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Artykuły w czasopismach na temat "Centro delle Culture Extraeuropee"
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GIMENO SANZ, ANA, i CRISTINA NAVARRO LABOULAIS. "A review of Centro Virtual Cervantes". ReCALL 12, nr 1 (maj 2000): 73–77. http://dx.doi.org/10.1017/s0958344000000811.
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The Centro Virtual Cervantes (http://cvc.cervantes.es) is the Internet-based branch of the Instituto Cervantes, the official Spanish institution commissioned to disseminate the use and study of Spanish language and culture around the world.Since its creation in December 1997, the CVC has rapidly become one of the most important reference sites devoted to Spanish language and culture on the WWW, having reached an average of over 100,000 visitors a month. This increasing number of visitors is primarily due to the great variety of resources available at the CVC website, which attract both professionals and the public in general. These include announcements of cultural events under Actos Culturales, the four discussion forums, each of which focuses on a specific topic, and the language classroom, Aula de Lengua, designed for both teachers and learners of Spanish.The CVC front page enables direct access to the entire contents which are well structured, and organised in a very user-friendly manner. The central part is dedicated to current cultural events and is therefore constantly up-dated. The sections included are listed on the left and right hand side of the main menu page.
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Rocha da Cruz, Fernando Manuel. "O Centro de Turismo de Natal (RN, Brasil): subsídios para o estudo do centro histórico". PASOS. Revista de Turismo y Patrimonio Cultural 19, nr 2 (2021): 337–53. http://dx.doi.org/10.25145/j.pasos.2021.19.022.
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Natal, capital of the Brazilian state of Rio Grande do Norte, annually receives two million tourists, mainly from the sun and beach segment. Its historic centre was classified by Iphan as a Brazilian cultural heri‑ tage in 2010. In this article, we seek to identify the potential and weaknesses of cultural tourism, starting from the historic centre of Natal. To this end, we carried out a case study, from the Tourism Centre, which is located in the aforementioned historic centre. In this context, semi-structured interviews were applied to businessmen, tourism secretaries - municipal and state - and tourists. We conclude that, despite some advances, the historic centre remains in a secondary position in political and economic options. In addition, the triangulation of Natal's culture, tourism and public policies allows the identification of positive and negative skills that make it possible to characterize the current situation of cultural tourism in the city
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de Pablo, Isidro, Fernando Alfaro, Miriam Rodriguez i Esperanza Valdés. "Promoting Entrepreneurial Culture in the University". Industry and Higher Education 25, nr 5 (październik 2011): 375–82. http://dx.doi.org/10.5367/ihe.2011.0059.
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This paper presents a case of collaboration between different types of public services and the private sector for the promotion of an entrepreneurial culture. This collaboration is achieved by means of a centre established and developed by the Universidad Autónoma de Madrid, the Centro de Iniciativas Emprendedoras (the Centre for Entrepreneurial Initiatives, CIADE). Since its creation CIADE has, because of a lack of university-allocated financial resources, been collaborating with a wide range of organizations in accordance with the Triple Helix model, including three levels of public administration (national, regional and local), several private businesses and different corporate civic bodies (mostly corporate foundations). CIADE's principal, distinctive attributes, with regard to the Triple Helix, are collaboration, self-financing, project management and a horizontal hierarchical structure which allows rapid accommodation of and adaptation to the changing circumstances of its environment.
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Batista Medina, José Antonio. "Cultura y migraciones: una aproximación a la percepción y valoración de la diversidad cultural en España". Atlántida Revista Canaria de Ciencias Sociales, nr 13 (2022): 105–32. http://dx.doi.org/10.25145/j.atlantid.2022.13.06.
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Following mainly the surveys carried out by the Centro de Investigaciones Sociológicas (2006-2017), we will analyze how Spaniards perceive the cultural diversity resulting from immigration (is it positive? To what extent?). As we shall see, the Spanish public opinion generally considers that migrants enrich culture, although with some limitations that correct the usual more positive views. This is probably due to the use of a superficial concept of culture (and, therefore, cultural diversity) that focuses on non-problematic items as music, food and the like.
