Tesis sobre el tema "Urban metaphor"

Thesis (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 2012.
"June 2012." Cataloged from PDF version of thesis.
Includes bibliographical references (p. 78-84).
The history of the military police in Rio de Janeiro is a history of violence. Police violence peaked during the democratic era when they have killed more civilians annually than the total disappeared during the military dictatorship. Their violence unduly targets the urban poor, those living in favelas, where poverty intersects with informality, where insecurity manifests in unprotected spaces, from inadequate infrastructure to lack of land title; from stigmatization as territories of criminality to violence as drug traffickers and militias battle each other, and the military police, for control. The pacification police are an attempt to reverse this history. The pacification police are the most prolific and contentious public security policy in Rio de Janeiro's recent history. Their official objective is to restore security to spaces once governed by armed criminals. But while pacifying the informal settlements they are also pacifying the military police. As the state on the streets, or its most visible aspect in the informal settlements, they are the locus of community concerns and interlocutors with public authorities. The pacification police are altering perceptions of the police in the eyes of residents and reforming what it means to be a law enforcement officer in the minds of police. They are unintentionally connecting a state that was distant from the informal settlements and complicit in the violence inside them to the urban poor. The pacification police are beginning to transform urban governance across Rio de Janeiro.
by Julia Tierney.
M.C.P.

Roots: They take hold; they grow, expand and change, creating networks and sub-networks as they start to break above the earth's surface and stretch up higher towards the sky day by day. Roots can be taken out (the stock, stem or trunk removed), but both the memory and the evidence of the roots' existence will continue to remain for a while to come. The idea of "roots" applies to so much: from artists taking inspiration from previous artists, even at times to mirror the change in the world which one artist had previously documented; from the places we establish our families and create our memories, to a good deal more.

Le concept de résilience a été adopté dans le langage et les pratiques de l’urbanisation planétaire, dont le modèle dominant est la planification. La théorie de la résilience est cependant critiquée, notamment pour sa difficulté à mener à des résultats prévisibles, ou pour sa récupération par les approches les plus néolibérales de cette planification. Cette thèse montre qu’elle peut aussi être un point de départ pour questionner le modèle dominant et ouvrir à d’autres manières d’appréhender, théoriser et concevoir l’urbain. Elle développe comment la théorie de la résilience urbaine peut se fonder sur un cadre conceptuel spécifique, dont les critères permettent d'orienter des choix lors d’une mise en projet. La recherche débute avec le corpus qui s’est structuré en écologie, qui a ouvert à une théorie de la résilience dans l’urbain, et en développe les singularités. Etant donné que le modèle dominant entretient un brouillage des repères, elle emprunte une méthode d’analyse métaphorique, transportant donc la théorisation en dehors des cadres de celui-ci. Elle propose pour cela un concept, celui de « piraterie urbaine», comme art de la mise en projet de la résilience. La métaphore de la piraterie est construite autour de son sens étymologique, de ses archétypes, et de son histoire. À travers elle sont notamment théorisés : les conditions de la résilience et leurs aspects qualitatifs ; le rapport à la forme architecturale, au temps et au lieu d’un urbain conçu selon ses critères ; sa symbolique et son décalage vis-à-vis du modèle dominant ; sa dimension politique, dialogique, expérimentale et incrémentale ; les repères et seuils orientant des choix architecturaux et urbains
The concept of resilience has been adopted by the language and practices of growing global urbanisation, the dominant model of which is planning. However, resilience theory is also questioned, notably for the difficulty it manifests in ensuring predictable results, or for the usage that is made of it by the most neoliberal approaches to planning. This thesis shows that concept of resilience can also be a starting point for questioning planning by introducing other ways of understanding, theorising and designing urban environments. It addresses how urban resilience theory can shed light on specific conceptual frameworks, whose criteria may orient design choices. The research originates in a corpus that has been developed in the field of ecology, opening the way to an urban resilience theory, and explores the singularities of this transition. To overcome the dominant model’s tendency to blur landmarks, and free this process of theorisation from the ambiguity of its frameworks, this thesis adopts the method of analysis through metaphor. It thus proposes the concept of "urban piracy", as an art of designing resilience in urban environments. The metaphor of piracy is constructed along its etymological sense, its archetypes and its history. It gives way to a theorisation that includes the qualitative aspects of the conditions of resilience; the relationship to form, time and place, of a city designed according to its criteria; the symbolism of its theory and its discrepancies vis-à-vis the dominant model; its political, dialogical, experimental and incremental dimension; and finally, the landmarks and the thresholds that orient choices in architectural and urban design

In 1989 the young Dutch architect Willem Jan Neutelings developed a project for the area in between Rotterdam and the Hague that was going to face, in the following years, a huge increment of population and activities. In this context Neutelings proposed his personal reinterpretation of the urban form called “De Tapijtmetropool” or “Patchwork Metropolis” . The analyses of his work has been the methodological pretext to further investigate the different declinations of the figure of the patchwork in the urban discipline from its origins, mainly related with the work of “The Regional Planning Association of America” and ecologists such as Richard T.T. Forman, until today. Interpreted as a general manifesto or as the explanation of a specific territorial configuration, the patchwork discourse crosses many of the preeminent topics of the modernity – the figure of the fragment, the issue of the peripheral condition and the territorial layout of the contemporary city – but also many other metaphors and researches – cities in between , the territory as a palimpsests , the city territory , the città diffusa , the archipelago city – preserving and enriching each time its precious ambiguity. The thesis is articulated in four parts that assemble a circular story that opens and closes in the same sector of the Dutch territory. Starting with a new reading of the Neutelings’ manifesto (I) and finishing with the analyses of the political, social and territorial configuration of the Netherlands (IV), the research demonstrates retrospectively the presence of an implicit project, recognizing the elements and the typical working mechanisms of the patchwork model. The central part of this thesis (II-III) questions the operational validity of the patchwork metaphor for the urban discipline, aiming to transform the six-pages long article of Neutelings into a more coherent and grounded paradigm to interpret and design the contemporary territories. As a project of coexistence, the patchwork deserves a preeminent role in the contemporary urban discourse, for the willingness to seek an order, even if a weak one, in a territory which is apparently missing it and to address one of the most important themes of the entire Western culture: the relationship between the one and the multiple .

