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Northen, Elijah Luke. "Green fabric an urban center for Virginia's wine culture /." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/2615.
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Thesis (M. Arch) -- University of Maryland, College Park, 2005.Thesis research directed by: Architecture. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Nassrallah, Mireille. "Challenges in Canadian Cultural Discourses: Multiculturalism vis-à-vis Interculturalism and the Political 'Othering' of Canada's Cultural Fabric." Thèse, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/30839.
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The process of identification for émigrés in host countries requires an investigation into the “politics of identity”, and epistemological tensions of how identity is conceptualized and practiced in the context of multicultural environments. Indeed, multiculturalism frameworks in Canada have emerged from attempts to manage coexisting cultures living in the nation-state.
This research is a comparative theoretical discussion that mobilizes postmodern perspectives to open limited notions of Canadian identity, and describes the potential challenges that English Canadian and Francophone Quebec multicultural frameworks raise in cultural identification for Canada as a whole, and specifically for émigrés. Secondary literature for the analysis of multicultural frameworks is examined with citizenship markers from Census of Canada questionnaires, to conceptualize Canadian identity through discourse.
The findings: (1) postulate how the multiculturalist framework in English Canada and the politics of intercultural identity in Quebec intervene in the meaning-making process of national identity and thus impede on the preservation and development of different cultural identities; and (2) discover that both frameworks of multiculturalism and interculturalism, as an institutionalization of social justice and equality, should be reframed or refined due to the limiting conceptualization of cultural identity as fluid. The findings conclude that multiculturalism, interculturalism, and citizenship frameworks may not provide effective strategies to balance the relationship between different groups with regards to ethnic and cultural rights and equality, and that these frameworks should be revisited to account for, and represent, the complexities of identity in Canada.
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Dolan, Alice Claire. "The fabric of life : linen and life cycle in England, 1678-1810." Thesis, University of Hertfordshire, 2016. http://hdl.handle.net/2299/17196.
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'The Fabric of Life: Linen and Life Cycle in England, 1678-1810' is structured around the human life cycle to draw out the social and cultural importance of linen for all ranks of society. Human and object life cycles are juxtaposed in the thesis to analyse co-dependent activities and processes rather than focusing on one facet of daily life. For thousands of years flax was a staple fibre, used for textile production in many parts of the globe. Cotton only overtook linen as the most popular textile in England at home and on the body during the nineteenth century. This thesis examines the preceding century to reveal why linen remained a daily necessity in England between 1678 and 1810, a period which encompassed a series of significant changes in the production, trade and use of linen. Linen was ubiquitous as underwear, sheets, table linens and for logistical purposes therefore it provides a unique insight into the early-modern world; a means of understanding the multifaceted experiences of daily life, of integrating understandings of the body, domestic, social, cultural and commercial activities. This thesis is social history through the lens of linen, reading a society through its interactions with a textile.
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Gurisik, Selcuk Halil. "The paradox and contradictions in cultural value and exchange worth of Anatolian hand-crafted wool felted textiles." Thesis, University of the Arts London, 2006. http://ualresearchonline.arts.ac.uk/5213/.
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This thesis seeks to explain the development and implementation of a new model, methods and process of practice required for the rejuvenation of hand crafted woolfelted textile making customs and practices of the Anatolian region of Turkey, which mediates tradition in a contemporary context. In progressing the aims of the research project underpinning the thesis it was necessary to undertake both field work, learning the felt makers' practices, and to undertake empirical design-based product trials which provided insights into the culture and creative potential of the felt making activity thus facilitating the development of the new model of practice. Therefore the thesis examines not only the nature and context, both historical and contemporary, of felt makers and felt making practice in Anatolia but also presents ethnographic and theoretical discourse intended to argue and justify the approaches adopted in the development of the new model of practice and a verification process of its effectiveness. The thesis interrelates strands of changing contexts; research record and theory discourse and argues that the new model of practice enables sustainability and displays ethical responsibility appropriate to, and commensurate with, the felt making culture of Anatolia and its traditions. The thesis argues by demonstration that the perception of an object is determined by location and level of consciousness, which can be reflected upon and, through redesign involving aggregation of qualities and values, purposefully represent an object and recreate its lost aura's root from tradition, transposed into a new diversity of perceptual responses. The thesis concludes that mediatory actions implicit in the new model of practice need not adversely impact upon the traditional culture of the makers in terms of lifestyle choices, since reciprocal exchange is a local transaction, which proffers evolving tradition as cultural values to a diversity of external locations and levels of consciousness. This open-ended mediatory action of anonymous hybridisations will continue by the intervention of other designers through evolutionary integration to elevate the status of the culture object and its related craft activity.
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Simmons, Kathryn Elizabeth. "Textiles in Rural Bolivia: Where Does the Art of Traditional Textile Making Fit Into Today's World?" University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1418306303.
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Capaldi, Flávia Regina. "Avaliação de diferentes fontes de nitrogênio em explantes de Cryptomeria japonica D.Don. "elegans" cultivados in vitro: análises bioquímicas e relações entre reguladores vegetais." Universidade de São Paulo, 2002. http://www.teses.usp.br/teses/disponiveis/11/11150/tde-30072002-162030/.
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A Cryptomeria japonica D. Don. "elegans" é uma conífera pertencente à família Taxodiaceae, que apresenta crescimento rápido e boas respostas à fertilização. Dez variações nas concentrações de nitrato e amônio presentes no meio de cultura MS foram realizadas no cultivo 'in vitro' de brotações obtidas a partir de explantes primários de ápices caulinares durante 90 dias. A cada 30 dias foram avaliados, a taxa de crescimento relativo e o incremento em massa vegetal seca. Ao final de 90 dias, foram realizadas análises dos teores de proteínas solúveis totais, aminoácidos solúveis totais, carboidratos não-estruturais totais e eletroforese de proteínas totais em gel de poliacrilamida. Os tratamentos que exibiram resultados mais satisfatórios foram utilizados em um experimento com diferentes relações auxina/citocinina, onde foram avaliadas a produção de brotações e a altura média das mesmas aos 30, 60 e 90 dias de cultivo. As concentrações de nitrato e amônio entre 25 e 31mmol.L -1 e até 5mmol.L -1, respectivamente, foram as mais efetivas para o crescimento e desenvolvimento do material vegetal cultivado 'in vitro'. Durante o experimento com diferentes concentrações de ANA e BAP, foi possível observar que a produção de brotações, etapa essecial para um processo de micropropagação eficiente, foi superior quando as combinações entre nitrato e amônio foram 22,5 + 2,5mmol.L -1 e 25,0 + 5,0mmol.L -1.Cryptomeria japonica D. Don. "elegans" is a fast-growing tree belonging to the Taxodiaceae and it is considered a responsive species 'in vitro'. The aim of this work was to evaluate the effect of ten different concentrations of nitrate and ammonium in morphogenesis 'in vitro' of Cryptomeria japonica D. Don. "elegans" explants. Analysis of relative growth rate, total soluble proteins, total soluble aminoacids, total non structural carbohydrates and electrophoresis of total proteins was performed in order to observe the role of different nitrogen sources on the growth and development of the explants cultivated 'in vitro'. The concentratios of nitrate and ammonium that showed the best results were selected and used in an experiment with different concentrations of NAA and BAP to observe the shoot production. Each experiment was analised at the 30 th , 60 th and 90 th days of culture. The biochemical analysis was performed only at 90 th day of cultive. Concentrations from 26 to 31mmol.L -1 of NO3 - and lower than 5mmol.L -1 of NH4 + were the most effective for growth and development of the explants. However, the experiment with different concentrations of NNA and BAP showed that the best shoot production was achieved on 22,5mmol.L -1 of NO3- + 2,5mmol.L -1 of NH4 + and on 25,0mmol.L -1 of NO3 - + 5,0mmol.L -1 of NH4 + and with 2,0mg.L -1 of BAP + 1,0mg.L -1 of NNA.
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Meneguzzi, Aline. "Resgate vegetativo e propagação in vitro de Persea willdenovii Kosterm." Universidade do Estado de Santa Catarina, 2017. http://tede.udesc.br/handle/handle/2339.
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Capes
The objective of this study was to determine method to the rescue of vegetative material of adult plants of P. willdenovii and evaluate the spread of this material, via tissue culture. The work was conducted with 20 P. willdenovii matrices located in Urupema / SC (28°17'38 ''S, 49°55'54''W). In the vegetative rescue, the following techniques were tested: trunk annealing (100%), semianelation at 75% of the trunk circumference, semianelation at 50% trunk and the induction of shoots from pruned branches. The shoots were harvested at 90, 120, 150, 180, 210 and 240 days after application of the treatments. Sprouts were used in the in vitro culture technique. In the establishment of shoots, asepsis methods were tested: 15 and 20 minutes of contact with sodium hypochlorite (NaClO) (2% v v-1) and the presence / absence of the PPM® biocide (1,5mL L-1) In the culture medium. For in vitro multiplication, two culture media (MS and WPM) and BAP concentration (0, 2, 4 and 6 mg L-1) were tested. Also, the induction of calogenesis by foliar explant was tested in the treatments: position of contact of the foliar face with the culture medium (up and down) and the combination of the BAP and ANA phytoregulators in different concentrations (0 to 12 mg L-1). All vegetative material rescue techniques emitted new shoots, with emphasis on the pruned branches method, which presented the best results for sprouting percentage, number and length of shoots. In vitro culture, asepsis of explants with NaClO for 20 minutes and addition of PPM® in the medium resulted in lower rates of fungal (50%), bacterial (5%), oxidation (23%) and higher survival (76%) of the explants. In vitro multiplication, explants in MS medium had higher oxidation (48%) and lower survival (52%) when compared to WPM medium (26% and 74%, respectively). For the average number of shoots and leaves, the concentration of 3 mg L-1 BAP reached the highest technical efficiency (MET) (1.22 and 1.75 mg L-1, respectively). Foliar segments were not responsive in inducing calogenesis after 120 days of in vitro culture. In this way, it is indicated for the vegetative rescue of P. willdenovii the method of pruned branches. While for in vitro propagation, the use of NaClO (2% v v-1) for 20 minutes and the PPM® biocide (1.5 ml L-1) in the culture medium is recommended in the establishment phase and The use of WPM medium plus 3 mg L-1 of BAP in the multiplication phase.
