En la actualidad lo que se busca, es el planteamiento urbano de las ciudades que a lo largo de su historia se vean bien planeadas y organizadas, con el objetivo de aprovechar al máximo los instrumentos de planeación para el ordenamiento territorial. Sin embargo, no existe una única estructura de orden que se adapte al contexto. En el fenómeno de la expansión urbana, de un modo, se origina un trazo interrumpido con una dispersión espacial de las actuaciones, dando lugar a una serie de espacios intermedios que han fragmentado el espacio periurbano y que han propiciado una separación a de los límites de la ciudad. El presente artículo parte del estudio de la zona del borde del Distrito de José Leonardo Ortiz a través de la observación para detectar sistemas arquitectónicos que hay en la zona. Para ello, se emplea una serie de fichas en base la observación, para la identificación de la morfología de cada vacío urbano, la definición acerca de que tipos de sistemas que se encontró y sobre las relaciones o vínculos del poblador de la zona. Por consiguiente, logramos identificar dos sistemas; la urbana y la agrícola por lo que contribuye para la realización de ciudad con una planificación urbana que responda al contexto.

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Den här uppsatsen undersöker filmstjärnan Leonardo DiCaprios retoriska funktion såsom den manifesteras i klimatdiskursen. Undersökningen genomförs med speciellt avstamp i två av hans filmer vilka i uppsatsen anses särskilt relevanta med tanke på deras produktionsmässiga samtidighet med DiCaprios år som FN:s fredsbudbärare varunder han valde att uppmärksamma klimatfrågan: The revenant (2015) och Before the flood (2016). Filmerna betraktas i uppsatsen som diskurser, likaledes semiotiska texter. Denna undersökning utförs med stöd i ett antal analysverktyg och teoretiska utgångspunkter. Forskningsfälten klimatkommunikation och celebritetsstudier är viktiga utgångspunkter, medan melodrambegreppet och Lloyd F. Bitzers ”retoriska situation” är de viktigaste analysverktygen. Även västerngenren och tillhörande mytbildning bereds stor plats, inte minst på grund av att en av filmerna, The revenant, är en västernfilm. Melodrambegreppet, vars retoriska funktion betonas, sammankopplas med både klimatdiskursen och västerngenren samt George Lakoffs klimatkommunikatoriska tes som kortfattat och förenklat går ut på att känsloargument är det bästa sättet att informera om den globala uppvärmningen. Vidare diskuteras DiCaprios personas förhållande till dessa diskurser och begrepp. Uppsatsens analyser visar att melodrambegreppet är centralt för både klimatdiskursen och de analyserade filmerna. Och att DiCaprios funktion i klimatdiskursen vidare samspelar med dessa aspekter. Samtidigt upprättas frågetecken kring huruvida detta nödvändigtvis innebär att de retoriska diskurserna (filmerna), och likaledes DiCaprio, besvarar sina situationer. Snarare antyder analysresultaten paradoxalt nog att den melodramatiska klimatdiskursen, såsom den kommuniceras via filmerna, trumfas av andra, mer melodramatiska diskurser. / This paper examines film star Leonardo DiCaprio’s rhetorical function as it is manifested within the climate discourse. The analysis is effected with especial focus on two of his films which by this paper are considered particularly relevant considering their productional concurrence with DiCaprio’s year as the UN’s Messenger of peace during which he chose to direct attention toward the climate issue: The revenant (2015) and Before the flood (2016). Both movies are herein considered discourses, likewise semiotic texts. This analysis is effected with the help of several analytical tools and theoretical perspectives. The research fields of climate communication and celebrity studies are important theoretical views for the study, while the narrative concept of “melodrama” and Lloyd F. Bitzer’s “rhetorical situation” are the most important analytical tools. Also, the western genre and its adherent formation of myths are payed a lot of attention, not least because one of the analyzed movies, The revenant, is a western. Melodramas, whose rhetorical function is emphasized, is connected to both the climate discourse and the western genre as well as George Lakoff’s thesis of climate communication which shortly and simply boils down to the view that appealing to feelings rather than reason is the most effective way to inform people about global warming. Furthermore, DiCaprio’s persona is discussed in relation to these discourses and concepts. The analyses of the paper show that the concept of melodrama is central both for the climate discourse and the analyzed movies. And furthermore, that DiCaprio’s function within the climate discourse play into these mentioned aspects as well. Doubts are however raised as to whether this necessarily means that the rhetorical discourses (i.e. the movies), and likewise DiCaprio, succeed in answering their respective situations. The results of the analysis paradoxically suggest that the melodramatic climate discourse, as it is communicated by the two movies, is trumped by other, even more melodramatic discourses.

