Jorge de Sena figura como personalidade poética de difícil enquadramento nas searas de produção poética da década de 40 a 60 em Portugal. Não tendo sido um poeta presencista ou neorrealista, nem surrealista ou sequer aderindo fielmente ao fingimento poético de Fernando Pessoa, o poeta português forja uma poética própria a partir da ideia de testemunho e de metamorfose esta avultando como resultado poético do ato ético-estético da poesia, através da simbiose entre sujeito empírico e sujeito poético. Esta dissertação tem por objetivo investigar a (não) figuração de paisagens poéticas relacionadas aos seus destinos de exílio: Portugal, Brasil, e Estados Unidos da América. Ou seja, o que pode ser visto ou aquilo que é escondido destas e nestas paragens de sua peregrinação infecta, encontrada em sua Peregrinatio ad Loca Infecta (1969), diário tornado objeto estético na configuração ética de seu testemunho circunstancial. Para tanto, a investigação apoia-se nos estudos geográficos de orientação humanista-cultural, bem como nos estudos em torno da relação entre escrita poética e paisagem, desenvolvidos pelo crítico francês Michel Collot. / Jorge de Sena figures as a poetic personality of difficult framing in the poetic scene production from the 40\'s to 60\'s in Portugal. He was not a presentialist or neorealist poet, nor surrealist or even adhering faithfully to Fernando Pessoas own poetics. This Portuguese poet forges a poetics of his own from the idea of testimony and metamorphosis which stands as the poetical result of the aesthetic and ethical act of his poetry, that occurring through a symbiosis between the empirical subject and the poetic subject. This thesis investigates the figurations or not of poetic landscapes related to his destinations of exile: Portugal, Brazil, and United States of America. Therefore, what can be seen or what is hidden from these places and in these spaces of his infected pilgrimage, in his Peregrinatio ad Loca Infecta (1969), an infectious diary turned into an aesthetic object in the ethical configuration of his circumstantial testimony. To do that so, this investigation is supported on geographic studies from a humanistic and cultural orientation, and also upon the studies concerning to the relation between poetry and landscape promoted by the French schollar Michel Collot.

Thesis. 1979. M.Arch.--Massachusetts Institute of Technology. Dept. of Architecture. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Bibliography: p. 101-102. / M.Arch.

This research project was designed to analyze the relevance of place and the physical environment to the adjustment processes of refugees. This dissertation contains the results of qualitative research with a group of 30 refugee urban farmers living in Salt Lake City, Utah. Seventeen of these individuals—from Burundi, Sudan, Bhutan, the Republic of Congo, Democratic Republic of the Congo, Chad, and Cuba—participated in interviews and a photography project focused on their experiences with agriculture in their home countries and since their arrival in Utah. The results of the research show the connection between the refugees’ work as farmers and their sense of place since arriving in the United States. Participants reported material and emotional benefits from their farming work, as well as challenges. The research results also provide insight into the process of cultural hybridization and cross-cultural exchange experienced by the participants. A discussion of some challenges inherent in doing research with refugees is included, and policy implications and suggestions for further research are discussed.

This thesis traces and explicates the changes in Theodor Fontane's landscape depiction in the years 1887- 1892. I examine his novels Cecile (1887), Irrungen, Wirrungen (1888), and unwiederbringlich (1892). I show that Fontane, as though discarding a relic of the Romantic past, used increasingly less landscape in his narratives. He focused on the actions and conversation of his characters, and on their immediate surroundings. When these surroundings were urban, they tended to disappear. The progressive minimalization of landscape, and of cityscape in particular, foreshadowed the appearance in German literature of twentieth-century man: man alienated from nature in cities, and less aware of empirically observable surroundings than of internal forces and realities.