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Peña Guillén, Víctor. "Journal of World Heritage Studies, Special Issue: Proceedings of the First Capacity Building Workshop on Nature-Culture Linkages in Heritage Conservation in Asia and the Pacific". Devenir - Revista de estudios sobre patrimonio edificado 5, nr 10 (29.01.2019): 183. http://dx.doi.org/10.21754/devenir.v5i10.606.
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Como indica el título título, el volumen en cuestión registra y comunica de manera científica lo transmitido durante la conferencia y taller llevados a cabo en Tsukuba, Japón, en setiembre de 2016,en torno tema general paisaje agrícola.Este evento fue organizado por la Universidad de Tsukuba, y contó con la participación y auspicio del Centro de Patrimonio Mundial de la UNESCO, la Unión Internacional para la Conservación de la Naturalezay los Recursos Naturales (IUCN), el Centro Internacional para el estudio de la Preservación y Restauración del Patrimonio Cultural, y el Consejo Internacional de Monumentos y Sitios (ICOMOS).
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B. TOLENTINO, DR AILEEN. "The Organizational Culture of Selected Private Higher Education Institutions in Bulacan as Correlates to Work Values of Their Faculty Members: Bases for an Enhancement Program". SMART MOVES JOURNAL IJELLH 4, nr 3 (28.03.2016): 8. http://dx.doi.org/10.24113/ijellh.v4i3.1199.
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This study attempts to establish a significant relationship between the prevailing organizational culture and the dominant work values of faculty members in three higher education institutions in Bulacan, Philippines—Centro Escolar University, La Consolacion University Philippines, and Baliuag University—in the first semester of academic year 2015-2016 with the view of crafting an enhancement program on organizational culture. Respondents answered questions on the organizational culture and their dominant work values and how these two factors interact. Findings show a strong organizational culture pervading the three institutions and the faculty putting a high premium on achievement, continuous learning in the work place, leadership of their superiors and being able to help others in the performance of their duties and responsibilities. The study recommends motivating the faculty to pursue post-graduate degrees in their area of specialization and for the institutions to conduct seminar-workshops on professed work values and prevailing organizational culture towards creating a work culture that fosters achievement, continuous learning, and supportive relationships among administrators, faculty and non-teaching personnel.
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Navas Sánchez-Élez, María Victoria, i Juan M. Ribera Llopis. "Semanario Pintoresco Español (1836-1857): Noticias sobre cultura vasca en la prensa romántica centropeninsular". Revista de lenguas y literaturas catalana, gallega y vasca 22 (11.01.2018): 169. http://dx.doi.org/10.5944/rllcgv.vol.22.2017.20849.
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Vaciado del Semanario Pintoresco Español (1836-1857), publicación periódica de naturaleza miscelánea, impresa desde el centro español y peninsular, para confirmar la atención que la citada revista castellana muestra, en una dinámica ochocentista e iberista, hacia el referente cultural vasco.An analysis of the Semanario Pintoresco Español (1836-1857), a periodical and miscellaneous Castilian publication, which will reveal its numerous references to Basque culture presented from its Iberian 18th century viewpoint.
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Ribeiro Cavalcanti, Raíza, i Marisol Facuse Muñoz. "Archiva Chilena: Representation Practices and Feminist Visual Culture in Contemporary Art Institutions." Revista de Antropología Visual 4, nr 31 (4.10.2023): 1–17. http://dx.doi.org/10.47725/rav.031.06.
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During the realization of the “Polvo de Gallina Negra” exhibition (2022) at the Centro Nacional de Arte Contemporáneo (CNAC), the Archiva project - Masterpieces of Feminist Art in Chile, also known as Archiva Chilena, emerged. Proposed by the artist Mónica Mayer and curators Julia Antivilo and María Laura Rosa, Archiva Chilena documented 68 works by 57 Chilean artists, creating an archive of feminist “masterpieces”. The objective of this article is to reflect on the practices of representation and feminist visual culture that emerge from this archive, in order to understand how this action enhances the emergence of a Virtual Feminist Museum within CNAC. Through the analysis of Archiva, we will reflect on how it introduces new epistemic possibilities that challenge gender and power relations within art institutions.