O objetivo deste trabalho foi determinar método para o resgate de material vegetativo de plantas adultas de P. willdenovii e avaliar a propagação deste material, via cultura de tecidos. Foram utilizadas 20 árvores matrizes de P. willdenovii localizadas no município de Urupema/SC (28°17'38''S; 49°55'54''W). No resgate vegetativo, foram testadas as seguintes técnicas: anelamento do tronco, semianelamento em 75% da circunferência do tronco, semianelamento em 50% e galhos podados. As coletas das brotações foram realizadas aos 90, 120, 150, 180, 210 e 240 dias após a aplicação dos tratamentos. As brotações foram utilizadas na técnica de cultivo in vitro. No estabelecimento testaram-se métodos de assepsia: 15 e 20 minutos de contato com hipoclorito de sódio (NaClO) (2% v v-1) e a presença/ausência do biocida PPM® (1,5mL L-1) no meio de cultura. Para a multiplicação in vitro, foram testados meios de cultura (MS e WPM) e doses de BAP (0, 2, 4 e 6 mg L-1). Também, foi testada a indução de calogênese via explante foliar, nos tratamentos: posição de contato da face foliar com o meio de cultivo (abaxial e adaxial) e a combinação dos fitorreguladores BAP e ANA em diferentes concentrações (de 0 a 12 mg L-1). Todas as técnicas de resgate de material vegetativo emitiram novos brotos, com destaque para o método via galhos podados que apresentou os melhores resultados para porcentagem de brotação, número e comprimento de brotos. No cultivo in vitro, a assepsia dos explantes com NaClO por 20 minutos e a adição do PPM® no meio resultou em menores índices de contaminação fúngica (50%), bacteriana (5%), oxidação (23%) e maior sobrevivência (76%) dos explantes. Na multiplicação in vitro, os explantes em meio MS tiveram maior oxidação (48%) e menor sobrevivência (52%) quando comparado ao meio WPM (26% e 74%, respectivamente). Para o número médio de brotos e de folhas, a concentração de 3 mg L-1 BAP atingiu a máxima eficiência técnica (MET) (1,22 e 1,75 mg L-1, respectivamente). Os segmentos foliares não foram responsivos na indução de calogênese após 120 dias de cultivo in vitro. Desta forma, indica-se para o resgate vegetativo de P. willdenovii o método de galhos podados. Enquanto que, para a propagação in vitro, recomenda-se o uso de NaClO (2% v v-1) durante 20 minutos e do biocida PPM® (1,5 ml L-1) no meio de cultura na fase de estabelecimento e a utilização do meio WPM acrescido de 3 mg L-1 de BAP na fase de multiplicação
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ROCHA, Maria do Socorro. "Crioconservção e cultivo in vitro de sementes de algodão colorido." Universidade Federal de Campina Grande, 2004. http://dspace.sti.ufcg.edu.br:8080/jspui/handle/riufcg/954.
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A conservação e manipulação dos recursos genéticos vegetais de espécies de valor económico são de fundamental importância para a conservação em banco de germoplasma. Este trabalho teve como objetivo; a) avaliar a crioconservação de sementes de algodão das cultivares BRS-Verde, BRS-200, BRS-187-8H e 6MMocó e b) estudar a indução ao superbrotamento dos nós cotiledonares de plântulas do algodoeiro cultivados in vitro, para as mesmas cultivares supracitadas. Neste trabalho propôs-se inicialmente determinar do teor de água limite para crioconservação (TALC). Para esta determinação as sementes foram imersas ao nitrogénio líquido (-196°C) por cinco dias e após esse período elas forma descongelados e submetidas ao teste de germinação e vigor. Utilizou as armazenagem das sementes a 23°C por 5 dias como testemunha. O delineamento estatístico empregado foi o inteiramente casualizado com arranjo fatorial representado por (quatro cultivares x duas temperaturas x seis teor de água). Na crioconservação utilizou-se um lote de sementes com teor de água limite previamente determinado para as diferentes cultivares, a partir do qual se procedeu ao seu armazenamento em nitrogénio líquido (-196°C) e no vapor do nitrogénio (-170°C), durante 5, 30, 60 e 90 dias. O delineamento experimental utilizado nesta etapa foi o inteiramente casualizado em parcela sub-dividida no tempo, sendo a parcela representas pela interação (quatro cultivares x duas temperaturas de armazenamento) e a sub-parcela pelos quatro períodos de armazenamento. Em cada período de armazenamento, as sementes foram submetidas a testes de germinação e vigor. De acordo com os resultados obtidos póde-se concluir que: a) estudar a determinação do teor de água limite para crioconservação-TALC, durante 5 dias, o teor de água limite para a crioconservação das cultivares BRS-Verde, BRS-200, 6M-Mocó e BRS-187-8H considerando-se a germinação dessas cultivares está entre 6 e 8% (b.u.) e considerando-se o vigor das sementes o TALC é de 6% (b.u.); b) sementes de algodoeiro, das diferentes cultivares podem ser crioconservados em banco de germoplasma nas duas temperaturas, ou seja no vapor a -170°C ou imersa ao nitrogénio líquido a -196°C; c) a crioconservação aumenta o percentual de germinação e vigor das sementes de algodão, devido a essa temperatura a promover uma quebra de dormência pela ação do frio. No Capítulo II propôs-se a indução de superbrotamento, empregando como explante dos nós cotiledonares, plântulas cultivadas in vitro durante 25 dias. Os explantes foram cultivados em tubos de ensaio contendo o meio básico MS, suplementado com citocininas BAP, KIN e TDZ, isolados ou associados em diferentes concentrações. Os tubos de ensaio contendo os explantes foram mantidos em sala de crescimento regulada à temperatura de 28°C, fotoperíodo de 16/8h (claro/escuro) e intensidade luminosa de 50umol.m2.s1 , durante 40 dias os quais foram avaliados por meio do delineamento inteiramente casualizado, com arranjo fatorial de 4x17 (quatro cultivares x dezessete meios), sendo então avaliadas quanto ao número de brotos emitidos e altura de brotos. De acordo com os resultados obtidos póde-se concluir que: O meio MS suplementados com BAP (2,0 mg.L"1) isolado ou associado com KIN (1,0mg.L"1), promoveu uma maior capacidade de regeneração e altura de brotos; b) o meio MS suplementados com BAP (2,5 mg.L"1) estimulou maior altura de brotos;c)o meio MS suplementados com TDZ (1,0 mg.L"1 , 0,50 mg.L"1e 0,25 mg.L"1) afetou a capacidade de regeneração de brotos, obteve formação de calos.
A conservação e manipulação dos recursos genéticos vegetais de espécies de valor económico, são de fundamental importância para a conservação em banco de germoplasma. Este trabalho teve como objetivo: a) avaliar a crioconservação de sementes de algodão das cultivares BRS-Verde, BRS-200- Marrom, BRS-187-8H-Branco e 6 M-Mocó-Branco e b) estudar a indução ao superbrotamento dos nós cotiledonares de plântulas do algodoeiro cultivados in vitro, para as mesmas cultivares supracitadas. Inicialmente, determina-se do teor de água limite para crioconservação (TALC). Para esta determinação, as sementes foram imersas no nitrogénio líquido (-196°C) durante cinco dias e após este período elas foram descongelados e submetidas ao teste de germinação e vigor. Utilizou-se a armazenagem das sementes a 23°C por 5 dias, como testemunha. O delineamento estatístico empregado foi o inteiramente casualizado com arranjo fatorial representado por (quatro cultivares x duas temperaturas x seis teores de água). Na crioconservação utilizou-se um lote de sementes com teor de água limite previamente determinado para as diferentes cultivares, a partir do qual se procedeu ao seu armazenamento em nitrogénio líquido (-196°C) e no vapor do nitrogénio (-170°C), durante 5, 30, 60 e 90 dias. O delineamento experimental usado nesta etapa foi o inteiramente casualizado, em parcela subdividida no tempo, sendo a parcela representada pela interação (quatro cultivares x duas temperaturas de armazenamento) e a subparcela pelos quatro períodos de armazenamento. Em cada período de armazenamento as sementes foram submetidas a testes de germinação e vigor. De acordo com os resultados obtidos concluiu-se que: a) O teor de água limite para crioconservação-TALC, durante 5 dias, para a crioconservação das cultivares BRS-Verde, BRS-200-Marrom, 6MMocó- Branco e BRS-187-8H-Branco, considerando-se a germinação dessas cultivares está entre 6 e 8% (b.u.) e, quanto os vigor das sementes, o TALC foi de 6% (b.u.); b) sementes de algodoeiro das diferentes cultivares podem ser crioconservadas em banco de germoplasma, nas duas temperaturas, ou seja, no vapor a -170°C ou imersa ao nitrogénio líquido a -196°C; c) a crioconservação aumenta o percentual de germinação e vigor das sementes de algodão, em virtude dessa temperatura promover quebra de dormência, pela ação do frio. No Capítulo II propôs-se a indução de superbrotamento, empregando-se como explante nós cotiledonares de plântulas cultivadas in vitro durante 25 dias. Os explantes foram inoculados em tubos de ensaio contendo o meio básico MS, suplementado com citocininas BAP, KIN e TDZ, isolados ou associados a diferentes concentrações. Os tubos de ensaio contendo os explantes foram mantidos em sala de crescimento regulada à temperatura de 28°C, fotoperíodo de 16/8h (claro/escuro) e intensidade luminosa de 50umol.m2.s1 , durante 40 dias, os quais foram avaliados por meio do delineamento inteiramente casualizado, com arranjo fatorial de 4x17 (quatro cultivares x dezessete meios), sendo então avaliadas quanto ao número de brotos emitidos e altura do comprimento de brotos. De acordo com os resultados obtidos pôde-se concluir que: a) o meio MS suplementado com BAP (2,0mg.L~1) isolado ou associado a KIN (1,0mg.L~1), promoveu maior capacidade de regeneração e altura de brotos; b) o meio MS suplementado com BAP(2,5mg.L"1 ) estimulou altura superior de brotos; c) o meio MS suplementado com TDZ (1,0mg.L~1, 0,50mg.L"1 e 0,25mg.L"1) afetou a capacidade de regeneração de brotos e a formação de calos.
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Chuchón, Ayala Hilda. "Technological features of Lima fabrics associated with funerary contexts in Huaca Pucllana." Pontificia Universidad Católica del Perú, 2017. http://repositorio.pucp.edu.pe/index/handle/123456789/113357.
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A detailed description of the technological features of the textiles found in funerary contexts and architectural hills of the latest occupational phases of the Lima Culture is presented. These materials were found as part of the Huaca Pucllana research project established by the Municipality of Miraflores and the Ministry of Culture. Preliminary results indicate that in funerary contexts one or two simple plain weave cotton textiles were used to bundle the bodies. In some cases complete fabrics were used while in other the bundles were formed by many pieces put together, with some fragments with evidence of darning and mending. On the other hand, the textiles found in votive oerings in the architecture are of cotton and wool made by the ringed technique both simple and interconnected knotting. Geometric designs as well as intertwined ash were made using cactus spine needles which have been used to make nets. ere is also evidence of textiles made using a backstrap loom which are commonly the 1x1 plain weave, woven face fabric warp and warp faced list. is evidence suggests that there were diferent types of weavers in the Lima society dedicated to the production of domestic and ceremonial textiles.Ofrecemos información sobre las particularidades tecnológicas de tejidos atribuidas a las últimas ocupaciones de la cultura Lima, encontrados en contextos funerarios y rellenos arquitectónicos durante las excavaciones efectuadas entre 1996 y 2000, como parte del «Proyecto de Investigación, Conservación y Puesta en Valor de Huaca Pucllana», convenio Instituto Nacional de Cultura-Municipalidad de Miraflores. La muestra textil estudiada indica que en los entierros funerarios Lima, se usaron como envoltorios de los cuerpos, tejidos llanos de algodón compuestos por una o dos telas completas y telas formadas por la unión de fragmentos, algunas de estas últimas con remiendos y zurcidos, a diferencia de los tejidos depositados como ofrendas que tienen tratamiento especial y son un solo elemento, elaborados en lana y algodónmediante la técnica del anillado interconectado simple y anudado, con diseños de figuras geométricas y de peces entrelazados, en cuya manufactura emplearon agujas de espina de cactus, utilizadas también para la elaboración de redes. Los tejidos confeccionados en telar de cintura se distinguen por técnicas comunes de: tejido llano 1x1, tejido cara de urdimbre y tejido listado cara de urdimbre, lo cual sirve de base para sostener que en la sociedad Lima había diferentes clases de artesanos dedicados a la producción de tejidos.