Qu’ils soient voyageurs occasionnels ou réguliers, les piétons se déplaçant en environnement urbain et en transport en commun ont à faire face à la complexité du réseau de transport des grandes villes. Les aides au déplacement sont nombreuses et variées. Elles peuvent être fixes (par exemple, panneaux de signalisation) ou mobiles (par exemple, applications sur smartphone). Ces aides utilisent principalement la modalité sensorielle visuelle, déjà fortement sollicitée lors d’un déplacement urbain. Une alternative intéressante serait d’utiliser l’haptique (sens du toucher). En effet, cette modalité permet de transmettre au porteur d’un dispositif haptique des informations de déplacement et de navigation, en attirant discrètement son attention par des messages délivrés tactilement.S’inscrivant dans une démarche d’ergonomie prospective, cette thèse vise à étudier l’apport de la modalité haptique comme soutien à l’activité de déplacement piéton urbain. L’objectif appliqué est la conception d’un dispositif haptique d’aide au déplacement innovant, efficace et accepté par les utilisateurs futurs. Ce projet de conception s’est déroulé dans le cadre du projet ANR Tictact, mené par le CEA-LIST de 2011 à 2014. L’utilisation de la modalité haptique étant posée comme un parti pris initial, l’objectif du projet était de déterminer la forme que devrait prendre l’assistance aux usagers et la technologie de l’outil d’aide.Pour répondre à ce défi, nous avons mis en œuvre trois études successives. La première visait à comprendre les activités cognitives élémentaires mobilisées pour consulter les supports d’informations nécessaires à la navigation piétonne. Pour cela, nous avons analysé le comportement d’un piéton effectuant un trajet urbain (en métro et à pied). Les résultats nous ont permis de spécifier les fonctions d’aide que devrait remplir un futur dispositif d’aide au déplacement. Complétées par une revue de la littérature sur les interfaces haptiques et leur utilisation pour l’aide au déplacement, ces résultats nous ont conduits à déterminer les fonctions éligibles à la modalité haptique. La seconde étude visait à concevoir l’interaction haptique avec le dispositif d’aide, en deux étapes : élaborer le concept d’interface et concevoir le langage d’interaction. Une démarche de conception participative a été mise en œuvre, étayée par l’utilisation d’un prototype et de méthodes créatives. Cette démarche a abouti à : (i) identifier un message informationnel approprié à chaque fonction de déplacement ; (ii) traduire ce message (par analogie) en métaphore ; (iii) transformer chaque métaphore en motifs vibratoires délivrés par un bracelet haptique. La troisième étude visait à évaluer le dispositif haptique (bracelet couplé à un Smartphone) en environnement réel. Une analyse d’activité de déplacement urbain a été menée, comparant un groupe disposant de notre prototype haptique d’aide à un groupe sans prototype. Les résultats confirment la potentialité de la modalité haptique pour améliorer les performances de déplacement et notamment une allure de déplacement plus fluide et une diminution du temps de consultation d’un support d’information. Notre étude ouvre des perspectives pour l’utilisation de la modalité haptique dans diverses interfaces mobiles (par exemple une smartwatch)
Whether they are occasional or regular travellers, the pedestrians travelling in an urban environment and using public transportation have to face the complexity of the transportation network of large cities. The travelling aids are numerous and varied. They can be stationary or mobile (for example, applications on smartphones). These aids rely mainly on the visual sensory modality, already heavily requested during urban travel. An interesting alternative would be to use haptics (sense of touch). Indeed, this modality enables to convey travel and navigational information to the owner of a haptic device, by drawing discreetly his attention with tactile messages. Joining an approach of prospective ergonomics, this thesis aims to study the contribution of the haptic modality as a support for the activity of urban pedestrian travel. The applied objective is the design of a haptic device as an innovative travel aid, effective and accepted by the future users. This design project took place within the framework of the ANR project Tictact, led by the CEA-LIST from 2011 till 2014. The use of the haptic modality being put as an initial bias, the objective of the project was to determine the form that the assistance and the technology of the travel aid should take.To tackle this challenge, we conducted three successive studies. The first one, aimed at understanding the elementary cognitive activities mobilized when consulting information necessary to the pedestrian navigation. For that purpose, we analysed the behaviour of a pedestrian undertaking an urban travel (in the subway and on foot). The results allowed us to specify the functions that a future device assisting in the travel should include. Completed by a review of the literature on haptic interfaces and their use for assisting travel, these results led us to determine the eligible functions of the haptic modality.The second study aimed at designing the haptic interaction with the haptic interface, in two stages: first develop the concept of the interface and second design the interaction language. An approach of participative design was implemented, supported by the use of a device prototype and creative methods. This approach succeeded in: i) identifying an informative message suitable for each function of the travel; ii) translating this message (using an analogy) into a metaphor; and iii) transforming every metaphor into vibrotactile patterns delivered by a haptic wristband.The third study aimed at evaluating the haptic device (a wristband coupled with a Smartphone) in a real environment. An analysis of the activity of urban travel was conducted, comparing a group having a prototype of our haptic assistant to a group without such prototype. The results confirm the potentiality of the haptic modality to improve the travel performance in particular to enable a more fluid speed of travel and a decrease in the consultation time of an information medium. Our study opens up perspectives for the use of the haptic modality in diverse mobile interfaces (for example a smartwatch)