Due to end users irrigating with excess water, water conservation of turfgrass can make a large impact in urban water conservation by reducing water applied while still maintaining visual appearance. This study was conducted to determine if Kentucky bluegrass (Poapratensis L.) can be deficit irrigated to maintain minimum acceptable appearance while conserving water. The study investigated water stress in terms of stomatal conductance, chlorophyll index, leaf temperature and predawn leaf water potential at the point of water stress, or where visual quality no longer meets expectations during dry down conditions. Water use was measured over well established Kentucky bluegrass with an eddy covariance system that was validated with soil water measurements. Turfgrass was irrigated at 80% of reference evapotranspiration based on allowable depletion of 12 mm of soil water during growing season that was considered to be well-watered. Two dry downs were conducted over a two-year period (early and late summer). Turfgrass was allowed to dry down without irrigation until visual quality reached the minimum acceptable points (score ≤ 6). During drying periods, visual rating, chlorophyll index, predawn leaf water potential, and leaf temperature with stomatal conductance rapidly decreased once stomatal conductance fell to approximately half of well-watered levels. Both soil water content and evapotranspiration had weak correlation with stomatal conductance; however, stomatal conductance tended to have higher correlation with the change in soil moisture than with the change in crop evapotranspiration. Soil water use and eddy covariance data in terms of crop evapotranspiration had high correlation. The plant water use factor ranged from around 0.8 to 1.1 under well-watered condition corresponding to visual rating from 7 to 9. At the minimum acceptable point of visual rating, which is 5.5 to 6, the plant factor ranged from 0.65 to 0.87. This value of plant factor is quite high at this point. Even when Kentucky bluegrass went below acceptable visual quality, the grass still used significant amounts of water with the plant factor value ranging from 0.6 to 0.8. The data suggested that deficit irrigation cannot be applied with Kentucky bluegrass in the Intermountain West area.

A dissertação que apresento investiga através da linguagem fotográfica possibilidades e recursos de expressão e de construção de um imaginário paisagístico, constituído por olhares que abrangem diversas dimensões de registros. Tem como pano de fundo a comunidade da Ilha Diana, uma pequena vila de pescadores, bairro da cidade de Santos/SP, localizada na sua área continental à beira do Rio Diana. Deslocada da cidade à qual pertence administrativamente e da área portuária contígua, esta paisagem é formada, além dos aspectos naturais, por uma produção cultural fruto da união de uma tradição caiçara própria local e pela experiência vivida por mim em torno dela. Esta paisagem é percorrida, conduzida e construída pela fotografia. Produto de um olhar viajante que ao mesmo tempo em que a registra, a vivencia, sofre sua influência e se transforma durante o processo fotográfico. Explora para isso o conceito de deriva - enquanto um caminhar não racional - como forma de pesquisa do espaço e cujos registros germinativos constituíram a fatura deste projeto. O ensaio fotográfico resultante tem como foco na sua construção as marcas da passagem do tempo e as consequentes transformações que ela produz, sendo a fotografia o suporte que exibe e testemunha estes indicadores. Também apresenta a contraposição do relacionamento de uma sintaxe ordenada pelas relações da cor local, das peculiaridades do espaço construído e das atividades humanas postas na paisagem natural e outras tantas presenças na fisicalidade local, as quais perambulam nas diferentes captações do olho/câmera, observando deste modo um universo carregado de sutilezas, e que se metamorfoseia constantemente. / The dissertation I present investigates the possibilities of expression, its resources and the construction of an imaginary landscape conjured up by a myriad of views covering many recorded dimensions through the use of photographic language. It is set on Ilha Diana, a small fishing village community located on the Diana River on Santos/SP\'s mainland area. Geographically removed from the city to which it administratively belongs and its adjoining harbor complex, the essay\'s setting is a product of the place\'s natural charms, its local traditional culture and my experiences within it. This landscape is travelled, guided and built by photography. It is a result of the traveler\'s eye that while recording the experience, is influenced by it and is thus transformed during the process. It explores the concept of drift - an unguided walk - exploring spaces and making its seminal records this project\'s foundation. The final essay focusses on time\'s passage, its impressions and the subsequent transformations that it produces, leaving only the photograph as evidence and witness to this process. The work also presents juxtaposition between the syntax created by local color relationships, the man-made environment\'s peculiarities and the impact human activities have left on the natural landscape which combined with many other mysteries of the physical realm roam and are captured by the eye/camera thus recording a universe loaded with detail and in constant metamorphos