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Wharton, Tracy Lyn. "Cultivating Cubanidad : weaving a cultural nexus into Havana's urban fabric." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/38606.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2007.Includes bibliographical references (p. 83-85).
City-frameworks create an underlying system of order through which individuals are able to interact within their communities. Considering the successful historical precedents of city developments like Philadelphia, Savannah, and Bolonga, these cities exemplify the three different styles of city-frameworks (infrastructure, greenway, and architecture). Contemporary city-frameworks have increasingly embodied forms of development vocabulary, like the mega-block and the monument, which oppose the energy of present neighborhoods and oftentimes end up breaking up communities. Usually associated with these strategies is the desire to accommodate for tourism and gentrification at the expense of lower-class relocation. Taking this into consideration, in this thesis I propose an alternative strategy of development, one that is built from the success of past while recognizing the needs of the present. This strategy is developed by analyzing strong and weak city-frameworks. The lessons learned from this set of precedence is then shaped into seven rules of city-framework planning, accompanied by a set of comprehensible urban redevelopment vocabulary. Then to test adaptability, the development strategy is systematically employed in the context of Havana, Cuba, looking at the Central Havana neighborhood of Colon, as a design case study.
by Tracy Lyn Wharton.
M.Arch.
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Sebotsi, Leonard. "Tsela-tsweu : Re-Stitching the rural landscape fabric." Diss., University of Pretoria, 2021. http://hdl.handle.net/2263/78582.
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Democracy, post the apartheid era promised a better life for native Black Africans in South Africa, better living conditions for all and especially those living in townships and rural areas. Fast forward into 2020, a lack of economic opportunities, under-developed areas, and continuing lack of infrastructure is still a sad reality for many people living in rural areas in South Africa. Rural parts of South Africa are thus generally poor and the majority of these areas are characterized by poor service delivery and lack of access to resources. Nevertheless, such places are rich with culture, tradition and a sense of community. The study area of this dissertation is in the rural parts of Limpopo, with special focus centred around the Moletjie tribal villages. Most of the rural areas in the Limpopo province are still under the leadership of traditional authorities and depend on livestock and subsistence farming.
The rural landscape fabric within the villages in the Moletjie area and other parts of South Africa share a similar trait of being dispersed and fragmented in nature. Due to the lack of infrastructure and resources, residents are forced to share these scarce resources. Sharing also means that residents walk long distances to places of importance on long, tedious and physically uncomfortable pathways.
Environmental issues such as erosion, overgrazing and deforestation are a concern within the study area. It is also worthwhile to mention that the author of this dissertation grew up in the study area.
This provides a unique opportunity to explore how intimate knowledge of space about a place can factor into the design of a place.
However, it should be emphasized that the dissertation does not aspire for an easy fix solution with regards to rural development issues; it rather subtly looks into how to improve rural conditions,
rurally. In other words, how can rural lives together with the rural environment be sustainably developed while preserving rural identity and heritage?Mini Dissertation (ML (Prof))--University of Pretoria, 2020.
Architecture
ML (Prof)
Unrestricted
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Thompson, Amanda Jo. "Textiles as indicators of Hopewellian culture burial practices." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1054507830.
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Thesis (Ph. D.)--Ohio State University, 2003.Document formatted into pages; contains 188 p. Includes bibliographical references. Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2006 June 2.
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Held, Rhiannon Kathryn. "Textiles and ethnic groupings on the Columbia Plateau." Online access for everyone, 2006. http://www.dissertations.wsu.edu/Thesis/Fall2006/r_held_121106.pdf.
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Albuquerque, Ana Carolina Dunões de. "Na origem de uma memória fabril." Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2018. http://hdl.handle.net/10400.5/18100.
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Dissertação de Mestrado Integrado em Arquitetura, com a especialização em Arquitetura apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Mestre.Ao analisar a zona oriental de Lisboa, é perceptível o papel que os edifícios com carácter industrial tiveram neste local e o estado em que se encontra este fragmento da cidade de Lisboa devido à desindustrialização dos mesmos, numa localização privilegiada junto ao rio Tejo, onde se encontram inúmeros espaços abandonados com grande potencial. Devido à saturação em que se encontra actualmente Lisboa no seu centro histórico, o interesse pela expansão da cidade para a periferia tem-se desenvolvido numa busca de novas centralidades. Surge a oportunidade de intervenção e recuperação da memória do núcleo industrial de Xabregas, onde se propõe um novo desenho a nível urbano e programático que dê resposta a uma revitalização potenciadora do lugar, e do edificado industrial, neste caso da antiga Fábrica Samaritana. As opções projectuais tiveram por base dar um novo uso a este complexo fabril através de espaços sócio-culturais, valorizando os conceitos de património industrial e a sua salvaguarda, e ao mesmo tempo colmatar as falhas e incoerências existentes na área envolvente da fábrica em termos urbanos potenciem a atractividade local. Assim, pretende-se perpetuar a memória deste local que passa por encontrar um futuro para este actual “cemitério de fábricas” que o tempo não apagou.
ABSTRACT: perceptive the role of the industrial character buildings had in this place and the condition that we can find this area of the city, as a result, of the deindustrialization of the existing constructions, located in a privileged area next to the Tejo River where countless abandoned spaces full of potential are still to be found. Due to the saturation of the current situation of the historical center of Lisbon, the interest in expanding the city limits has been growing in seeking new centralities. The opportunity for intervention and rehabilitation of the memory of the industrial core of Xabregas arises, where it proposes a new perspective of the urban space that answers for both the potential revitalization of the site and the industrial buildings in this specific case of the Fábrica Samaritana. The project decisions were born from the necessity of giving a new use to the manufacturing complex by creating socio-cultural spaces, promoting and preserving the industrial heritage while trying to remedy the existing deficiencies and inconsistencies of the factory's surrounding area to increase the local activity. Thereby, this proposal is seeking to perpetuate the memory of the site by finding a future for this actual "factories graveyard" that the time has not been able to erase.
N/A
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Koda, Carlos Alberto Yoshida. "Resistência cultural na implantação de uma ferramenta de controle fabril." Universidade Federal de São Carlos, 2013. https://repositorio.ufscar.br/handle/ufscar/3826.
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Previous issue date: 2013-09-03Financiadora de Estudos e Projetos
This research is based on the concepts of the social structure theory by Pierre Bourdieu and total production management, which pretends to analyze the process of social reproduction during the application of the OEE (Overall Equipment Effectiveness) in a cable manufacturing company following the action research steps. The results shows how the process of social reproduction occurs and the impact of the OEE data, including specific information about the inside rules and the strategies of the involved agents to maintain or look for a new position in the organization. The other part of the results shows how the opportunities of improvements have been identified and the increase of the OEE at the extruder process as a consequence of the execution of the action plan, which is based on the information provided from this tool.
Esta pesquisa, elaborada a partir dos conceitos da teoria estruturalista construtivista social de Pierre Bourdieu e da manutenção produtiva total, tem como objeto o estudo do processo de reprodução social mediante a aplicação do OEE (Overall Equipment Effectiveness) em uma empresa de cabos de telecomunicações. O estudo consiste em analisar a dinâmica organizacional no processo de implementação e utilização de uma ferramenta de medição de eficiência na fábrica de cabos ópticos por meio da pesquisa-ação. Os resultados mostram como ocorrem as relações de reprodução social e o impacto da utilização do OEE, incluindo as regras de conduta internas e as estratégias dos agentes para manter ou melhorar a sua posição no ambiente investigado. A outra parte da pesquisa mostra como foram identificadas oportunidades de melhoria e o aumento do OEE do processo investigado.
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Oliveira, Carine Rorato de. "Papéis decorativos: do fabrico ao uso como indicadores de elevação cultural." Universidade Federal de Santa Maria, 2005. http://repositorio.ufsm.br/handle/1/8031.
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Conselho Nacional de Desenvolvimento Científico e TecnológicoThe paper, a historical support of humanity, is daily omnipresent in our lives in many different ways: packing, folders, brochures, books, magazines, newspapers, notes, letters, stickers, decorative paper, and so on. It is considered one of the most used industrial products all around the world. Its consumption grows up day by day because of new producer units, technological advances, and investments in the productive chain. However, when we talk about decorative paper there is an aspect that is not being observed by industries, that is to say, the necessity of national and regional contextualization of the subjects represented by them. If the decorative paper currently produced in Brazil had a cultural identity, in which consumers recognized themselves as a part of this portrayed universe, topics such as the disposal and the utilization forms of this product would be reviewed.
O papel, suporte da história da humanidade, faz-se onipresente em nosso dia-a-dia, sob as mais diversas formas: embalagens, folders, folhetos, livros, revistas, jornais, bilhetes, cartas, adesivos, papéis decorativos, entre muitos outros. É considerado um dos produtos industriais mais largamente utilizado em todo o mundo e seu consumo cresce a cada dia, em decorrência de novas unidades produtoras, de avanços tecnológicos e de investimentos na cadeia produtiva. Mas, em se tratando de papéis decorativos, há um aspecto que não está sendo observado pelas indústrias, ou seja, a necessidade de contextualização nacional e regional das temáticas neles representadas. Pois, partindo-se da hipótese de que se os papéis decorativos, hoje produzidos no Brasil, fossem portadores de uma identidade cultural, na qual os consumidores se reconhecessem como parte deste universo retratado, questões como o descarte e as formas de utilização deste produto seriam revistas.
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Cheuk, Ka-Kin. "Global fabric bazaar : an Indian trading economy in a Chinese county." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:9bab3226-0601-40e1-8342-9bea4919f5e0.
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This thesis is primarily based on ethnographic fieldwork that lasted fifteen months, between 2010 and 2012, in Keqiao, a municipal county in eastern Zhejiang Province, China. Despite its inferior administrative status and rather inland location, Keqiao is China's trading frontier for fabrics, which are the semifinished textiles that are industrially weaved, knitted, dyed, and printed in bulk before being exported. Contributing to the turnover of more than one-third of all fabric produced in China, the county's fabric wholesale market is not only the mainstay of Keqiao's economy. It is also the world's centre for fabric supplies, and where around 10,000 Indians have flocked to start their intermediary trading businesses. The major aim of this thesis is to examine the everyday encounters between Indians and Chinese in the local fabric market. It begins by exploring how Keqiao emerged as the global distribution centre for a wide variety of cheap fabrics. It also shows how Keqiao becomes characterized by the growing importance of low-end fabric sales and the influx of Indian traders, who specialize in exporting these fabrics. The thesis then describes the encounters between Indians and local Chinese in the fabric market, addressing the challenges and difficulties that these Indians, especially the newcomers, confront when dealing with the Chinese suppliers. Focusing on novice traders, the thesis turns to investigate the internal dynamics of Indian trading companies. Remarkably, novice Indian traders successfully learn several strategies to counteract their precarious position in the workplace. These strategies leverage the accumulation of work experience and expanding social networks. These insights bring the thesis to chapters that highlight other strategies, particularly those created from encounters between Indian traders and Chinese clerks, as well as those between Indian traders and Chinese salespersons. Taken together, this thesis illustrates how transnational and local actors team up to create their own, locally based, intermediary economy within a small Chinese county, and how such a collaborative economy, which I term a 'global fabric bazaar', sustains these actors. Without this collaborative economy, these players would otherwise be vulnerable within the fabric wholesale industry because this supply chain is increasingly polarized and weakened by today's global capitalism.