This dissertation examines representations of the city and media art in Hong Kong from the late 1980s to the present to establish a link between the ways in which the city's place identity is re-imag(in)ed. Charting the course of media art in Hong Kong in relation to the parallel development of contemporary art in the region, it provides critical analyses of dominant urban metaphors that play a significant role, both locally and internationally, in the current representation of Hong Kong and its artistic practices. Specifically, the study explores how media artists have been dealing with four central urban metaphors that frequently arise in discussions of Hong Kong in relation to its place identity: City in Transition, Panoramic City, Compact City, and Mobile City. The hypothesis of this essay concerns the ways in which both the selected media artists and their works negotiate central urban metaphors in their search for Hong Kong's place identity. I designate each of these negotiations as a 'spatial portrait': a space of representation in which social experiences and relations are reconstructed and investigated. Through the critical analysis of these spatial portraits, I consider the development, shifts and imbrications of urban metaphors for Hong Kong and their contributions to, as well as their limitations for, understandings of artistic representations of urban space. Recognizing the local-global nexus from which these works emerge through considerations of the imaging of Hong Kong in the media and tourism industries, I propose an interpretation of the metaphor of the Mobile City as an updated version of the City of Transition. Ultimately, this dissertation offers an understanding of urban metaphors in Hong Kong media art in relation to the re-imag(in)ing of place identity situated between globalization discourse and the cultural politics of urban space, location and representation. It concludes that contemporary art's contribution to t

Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1994.
Includes bibliographical references (p. 68-69).
This study proposes a method for the design of a contemporary urban park on the eastern edge of the Old City in Cairo. Precedents in park design are briefly explored with a focus on the relation of the park to the city. The urban fabric of the Old City is analyzed in detail to extract metaphors, models and principles that can serve to devise an ordering framework for the park. The design as it emerges is informed by two themes - the site as an urban quarter of the city and the park as palimpsest. The intention is to create a framework that will place the site securely in relation to its geographical locale and to its historic context.
by Arunjot Singh Bhalla.
M.S.

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior
O discurso pode ser compreendido como um sistema dinÃmico complexo, que se adapta de acordo com as necessidades contextuais. Desse modo, as metÃforas presentes nos discursos parecem emergir a partir de uma negociaÃÃo de conceitos durante a interaÃÃo conversacional. Cameron (2003, 2007, 2008) chama estes tipos de metÃforas de sistemÃticas, pois percorrem diversas falas, apontando para uma construÃÃo colaborativa. A emergÃncia destas metÃforas significa uma estabilidade temporÃria no discurso, resultante da interaÃÃo entre diversos agentes: pragmÃticos, sociais, culturais, histÃricos e cognitivos. Contudo, Cameron nÃo especifica que recursos cognitivos podem ter sido usados para fazer emergir estas estabilizaÃÃes. Esta pesquisa sugere que o sistema dinÃmico discursivo à tambÃm constituÃdo de estruturas conceituais esquemÃticas derivadas das experiÃncias bÃsicas corpÃreas comuns a todos (ou pelo menos a maioria) dos seres humanos: os esquemas imagÃtico-cinestÃsicos (LAKOFF, 1987; JOHNSON, 1987) e as metÃforas conceituais primÃrias (GRADY, 1997). Assim, entendemos que a metÃfora sistemÃtica nÃo emerge somente do discurso, mas tambÃm da cogniÃÃo, em uma dupla direcionalidade (discurso-cogniÃÃo e vice-versa). A fim de confirmar este pensamento, foi utilizada a tÃcnica de investigaÃÃo de grupo focal, formado por jovens adultos universitÃrios, que discorreram sobre violÃncia urbana. O discurso foi gravado em Ãudio e vÃdeo, depois transcrito segundo os procedimentos listados por Cameron et al. (2009). A pesquisa à de natureza qualitativa, portanto os dados sÃo interpretados utilizando os seguintes referenciais teÃricos: Teoria Integrada da MetÃfora PrimÃria (LAKOFF & JOHNSON, 1999), esquemas imagÃtico-cinestÃsicos (LAKOFF, 1987; JOHNSON, 1987; LAKOFF & JOHNSON, 1999), Teoria dos Sistemas DinÃmicos Complexos Adaptativos e a anÃlise do discurso à luz da metÃfora (CAMERON, 2003, 2007, 2008; CAMERON ET AL., 2009, CAMERON & MASLEN, 2010). As metÃforas sistemÃticas foram identificadas e relacionadas aos esquemas e metÃforas primÃrias, sendo possÃvel inferir que a emergÃncia de linguagem figurada no discurso ocorre dinamicamente em duas vias. AlÃm disso, verificamos que esquemas e metÃforas primÃrias parecem ser alguns dos agentes cognitivos envolvidos nestas emergÃncias, e os tÃpicos discursivos sÃo os agentes que motivam o uso de certos esquemas e metÃforas primÃrias em detrimento de outros.
The discourse can be seen as a complex dynamic system, which adapts itself according to contextual needs. Thus, the metaphors in the discourse seem to emerge out of a conceptual negotiation along the conversational interaction. Cameron (2003, 2007, 2008) calls these types of metaphors systematic, since they permeate different talks, signaling a collaborative construction. The emergence of these metaphors means a temporary stability, due to the interaction between different agents: pragmatic, social, cultural, historical and cognitive. However, Cameron does not specify which cognitive elements could have been used to emerge these stabilizations. This research suggests the dynamic discursive system is also made of conceptual schematic structures as a result of embodied basic experiences common to every person (or at least to the vast majority): the image and kinesthetic schemas (LAKOFF, 1987; JOHNSON, 1987) and conceptual primary metaphors (GRADY, 1997). Thus, it is understood that systematic metaphors do not emerge only from discourse factors, but also from cognition, in double directionality (discourse-cognition and vice-versa). In order to confirm this thought, it was used the focal group investigation technique. The group was made of college students who talked about urban violence. The discourse was recorded in audio and video, then transcribed according to the procedures listed by Cameron et al. (2009). The research is qualitative, so the data analysis is guided by the following theoretical references: Primary Metaphor Integrated Theory (LAKOFF & JOHNSON, 1999), image and kinesthetic schemas (LAKOFF, 1987; JOHNSON, 1987; LAKOFF & JOHNSON, 1999), Complex Adaptive Dynamic System Theory and the metaphor-led discourse analysis approach (CAMERON, 2003, 2007, 2008; CAMERON ET AL., 2009, CAMERON & MASLEN, 2010). The systematic metaphors identified in the data were matched to schemas and primary metaphors, inferring then the emergence of figurative language in the discourse occurs in two ways. Furthermore, schemas and primary metaphors seem to be some of the cognitive agents present in those emergences, and the discourse topics are at least one of the agents which motivate the use of certain schemas and primary metaphors instead of others.