Agricultural environments are critical to the conservation of biota throughout the world. This is due both to the limited extent of current reserve systems and the large, and still expanding, proportion of terrestrial environments already dominated by agricultural land-uses. Consequently, there is a growing call from scientists around the world for the need to maximise the conservation value of agricultural environments. Efforts to identify key influences on the conservation status of fauna in agricultural landscapes have taken complementary approaches. Many studies have focussed on the role of remnant or semi-natural vegetation, and emphasised the influence on biota of spatial patterns in the landscape. Others have recognised that many species use diverse ‘countryside’ elements (matrix habitats) within farmland, and emphasise the benefits of landscape heterogeneity for conservation. Here, these research themes have been combined. This study takes a whole-of-landscape approach to investigating how landscape pattern and countryside heterogeneity influence the occurrence of birds in agricultural environments. Birds were sampled in 27 agricultural mosaics, each 1 km x 1 km in size (100 ha), in Gippsland, south-eastern Australia. Mosaics were selected to incorporate variation in two landscape properties: the cover of native vegetation, and richness of different types of element (i.e. land-uses/vegetation types). In each mosaic, 15 fixed sampling locations were stratified among seven different elements in proportion to their cover in the mosaic: native vegetation, linear vegetation, tree plantation, scattered paddock trees, pasture, wetlands and farm dams. Six point counts of birds were undertaken at all sample points in each mosaic: three each in the breeding and non-breeding months of a one-year period (October 2004 – August 2005). Independent measures of the composition, configuration, and heterogeneity of elements in the mosaic had differing effects on the richness of bird species recorded in these same mosaics. Sub-groups of birds based on habitat requirements responded most strongly to the extent of preferred element types in mosaics. Woodland birds (those of greatest conservation concern in farmland environments in Australia) were richer in mosaics with higher cover of native vegetation while open-tolerant species responded to the extent of scattered trees. In contrast, for total species richness, mosaic heterogeneity (richness of element types) and landscape context (cover of native vegetation in surrounding area) had the greatest influence. Mosaic structural properties also influenced the composition of entire bird assemblages in study mosaics. Avifaunal composition showed systematic variation along two main gradients which were readily interpreted in relation to landscape properties: 1) a gradient in the cover of wooded vegetation and, 2) the proportional composition of vegetation types in the mosaic. These gradients represent common trajectories of landscape modification associated with agricultural development: namely, the removal of wooded vegetation and the replacement of native species with exotic vegetation (e.g. crops and plantations). Species possessing different characteristics in relation to three avian life-history traits (nest type, feeding guild and clutch size) varied significantly in their position along these gradients of landscape modification. Species with different nesting requirements showed a strong relationship with the gradient in wooded vegetation cover while species belonging to different feeding guilds were influenced by the gradient defined by the replacement of native vegetation with exotic species. More bird species were recorded in native vegetation than in any other type of element sampled in this study. Nevertheless, most countryside elements had value for many species; particularly structurally complex elements such as scattered trees and tree plantation. Further, each type of landscape element contained different bird assemblages. Species that were recorded in a greater number of different types of landscape element were also recorded in more mosaics. This was true for all species and for woodland birds, and indicates that species that can use a greater range of countryside elements may have an increased tolerance of future landscape modification. The richness of woodland species at survey sites in different elements was influenced by features of the mosaic in which they occurred. Notably, the richness of woodland bird species recorded at sites in scattered trees and pasture increased with a greater cover of native vegetation in the overall mosaic. Of the overall pool of woodland bird species documented in the broader study region, 35% of species were not recorded in the agricultural mosaics sampled here. While many of these species were uncommon in the study area, or were associated with vegetation communities infrequently sampled in mosaics, this shows that conservation efforts in agricultural landscapes will not be appropriate for all species. For those woodland species that were recorded, measures of the extent of wooded vegetation cover had a strong, positive influence on the frequency of occurrence of individual species in mosaics. Thus, individual species of woodland bird occurred more frequently in mosaics with a greater cover of wooded vegetation. Nine woodland species showed a stronger response to measures of vegetation cover that included tree plantation and/or scattered trees than to the cover of native vegetation alone. For these species, structurally complex countryside elements provide valuable supplementary habitat at the landscape scale. Results of this study show that landscape properties influence the occurrence of birds in agricultural mosaics. The extent of cover of element types, particularly native vegetation, had the strongest influence on all measures of bird occurrence in mosaics. Thus, native vegetation is vital for the persistence of birds in farmland landscapes and is the primary element on which conservation efforts in these environments depend. Nevertheless, with careful management, countryside elements may provide additional conservation benefits for many bird species. Countryside elements made an important contribution to landscape heterogeneity, the landscape property with greatest influence on overall bird richness in mosaics. Countryside elements also increased the structural complexity of cleared agricultural land, and so have the capacity to enhance connectivity in fragmented landscapes. A focus on these factors (landscape heterogeneity and structural complexity) will provide the greatest opportunities for using countryside elements to increase the conservation value of farmland environments for native fauna. The relatively small scale of this study indicates that the cumulative effect of even small elements in farm mosaics contributes to the structural properties of entire landscapes. Critically, this emphasises the important contribution that individual landholders can make to nature conservation in agricultural environments.