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Ribeiro, da Costa Francisco Antonio. "Sustaining the cultural character and social fabric of a community through urban design : the case of Lisbon." Thesis, University of Salford, 2001. http://usir.salford.ac.uk/26879/.
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Title: Sustaining the cultural character and social fabric of a community through urban design: the case of Lisbon. Name: Francisco Antonio Ribeiro da Costa This research provides an important contribution to the sustainable maintenance and redevelopment of the cultural character of urban spaces and of associated communities. The prototype proposed defines a set of urban design criteria to serve as guidelines to urban interventions, using the case of Lisbon as the experimental context. The methodology used in the research is essentially qualitative, following a triangulation of methods (an adaptation of Hypothetic-deductive, survey and case study). The first phase explores historical and recent trends and concepts in urban design in order to provide a holistic vision of its dimensions. Subsequently two sets of criteria are proposed, one for spatial design and a set that encompasses the social/cultural aspects of the communities considered in Lisbon. The criteria, defined in this way, were analysed using a triangular methodology formed by a survey firstly to a range of actors in Lisbon society, secondly to a panel of experts (Portuguese and International) and finally by direct observation of spaces in the city. The key "part" of the prototype is constituted by a relation matrix that links together the two sets of criteria enabling comparison of design proposals with the impact the intervention can have on the communities' social aspects. This is supported by strategic guidelines for the application of the defined criteria. Testing with the groups showed that the prototype forms: • A useful tool, that facilitates the better practice in urban design. • A reference frame for academic reflections. • A methodological support for urban management. • A balancing factor in sustainable urban development. Thus, the prototype provides guidance to the main actors in the urban xiv planning and development process through a range of flexible rules that support decision-making.
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Katterman, Grace. "STYLISTIC ANALYSIS OF TYPE IB AND IC TAPESTRY TUNICS FROM THE MIDDLE HORIZON WARI CULTURE OF ANCIENT PERU." Thesis, The University of Arizona, 1986. http://hdl.handle.net/10150/276904.
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Yazici, Merve. "Resolving The Historic Urban Tissue By Tracing The Changes As A Basis For Its Conservation: Samsun From 20th Century Untill Today." Master's thesis, METU, 2013. http://etd.lib.metu.edu.tr/upload/12615695/index.pdf.
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This thesis identifies the causes and the process of the change of the historic city center of Samsun since the beginning of the 20th century by the role of the development and conservation activities. Because of rapid urban growth and the lack of conservation principles in city plans, most of the city centers have been subjected to growth-conservation contradiction. As a result of this, the historic city centers lose their unique characteristics and cultural heritage while they change rapidly.
The city of Samsun became an important trade and transport center since the middle of the 19th century and significantly improved in economic, physical and cultural aspects. As the tobacco production has developed, tobacco factory has been founded and the port of Samsun has become the most important port of the Black Sea by the middle of the 19th century, the Non-Muslim traders began to settle in Samsun. Hence, Samsun became an important center of the Black Sea region with its commercial activities and multicultural social structure. However, after the middle of the 20th century, as a result of the rapid urban growth, Samsun started to lose its unique urban tissue and cultural heritage increasingly. Today the urban fabric of the city does not reflect its historical importance. The remaining cultural heritage of the city belonging to early 20th century is not legible within today´s urban tissue. By identifying the change in urban tissue, the thesis aims to present the current situation of the cultural properties within today´
s urban fabric and prepare a basis for conservation.
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Oliveira, Ana Margarida Fernandes de. "Projectar com o lugar-Intervenção no antigo edifício da saboaria e perfumaria confiança. A fabrica - centro de trabalho e cultura." Master's thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2013. http://hdl.handle.net/10400.5/6671.
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Silva, Ana Soraia Cruz. "Projeto Departamento de Línguas e Culturas: 40 anos de história." Master's thesis, Universidade de Aveiro, 2014. http://hdl.handle.net/10773/13466.
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Mestrado em Estudos EditoriaisNeste projeto do Mestrado em Estudos Editoriais, a autora apresenta o plano e a proposta da produção gráfica do livro Departamento de Línguas e Culturas - 40 Anos de História.
In this Editorial Studies Masters project, the author presents the plan and the proposal of the graphical production of the book Languages and Cultures Department - 40 Years of History.
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Saldaña, Marin Juan Rodolfo. "Centro cultural desarrollado como condensador urbano en el distrito de Carabayllo." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2021. http://hdl.handle.net/10757/657373.
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El proyecto está basado en la implementación de un centro cultural en el distrito de Carabayllo originado a partir del déficit cultural arraigado en la zona; de igual manera, con este proyecto se busca desarrollar una identidad colectiva que enorgullezca a los habitantes y convierta al distrito en la capital social de Lima norte.
Estos objetivos estarán desarrollados bajo la arquitectura social y sus distintas estrategias de diseño que permitan la relación constante entre la trama urbana existente y la estructura social.
Por este motivo, se propone un edificio mimetizado a su perfil urbano que fomente la generación y revitalización de espacios públicos mediante un programa de usos comunes educativos, laborales e inclusivos basados en las necesidades de sus habitantes.The project is based on the implementation of a Cultural center in the district of Carabayllo, originated from the cultural deficit rooted in the area; likewise, this project seeks to develop a collective identity that will make the inhabitants proud and turn the district into the social capital of northern Lima. These objectives will be developed under the social architecture and its different design strategies that will allow the constant relationship between the existing urban fabric and the social structure. For this reason, it is proposed a building blended with its urban profile to promote the generation and revitalization of public spaces through a program of common educational, labor and inclusive uses based on the needs of its inhabitants.
Trabajo de investigación
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Silva, Eduardo ?ngelo da. "?Arig?s? e ?pe?es? na ?Cidade do A?o?: experi?ncias urbanas e fabris, cultura e identidades de classe (Volta Redonda- RJ, 1970-1980)." Universidade Federal Rural do Rio de Janeiro, 2010. https://tede.ufrrj.br/jspui/handle/jspui/2400.
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Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES
This work is an attempt to articulate the perspective of labor history and urban history as two complementary fields in social history. We have tried to observe how the dynamic Brazilian economy, in which the Companhia Sider?rgica Nacional (the most important steel mill in the country) has been an important protagonist, since its creation in the 1940?s, related to the ways in which this company engendered its labor force, in clash with workers mobilizations. The most important landmark in this trajectory, after the democratic years (1945-1964), is the fracture caused by the 1964 state coup in the relationship between workers and company. The changes in CSN social policies, as well as the transformations in the economic policies implemented by the new regime, would be subject to a confrontation between different interpretations formulated by distinct agents involved in this process. In our case study, Volta Redonda, we could identify as important actors involved in the social dynamics of those years ? for example, the military ? interpreted the impacts of the coup on the working class. In the other extreme of the process, we have examined the workers experience in the town, in decade of 1970?s, looking for the rearticulation of their identitary references, after those changes in the general context, that indicate the new fractures and amalgamations inside the class occurred from that moment on
Este trabalho ? uma tentativa de articula??o entre as propostas da hist?ria social do trabalho e uma hist?ria social urbana. Pretendeu-se observar como a din?mica econ?mica brasileira, da qual a Companhia Sider?rgica Nacional foi importante protagonista, desde sua cria??o nos anos 40, relacionou-se ? forma como essa ind?stria gestou sua for?a de trabalho, entrando em choque com a mobiliza??o dos trabalhadores. O marco mais importante desta trajet?ria por n?s observada ?, ap?s os anos democr?ticos (1945-1964), a fratura causada pelo Golpe de 1964 na rela??o estabelecida entre os trabalhadores e empresa. As mudan?as na pol?tica social da CSN, assim como as altera??es do modelo econ?mico vigente, se tornariam alvo de uma disputa entre diferentes interpreta??es formuladas por diferentes agentes envolvidos no processo. No caso estudado, em Volta Redonda, pudemos identificar como importantes atores envolvidos na din?mica social daqueles anos ? por exemplo, os militares ? interpretaram os impactos do Golpe sobre a classe trabalhadora. Na outra ponta da viv?ncia do processo, nos debru?amos sobre a experi?ncia dos trabalhadores da localidade, nos anos 70, buscando a rearticula??o de seus referenciais identit?rios, a partir de tal mudan?a, os quais ir?o indicar as novas fraturas e am?lgamas internos a classe, a partir de ent?o.
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Silveira, Ricardo Reis da. "O estudo exploratório sobre os problemas de adaptação de uma empresa estrangeira no processo de implantação de uma unidade fabril no pólo industrial de Manaus: o caso de empresa coreana." reponame:Repositório Institucional do FGV, 2002. http://hdl.handle.net/10438/8598.
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Guidali, Fabio [Verfasser]. "Uomini di cultura e associazioni intellettuali nel dopoguerra tra Francia, Italia e Germania occidentale (1945-1956) / Fabio Guidali." Berlin : Freie Universität Berlin, 2014. http://d-nb.info/1048327361/34.
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Chan, Kit-wan Amy. "A study on the organizational climate in Hong Kong and China offices of BASF China /." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18830560.
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Winkelmann, Arne. "Kulturfabriken." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2007. http://dx.doi.org/10.18452/15677.
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Soziokulturelle Zentren, Kultur- und Kommunikationszentren in früheren Industriegebäuden, sogenannte „Kulturfabriken“ haben seit Ende der sechziger Jahre die Kulturlandschaft und -politik der Bundesrepublik anhaltend beeinflußt und verändert. Aus anfänglichen Nischenprojekten entwickelten sie sich in größeren Städten innerhalb weniger Jahre zu etablierten Kulturinstitutionen, die neben den bereits bestehenden Theatern, Konzerthäusern, Kunsthallen und Museen zum festen Bestandteil des kulturellen Angebots der Kommunen geworden sind. Die Motivation, leerstehende Fabrikgebäude für kulturelle Arbeit nutzbar zu machen, gründet sich jedoch nicht auf deren vermeintliche Praktikabilität und Eignung, sondern auf die Zeichenfunktion der Gebäude. Die Umnutzung eines Fabrikgebäudes zu kulturellen Zwecken, und das ist die zentrale These, ist ein symbolischer Akt. Der Arbeit wurde daher ein semiologischer Ansatz zugrunde gelegt. Am Zeichenwandel der Fabrik in der Kulturarbeit lassen sich die unterschiedlichen Definitionen eines Kulturbegriffs in der Bundesrepublik ablesen. Die Kulturfabriken fungierten als eine Art Projektionsfläche und Medium für die verschiedenen Konzeptionen von Kultur. Insgesamt wurden sechs unterschiedliche Konzeptionstendenzen von Kulturfabriken herausgearbeitet, die sich in einem Symbol, einem Symbolsystem manifestieren: 1. Die Kulturfabrik als gesellschaftspolitischer Gegenentwurf, 2. Die Kulturfabrik als Modell für Stadterneuerung, 3. Die Kulturfabrik als Ort individueller Re-Produktion, 4. Die Kulturfabrik als Gegenstand der Geschichtskultur, 5. Die Kulturfabrik als Vermittler im kulturellen Umbruch und 6. Die Kulturfabrik als Wirtschaftsfaktor.Centres of culture and communication founded in former industrial buildings, the so-called culture factories have continuously influenced culture and culture politics in Germany ever since the late nineteen-sixties. Within a few years small experimental projects developed into fully established cultural institutions thus becoming an integral part within communities’ cultural facilities – as theatre houses, concert halls, galleries and museums. The idea of using abandoned industrial buildings as cultural institutions is founded on symbolic rather than practical or functional principles: the conversion of industrial buildings to cultural institutions is, in essence, a symbolic act. Consequently the concept follows a semiological approach. The changing symbolic significance of the industrial building within the framework of cultural work has accorded changes in the various concepts of culture seen within Germany. In this, culture factories act as both a projection surface and medium for various concepts of culture and cultural activities. Six concepts of the role of culture factories as symbols and symbolic systems are: 1. Culture factories as socio-political counterstrike, 2. Culture factories as models of urban revitalization, 3. Culture factories as places of individual reproduction, 4. Culture factories as historical objects, 5. Culture factories as mediators of the cultural upheaval in the former GDR, and 6. Culture factories as economic factors.