Leonardo Jaramillo fue un maestro pintor que desarrolló su actividad en las primeras décadas del siglo XVII entre la ciudad de Lima y la zona norte del virreinato peruano, actividad que incluye ciudades como Cajamarca y Trujillo. El origen y formación sevillana del pintor, su talento natural y su capacidad para adaptarse a las exigencias de los diversos comitentes en distintas zonas del virreinato le valieron llegar a gozar de una alta estima y a su arte, a su vez, ser muy requerido. El presente trabajo indagará sobre la biografía documentada del artista procurando ampliarla lo más posible en base a fuentes documentales de primera mano y revisará su obra para establecer una mejor comprensión de la misma. Esto debido a que se maneja poca información fidedigna del artista y su fortuna crítica ha sido muy disímil ubicándolo en diferentes corrientes artísticas. / Tesis

Submitted by Flavia Baptistini (flaviabaptistini@gmail.com) on 2017-09-28T18:39:27Z No. of bitstreams: 1 Flavia_LDV_dissertação_v7_final_comtudo.pdf: 5972920 bytes, checksum: 308c60af028f1e152d82a4499e232d94 (MD5) / Approved for entry into archive by Diego Andrade (diego.andrade@fgv.br) on 2017-09-29T20:18:59Z (GMT) No. of bitstreams: 1 Flavia_LDV_dissertação_v7_final_comtudo.pdf: 5972920 bytes, checksum: 308c60af028f1e152d82a4499e232d94 (MD5) / Made available in DSpace on 2017-10-16T11:55:07Z (GMT). No. of bitstreams: 1 Flavia_LDV_dissertação_v7_final_comtudo.pdf: 5972920 bytes, checksum: 308c60af028f1e152d82a4499e232d94 (MD5) Previous issue date: 2017-07-06 / This research aims to rescue Leonardo da Vinci Bookshop’s history based in Rio de Janeiro, which had been in the care of the same family for more than sixty years and was sold at the beginning of 2016. It was acknowledged nationally for its high-quality imported books catalog from all over the world and for the high-standard bookseller’s performance of the founder and her staff, the Da Vinci Bookshop – as well as other previous bookshops that proved to be part of the city’s memory. Its relationship with the urban everyday life enabled not only the production and the development of the humanistic knowledge in the old Republic capital, but also promoted ways of sociability of several scholars living in Rio de Janeiro during the second half of the 20th century. The purpose of this study is to reflect about the symbolic dimension of certain kinds of commercial activities, focusing on the bookseller diversity in the cultural life of the cities. Besides being a purchase point, nowadays the few remaining bookshops are used as leisure centers and a place designed mainly for literary activities and they make part of the powerful international companies / Esta pesquisa intenta resgatar a trajetória da Livraria Leonardo da Vinci, sediada na cidade do Rio de Janeiro, que esteve por mais de sessenta anos sob os cuidados da mesma família e foi vendida no início de 2016. Reconhecida nacionalmente pela qualidade do catálogo de obras importadas de diversas partes do mundo e pelo exercício do ofício livreiro pela fundadora e por seus funcionários, a Da Vinci – bem como outras livrarias antes dela – mostrou ser parte integrante da memória da cidade. Sua relação com o cotidiano urbano permitiu não só a produção e o fomento do conhecimento humanístico na antiga capital da República como ensejou formas de sociabilidade de uma série de intelectuais residentes no Rio durante a segunda metade do século XX. Com este estudo pretende-se refletir sobre a dimensão simbólica presente em determinados tipos de atividades comerciais, dando destaque à diversidade livreira na vida cultural das cidades. Além de ponto de venda, hoje as poucas livrarias remanescentes são moduladas como espaços de lazer e fruição de atividades do campo literário e fazem parte de grandes redes ou conglomerados internacionais.