The objective of this dissertation study was to investigate the lived experiences of intimacy in married couples in India. The researcher specifically explored the couples' intimacy experiences in six dimensions: emotional closeness and self-disclosure, shared ideas and support, sexual intimacy, relationship skills, commitment and social intimacy. The Zaltman Metaphor Elicitation Technique (ZMET), an innovative method of data collection was used to collect pictures as metaphors from 11 couples (N=22) and the researcher conducted 45-90 minutes in-depth phone interviews. Phenomenological approach was used for data analysis and five themes (description, positive and negative experiences, barriers and strategies used, changes over time and perceived societal norms) provided information on the six dimensions of intimacy. The findings confirmed that intimacy is experienced in married Indian couples in each of the above mentioned dimensions. In addition, when intimacy is experienced they are viewed positively and lack of intimacy is viewed negatively in each dimensions. Couples also perceived barriers to their achievement of intimacy and developed strategies that helped them maintain intimacy in their marriage over time. Gender differences were present, for wives, emotional closeness and self-disclosure was more important, whereas for men, commitment was more important. The findings have implications for marriage education programs and clinicians working with married Indian couples.
Ph. D.

Un graffiti est exposé à la vue de tous dans la rue : lieu du passage, de l’échange, de l’intenseproximité. Un regard doit-il/peut-il se constituer, se conformer à un lieu d’approximation, dedistance, de rencontre, de conflit ?Or, exposer ce type d’oeuvre ailleurs, semble, a priori, une hérésie ; sa décontextualisation, unpléonasme. En quoi l’acte d’exposer contredit-il cette pratique urbaine, si, littéralement, un graffitiest directement accessible à nos sens, exposé ? Le mur est-il une frontière qui fait écran, entre lemonde du réel et de l’irréel ?Une représentation persiste inconsciemment : l’art urbain peut aussi faireconsensus. Comment autrui intervient-il dans ce type de représentation ?Avec des hypothèses élaborées à partir d’oeuvres urbaines, un corpus d’image constituera uneméthode de recherche pour engager un dialogue avec le corps du passant, suivant les modalités deproduction ou de création de cette vision de graffiti.Une expérimentation des frontières esthétiques, peut-elle rendre compte, a posteriori, dudevenir de l’anonymat d’une oeuvre d’art réalisée sur les surfaces anonymes et phénoménales de laville ?La comparaison du corps d’un être humain à celui d’une ville, est-elle fortuite ? Cetteréduction de l’homme au mur, dit métaphoriquement, est-elle constitutive de rapportshumains ? Réels, fictifs ? Relatifs ?Comment l’art peut-il former dans l’urgence un regard historique, voire collectif, sans ladistance ?
A graffiti is exposed for every body in the street : place of passage, exchange, of the intenseproximity. Should or could a glance be able to constitute itself or to observe itself, a place ofapproximation, of distance, of meeting, of conflict ?But, to expose this type of work elsewhere, seems, a priori, a heresy ; its decontextualization,a pleonasm. How does the act of exposing contradict this urban practice, if, literally, a graffiti isdirectly accessible to our senses, exposed ? Is the wall a boundary between the real and the unreal ?A representation persists unconsciously : urban art can also make a consensus. How doesanother person intervene in this type of representation ?With hypotheses developed from urban works, a corpus of images will constitute a researchmethod for engaging a dialogue with the body of the passer-by, according to the modalities ofproduction or creation of this vision of graffiti.Can an experiment on aesthetic borders explain, a posteriori, the future of the anonymity of apiece of art produced on the anonymous and phenomenal surfaces of the city ?Is the comparison between the body of a human being and the corpse of a city, fortuitous ? Isthis reduction of the man to the wall, metaphorically speaking, constitutive of human relationships ?Real, fictional ? Relative ?How can art form in the emergency a historical view and collective, without distance ?