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Cañardo, Marina Berta. "Fabricas de Tango : industria discografica temprana y musica popular argentina (1919-1930)." Paris, EHESS, 2011. http://www.theses.fr/2011EHES0062.
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Cette thèse analyse plusieurs aspects de la relation entre l'industrie discographique et le tango dans les années 1920. Si la question de l'identité est étudiée à partir des discours de l'époque tels que publicités, catalogues et articles de presse, la dimension interprétative du tango est également analysée et placée par rapport à cette nouvelle forme de production, circulation et consommation de la musique qu'est le disque. On considère d'une part que l'industrie discographique contribua à la construction conflictuelle de l'identité nationale de l'Argentine ce qui rend évidente la dimension politique de l'activité. En même temps, la commercialisation des disques de tango en France anticipa un modèle de circulation de biens culturelles hors leur contexte originaire que le dispositif de disque favorisa et dont l'expression ultime est la world music. On analyse l'impact des changements technologiques dans l'exécution musicale en étudiant la relation entre l'apparition du microphone et la pratique de l' «estribillista » dans l'orchestre typique. Aussi les interprétations de tango sont placées dans le contexte du monde de la mode de la danse qui permet de comprendre l'influence que pourrait avoir l'impératif d'enregistrer des versions plus facilement dansantes pour la consommation promue à cet effet. On enquête sur les nouvelles conditions de travail des musiciens de tango émergés avec la massification du disque, à la fois par la concurrence entre la musique live et celle mécaniquement reproduite comme pour les nouvelles liens de travail et la logique du star-system qui commença avec l'industrie du disque et qui eut dans Carlos Gardel un des principaux représentantsThis thesis analyzes several aspects of the relationship between the recording industry and the tango in the 1920s. If the question of identity is studied from the discourses of that time such as advertising, catalogs and newspaper articles, the interpretive dimension of tango is also analyzed and placed in relation to this new form of production, circulation and consumption of music that involve the record. We consider that the music industry contributed to the construction of national identity in conflict in Argentina which makes clear the political dimension of the activity. At the same time, the marketing of tango's record in France anticipates a circulation's model of cultural goods outside their original context that the record device favored and whose ultimate expression is the world music. We analyze the impact of technological changes in music performance by studying the relationship between the appearance of the microphone and the practice of "estribillista" in the typical orchestra. Also the tango's interpretations are placed in the context of the fashion world of dance for understanding the influence that may have the need to record versions more easily to dance for consumption promoted for this purpose. We investigate the new working conditions of tango musicians emerged with the mass of the records, both by the competition between live music and the mechanically reproduced as for new working relationships and the logic of the star system that began with the recording industry and has in Carlos Gardel one of the main representatives
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Taveira, Luciene Peixoto. "A fábrica Codorna: conflitos, práticas e experiências na (re)construção de memórias - 1997-2008." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/13146.
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Previous issue date: 2009-06-30Conselho Nacional de Desenvolvimento Científico e Tecnológico
This dissertation is set in the field of Social History of the Pontifical Catholic University of São Paulo. It comprises an investigation on the experiences and justifications of the members of the Historical Heritage Council of the city of Itajubá in the years of 1997 and 1998 during the attempts to register the old building of Codorna Textile Factory as Historical Heritage. It also comprehends a reflection regarding the memories of the old factory workers based on their life experiences. The goal of this study is to reflect on the experience of several subjects in the construction of their memories and in the meanings surrounding the factory, which operated between 1914 and 1966 in the city of Itajubá, Minas Gerais
Esta dissertação está situada na área de História Social da Pontifícia Universidade Católica de São Paulo. Compreende uma investigação das experiências e justificativas dos membros do Conselho Municipal de Patrimônio Histórico de Itajubá, em 1997 e 1998, durante as tentativas de tombamento, como patrimônio histórico do município, do imóvel da antiga Fábrica de Tecidos Codorna. Compreende, também, uma reflexão sobre as memórias de antigos operários da fábrica a partir das suas experiências de vida. O objetivo da pesquisa é uma reflexão sobre as experiências de diversos sujeitos na construção de suas memórias e dos significados em torno da fábrica, que funcionou, entre os anos de 1914 e 1966, na cidade de Itajubá, Minas Gerais
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Mikulka, Petr. "Kulturně-společenské centrum Brno-přehrada /téma "Brno-město uprostřed Evropy"/." Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2013. http://www.nusl.cz/ntk/nusl-226024.
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The theme of Master Thesis is the Brno dam and its effective utilization. The very subject of this thesis is the Cultural and Social Center (the Center). The project follows a broad urban context and provides a new insight into the operation and use of this site. It contains a proposal of movement coordination and effective utilization of the most attractive areas closely related to the water surface. Cultural and Social Center is designed as a part of the landscape. It connects two levels of trails leading around the object. This connection is expressed through the dominant stairs. The program of the Center complements and evaluates leisure activities of the site, plus the Center offers an extraordinary space. Digital RGB spectrum system senses the current weather and converts the results into a graphic and scenic projection. Thanks to this system a new concept of space is continuously formed. The atmosphere, temperature, texture, intensity etc.. The visitor thus will never be a part of the same "exhibition." The first floor, (level +0,00m) around the water surface, is preferably used as a Cultural and Social Center. It has three naves of the Center, foyer with cafe and snacks, as well as it covers a DPMB building of cabeling. Few parts of the facade are designed as a sliding facade, thus visitors could stay in direct contact with the water surface and landscape. Second floor – (level +3,50m) is an spatial continuation on the Center and the rest is mostly used for technical security of the building. In foyer there is a second part of cafe – more private and relaxing room. Third floor (level +7,00m) is connected with the trail going around the building. At this level takes place leisure and educational center, which is complemented by the multifunction hall and an administrative facilities. The idea of landscape use is to provide an outdoor sports urban park a la Miralles urban parks.
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Giusti, Jean-Paul. "Machado De Assis et le théâtre." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030148.
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La dramaturgie fut la première des ambitions machadiennes. Une oeuvre de poète exalté s’il en est, sobrement contenue pourtant, à la fois discrète en surface et bouillonnante en sourdine. Elle s’impose ainsi harmonieusement classique dans sa facture et dans sa tenue. Sur un plateau réduit à sa plus simple expression et dans une trame débarrassée du superflu, Joaquim Maria Machado de Assis confère à la langue théâtrale de ses comédies, une prose poétique et lyrique, une charge nouvelle, faite de vertige, de nervosité, qui déroute et innove dans le paysage esthétique brésilien des années 1860-1870. Sa démarche de dramaturge ne sera guère comprise, voire méjugée, jusqu’à être réduite au silence par l’ensemble de la critique et de l’historiographie du théâtre brésilien du XIXe siècle. Le XXe siècle, à quelques exceptions près, agira de même. C’est ainsi qu’il incombe aux interprètes de porter ce théâtre à la scène, de l’ancrer physiquement et concrètement, sans phrasé affecté ou trop de lyrisme. À cette seule condition, alors, peut-être, pourront sourdre des tempêtes intérieures. Il y a chez cet écrivain, une volonté farouche et affichée de dégager, dans une démarche consciente et mesurée, une synthèse viable pour asseoir durablement la dramaturgie brésilienne de son époque. Tout à l’écriture de ses pièces, il débuta une carrière de critique théâtrale qui hisse l’exercice à un véritable magistère, tant le genre souffrait, avant son passage dans la presse carioca, d’un discrédit et d’un manque de légitimité. Le journaliste, le chroniqueur, livre un corpus hétérogène qui fait de sa critique une activité plus complexe qu’on n’a bien voulu le dire. Elle devient un lieu de tensions paradoxales pour appréhender et penser le théâtre autrement. Partant, Machado – qui n’a pas encore trente ans – conférera à la discipline une autonomie jamais démentie depuis, et confortera sa place sur la scène intellectuelle brésilienne. Cette réflexivité critique, cet engouement pour le théâtre dans toute son étendue, enfin sa maîtrise de l’art dramatique, irradient, contaminent en profondeur l’écriture de ses contes et de ses romans les plus aboutis. Son immense fortune critique, sans contredit, doit tout à l’art du romancier inclassable et indompté – le plus grand prosateur brésilien – qu’il fut et offusque donc, le dramaturge. Il reste que par le théâtre et à travers lui, l’écrivain carioca livre une matière fictionnelle incandescente, labyrinthique, en lien organique avec la matière sociale et historique, en somme, un matériau artistiquement achevé, vibrant, lucidement classiqueMachado de Assis’first ambition ever was Drama. His is the work of an exalted poet, though sober and contained, apparently discreet and inwardly irrepressible: it sets itself as harmoniously classic in facture. On stage and with effective plots, Machado de Assis provided the theatrical language, which he utterly mastered, with a new function, made of the restlessness and excitability that disturbed and renewed Brazilian theatre in the 1860s and 70s from an aesthetical point of view. His approach as a playwright would cause misunderstanding and unsettle contemporary critics of his time, to date. Interprets have to take his theatre onto the stage, to root it physically and concretely, avoiding too much affectation or lyricism. On that condition only will underlying conflicts become apparent. In Machado, there is a definite, aware restlessness in willing to make a viable sum so as to durably lay the foundations of Brazilian dramaturgy of his time. In parallel, the writer started a career as a theatre critic, hoisting the practice to a high office, as indeed the genre had, before him, been widely despised as lacking legitimacy. Here, the journalist and chronicle writer presents a more heterogeneous body of works showing a complexity still overlooked to date: it became a space of paradoxical tensions to understand and think theatre in a different way. Hence, Machado – a young man of not thirty years of age – would provide the discipline with an autonomy still standing today and comfort his own significance in the theatrical and intellectual milieu of his time. Such critical reflexivity, such passion for drama in general and, finally such mastery of dramatic art, would illuminate the writing of his most accomplished short stories and novels. His immense legacy as a critic undeniably owes everything to his talent as an original and wild, untamed novelist – the greatest Brazilian prose writer of all times. The playwright is overshadowed by the novelist. Nevertheless, through his theatre, Machado de Assis presents a live and labyrinthine matter, intimately linked with the social and historical fabric of his time: an artistically though unaccomplished, and far from consensual, material
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Drevet-Démettre, Lucie-Emmanuelle. "Quand l'aéroport devient ville : géographie d'une infrastructure paradoxale." Thesis, Bordeaux 3, 2015. http://www.theses.fr/2015BOR30028/document.