Increased development pressure in inner city areas of many Australian and North American cities has resulted in the loss of locally valued cultural landscapes. Accompanying this process is palpable concern by local residents that their values have not been taken into account. While architectural and historical values are well recognised by heritage and planning practitioners, less tangible social values are often ignored. This thesis argues that a gap has formed between the process through which people interact with place and the process of landuse planning. The aim of the research is to critically examine this gap. Pyrmont and Ultimo, an inner city redevelopment area of Sydney, provides a context of rapid social and physical change. Open-ended, unstructured and semi-structured interviews with residents of Pyrmont and Ultimo, and professionals involved in planning and development provide insight into perspectives about the consideration of social values in landuse planning. The results indicate that the loss of valued places may have physical and social implications on people and place including loss of local character and identity, increased conflict, resident anxiety and disillusionment with planning processes. Residents and planners develop strategies for coping, but these do little to improve limited information flow and understanding. Bridging the gap between the two processes calls for a stronger link between heritage conservation and planning, in addition to planning reform. The research suggests the need for formal landuse planning to recognise the value of situational knowledge and social significance, rather than rely on technical expertise and physical fabric. Efforts spent on refining methods for identification and assessment of social value may be better directed towards developing and improving methods for integrating the concept of social value into the planning framework.

<p>The present dissertation deals with the artistry of the Swedish artist Vera Frisén (1910-1990). The emphasis is being put on her landscape paintings from Västerbotten, in the northern parts of Sweden, but also includes self-portraits from her early years as a painter. Vera Frisén was born in Umeå, but lived more than half her life in Stockholm. During springtime and summer, she did however return to Västerbotten and the vil¬lages of Stöcksjö and Kolksele, where she painted the majority of her landscape paintings.</p><p>The study has been given a chronological frame, where the first part sketches out the contexts and environments that came to have an influence on Vera Frisén and her artistic development. Consequently, the thesis starts with a brief biographical presen¬tation, but then moves forward to issues more central to the subject. Important as¬pects are for example her years as a student in the art academy of Otte Sköld in Stockholm during the late 1920’s, and her first separate exhibition at the gallery Färg & Form in 1941. Other issues that are being illuminated in the study are the artistic and cultural conditions in Vera Friséns hometown Umeå. The discussion mainly cen¬ters on issues that took place during the 1930’s and the 1940’s – the time when Vera Frisén established herself as an artist.</p><p>The second part of the dissertation includes analyses of Vera Friséns paintings. In the search of concepts that further can explain the more profound existential values in her work, the study also links the themes in her paintings to other painters in the his¬tory of landscape painting. Concepts central for discussion are for example the aes¬tethical and philosophical issue of the sublime, as it is formulated in the discourse of Immanuel Kant during the late 18th century. Thoughts expressed by other artists, writers and philosophers, linked to Vera Friséns own thoughts on the subject, are also valuable instruments in gaining a deeper understanding of her work.</p>

Thesis (M.H.P.)--University of Delaware, 2006. / Principal faculty advisor: Rebecca J. Sheppard, School of Urban Affairs & Public Policy. Includes bibliographical references.