This dissertation study describes theatres of so called The Five from Prague art companies in the 90th . It follows the change of media presentation and reception in the changed historical context after November 89. At the beginning there is briefly mentioned the rise of theatres and their focus in the 80th and also the overall situation of The Five from Prague art companies before the Velvet Revolution in 1989. Following part of this study is divided into three sections - period before opening of the common stage in the Akropolis Palace, the act of the opening and the activities in second half of the 90th. This dissertation study watchs the theatres trough newspaper's articles and important is a relationship The Five from Prague art companies and media.

S’étendant sur une période de plus de 500 ans, le royaume méroïtique a étendu son influence jusqu’aux bords du Nil Moyen. Bien qu’il soit difficile de déceler clairement les limites précises du royaume, ce dernier couvrait environ mille cinq cent kilomètres de la vallée du Nil, depuis la frontière égyptienne jusqu’au sud de l’actuelle ville de Khartoum, ainsi que des territoires annexes à l’est et à l’ouest. L’objectif premier de cette étude est de comprendre l’organisation des centres urbains en bord de Nil en établissant des comparatifs entre les sites précédemment fouillés, tel le palais de Ouad Ben Naga, les palais et les grandes demeures de la capitale antique de Méroé et le site de Mouweis actuellement fouillé par le musée du Louvre. Bien que l’on ne soit encore que peu au fait des évolutions politiques et culturelles marquant le milieu du premier millénaire avant Jésus Christ, à la naissance de l’empire méroïtique, il est évident qu’une nouvelle conception du pouvoir émergea à cette époque. Un nouveau noyau étatique est établi, quoique son étendue soit encore difficile à délimiter. La diversité manifeste à travers le matériel et l’architecture a donné lieu à des particularités régionales étonnantes. De tels exemples constituent une excellente source d’information quant au contrôle étatique pratiqué dans ces régions. Il semble que le pouvoir se soit diffusé par l’intermédiaire des grandes structures administratives et religieuses. L’apport de nouveaux sites demeure également un excellent moyen de parvenir à une appréhension plus précise de l’organisation des palais au tissu urbain associé, ainsi que leur zone d’influence dans la périphérie de leur implantation. / Extending over more than 500 years, the Meroitic kingdom extended its influence to the edges of the Middle Nile. Although it is difficult to identify clearly the specific limits of the kingdom, it covered approximately one thousand five hundred kilometers from the Nile Valley, from the Egyptian border to south of the present city of Khartoum and peripheral territories east and west. The primary objective of this study is to understand the organization of the urban centers along the Nile in establishing comparisons between sites previously excavated, such as the Wad Ben Naga palace, palaces and mansions of the ancient capital of Meroe and the site of Mouweis currently excavated by the Louvre Museum. Although there is still little awareness of the political and cultural developments marking the middle of the first millennium BC -the birth of Meroitic empire- it is clear that a new conception of power emerged at this time. A new state is established, although its extent is still difficult to define. The great cultural diversity of this kingdom is made clear through its material and architecture, which has led to amazing regional particularities. Such examples are an excellent source of information on state control practiced in these areas. It seems that power is developed through major administrative and religious centers. The addition of new sites is also a great way to achieve a more accurate understanding of the organization of palaces and their implementation inside an urban network, but also their area of influence on the rest of the city.

This thesis’ main goal is to answer the question: from where did Peter Paul Rubens’s Life of Marie de Medici Cycle come? Previous literature has focused on the content of the twenty-four canvases of the Medici Cycle and their meanings. However, they have not viewed the Medici Cycle as part of a bigger whole and thus part of a larger agenda that was symbolised through Marie de Medici’s construction and patronage of her own palace in Paris, the Luxembourg Palace. Originally planned to emulate the Palazzo Pitti in Florence in which Marie was raised, the Palace represents the Florentine agenda that was prevalent throughout Marie’s patronage after her first exile at the hands of her son, Louis XIII, in 1617. By viewing the Luxembourg Palace as a whole and exploring the Medici Cycle’s placement there, this thesis will show that Marie was looking back to Florence for guidance when constructing her own image as wife, widow, mother and regent. The first chapter places the Medici Cycle firmly within the Luxembourg Palace and the themes prevalent throughout the decoration there, acknowledging Marie’s dependence on Medici architectural and pictorial projects when developing her own programme of praise. The second chapter looks to how the other Medici queen of France, Catherine de Medici, portrayed herself when faced with the same obstacles as Marie, fifty years prior: motherhood, widowhood, regency, foreignness, gender and power. In this chapter it becomes evident that Marie used many of the same strategies as Catherine, yet far surpassed her in her own aggressive self-promotion, as evidenced by the nature of the Medici Cycle. Chapter three focuses on the similarities between the Medici Cycle and sixteenth and seventeenth century entries and festivals, especially those in Florence staged in celebration of dynastic marriages. The chapter answers the question of whether the Medici Cycle was in fact, finally, Marie’s triumphal entry into Paris. The final chapter looks to Marie and her image following her final exile in 1630. It highlights the importance of the Medici Cycle on Marie’s public image and how it influenced later depictions and laudations of Marie, specifically in her entries into Brussels, Antwerp, Amsterdam and London. This chapter will show that Marie still had the same patronage agenda following her final exile and how the imagery of the Medici Cycle became part of the symbolism and vocabulary in Marie’s patronage and image that shaped opinions of Marie far past her death in 1642 to how her image is perceived today.

