca ser un hito para el distrito y un punto turístico para el mercado artístico urbano que representa Perú para Latinoamérica. Es por ello, que busca una arquitectura abierta al contexto, visualmente accesible y diferencial, dentro de la cual se busque la relación interior-exterior y parte-todo. Es decir, una arquitectura de espacios intermedios que responderá ante las problemáticas identificadas, con el fin de lograr ambientes donde el movimiento de la cultura urbana no pierda su esencia al llevar su proceso entre cuatro paredes. / The Urban Art Cultural Center as an inclusive public space in the Barranco district was born from finding in the artist, a specific and protestant user with strong ideas, who always seeks to intervene and communicate something in the city. This user and his ideology, come to seize the architectural proposal through spaces that represent their dialogue and adapt to their needs. In the midst of adapted environments, with a precarious infrastructure for culture, a vulnerable context, and an imbalance in one of the smallest neighborhoods of the capital, the proposal represents a change and an improvement for the A-1 area of ​​Barranco. However, despite having an immediate and local objective, it seeks to be an important point for the district and the urban art market in Latin America. The project looks for an architecture open to the context, visually accessible and differential, within which the interior-exterior and part-whole relationship is sought. In other words, an architecture of in-between spaces that will respond to the problems identified and achieve environments where the movement of urban culture does not lose its essence by taking its process within four walls. / Tesis

Esta tesis plantea crear un espacio, Centro Cultural, que responda a la problemática de un distrito que viene sufriendo de graves problemas como delincuencia, pérdida de identidad y poca difusión artística, como el Rímac. Para esto se plantea el proyecto como un gran espacio intermediador entre las diferentes escalas de entorno, de diversidad cultural y de estilos de vida, ya que se ubica entre un Rímac tradicional y un Rímac moderno; el cual va a potenciar la integración y la expresión artística de los ciudadanos, y estará enfocado en el Arte Urbano. EL diseño planteará los espacios de este centro como espacios “entrepropiativos”, que además de dar la sensación del adentro y afuera, también invita a la comunidad a apropiarse del espacio, y así brindar la mayor relación entre el interior del proyecto y su entorno barrial y distrital. / This thesis proposes to create a Cultural Center that responds to the problems of a district that will also suffer from grave problems such as delinquency, loss of identity and little artistic diffusion, such as the Rímac. For this, the project is presented as a large intermediate space between the different scales of the environment, which is located between a traditional and modern model; Which will enhance the integration and artistic expression of citizens, since you will be focused on Urban Art. The design will pose the spaces of this center as intermediate spaces that will provide a greater relationship between the interior of the project and its surroundings / Tesis

The diploma thesis is focused on rainwater reuse in the sports and cultural center and elaboration of project sanitary equipment installation. The theoretical part of the thesis is focused on performance issues rainwater reuse in the buildings. In another part of thesis are drawn calculations with three variants of the design volume storage reservoir for rain water. The drawings are part of the project.

My diploma thesis is based on the module Res Publica - Public works focusing on community buildings. Dozens of towns were surveyed, whether they are interested in reconstruction of their community or sociocultural centre, and eventually a small town Dolní Kounice was chosen especially because of the beauty of the surrounding countryside as well as the exciting native urbanism and architecture. This thesis deals with transformation of the cultural house from the 50s of the 20th century to a new cultural centre. The extension and inconvenient terrace were removed and the hall is supported by a new mass of the vestibule at the interface between interior and exterior, on the site of the former patio. Next, a new front of the building was introduced which increased the entrance of the house and created a space for a study room, small gym, meeting room and common rooms. The part of the house used for housing units is designed only with aesthetic details on the facade. The Culture Centre is divided into a set of materials in order to reduce the scale of the whole building. The entrance part mass, in contrast, is enhanced by its division and the chosen materials. In this way the originally embarrassing object of the Cultural Centre has been changed into a new centre with a clear architectural expression and the interior of the house is enriched by view of the beauty of the city.