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L’aéroport est un objet géographique protéiforme, caractérisé par son « obsolescence accélérée » (BANHAM, 1962). Depuis les années 1990, son ultime mutation s’articule autour d’un processus de diversification fonctionnelle engendré par l’injection d’activités nouvelles, parfois éloignées du transport aérien, dans l’objectif d’accroître les profits et la rentabilité de l’infrastructure dans un contexte de privatisation généralisée. Cette évolution concerne les plus grands hubs mondiaux, notamment Paris-CDG, quatrième aéroport du monde selon le trafic passagers international. Cette tendance, qui a donné naissance au concept opérationnel d’airport city, tel qu’il est désigné par les observateurs et opérateurs anglo-saxons, attise doublement la curiosité géographique. En premier lieu, parce qu’elle interroge la fonction première de l’infrastructure de transport qu’est l’aéroport, qui devient alors un objet spatial non identifié qu’il convient de redéfinir. En second lieu, parce que cette désignation d’airport city, traduite par les opérateurs francophones par ville aéroportuaire, interroge la ville et surtout ce qui fait la ville dans ses dimensions matérielle et idéelle, c’est-à-dire l’urbanité et la citadinité. Suffit-il d’injecter des fonctions urbaines dans un espace pour en faire de la ville ? La ville aéroportuaire n’est-elle qu’une ville fonctionnelle ? En s’efforçant d’évaluer la pertinence géographique de la notion d’airport city, cette thèse impose de faire de l’urbanité et de la citadinité des concepts opératoires afin de les confronter au terrain aéroportuaire. Elle s’efforce également de replacer l’aéroport au centre de l’étude géographique en proposant un ajustement de l’échelle d’observation à l’ensemble de la zone aéroportuaire, évitant ainsi la synecdoque particularisante réduisant l’aéroport au terminal. Dans l’évaluation de la citadinité, elle a également pour objectif de saisir les spatialités de l’ensemble de la société aéroportuaire (passagers, employés, accompagnants, SDF, etc.)Airports are protean geographical objects characterized by their « accelerated obsolescence » (BANHAM, 1962). Since the 1990s, their final transformation has been structured around a process of functional diversification engendered by new activities, which are sometimes very different from air transport, in order to increase the infrastructures’ profits and profitability in a context of widespread privatization. The world’s largest hub airports are concerned by this evolution, especially the Paris-Charles-de-Gaulle airport, the world’s fourth busiest airport by international passenger traffic. This trend, which has given birth to the operational concept of airport city, as the Anglo-Saxon operators and observers call it, stirs up the geographical curiosity in two ways. Firstly, it questions the primary function of airports, which become unidentified spatial objects that need to be redefined. Secondly, the concept of airport city questions the city itself. Indeed, what makes a city a city on a material (urbanity) and conceptual (“citadinity”) level? Can a space with urban functions be considered as a city? Is the airport city only a functional city? By assessing the geographical relevance of the concept of airport city, this thesis aims at making the concepts of urbanity and “citadinity” operational concepts, so as to compare them with the airport ground. By adjusting the observation scale to the whole airport area, it also replaces the airport at the centre of the geographical study. Thus, the airport is not simply viewed as a terminal. Finally, this thesis aims at understanding the whole airport society’s spatiality (passengers, employees, accompanying people, homeless people…) by assessing the concept of “citadinity"
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Low, Audrey. "Social fabric: Circulating pua kumbu textiles of the Indigenous Dayak Iban people in Sarawak, Malaysia." 2008. http://hdl.handle.net/2100/637.
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University of Technology, Sydney. Institute of International Studies.Within Borneo, the indigenous Iban pua kumbu cloth, historically associated with headhunting, is steeped in spirituality and mythology. The cloth, the female counterpart of headhunting, was known as women’s war (Linggi, 1999). The process of mordanting yarns in preparation for tying and dyeing was seen as a way of managing the spiritual realm (Heppell, Melak, & Usen, 2006). It required of the ‘women warriors’ psychological courage equivalent to the men when decapitating enemies. Headhunting is no longer a relevant cultural practice. However, the cloth that incited headhunting continues to be invested with significance in the modern world, albeit in the absence of its association with headhunting. This thesis uses the pua kumbu as a lens through which to explore the changing dynamics of social and economic life with regard to men’s and women’s roles in society, issues of identity and nationalism, people’s relationship to their environment and the changing meanings and roles of the textiles themselves with global market forces. By addressing these issues I aim to capture the fluid expressions of new social dynamics using a pua kumbu in a very different way from previous studies. Using the scholarship grounded in art and material culture studies, and with particular reference to theories of ‘articulation’ (Clifford, 2001), ‘circulation’ (Graburn & Glass, 2004) and ‘art and agency’ (Gell, 1998; MacClancy, 1997a), I analyse how the Dayak Iban use the pua kumbu textile to renegotiate their periphery position within the nation of Malaysia (and within the bumiputera indigenous group) and to access more enabling social and economic opportunities. I also draw on the theoretical framework of ‘friction’ and ‘contact zones’ as outlined by Tsing (2005), Karp (2006) and Clifford (1997) to contextualize my discussion of the of the exhibition and representation of pua kumbu in museums. Each of these theoretical frameworks is applied to my data to situate and illustrate my arguments. Whereas in the past, it was the culture that required the object be made, now the object is made to do cultural work. The cloth, instead of revealing hidden symbols and meanings in its motifs, is now made to carry the culture, having itself become a symbol or marker for Iban people. Using an exploration of material culture to understand the complex, dynamic and flowing nature of the relationship between objects and the identities of the producers and consumer is the key contribution of this thesis.
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CHENG, WU WAN, and 吳宛真. "Starting from Hakka Culture and Its Image Creation to Explore Indigo Dyed and Stonewashed Tung Blossom Denim Fabric." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/ndt89m.
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碩士亞東技術學院
材料與纖維系應用科技碩士班
106
Cultural Creative Industry (CCI) exhibits a strong character of cross-field integration that requires a high-degree integration of culture, creative, and industry. Therefore, although the term CCI has been popular for a while, successful CCI models and examples were rare. This study explored into Hakka culture and found that “blue gown” was their traditional and formal dress. In addition, recently developed Hakka symbol of “Tong-flower” has received nationwide recognition in the past 10 years. Its basic design, color, floridity, growing characteristics, and low profile matches very well with the personality of Hakka. On the other hand, searching for possible cultural impact by Hakka, we studied the contemporary denim industry. Currently using synthetic indigo dye (containing azo compounds) and associated chemical processes to dye the denim has caused severe water pollution problem, which is harmful to the environment. Many chemical wastes produced by the dyeing process cannot be naturally decomposed; some of them are even carcinogenic. On the contrary, the natural indigo dye used by the traditional Hakka fabric manufacturing was environmental safe, which fits the green design principal and is a viable alternative that deserves further attention and development.
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Chen, Yu-Hsin, and 陳右欣. "〝Hakka Fabric〞?〝Taiwan Fabric〞?－a cultural Design Phenomenon." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/18349321754736677514.
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碩士國立雲林科技大學
創意生活設計碩士班
99
In recent years, Taiwan’s new fabric design illustrates with bright colors and atmosphere of joy, it also shares Taiwanese people''s common cultural memories. Taiwan Fabric is widely used nowadays in Taiwan Hakka cultural activities, and became the symbol of Hakka culture through the use of a pop culture characteristic. This study is a research of historiography in design; I hope to explore Taiwan Fabric’s background of the cultural conversion and assimilation, which also showcased Taiwan''s cultural influence by 1925’s Art Deco fabric from Europe. Therefore, Taiwan Fabric has integrated to a new type of hybrid culture and fabric design. The methodology I used in this research is the Bricolage, I hope to explore the connection between fabric design and visual design in Taiwan. Through which formed the composition of today''s Taiwan Fabric and the floral patterns. As to the research theory, I will use the Hybridity to analyze Taiwan''s current fabric design trend, which indicated the influence from foreign culture, and formed the unique characteristic images of nowadays’ Taiwan Fabric culture. Through this study, I hope that Taiwan Fabric can become the collective memory and emotion for Taiwanese people. I expect that this study and finding can become a reference for our local design students as well as for the designers, so that Taiwan Fabric will become a kind of visual images to represent Taiwan’s culture and symbol of the local characteristic design.
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Maia, Marcela Maria Martins. "O renascer da Fábrica ASA durante Guimarães, Capital Europeia da Cultura 2012 : a reconversão urbana de espaços fabris abandonados em quarteirões culturais e empresariais." Master's thesis, 2013. http://hdl.handle.net/1822/29268.
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Dissertação de mestrado em Comunicação, Arte e CulturaO presente projecto de dissertação elaborado no âmbito do Mestrado em Comunicação, Arte e Cultura, pretende entender a relevância da Fábrica ASA enquanto espaço cultural âncora estabelecida em Guimarães no contexto de Capital Europeia da Cultura 2012. O projecto em questão ganhou forma através de um acompanhamento in loco do equipamento cultural a estudar, bem como através de estudos comparativos sobre o funcionamento destes ditos quarteirões culturais na sociedade contemporânea. Não obstante a análise metodológica e funcional do espaço cultural, este projecto incorporou também uma vertente sociológica que se prende com a análise da interacção entre o visitante e os objectos expostos na Fábrica ASA. Para sermos capazes de tirar elações sobre o supracitado devemos ter em consideração múltiplos elementos que se encontram intrinsecamente relacionados à Fábrica ASA, dos quais saliento a título exemplificativo: a localização da fábrica; as dimensões do local; o contexto histórico de uma fábrica têxtil de renome para a zona do Vale do Ave e as mutações que o espaço sofreu para se tornar um quarteirão cultural urbano; a interacção entre o público e o evento recorrendo a inquéritos e entrevista entre outras. Se quisermos entender o projecto a ser apresentado, de uma forma mais genérica, podemos dizer que o mesmo se focou na análise da dicotomia exterior vs. interior, ou seja, em analisar este espaço cultural de fora para dentro e perceber a existência ,a ou não, de uma simbiose entre exterior e interior. Este projecto encontra a sua base de sustentação em teorias sociológicas, geográficas, culturais, artísticas e antropológicas contemporâneas. Não obstante o valor prestado pelas teorias indicadas, para explanar de forma mais clara o tema em análise enquadra-se o mesmo via conceitos chave.
The current Master‟s Dissertation project, conceived for the Master in Communication, Art and Culture, aims to understand the importance of Fábrica ASA as a cultural anchor space, established in Guimarães due to the city‟s nomination of European Capital of Culture 2012. The project in focus, obtained its shape through several in loco visits to the cultural equipment in analysis, as well as through comparative studies about the functioning of this so called cultural quarters in contemporary society. Despite the methodological and functional analysis of the cultural space, this project had also a sociological component which focuses mainly on the interaction between the visitor and the object exhibited on Fábrica ASA. In order to be able to get some conclusions about what is mentioned above, we should bear in mind several elements which are deeply connected with Fábrica ASA, such as: its location; its size; the historical context of a very well-known textile factory in the region of Vale do Ave and the mutations that the space suffered in order to become a urban cultural quarter; the interaction between visitors and events using inquiries and interviews among other things. If we want to understand the project in a wider way, we can state that it was focused on the “exterior vs. interior” dichotomy, which means, in analyzing this cultural space from the inside out, in order to understand the existence, or not, of a deep relation between the exterior and the interior. This project finds it basis in sociological, geographical, cultural, artistic and anthropological theories. In spite of the value given by the theories mentioned above, to explain the theme in analysis more clearly, it will be arranged in key concepts.
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Booxbaum, Ronnie Jean. "The fabric of Cambodian life: Sarongs at home, dungarees at work." 1995. https://scholarworks.umass.edu/dissertations/AAI9606492.