Cette étude explore les opérations de catégorisation essentielles à l’organisation des domaines de l’expression et de la perception au cinéma et surtout à leur réversibilité propre au médium cinématographique. Un rôle fondamental revient aux processus d’analogie, de projection conceptuelle et d’isomorphisme entre ces deux domaines, processus que ce travail regroupe sous la catégorie de « métaphore ». La métaphore ne représente ni le symptôme, ni l’exemplum de la relation expression/ perception. Sa force consiste en ce qu’elle se situe en son coeur, tandis que son statut est d’assurer la réversibilité des deux domaines grâce à sa capacité à faire fonctionner des éléments identiques dans des médiums de signification différents. En tant qu’opération conceptuelle, la métaphore siège dans cet espace engendré par le jeu des formes de médiation entre le domaine de l’expression et de la perception cinématographiques. La médiation entre ces deux domaines est régie par des codes spécifiques dont l’interaction et la collaboration sont constitutives de l’opération métaphorique même. Aux degrés de médiation correspondent des degrés de métaphoricité que le présent travail organise selon des critères liés à leur manifestation dans le médium cinématographique. Au lieu de faire l’objet des taxinomies réductrices, les métaphores au cinéma se rangent sur un axe de degrés variables
The present work focuses on conceptual operations involved in the organisation of the cinematographic expression and perception, operations that assure the reversibility of those two domains. In this dynamics of perception, a central role is played by such processes as analogy, conceptual mapping and isomorphism, processes that constitute the class of “metaphors”. Metaphor does not represent the symptom, nor the exemplum of the relationship between cinematographic expression and perception. Cinematic metaphor is rather situated at its core; it ensures the exchanges between expression and perception due to its ability to make work identical elements in different mediums of signification. As a conceptual operation, metaphor inhabits an intermediary space generated by the play of different forms of mediation between the realms of cinematographic expression and perception. This mediation is regulated by specific codes, whose interaction and collaboration are inherent to the metaphorical operation itself. To degrees of mediation correspond degrees of metaphoricity, and the present work has the contention to organise those degrees according to criteria proper to the cinematographic medium. Rather than being subject to reductive taxonomies, cinematic metaphors should be organise according to the degree of mediation of perception

LIMA, João Paulo Rodrigues de. A emergência de metáforas na fala sobre violência urbana: uma análise cognitivo-discursiva. 2012. 269f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Departamento de Letras Vernáculas, Programa de Pós-graduação em Linguística, Fortaleza (CE), 2012.
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The discourse can be seen as a complex dynamic system, which adapts itself according to contextual needs. Thus, the metaphors in the discourse seem to emerge out of a conceptual negotiation along the conversational interaction. Cameron (2003, 2007, 2008) calls these types of metaphors systematic, since they permeate different talks, signaling a collaborative construction. The emergence of these metaphors means a temporary stability, due to the interaction between different agents: pragmatic, social, cultural, historical and cognitive. However, Cameron does not specify which cognitive elements could have been used to emerge these stabilizations. This research suggests the dynamic discursive system is also made of conceptual schematic structures as a result of embodied basic experiences common to every person (or at least to the vast majority): the image and kinesthetic schemas (LAKOFF, 1987; JOHNSON, 1987) and conceptual primary metaphors (GRADY, 1997). Thus, it is understood that systematic metaphors do not emerge only from discourse factors, but also from cognition, in double directionality (discourse-cognition and vice-versa). In order to confirm this thought, it was used the focal group investigation technique. The group was made of college students who talked about urban violence. The discourse was recorded in audio and video, then transcribed according to the procedures listed by Cameron et al. (2009). The research is qualitative, so the data analysis is guided by the following theoretical references: Primary Metaphor Integrated Theory (LAKOFF & JOHNSON, 1999), image and kinesthetic schemas (LAKOFF, 1987; JOHNSON, 1987; LAKOFF & JOHNSON, 1999), Complex Adaptive Dynamic System Theory and the metaphor-led discourse analysis approach (CAMERON, 2003, 2007, 2008; CAMERON ET AL., 2009, CAMERON & MASLEN, 2010). The systematic metaphors identified in the data were matched to schemas and primary metaphors, inferring then the emergence of figurative language in the discourse occurs in two ways. Furthermore, schemas and primary metaphors seem to be some of the cognitive agents present in those emergences, and the discourse topics are at least one of the agents which motivate the use of certain schemas and primary metaphors instead of others.
O discurso pode ser compreendido como um sistema dinâmico complexo, que se adapta de acordo com as necessidades contextuais. Desse modo, as metáforas presentes nos discursos parecem emergir a partir de uma negociação de conceitos durante a interação conversacional. Cameron (2003, 2007, 2008) chama estes tipos de metáforas de sistemáticas, pois percorrem diversas falas, apontando para uma construção colaborativa. A emergência destas metáforas significa uma estabilidade temporária no discurso, resultante da interação entre diversos agentes: pragmáticos, sociais, culturais, históricos e cognitivos. Contudo, Cameron não especifica que recursos cognitivos podem ter sido usados para fazer emergir estas estabilizações. Esta pesquisa sugere que o sistema dinâmico discursivo é também constituído de estruturas conceituais esquemáticas derivadas das experiências básicas corpóreas comuns a todos (ou pelo menos a maioria) dos seres humanos: os esquemas imagético-cinestésicos (LAKOFF, 1987; JOHNSON, 1987) e as metáforas conceituais primárias (GRADY, 1997). Assim, entendemos que a metáfora sistemática não emerge somente do discurso, mas também da cognição, em uma dupla direcionalidade (discurso-cognição e vice-versa). A fim de confirmar este pensamento, foi utilizada a técnica de investigação de grupo focal, formado por jovens adultos universitários, que discorreram sobre violência urbana. O discurso foi gravado em áudio e vídeo, depois transcrito segundo os procedimentos listados por Cameron et al. (2009). A pesquisa é de natureza qualitativa, portanto os dados são interpretados utilizando os seguintes referenciais teóricos: Teoria Integrada da Metáfora Primária (LAKOFF & JOHNSON, 1999), esquemas imagético-cinestésicos (LAKOFF, 1987; JOHNSON, 1987; LAKOFF & JOHNSON, 1999), Teoria dos Sistemas Dinâmicos Complexos Adaptativos e a análise do discurso à luz da metáfora (CAMERON, 2003, 2007, 2008; CAMERON ET AL., 2009, CAMERON & MASLEN, 2010). As metáforas sistemáticas foram identificadas e relacionadas aos esquemas e metáforas primárias, sendo possível inferir que a emergência de linguagem figurada no discurso ocorre dinamicamente em duas vias. Além disso, verificamos que esquemas e metáforas primárias parecem ser alguns dos agentes cognitivos envolvidos nestas emergências, e os tópicos discursivos são os agentes que motivam o uso de certos esquemas e metáforas primárias em detrimento de outros.