Set in 16th century Florence, Italy, "La Gioconda" takes you on the journey of Lisa del Gioconda, the woman behind one of the most recognized paintings in the world, The Mona Lisa. Married off at a young age, Lisa finds comfort in her secret love affair with Art. Her secret world crosses paths with an Art apprentice, Leonardo da Vinci, who takes her on as his student. Lisa tells her husband that she is at church praying while spending her afternoons with Da Vinci, mastering her craft and technique. A love affair begins to blossom and Lisa is forced to make a big decision in the end. Secrets begin to unravel including the truth behind Da Vinci's original painting of the Mona Lisa before it became what we all know it to be today.

Made available in DSpace on 2015-04-15T12:50:32Z (GMT). No. of bitstreams: 1 466167.pdf: 1147819 bytes, checksum: 7be5e56f948b9ce00a4b77c97f59ffba (MD5) Previous issue date: 2015-01-20 / This dissertation is a result of research and analysis of the subjects around the The Lord?s Prayer . It has the purpose of confronting the content within the prayer with the lives of the mozambican people in its relations to God and others. Having as a start point the essay of Leonardo Boff s The Lord?s Prayer: The Prayer of Integral Liberation (1979). Deriving from this, the theme of the dissertation is centered on The Lord?s Prayer according to the theology of Leonardo Boff and on mozambican cultural perspective. It presents a brief exegetic study of the Lord?s Prayer. It develops a discussion around the Lord?s Prayer according to the theology of Leonardo Boff. It follows with the exposure of some compelling arguments that this prayer, to the mozambican people, is not a theory, but life itself. It acknowledges God as the father; the respect for His holy Name; recognition of His Kingdom?s supremacy; recognition of the superiority of His will; the breaking of bread which makes communion; forgiveness that heals grief and the trust in God in times of temptation and for the future itself. The conclusion brings a comparative synopsis of the Lord?s Prayer in the theological and cultural mozambican perspective. / Essa disserta??o resulta da pesquisa e an?lise de conte?dos acerca da ora??o do Pai-Nosso. Teve o prop?sito de confrontar o conte?do da ora??o com a vida do povo mo?ambicano nas suas rela??es com Deus e com os demais. Partindo da discuss?o de Leonardo Boff na obra: O Pai-Nosso, a ora??o da liberta??o integral (1979). Decorrente disso o tema da disserta??o centra-se no Pai-Nosso na Teologia de Leonardo Boff e na perspectiva cultural mo?ambicana. Apresenta breve estudo exeg?tico do Pai-Nosso. Desenvolve a discuss?o da ora??o do Pai-Nosso segundo a Teologia de Leonardo Boff. Segue com a apresenta??o de argumentos comprovadores que a ora??o do Pai-Nosso, para o povo mo?ambicano, n?o ? uma teoria, mas vida. Apresenta reconhecimento da paternidade de Deus; o respeito pelo Seu santo Nome; o reconhecimento da superioridade do Seu reino; o reconhecimento da superioridade da Sua vontade; a partilha do p?o que faz comunh?o de pessoas; o perd?o que cura as m?goas e a confian?a em Deus na hora de tenta??o e para situa??es futuras. Na conclus?o traz uma sinopse comparativa do Pai-Nosso na perspectiva teol?gica e cultural mo?ambicana.