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This dissertation seeks to understand how the women of Cambodia recreated self and culture after experiencing civil war, displacement, refugee camps, and resettlement. The women, as well the men, lost all that was meaningful including children, spouses, immediate and extended family, known villages, the Buddhist religion, predictable life rites, and economic self-sufficiency. Since most women lost the protection of husbands, brothers, and fathers, their plight was all the more urgent as they attempted to keep their remaining children alive and safe. In order to comprehend this enormous problem, I conducted interviews with the women (and some men) in Amherst, Massachusetts, a rural New England town. In addition, I questioned several nuns and a Buddhist wiseman and gathered life histories from some of the women. I used a loosely structured interview method as well as participant observation. I attended Buddhist festivals and family events. I had access to videos, library resources and archival material at the University of Massachusetts, Amherst, Massachusetts. I found the women have not recreated but added to their pre-war sense of self and culture. Most families maintain their Khmer/Buddhist identity through language, food, clothing, celebrations, and personal surroundings. It is important to the women that the children remain knowledgeable in Buddhist practices and learn the valuable Khmer lesson of respect. The women readily accept aspects of American culture. They understand the importance of education for their children and the need for their children to learn English. English is beyond the grasp of many older women. There are areas of difficulty for the Khmer women, especially when strongly held Khmer values violently clash with American values. There are also endeavors that will strengthen the Khmer community in Amherst, such as the construction of a traditional Buddhist Wat (Temple) in neighboring Leverett, Massachusetts. It is my conclusion that the Khmer community will remain viable as the women actively blend new traditions with older rituals.
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Hostetter, Carla. "Artistic meaning and conceptual frameworks : themes of gender and time in foreign imaging of Ni-Vanuatu material culture." Thesis, 2005. http://hdl.handle.net/10125/12081.
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Sung, Chih-Hao, and 宋智皓. "Research of The Cultural and Innovative Design of Hakka Fabrics." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/69077238828903258271.
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碩士國立雲林科技大學
創意生活設計系
103
This study and creation found out that there are two cultural codes in Taiwanese Hakka visual cultural codes which having strong identifying impression. They are respectively Taiwanese traditional fabric and Tung oil flower, which are both well-known applied to many sorts of Hakka campaigns, packaging design, poster design, and other cultural promotions. This situation also reflected the circumstances and dilemma of Hakka visual culture, which is difficult to move on from the two specific cultural codes since 2002. Designer thinks that the Hakka visual cultural code should not be restricted to these two. Therefore, this study and creation is to explore and to discover the cultural codes which belong to Taiwanese Hakka culture, and base on the study to process the personal creation, moreover, to bring the new cultural codes into the modern scenarios. Designer studied through the literature and investigated the Hakka villages to collect the elements of Taiwanese Hakka culture, and to find out the cultural codes that match the taste, religion, attitude and lifestyle of Hakka. In the study method, I studied the Taiwanese Hakka culture which is blended into the multi-cultural background based on the theory of hybridity and bricolage. Not only apply the cultural codes to personal creation, but also search for the opportunity of innovation for Hakka culture. Hoping to bring all my new cultural codes into public lives, and build the connection between traditional Hakka culture and modern world. Moreover, to broaden the cultural codes of Hakka, to enhance the creativity and innovation of visual design of Hakka, and to deliver the cultural meaning of Hakka.
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Maphangwa, Shonisani. "From colonial to post-colonial : shifts in cultural meaning in Dutch lace and Shweshwe fabric." Thesis, 2012. http://hdl.handle.net/10210/4516.
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M.Tech.In this research, I examine whether cultural meanings embedded in original sixteenth to eighteenth century Dutch lace and Shweshwe fabric, as examples of colonial forms, are transformed through selected processes. With reference to Dutch lace from Holland, I analyse how the form changes within colonial and post-colonial contexts, but propose that the cultural meanings of the lace remain similar in both contexts. With reference to Shweshwe fabric, I argue that the form stays the same within both colonial and post-colonial contexts, but that its cultural meaning changes as a result of how patterns printed on it are named and identified in a post-colonial context. In this research, I use the term ‘cultural meaning’ to refer to certain signifiers of culture. I propose that factors such as value, class, aspiration, desire and consumption are embedded in or make cultural meaning. My central argument proposes that crocheted doilies, and plastic tablecloths and placemats might be seen as post-colonial versions of Dutch lace. These post-colonial versions of Dutch lace are adopted and adapted by female homemakers in Naledi Ext. 2 to suit certain decorative tastes, values, aspirations and act as markers of class. This adoption and adaptation of the original colonial form, shifts the cultural meanings imbued within it, but not necessarily the associated consumptive meanings. Whilst the primary focus of the theoretical research is Dutch lace and its proposed post-colonial counterparts, I also examine examples of original Shweshwe fabric and how meanings of motifs found on this fabric have been transformed by the modern Mosotho to reflect notions of value and aspiration, whilst the actual motifs appear to be unchanged. In my practical work, I use Dutch lace, crocheted doilies, and plastic tablecloths and placemats, as well as Shweshwe fabric as visual references in the production of large to small scale paintings. In these, I explore how, through painterly alteration and transformation, shifts can occur in the meanings of patterns derived from these culturally-loaded sources.
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Chen, Chien-Ming, and 陳建明. "A Study on the Relationships Among Design, Marketing and Culture From the Product Development Perspective of Wool Stretch Fabrics." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/63236317492793499177.
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碩士輔仁大學
織品服裝學系
93
Operating concept of Domestic textile industry is totally changed with global textile industry transformation recently. To make production and design distinguished, to develop products in accordance with fashion trends, to strengthen competitive strength — these are what Taiwan textile industry needs to face and solve in the fierce circumstance. The new finding is all new products from idea to concrete, being accepted even admired by consumers, and further to be a trend of fashion. This procedure is affected by numerous factors. Wool stretch fabric, it’s a milestone of Woolen textile industry. It changes not only design and technique of woolen but also evoke a new fashion trend. The most significant achievements are its re-modeling the taste of woolen, pursuing of high quality of customers, and building up a whole new mode of consumption. Trying to make wool stretch fabric is the core of research to investigate the design, marketing and social civilization through product development. It provides textile industry reference and recommendation during developing procedure. Therefore, it must be considered the entire factors before to promote the products. Although the current marketing influences every aspect mention above but it can’t underestimate the mutual interaction caused by the initial design and culture. From the present aspect of Taiwan textile industry growing, wool stretch fabric development marketing analysis to civilization examination, only by going through comprehensive investigation, the truth behind can be realized. Taiwan based textile industry is encountering the challenge from rivals all over the world caused by industrial globalization. The whole new development perspective must involve and link to design, marketing and culture. Product diversities, alterations and uncertainties are also interacted by the whole new development perspective. Furthermore, interaction among design marketing, culture, diversities, alterations and uncertainties of products are the most challenge during product developing. Product researching and developing staffs must think over in comprehensive way to find the most precisely directions match fashion trend in product researching and developing.
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Tseng, Yu-Hui, and 曾育慧. "The Design and Creation of the Cultural and Creative Fabric with the Ming Dynasty Blue-and-White Porcelain Patterns." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/7hq6x6.
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碩士中原大學
商業設計研究所
104
The blue and white porcelain playing a decisive role in Chinese culture. With special blue-and-white style, the blue and white porcelain totally displays an elegant temperament. The birth of blue and white porcelain came from the Sung Dynasty. The Ming Dynasty is the zenith of blue and white porcelain because the technique of production comes to maturity. In the Ming Dynasty, the blue and white porcelain was exported which promoted international commercial communication, that further made the Chinese fashion spread overseas. In the Ming Dynasty, the pattern on blue and white porcelain can be divided into five kinds such as auspicious animals (like dragon, phoenix and so on), propitious flowers and plants or fruits, foreign patterns, folk faith and lucky drawings, characters and tale patterns. In this thesis, the pattern of blue and white porcelain in the Ming Dynasty is in focus. For the creation of pattern, the flowers and plants and lotus on blue and white porcelain in the periods of Ming Yongle and Chenghua are referred. By pattern transformation and simulation, four design patterns are produced. For creation, four stages are conducted as below. (1) pattern gathering and design, (2)style design and pattern simulation, (3) material selection and digital printout, and (4) garment-making drawing and dress sewing. Since the blue and white porcelain with cobalt-blue color is mainstream, the cobalt-blue-like color is used. Through color manipulation( heavy or not), the graceful beauty can be performed. The dress style is derived from the combination between modern dresses and Chinese elements such as cheongsam collar, overlap of the front part of robe, embroidered border, and trimming. Accompanying dress style with accessories, the associative perception will be better.
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"The patchwork city : an urban hub for textile production and cultural exhange." Thesis, 2015. http://hdl.handle.net/10210/13727.
Full textAbstract:
M.Tech. (Architectural Technology)This book is based in, and begins with, dialogue. This is the exchange between author and reader, as consumer of its narrative. Portions of this work are interactive in order to extend and capture this dialogue between each of us and the ‘material’ content that “constitutes the city, as lived experience, encounter and representation. The book is an imagining of the city. It is a visual-textual craft anthology that develops over time as a collection of artefacts that point to an alternate future reality. This is done through the process of design. [0.1] The dialogue is interlaced with cross-stitched personal histories[G] of both author and the site. There are many personal reflections about place, image and experience of space comprising the presented material. These are woven into the subject matter. The book sews together these patches of the experiential, the visionary and the idiosyncratic nuances of the existing and future city, and site. The format and composition of the pages that follow resemble material ‘things’ as the manifestations of city. Using montage and collage as devices of visual narrative, the subject and design process is suggested, developed and compiled. The ‘image of the city’ is derived through collection and accumulation of textile-tectonic narrative. This is presented as assemblages that can, at any point, be read as past, present or possibility.
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Patrick, Amanda. "The indigenous and global cultural significance of the major textile arts of West Africa with a particular focus on the kente cloth of Ghana and the bogolanfini mud cloth of Mali /." 2005. http://www.consuls.org/record=b2743553.
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Thesis (M.S.) -- Central Connecticut State University, 2005.Thesis advisor: Sherinatu Fafunwa. "... in partial fulfillment of the requirements for the degree of Master of Science in International Studies." Includes bibliographical references (leaves 85-90). Also available via the World Wide Web.
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Orimolade, Adefolake Odunayo. "Aso Ebi : impact of the social uniform in Nigerian caucuses, Yoruba culture and contemporary trends." Diss., 2014. http://hdl.handle.net/10500/18845.