FundaÃÃo de Amparo à Pesquisa do Estado do CearÃ
A metÃfora sempre ocupou um lugar de destaque nos estudos do significado e, com o avanÃo das pesquisas em LinguÃstica Cognitiva, essa figura apresenta-se mais evidente quando posta em relaÃÃo com a metonÃmia, que ganha pouco destaque nas pesquisas acadÃmicas. Nesse contexto, a presente pesquisa tem como objetivos: (i) estabelecer a primazia da metonÃmia sobre a metÃfora por meio da anÃlise dinÃmica do discurso dos participantes de grupos focais, ao discutirem a violÃncia urbana na cidade de Fortaleza; (ii) verificar se as relaÃÃes metonÃmicas dÃo-se tanto em nÃvel contextual como de enunciado; e (iii) demonstrar que as metonÃmias sÃo responsÃveis pela emergÃncia de grande parte dos veÃculos metafÃricos, tÃo importantes para a construÃÃo do sentido. Para tanto, fez-se necessÃrio discutir as principais abordagens dos fenÃmenos à luz da teoria dos Sistemas DinÃmicos Complexos, ancorados em Larsen-Freeman (1997); Larsen-Freeman e Cameron (2008), na teoria fractal, com fundamentos em Paiva (2010) e Mandelbrot (1982), assim como Capra (2006). Esse referencial teÃrico serviu de base para verificarmos a hipÃtese de que grande parte das metÃforas serà oriunda de metonÃmia e de que as relaÃÃes que contribuem para a emergÃncia dessa figura deram-se tanto em nÃvel contextual como de enunciado, surgindo de forma fragmentada no discurso real dos participantes dos grupos focais. AlÃm disso, a pesquisa propÃe-se tambÃm a descrever o processo de conceitualizaÃÃo da violÃncia urbana com base nos critÃrios do paradigma da complexidade, mostrando sua importÃncia para as atuais pesquisas. Para dar consistÃncia à nossa discussÃo, embasamo-nos em autores como Goosens (1990, 1995), Barcelona (1997) e Radden (2003) que tambÃm discutem a complexa relaÃÃo entre metÃfora e metonÃmia. Nosso estudo està pautado em uma pesquisa qualitativa e teÃrica, que nos permite refletir acerca da primazia da metonÃmia em relaÃÃo à metÃfora, analisando a transcriÃÃo de trÃs grupos focais que discutiram a questÃo da violÃncia urbana na cidade de Fortaleza-CE. A anÃlise permitiu constatar, atà o momento que, em alguns casos, no processo de conceitualizaÃÃo da violÃncia urbana, a metÃfora tem procedÃncia na metonÃmia, visto que as relaÃÃes que estruturam a metonÃmia, como parte pelo todo, instituiÃÃo pelos responsÃveis, efeito pela causa, entre outros, permeiam tanto o enunciado como o contexto da discussÃo dos participantes dos grupos focais. Isso nos fez chegar à conclusÃo de que uma sÃrie de metÃforas provÃm de metonÃmias o que mostra que, apesar de a metÃfora e a metonÃmia interagirem entre si, em alguns casos, hà primazia desta sobre aquela.
The metaphor has always occupied an important place in meaning studies and with the advances on Cognitive Linguistics researches this figure presents itself more evident when put in relation with metonym, which has less importance on academic researches. In this context, this very work aims: (i) establish the primacy of metonym over metaphor by the dynamic discourse analysis of focal group participants when discussing urban violence in the city of Fortaleza; (ii) verify if the metonymic relations appear both in context and wording; and (iii) demonstrate that metonyms are responsible for the emerging of great part of metaphorical vehicles, so important to the construction of meaning. Thus, it was necessary to discuss the main approaches of these phenomena in light of Complex Dynamic Systems theory, anchored on Larsen-Freeman (1997); Larsen-Freeman e Cameron (2008), on fractal theory, based in Paiva (2010) e Mandelbrot (1982), as Capra (2006). This theoretical reference served as base to verify the hypothesis that great part of metaphors emerge from metonyms and that the relations contribute to the emerging of that both contextual and wording levels arise fragmented in the real discourse of focal group participants. Furthermore, the research proposes itself to also describe the process of conceptualization of urban violence based in the criteria of complexity paradigm, showing its importance to the current researches. To give consistency to that discussion we based ourselves in authors such as Goosens (1990, 1995), Barcelona (1997) and Radden (2003), who also discuss the complex relation between metaphor and metonym. Our study is ruled by a qualitative and theoretical research that allows us to reflect about the primacy of metonym over metaphor, analyzing the transcription of three focal groups that discussed the urban violence in the city of Fortaleza. The analysis allowed until this moment the ascertainment that in some cases, in the process of conceptualization, the metaphor arises from metonym, as relations that structure metonym, such as take a tree for a forest, institution for its responsible ones, effect by cause, permeate both wording and context of the discussion of the focal group participants. This made us come to the conclusion that a series of metaphors come from metonyms, what shows that although metaphor and metonym interact themselves, there is a primacy of the second over the first in some cases.