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Díaz González, Gualberto, i Susana Córdova Santamaría. "Fotografía y actores del campo cafetalero de la región centro de Veracruz, México: mujeres, niños y jóvenes (2011-2012)". Clivajes. Revista de Ciencias Sociales, nr 12 (10.02.2020): 88–107. http://dx.doi.org/10.25009/clivajes-rcs.v0i12.2581.
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La historia del café en Veracruz ha forjado una cultura en los habitantes de la Faja de Oro, generaciones de familias cafeticultoras y jornaleras sostienen el cultivo llegado a México desde finales del siglo XVIII. El equipo de Cultura del proyecto de FORDECYT, Café In Red, se propuso conocer y compartir la vida de esas familias para que, a través de la vista, la voz y el oído, sin olvidar los aromas y sabores que vuelcan las pasiones del café, sepamos quiénes son los rostros de la cafeticultura de hoy. Las políticas sociales difícilmente incorporan el arte en la socialización del conocimiento, y para Café in Red ha sido un reto integrar la cultura en el proyecto del Fondo Institucional de Fomento Regional para el Desarrollo Científico, Tecnológico y de Innovación. Pretendemos integrar arte e investigación social en el trabajo comunitario a través de una mirada crítica ante uno mismo y frente a los demás, observado los rostros de los cafetaleros, mujeres y niños atentos ante una representación teatral o mirando las fotografías expuestas en las paredes de un salón social o leyendo las fichas que complementan la información. Es una forma de transmitir conocimiento y alimentarse de los saberes locales, a contrapelo de la transmisión vertical del saber y desde la construcción de un archivo de Historia Oral.Palabras clave: Cultura cafetalera, Fotografía, Historia oral, Veracruz Photography and actors of the coffee field in the central region of Veracruz, Mexico: women, children and young people (2011-2012)SummaryThe history of coffee in Veracruz has forged a culture in the inhabitants of the Faja de Oro, generations of coffee-growing families and day laborers sustain the cultivation arrived in Mexico since the end of the 18th century. The Culture team of the FORDECYT project, Café In Red, set out to know and share the lives of these families so that through sight, voice and hearing, without forgetting the aromas and flavors that turn the passionate feelings of coffee, we know who the faces of today's coffee culture are. Social policies hardly incorporate art in the socialization of knowledge, and for Café in Red it has been a challenge to integrate culture into the project of the Institutional Fund for Regional Development for the Innovation, Technological and Scientific Development. We intend to integrate art and social research into community work through a critical look before oneself and others, observing the faces of coffee growers, women and children attentive to a theatrical performance or looking at the photographs exposed on the walls of a social lounge or reading the cards that complement the information. It is a way to transmit knowledge and feed on local knowledge, contrary to the vertical transmission of knowledge and from the construction of an Oral History archive.Keywords: Coffee culture, Photography, Oral history, Veracruz Photographie et acteurs du champ caféier de la région centre de Veracruz, Mexique : femmes, enfants et jeunes (2011-2012)RésuméL’histoire du café à Veracruz a forgé une culture chez les habitants de la Bande d’Or, des générations de familles caféières et journalières soutiennent les semailles du café, arrivé au Mexique à la fin du XVIIIe. siècle. L’équipe de Culture du projet de FORDECYT, Café In Red, s’est proposé de connaître et de partager la vie de ces familles, afin que, à travers la vue, la voix et l’ouïe, sans oublier les arômes et les goûts qui versent les passions du café, nous sachons à qui appartiennent les visages de la caféiculture actuelle. Les politiques sociales incorporent difficilement l’art dans la socialisation de la connaissance et pour Café In Red, il a été un défi le fait d’intégrer la culture dans le projet du Fond Institutionnel Fomento Regional para el Desarrollo Científico, Tecnológico y de Innovación. Nous avons l’intention d’intégrer art et recherche sociale dans le travail communautaire à travers un regard critique, face à soi-même et face aux autres, en observant les visages des caféiers, des femmes et des enfants attentifs devant une représentation théâtrale ou en regardant les photographies exposées dans les murs d’une salle de bal ou en lisant les fiches qui complémentent l’information. C’est une forme de transmission des connaissances et de nourrir les savoirs locaux à contre-poil de la transmission verticale du savoir et à partir de la construction d’un dossier d’Histoire Orale.Mots clés: Culture caféière, Photographie, Histoire Orale, Veracruz
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D'Amico, Tiziana. "La Bibbia ceca del 1506. Sonda nella cultura del libro in Boemia a cavallo tra XV e XVI secolo". Fabrica Litterarum Polono-Italica, nr 4 (16.05.2022): 1–17. http://dx.doi.org/10.31261/flpi.2022.04.07.