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This study is a critique of Aso Ebi in Owambe social uniform and social performance phenomena of the Yoruba culture of Nigeria in West Africa. The Aso Ebi phenomenon is a social uniform that is inextricable from the Owambe spectacle of the Yoruba culture, which, in itself, is a social performance. Aso Ebi is a fabric that is selected, made into garments and worn by groups of people who are related to one another in various ways such as family, friends or comrades. The uniforms are worn for social gatherings, especially celebrations, which are popularly called Owambe. These celebrations are very elaborate and loud, much like a grand spectacle put on to show wealth, unity and flamboyance. The research is the explanation of how the Aso Ebi and Owambe social uniforms manifest themselves and this manifestation is presented through a body of artworks. The artworks seek to expose the unseen actualities involved in participating in these social performances and issues of social survival within these cultural phenomena. The analysis addresses the impacts and influence of conformity in cooperative behaviour by an individual within his/her social identity and relationships. The main question this study addresses is whether the positive factors of unity, social order and expressive visual flamboyance of the social phenomena outweigh the negative impacts particularly on the individuals who participate in these social performances. This is done by acknowledging the experiences of the participating individuals in the conformity and transmission modes of these phenomena in this culture. The visual productions of the concepts in the research are achieved through performance, collages, photography and a sculptural installation. The significance of these emergent visual productions is that they shift the focus from the impression of the group to the conformity by the individual. This highlights the problems faced by the participating individuals in the pursuit and participation of this cultural phenomenon.Department of Art History, Visual Arts & Musicology
M.A. (Visual Arts)
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Esteves, Ana Regina Miranda. "Efeito combinado da utilização de cultura de arranque de Lactobacillus sakei com caráter probiótico e óleo essencial de alho no fabrico de chouriço." Master's thesis, 2014. http://hdl.handle.net/10348/3401.
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Dissertação de Mestrado em Segurança AlimentarA fermentação de produtos cárneos é uma tecnologia que permite fabricar produtos seguros, sensorialmente muito interessantes, e com potenciais vantagens para a saúde do consumidor. Uma vez que os produtos cárneos fermentados são consumidos crus, a microbiota viável que esses produtos incorporam é ingerida pelo consumidor, e é assim possível equacionar a hipótese de obter uma vantagem probiótica. O objetivo do presente trabalho foi avaliar a aptidão tecnológica e probiótica de L. sakei isolado de chouriço produzido na região de Trás-os-Montes e avaliar o efeito da adição de uma cultura de arranque selecionada conjuntamente óleo essencial de alho no crescimento e sobrevivência de Salmonella spp. em chouriço. A avaliação da aptidão tecnológica de L. sakei isolados de chouriço revelou que dentro do grupo estudado os microrganismos têm uma elevada capacidade de se multiplicar em condições adversas simulando os principais obstáculos encontrados no fabrico de chouriço e também uma elevada atividade antagonista, detetada pela técnica da gota em agar contra L. monocytogenes, S. aureus, Salmonella spp. e E. coli O157:H7. Esta característica mostrou grande variabilidade entre estirpes. Na avaliação do potencial probiótico, algumas estirpes mostraram-se muito sensíveis ao pH de 2,5. A generalidade não apresentou sensibilidade aos sais biliares. A capacidade de adesão ao intestino de porco foi manifestada por todas as estirpes, ainda que algumas tenham revelado uma maior aptidão para essa finalidade. Da ponderação dos vários fatores, selecionou-se para inocular no chouriço a estirpe 1284, por apresentar uma elevada atividade antagonista, e ser de entre as mais antagónicas contra microrganismos patogénicos, aquela que conseguiu resistir ao pH 2,5, teve uma boa capacidade de crescimento e de acidificação. A utilização de uma cultura de arranque com essa estirpe de L. sakei conjuntamente óleo essencial de alho no crescimento e sobrevivência de Salmonella spp. ao longo do processo de fabrico de chouriço revelou-se interessante, principalmente enquanto o produto não atinge valores de aw muito reduzidos. Após 7 dias de secagem, que é o tempo usado por alguns fabricantes para colocarem no mercado chouriço, a utilização conjunta dos dois fatores em estudo resultou numa redução de 1,5 log UFC/g, o que é importante do ponto de vista do ganho em segurança sanitária.
Meat fermentation is a technology that allows the production of safe products, sensorially interesting and with a potential advantage to the consumer health. Once these products are eaten raw, its viable microbiota is ingested by the consumer. Thus, it is possible to obtain a probiotic advantage. The aim of the present work was to evaluate the technological and probiotic ability of L. sakei isolated from chorizo produced in the region of Trás-os-Montes and to evaluate the effect of a selected starter culture and of garlic essential oil on growth and survival of Salmonella spp. in chorizo. It was observed that within the group of L. sakei most of the strains has a high ability to grow in adverse conditions simulating the main hurdles found in chouriço. Antagonistic activity was found using the spot on agar test against L. monocytogenes, S. aureus, Salmonella spp. and E. coli O157: H7. This trait showed great variability between strains. In the evaluation of potential probiotic strains, some were very sensitive to pH of 2.5. The majority showed no sensitivity to bile salts. The ability of adhesion to pig intestine was expressed by all strains, although some have shown greater ability. From weighting of the various factors the strain 1284 was selected to inoculate chorizo due to the high antagonistic activity and tolerance to pH 2.5 and capacity for growth and acidification. The use of a starter culture with this strain of L. sakei in combination with with garlic essential oil on the growth and survival of Salmonella spp. during chouriço manufacturing process sausage resulted in products that are safer sonner, before aw reaches very low values. After 7 days of drying, which is the time used by some manufacturers to market chorizo, the combined use of the two factors resulted in a reduction of 1,5 log CFU/g, which is important from the standpoint of the safety.
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Araújo, Armando Octaviano Palma de. "A fábrica de Louça de Massarelos : contributos para a caracterização de uma unidade fabril pioneira." Master's thesis, 2012. http://hdl.handle.net/10400.2/2382.
Full textAbstract:
Dissertação de Mestrado em Estudos sobre o Património apresentada à Universidade AbertaA Fábrica de Louça de Massarelos foi fundada no século XVIII por Manuel Duarte Silva, no lugar de lugar de Massarelos, bem perto do Cais das Pedras, do rio Douro e do mar, beneficiando assim de condições ideais para a instalação de uma unidade industrial tendo em conta as necessidades de importação de matérias-primas e combustíveis e de exportação dos produtos acabados para os mais variados mercados. Gerida em contexto familiar até ao raiar do século XX, a unidade pioneira no fabrico industrial de louça de faiança de uso doméstico e decorativo foi comprada por uma sociedade constituída por sócios ingleses e manteve-se em funcionamento até 1920, ano em que um incêndio a destruiu por completo e forçou a sua desactivação. Todavia, a louça da marca “Massarelos” continuou a ser produzida na unidade industrial de Quebrantões do Norte até 1980. Inicialmente constituída por instalações rudimentares, equipada por mecanismos artesanais e servida por mão-de-obra pouco especializada que não ultrapassava as três dezenas de operários, a unidade fabril foi evoluindo em resposta à modernidade, sempre em constante adaptação às necessidades da produção e satisfazendo as exigências dos mercados. Das duas unidades industriais que produziram louça da marca “Massarelos” restam algumas dezenas de peças em museu, um sem número de outras que integram as colecções privadas, dois fornos “garrafa” e uma chaminé votados ao abandono muito embora tenham sido devidamente preservados e se encontrem em vias de classificação patrimonial pelo IGESPAR.
The Ware Factory of Massarelos was founded during the 18th century by Manuel Duarte Silva, in the place of Massarelos, close to Cais das Pedras, the Douro river and the sea, thus beneficting from ideal conditions for the installation of an industrial unit, taking into account the necessity to import raw materials and fuels and to export the finished products to various markets. Run in a family context until the dawn of the 20th century, a pioneer unit in the industrial manufacture of glazed earthenware for domestic and decorative use was bought by a society constituted by English associates and kept on running until 1920, in which year a fire completely destroyed it, being forced to shut down. However, the earthenware by the brand “Massarelos” continued being produced in the industrial unit of Quebrantões do Norte until 1980. Initially composed of rudimentary facilities, equipped with hand-made mechanisms and served by poorly skilled labour that didn’t reach the three dozens employees, the manufacturing unit evolved in answer to modern times, always in constant adaptation to the needs of production and satisfying the needs of the markets. Of the two industrial units that have produced earthenware of the brand “Massarelos”, remain a few dozens of items stored in museum, some countless others that integrate private collections and two bottle ovens and one chimney left to abandonment, although adequately preserved and found in the process of patrimonial classification by the IGESPAR.
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Mutsaers, Lilian. "Unpacking Mrs Wood's suitcases : the signifying potential of unsewn cloth : a thesis presented in partial fulfilment of the requirement for the degree of Master of Philosophy at Massey University, Wellington, New Zealand." 2009. http://hdl.handle.net/10179/1622.
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This thesis examines unsewn cloth pieces which once belonged to Victoria Wood and places them into their social and historical context. It uses the biography of Victoria Wood and her fabrics to argue for the importance of fabric collecting and dressmaking for New Zealand women from 1935 to 1955. It questions why ubiquitous fabrics bought for dress making are not represented in historical accounts of women, or in more general accounts of historical clothing and dress. Aspects of material culture theories are employed to analyse the material properties of the fabric pieces. These are situated within a wider domestic context to demonstrate that there were intrinsic qualities of fabric that influenced and were imagined by many women in this period. Oral histories and other documentary research add to the wider account and provide evidence of the way that dressmaking fabrics reflected the shifting notions of domesticity. The thesis suggests that fabrics bought for the creation of clothing can represent the past or a person. It also demonstrates how dressmaking fabrics simultaneously embody personal and social narratives which reflect the emotional and cultural values of a particular period. In this thesis I construct narratives which are based on the social and historical findings to highlight the importance of fabric collecting and dressmaking as an everyday domestic practice.
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Garneau, Philippe. "Les relations entre la France et le Canada à la fin du XIXe siècle : la revue Paris-Canada (1884-1909)." Mémoire, 2008. http://www.archipel.uqam.ca/934/1/M10276.pdf.
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En 1882, le gouvernement Macdonald décide de créer à Paris, sur l'initiative de la province de Québec, un commissariat chargé de s'occuper des intérêts du Dominion du Canada en France. Dépourvu de reconnaissance officielle, le commissaire canadien à Paris devait encourager le commerce et le recrutement d'émigrants français.Le poste fut confié à Hector Fabre, sénateur et journaliste propriétaire de L'Événement. Pendant 28 ans celui-ci s'occupe à la fois des intérêts de la province de Québec et du Dominion en France. Son action à Paris se situe quelque part entre les relations publiques et la propagande. En 1884, il fonde la revue Paris-Canada. Organe officiel du commissariat canadien, mais également revue des Canadiens à Paris, Paris-Canada constitue une véritable chronique du rapprochement entre la France et le Canada à la fin du XIXe siècle. La revue porte sur l'immigration, la colonisation et le potentiel économique du Canada. Elle informe sur les questions qui touchent les relations franco-canadiennes comme la création d'une ligne de navigation directe et la négociation de traités de commerce. On n'hésite pas à justifier le rapprochement économique par des appels aux sentiments et à la solidarité culturelle des français. La diversité des sujets traités par la revue montre également que les Canadiens recherchent une forme de reconnaissance culturelle de la part de la France. Paris-Canada publie des extraits et de nombreux comptes rendus d'oeuvres littéraires. Elle consacre des articles aux visites d'hommes politiques canadiens en France, publie des résumés des fêtes franco-canadiennes et informe sur les diverses activités des Canadiens installés dans la capitale française. Surtout, elle permet de donner un point de vue canadien sur l'actualité politique du Dominion. Par ses éditoriaux, Hector Fabre, explique au public français les subtilités du lien colonial et donne son avis sur l'avenir de la nation canadienne. En somme, Paris Canada, revue française d'une population d'origine française vivant dans une colonie britannique, est à l'image des relations qui existent entre le Dominion et la France à la fin du XIXe siècle. Relations qui tiennent davantage du lien affectif que des intérêts économiques partagés. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Relations internationales, Hector Fabre, Paris, Canada, France Canada, Commerce, Immigration, Culture, XIXe siècle.