Construção e abertura: diálogos Alexander-Piaget examina a construção do conhecimento, no campo da Arquitetura e Urbanismo, através da articulação das abordagens dos dois autores destacados no título da tese, na perspectiva de esboçar elementos para uma teoria e uma pedagogia do processo de projeto. Neste sentido, o trabalho organiza-se em duas partes: Aberturas – contexto teórico Para compreender os processos cognitivos envolvidos na concepção do projeto arquitetural no âmbito do ateliê pedagógico, a investigação busca estabelecer um diálogo teórico que encontra pontos de contato entre a tradição da Epistemologia Genética iniciada por Jean Piaget, e o pensamento do arquiteto austro-americano Christopher Alexander. Desde o construtivismo piagetiano, interessa, em especial, a noção dos possíveis, passando pelas formulações referentes à percepção e representação espacial, pelos processos de tomada de consciência no percurso entre o fazer e o compreender, e pelos fundamentos de uma lógica de significações. Desde a abordagem de Alexander, tomam-se, em especial, as noções de linguagem de padrões e de totalidades crescentes para explicar as relações entre os sujeitos do processo projetual e o ambiente construído, na emergência de uma ordem espacial coerente através de contínuos ajustes entre forma e contexto. O espaço de encontro entre os dois pensadores se explicita através de uma abordagem epistemológica apoiada no conceito de sistema, e no princípio cibernético de equilibração. No caso de Piaget, isto implica estados majorantes de assimilação na interação entre sujeito e objeto de conhecimento; na abordagem de Alexander, isso se revela através da analogia entre sistemas ambientais construídos pelo homem e organismos vivos, que pode ser descrita na forma de um conjunto de princípios projetuais bem definidos. Construções – contexto pedagógico No plano pedagógico, foi elaborado um experimento, oferecido a estudantes de graduação e, Arquitetura e Urbanismo, procedentes de diferentes etapas do curso, objetivando: i) a reflexão em torno do quadro teórico apresentado, ii) a exploração de tecnologias de simulação gráfica; iii) o agenciamento de meios de trabalho cooperativo, presencial e à distância, e; iv) o desenvolvimento de exercícios de projeto apoiados nas reflexões derivadas de (i), (ii) e (iii), no sentido de promover desequilíbrios cognitivos, sugerindo percursos de trabalho diferentes daqueles com os quais os estudantes estão familiarizados. O experimento estrutura-se em três exercícios, correspondentes, grosso modo, às etapas de concepção, desenvolvimento e aperfeiçoamento de um projeto arquitetônico ou urbanístico. Casa tomada, baseado no conto homônimo do argentino Julio Cortázar, aborda a pedagogia da metáfora, propondo uma transcrição da narrativa ficcional para o espaço arquitetônico, reconstituindo topologicamente a trama urdida pelo escritor. Cidade das palavras reflete o âmbito denominado pedagogia do linguajar, e propõe o desenvolvimento de narrativas "genéticas" construídas através do trabalho cooperativo, em escalas de organização de crescente complexidade. Desenho e canteiro especula sobre uma pedagogia da precisão, inspirando-se na reflexão do arquiteto brasileiro Sérgio Ferro sobre os processos de produção da arquitetura, sendo os estudantes desafiados a simular, com ferramentas digitais, elementos construtivos tomados dos exercícios iniciais, promovendo reequilibrações no processo de aprendizagem. As “pedagogias” da metáfora, do linguajar e da precisão, integradas na reflexão sobre o fazer e o compreender, buscam constituir uma "ecologia" que enlaça sujeitos, conceitos e tecnologias. O trabalho conclui com um conjunto de crônicas que examinam diferentes aspectos do percurso realizado.
Construção e abertura: diálogos Alexander-Piaget (Construction and overture: dialogues Alexander-Piaget) examines the construction of knowledge in the field of Architecture and Planning, through the combination of the approaches of two prominent authors detached in the title of the thesis, aiming outlines elements for a theory and a pedagogy of the design process. In this sense, the work is organized into two parts: Overtures – theoretical context To realize cognitive processes involved in the architectural design within the pedagogic studio, the research seeks to establish a theoretical dialogue that finds points of contact between the tradition by Genetic Epistemology started by Jean Piaget, and the theories of Austro-American architect Christopher Alexander. Since Piaget's constructivism, interests, in particular, the notion of the possibles, through the formulation on the perception and spatial representation, through the processes of awareness on the route between to do and to understand, and the foundations for a logic of meanings. Since the approach of Alexander, detaching, especially, the notions of Pattern Language and the growing wholes, to explain relations between subjects of the design process and the built environment, in the emergence of a coherent ordered space through continuous fitness between form and context. The space of encounter between the two thinkers is explained through an epistemological approach based on the concept of system, and the cybernetic principle of balance. In the case of Piaget, this implies upper bounds states of assimilation in the interaction between subject and object of knowledge; from the approach of Alexander, it is revealed through the analogy between manmade environmental systems and living organisms, which can be described as a well defined set of design principles. Constructions – pedagogic context In terms of pedagogy, an experiment was designed, and offered to undergraduate students of Architecture and Planning from different stages of the course, aiming to: i) discussions around the theoretical context, ii) the exploration of technologies for graphic simulation; iii) the arrangement of means of cooperative work, in classroom and in distance learning environment, and iv) the development of design exercises supported the reflections derived from (i), (ii) and (iii) to promote cognitive imbalances, suggesting work journeys than those with which students are familiar. The experiment is a set of three exercices, corresponding roughly to the stages of conceiving, developing and refining an architectural or urban design. Casa Tomada (House taken over) based on the tale by the Argentinian Julio Cortázar, addresses the pedagogy of metaphor, proposing a transcript of fictional narrative to the architectural space, topologically reconstructing the plot hatched by the writer. Cidade das palavras (City of words) reflects the scope of pedagogy named speech and proposes the development of "genetic" narratives constructed through the cooperative work on scales of organization of increasing complexity. Desenho e canteiro (Design and construction site) speculates about a pedagogy of precision, drawing on the reflection of Brazilian architect Sergio Ferro on the production processes of architecture, and students are challenged to simulate, with digital tools, building elements taken from the initial exercises in promoting a feedback for learning process. The "pedagogies" of metaphor, speech and precision, integrated into thinking about doing and understanding, seek to constitute an "ecology" that links subjects, concepts and technologies. The thesis concludes with a set of chronicles that examines different aspects of the journey undertaken.