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Nel 1506 esce a Venezia, presso lo stampatore Liechtenstein, la Biblij Cžeská w Benátkach tisšten (Bibbia ceca stampata a Venezia). La Bibbia di Venezia (come è comunemente indicata) è in ceco ed è commissionata da tre cittadini praghesi. Il lavoro intende indagare la Bibbia ceca del 1506 come un “oggetto” curioso che, in qualche modo, unisce a inizio del XVI secolo due realtà culturali molto distanti tra loro: quella di Venezia, centro nevralgico della stampa europea e in particolare di quella umanista, e quella di Praga, centro dell’utraquismo. Tale indagine si soffermerà su tre aspetti: la situazione della stampa ceca a inizio Cinquecento, cui verrà dedicato maggiore spazio; i motivi alla base della Bibbia come testo da stampare; infine, le criticità della scelta di Venezia. Conclude il lavoro una breve riflessione sul lascito della Bibbia di Venezia, un ibrido di due culture del libro, nella storia della stampa ceca.
Rozprawy doktorskie na temat "Centro delle Culture Extraeuropee"
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Saramago, Jorge Manuel Custódio. "Centro cultural Mafalala". Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2019. http://hdl.handle.net/10400.5/18286.
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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.Maputo, capital de Moçambique, é o espelho de uma cidade em constante mudança e renovação. Marcada, não só pelas suas diferentes fases de expansão e consolidação, como também pelo crescimento exponencial, espontâneo e autónomo dos seus bairros períféricos. Apesar de duas realidades aparentemente opostas, as manchas da cidade consolidada e dos bairros peri-urbanos co-habitam numa dinâmica de interligação. É esta simbiose que é alvo de análise no primeiro ponto de estudo do presente projecto final de Mestrado. A análise desta dualidade, baseia-se e manifesta-se na requalificação do Bairro da Mafalala. Local onde nasceram e cresceram diversas personalidades moçambicanas, que contribuíram para o enriquecimento cultural do país. A identidade do bairro origina a proposta apresentada neste projecto. Este, assume um carácter evolutivo, com base nas dinâmicas de construção e organização autónomas já existentes nas ruas da Mafalala, provenientes dos seus habitantes. É ainda explorada a potencialidade do bairro, enquanto elemento híbrido, para que possa atenuar a dualidade que perpetua.
ABSTRACT: Maputo, capital of Mozambique, reflects a city in constant change and renewal. Marked, not only by the different phases of developing “formal” city, but also, by the exponential, spontaneous and autonomous growth of self-constructed peri-urban neighbourhoods. Despite two seemingly opposing realities, the stain of the consolidated city and the suburban neighborhoods coexist in a dynamic of interconnection. It is this symbiosis that is the subject of analysis in the first point of study of this final Master project.The analysis of this duality is based on and manifested in the requalification of the Mafalala neighborhood. Site where several Mozambican personalities were born and grew up, which contributed to the country's cultural enrichment. The identity of the neighborhood originates the proposal presented in this project, which assumes an evolutionary character based on the dynamics of construction and autonomous organization already existing on the streets of Mafalala, coming from its habitants. The potentiality of the neighborhood as a hybrid element is explored, so that it can attenuate the duality that it perpetuates.
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Somocurcio, Holguin Maria de los Angeles. "Centro Cultural de Danzas Folklóricas en Cusco". Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/652360.
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El presente trabajo consta de un análisis de la cultura cusqueña y sus manifestaciones inmateriales con el objetivo de plantear un mejoramiento en la difusión y desarrollo de sus costumbres. El folklore peruano es muy vasto y el Cusco alberga gran parte de sus manifestaciones culturales como las danzas folklóricas.