Tese de mestrado integrado. Engenharia do Ambiente. Universidade do Porto. Faculdade de Engenharia. 2010

The aim of this study is to show how much Nicodemus Tessin the younger was inspired by the architecture of Gianlorenzo Bernini, while building the Tessinska palace in Stockholm. The investigation is based on comparative analysis of Tessinska palace with various architectural works by Bernini. The author also investigates the influence Bernini had on Tessin t.y. by studying the personal relation between the architects.The investigation shows that every external surface of the Tessinska palace contain many architectural details and elements that share similarities or look equal to the ones used by Bernini in a variety of his roman buildings, to name a few: Palazzo Barberini, Palazzo Ludovisi, Collegio di Propaganda Fide, Palazzo Chigi and more. The analysis of the biographical background and relationship between the architects shows that Nicodemus Tessin t.y. was very influenced by Bernini and his work, which he writes about in several occasions in his works and notes. Investigation shows that Tessin t.y was using Berninis architectural details consciously and with full awareness.

In 1963, architect Cedric Price, theatre producer Joan Littlewood, and cybernetician Gordon Pask proposed a new kind of leisure centre called the Fun Palace. Though never built, the project continues to influence architecture and is the inspiration for this thesis. Known also as the “Laboratory of Fun,” the Fun Palace developed a compelling yet problematic narrative: people would have the freedom to design their own spatial experiences, but their behaviours would be monitored and probed. Innovations from the cybernetic committee had propelled the Fun Palace beyond mundane reality and into the virtual. In fact, the Fun Palace was more than a building; it was an information interface where architecture and humans were connected by cybernetic feedback. Of particular importance to this thesis is the way the Fun Palace antici- pated how digital technology would transform the world, and how it can be understood as an early prototype of the digital city. The model of space that the Fun Palace proposed shifted our understanding of architecture from autonomous and static to complex and dynamic; from an architecture of walls to an architecture of fields. This thesis is organized along three lines of inquiry. Firstly, that architecture is participatory. Secondly, that architecture is multidimensional. Thirdly, that architecture is generated by real-time transactions. The thesis concludes with a speculation called In The Fields: a mobile laboratory for co-creation in the digital city.

Five-character poetry is an important poems form in Chinese Literature, which have five-character-four-sentences, six-sentences, eight-sentences, ten-sentences,twelve-sentences or even longer. Although the regulated verse form got into matured in Tang Dynasty,but it was brewing in the Southern Qi Liang.Start from Southern Song Dynasty,five-character poetry was gradually appeared into a large number,especially of the five-character-eight-sentences poetry.However, among the academia only focus on researching poetry rhythm and the antithesis,did not put efford into research the structure of five-character poem.This thesis focuses on this phenomenon,based on the number of five-character poems and the poems structure,try to research the process of five-character poems evolve into regulated verse.

The aim of the thesis is to re-read the design process of Cedric Price&rsquo / s Fun Palace via &ldquo / patterns of utopia&rdquo / in order to understand and discuss how social imagination guides practice of architecture. Social imagination, as conceptualized in this thesis, denotes the intellectual activity of critically observing the social context and utilizing available resources in favor of new social possibilities. It can be argued that architectural practice is continuously subjected to political, cultural, and financial changes, the accumulation of which may easily bring forth changes in programmatic and physical aspects of space. The thesis claims that in order to keep in pace with the extents of change and variation in social experience, architectural production requires the integration of social imagination into the design process. Keeping this in mind, patterns of utopia are conceptualized as guidelines that help the integration of social imagination into the design process. In turn, Price&rsquo / s Fun Palace is re-read from the scope of patterns, in order to understand the relations between social dimension of the project and how this dimension is reflected onto the design of a flexible set of programs.

This thesis aims to explore the Ottoman Imperial Harem in the second half of the nineteenth century by focusing on the memoirs of Leyla Saz, a well-known poet and musician (1850-1936). Belonging to an aristocratic family, Leyla Saz was admitted to the &Ccedil / iragan Palace at the age of four as Fatma Sultane&rsquo / s, (daughter of Abd&uuml / lmecid) maid of honour and witnessed closely the daily life in the Harem for more than twenty years. Her memoirs, dating 1920, are the earliest examples written by a court member or, in other words, by an insider. They are particularly important for documenting not only the Imperial Harem as a disappeared socio-cultural institution, but also its architectural setting as part of the Old &Ccedil / iragan Palace, built in 1841 but demolished in 1857. Accordingly, this thesis seeks to reconstruct the Old Palace and its Harem architecturally and culturally by reading these memoirs in parallel to the related historical and theoretical literature. In so doing, it discusses whether the memoirs perpetuate or challenge the orientalist discourses.

This thesis analyzes a series of stucco reliefs that decorate the piers of House D of the Palace of Palenque, a Classic Maya city in modern Chiapas, Mexico. Each of the five extant piers of House D depict pairs of individuals facing each other and engaged in what appears to be ritual performances associated with dance and sacrifice. I rely on an iconographic analysis of the reliefs of House D and on a reading of the architecture in relation to the surrounding built environment in order to reconstruct ancient patterns of viewership. I argue that the reliefs of House D of the Palace present a royal narrative where myth and history are fused, and that this combination is validated through ritual performance. The integration of mythical and historical narratives is transmitted through the ruler's enactment of past events that take place in a watery environment signifying the mythical origins of the city of Palenque. This performative narrative at the same time reproduces and perpetuates the actual ceremonies that took place in and around the building, specifically in the monumental stairway and in the ceremonial plaza that flank the building on its western margin. The dynastic messages embedded in the narrative of the piers, and its incorporation into the performances associated with the building, serve to promote the military accomplishments and the political legitimacy of a new ruling dynasty, initiated by the king of Palenque K'inich Janab Pakal, who is the main figure portrayed on the reliefs. / text