Nel 1989 il giovane architetto olandese Willem Jan Neutelings elaborò un progetto per l'area compresa tra Rotterdam e L'Aia, che in quegli stava subendo un vasto processo di urbanizzazione. In questo contesto Neutelings propose la sua personale reinterpretazione della condizione territoriale denominata "De Tapijtmetropool" o “Patchwork Metropolis” . L'analisi del suo lavoro è stata utilizzata in questa tesi come un pretesto metodologico per approfondire lo studio delle diverse declinazioni della figura del patchwork nella disciplina urbanistica dalle sue origini, principlamente legate al lavoro del gruppo "The Regional Planning Association of America" ed ecologisti come Richard T.T. Forman, fino ad oggi. Interpretato come un provocatorio manifesto o come la spiegazione di una specifica configurazione territoriale, il discorso legato al patchwork attraversa molti dei più importanti temi della modernità ¬– la figura del frammento, la condizione periferica e la dimensione territoriale della città contemporanea – ma anche molte altre metafore e ricerche – cities in between , il territorio come palinsesto , la città territorio , la città diffusa , la città arcipelago – ogni volta preservando ed arricchendo la sua preziosa ambiguità. La tesi si articola in quattro parti che costruiscono una storia circolare the si apre e si chiude nella stessa porzione di territorio olandese. Iniziando con una nuova lettura del manifesto di Neutelings (I) e finendo con l'analisi della configurazione politica, sociale e territoriale olandese (IV), la ricerca mostra la presenza, in retrospettiva, di un progetto implicito, riconoscendo gli elementi ed i meccanismi di funzionamento tipici del modello del patchwork. La parte centrale della tesi (II-III) indaga la validità operativa della metafora del patchwork, allo scopo di trasformare l'articolo lungo sei pagine pubblicato da Neutelings in un più coerente e fondato paradigma per interpretare e progettare i terriotori contemporanei. Come progetto di coesistenza, il patchwork merita un ruolo di primo piano nel discorso urbanistico contemporaneo, per la volontà di ricercare un ordine, sia pur debole, in un territorio che ne è apparentemente privo e di affrontare uno dei più importanti temi dell'intera cultura occidentale: il rapporto tra l'uno e il molteplice . In 1989 the young Dutch architect Willem Jan Neutelings developed a project for the area in between Rotterdam and the Hague that was going to face, in the following years, a huge increment of population and activities. In this context Neutelings proposed his personal reinterpretation of the urban form called "De Tapijtmetropool" or “Patchwork Metropolis” . The analyses of his work has been the methodological pretext to further investigate the different declinations of the figure of the patchwork in the urban discipline from its origins, mainly related with the work of "The Regional Planning Association of America" and ecologists such as Richard T.T. Forman, until today. Interpreted as a general manifesto or as the explanation of a specific territorial configuration, the patchwork discourse crosses many of the preeminent topics of the modernity – the figure of the fragment, the issue of the peripheral condition and the territorial layout of the contemporary city – but also many other metaphors and researches – cities in between , the territory as a palimpsests , the city territory , the città diffusa , the archipelago city – preserving and enriching each time its precious ambiguity. The thesis is articulated in four parts that assemble a circular story that opens and closes in the same sector of the Dutch territory. Starting with a new reading of the Neutelings' manifesto (I) and finishing with the analyses of the political, social and territorial configuration of the Netherlands (IV), the research demonstrates retrospectively the presence of an implicit project, recognizing the elements and the typical working mechanisms of the patchwork model. The central part of this thesis (II-III) questions the operational validity of the patchwork metaphor for the urban discipline, aiming to transform the six-pages long article of Neutelings into a more coherent and grounded paradigm to interpret and design the contemporary territories. As a project of coexistence, the patchwork deserves a preeminent role in the contemporary urban discourse, for the willingness to seek an order, even if a weak one, in a territory which is apparently missing it and to address one of the most important themes of the entire Western culture: the relationship between the one and the multiple .

Sarajevo is a city in which, for centuries, people of different religions and ethnicities have lived together. But the war in the early 1990s partitioned the country into almost ethnically homogenous parts. The aim of this work is to find out, how young people between the ages of 18 - 29 years old perceive the identity of contemporary Sarajevo and to what extent they identify with the official narrative of Sarajevo as a multi-ethnic city. An online survey was conducted in March 2016 by a sample of 66 young Bosniaks, Bosnian Serbs, and Bosnian Croats. The research examines how they identify with the Sarajevan urban identity and the influential factors, such as ethnic categorization, religious beliefs, origin, or dominant information sources. To provide a deeper insight, the online survey was extended to include 15 in-depth interviews with young Sarajevans. There, the author uses a metaphor of a bridge to analyze the young Sarajevans' point of view regarding inter-ethnic relations and identity of their city. The outcome of the research is recognition that young Sarajevans often deny the ethnic categorization and perceive the every- day contact between different ethnic groups as non-problematic. As a consequence, the participants see Sarajevo as a unique city in the Bosnian context and typically distinguish...