Durante la investigación de las necesidades y la problemática de la ciudad, se hace latente el déficit de la infraestructura cultural ante una alta demanda de usuarios locales y extranjeros. Además de un desinterés hacia el poblador local dándole mayor relevancia al turismo y provocando una pérdida de las danzas típicas. Como respuesta a esta necesidad y con el respaldo del Ministerio de Cultura se plantea un Centro Cultural de Danzas Folkloricas para Cusco.
El objetivo del proyecto, es repensar las dinámicas culturales de la ciudad dándoles un nuevo enfoque que se enfoque en el usuario local, sus necesidades y costumbres. Mediante un planteamiento de una arquitectura contextual, que toma de referentes los patrones modulares de su contexto urbano y cultural para ser aplicados en el diseño arquitectónico. Además, funcionalmente busca una ubicación privilegiada en el contexto urbano para poder servir de elemento articulador. Al igual que su conexión con un eje cultural en la ciudad y el abastecimiento de vías y centros educativos e institucionales. Tomando como punto de partida los criterios del lugar, su relevancia al colocarse en una ciudad patrimonio y con el fin de expresar la riqueza y el valor de las danzas folklóricas.The present work analyzes the culture of Cusco and its immaterial manifestations to propose an improvement in the dissemination and development of its customs. Peruvian folklore is very vast and Cusco is home to a large part of its cultural manifestations such as folk dances. During the investigation of the needs and the problems of the city, the deficit of the cultural infrastructure becomes latent before a high demand for local and foreign users. In addition to a lack of interest towards the local population, giving greater importance to tourism and causing a loss of typical dances. In response to this need and the support of the Ministry of culture, a Cultural Center of Folk Dances is proposed for the city of Cusco. The objective of the project is to rethink the cultural dynamics of the city, giving them a new approach that focuses on the local user, their needs, and customs. Through a contextual architecture approach, which takes the modular patterns of its urban and cultural context as references for applications in architectural design. Furthermore, functionally it seeks a privileged location in the urban context to serve as an articulating element. As well as its connection with a cultural axis in the city and the supply of roads and educational and institutional centers. Taking as a starting point the criteria of the place, its relevance as it is located in a heritage city and with the aim of indicators the wealth and value of folk dances.
Trabajo de investigación
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Leva, Trujillo Angela Dora. "Centro de Interpretación y Difusión Arqueológica en Barranca". Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/652738.
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El proyecto se planteó con el objetivo de dar a conocer la cultura e historia de la Ciudad de Barranca, muchas personas relacionan Barranca con La ciudad de Caral, sin saber la riqueza cultural que la Provincia presenta, teniendo 24 asentamientos arqueológicos bordeando los ríos que cruzan los 5 distritos, Paramonga, Pativilca, Barranca, Supe Puerto y Supe Pueblo, siendo el último el que cuenta con más zonas arqueológicas en su eje y presentando como protagonista Caral.
Al proyectar un Centro de Interpretación y Difusión Arqueológica, no solo se está dando a conocer la historia del lugar, con la Sala fotográfica o las Salas de exposiciones, también se está difundiendo la importancia de la Provincia a los mismos ciudadanos, con talleres de capacitación, teóricos y lúdicos, para que los niños se forjen desde pequeños con otra perspectiva.
A dar a conocer los 24 asentamientos se incrementaría el turismo interno y externo, es por ello que la ubicación del Centro, se encuentra el ingreso de la ciudad de Barranca, por su buena accesibilidad, ya que colinda con la Panamericana Norte y la cercanía de los paraderos de buses, que servirían de transporte a las zonas arqueológicas.