Orientador: Pedro Angelo Pagni / Banca: Hugues Armand Odile Emeric D'Ans / Banca: Divino José da Silva / Resumo: O presente trabalho problematiza o papel atribuído pela tendência marxista em Filosofia da Educação no Brasil ao pensamento educacional neotomista. Utilizando-se da hermenêutica de Gadamer, realiza-se movimento de aproximação e distanciamento das principais idéias educacionais católicas disseminadas por periódicos nos anos trinta. Procura-se distinguir um pensador, Leonardo Van Acker, como um teórico que tenta dialogar criticamente com o mundo e o pensamento modernos; demonstra-se como, neste diálogo, aproxima-se do pensamento pragmático de Dewey. Ao final, discute-se o elemento de criticidade presente no pensamento de Van Acker, para tanto, realiza-se um contraponto com o pensamento crítico de Horkheimer. / Abstract: This essay inquires about how the marxist tendency in Philosophy of Education in Brazil understand de neotomist educational thinking. With the Gadamer's hermeneutic, it realizes a movement of aproximation and distancing of mean catolic educational thinking publiched in papers and magazines on the therties. Leonardo Van Acker is detached as a thinker who tries to dialogue criticaly about the modern world and modern thinking. At this dialogue, his ideas is next to the Dewey pragmatic thinking. As conclusion, it inquires about the critical elements presentes in Van Acker and compares him with the Horkheimer critical thinking. / Mestre

La tesi tratta il profilo umano e la produzione letteraria degli studiosi di Leonardo da Vinci in ambito milanese tra il tardo Settecento e i primi due decenni dell'Ottocento. La discussione critica di tali contributi (talvolta inediti) posti in successione cronologica ha permesso di delineare le principali acquisizioni storiografiche su Leonardo da Vinci e la sua produzione artistica. / Thesis deals with the literary production made by Leonardo da Vinci's scholars in Milan area between the late eighteenth century and the first two decades of the nineteenth century. The critical discussion of these contributions (sometimes unpublished) placed in chronological sequence has enabled us to identify the major historiographical acquisitions on Leonardo da Vinci and his art.

This dissertation is a study of the comic intermezzo’s literary origins and musical practice in the years before Pergolesi’s La serva padrona (1733). It begins with a chronological examination of Italian comic plays and operas written between 1660 and 1723. During these years comic playwrights adopted a style of writing speech from the improvised theatre which makes use of what Richard Andrews (1993) refers to as “elastic gags.” This style of comedy flourished under Medici patronage in Florence in the last decades of the seventeenth century and then spread to Venice, Rome and Naples during the first years of the intermezzo’s development. It is a style of comedy shared with the plays of Molière, and other contemporaneous French authors. This dissertation examines several scenes based on French works which have previously not been identified as having earlier sources. The decision to adapt these earlier sources for the intermezzo did not occur in a vacuum. The practice of comedy in the intermezzo was conditioned by the artistic, social and political climate of Italy. This study investigates the relationship between intermezzos and the milieus which produced them. The success of some intermezzos, like Il marito giocatore (1719), resulted from a combination of their artistic merit and their broad social appeal, while others, like Albino e Plautilla (1723), were musically adept but remained obscure because their humour was specific to the world they satirized. Both intermezzos are indebted to earlier French sources. Many others which are metatheatrical in nature draw on contemporary debates about opera. A final section examines selected arias from the intermezzo repertory using incongruity theory. Comic theory makes clear that the intermezzo’s musical language was not a new development. Just as librettists drew on earlier written traditions to form the literary text of the intermezzo, composers drew on existing musical practices to create humour. The intermezzo was therefore not naively comic—a portrait of the genre which is all too common—but rather a repertory which was thoroughly enmeshed within contemporary artistic practice and a wider social and cultural world.