El punto es crear un hito en la Ciudad, haciendo que el Centro se sienta como una gran ruina arqueológica, la textura, el color, las plazas hundidas, la volumetría, los vacíos y llenos, recreando una arquitectura Precolombina, haciendo que sirva de referencia para las zonas aledañas sin construirse, fomentando la creación de un Polo Cultural.The project aims to spread the culture and history of the City of Barranca. Many people associate Barranca with the city of Caral and don’t know the cultural wealth of the province; It has 24 archaeological settlements that border the rivers and these rivers cross the 5 districts: Paramonga, Pativilca, Barranca, Supe Puerto and Supe Pueblo. Supe Pueblo is the one with the most archaeological sites along its axis and features Caral as its protagonist. When designing an Archaeological Interpretation and Dissemination Center, not only the history of the place is disseminated, the Photographic Hall or the Exhibition Halls also spread the importance of the Province to the citizens themselves. They have training, theoretical and recreational workshops for children to learn from a different perspective. By publicizing the 24 settlements, internal and external tourism will increase, which is why the Center is at the door of the city of Barranca. It has good accessibility, since it borders the Panamericana Norte and the proximity of the bus stops, which serve as transportation to the archaeological zones. The objective is to create a landmark in the City, making the Center feel like a great archaeological ruin, the texture, the color, the sunken squares, the volume, the empty and full, recreating Pre-Columbian architecture, which serves as a reference for the surrounding areas without being built, promoting the creation of a Cultural Center.
Tesis
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Llampasi, Arango Judy Glenda. "Centro de formación y difusión de las artes escénicas en La Molina". Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/626579.
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Las artes escénicas, forman parte de la vida y el desarrollo del ser humano, a lo largo del tiempo este ha ido evolucionando, creando diferentes espacios y técnicas que le permitan mejorar la expresión del arte para así poder acceder mejor al público. En el Perú, las artes escénicas se han ido desarrollando con mayor fuerza durante estos años, sin embargo, existen muchas carencias en los espacios, y las edificaciones dificultando así una adecuada preparación del artista y a su vez la difusión del arte. Con este proyecto se busca crear artistas íntegros, que no solo conozcan de una especialidad, Danza, música o teatro, sino que tengan conocimientos de las otras disciplinas con el fin de que tengan una mejor formación profesional, y mejores oportunidades laborales, a su vez se busca que el arte llegue a más usuarios de diferentes clases socioeconómicas difundiendo así la cultura y el arte para que esta pueda ser mejor valorada y reconocida.The performing arts are part of the life and development of the human being, over time it has evolved, creating different spaces and techniques that allow it to improve the expression of art in order to better access to public. In Peru, the performing arts have been developing with greater force during these years, however, there are many gaps in the spaces, and the buildings thus hindering an adequate preparation of the artist and in turn the dissemination of art. This project seeks to create completed artist who not only know a specialty, dance, music or theater, but have knowledge of the professional training, and a better job opportunities in turn it is sought that art reaches more users off different socio – economic classes thus spreading culture and art so that it can be better valued and recognized.
Trabajo de suficiencia profesional
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Montesinos, Avalos Franco Miguel. "Escuela y centro de difusión de artes visuales en Lima Norte". Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/625940.
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El arte a lo largo de la historia ha sido una forma de expresión en la que las personas buscan dar un mensaje bajo distintos medios y formas. En la actualidad el arte sirve mucho como medio de expresión social, como medio de protesta o para dar un mensaje fuerte a una comunidad y/o sociedad. El problema radica, cuando la enseñanza o la difusión del arte en un país, es solamente accesible por un grupo (social y económico) reducido que en su mayoría no representa al país. Ese es el problema que identifico en esta investigación y la cual pretendo resolver bajo un proyecto arquitectónico. Mi finalidad es democratizar el arte y su enseñanza, y así consolidar un edificio que represente a dicha ciudadanía marginada a lo largo de la historia de nuestra ciudad (Lima) por su condición social y económica. Todos tenemos algo que decir, y hay mensajes importantes que, por nuestro defectuoso sistema democrático, dejamos de escuchar.Art throughout history has been a form of expression in which people seek to give a message under different forms. Nowadays, art is very useful as a means of social expression, as a means of protest or to give a strong message to a community. The problem is when teaching or disseminating art in a country is only accessible by a small (social and economic) group that mostly does not represent the country. This is the problem that I identify in this investigation and which I intend to solve under an architectural project. My goal is to democratize art and its teaching, and to consolidate a building that represents this marginalized community throughout the history of our city (Lima) due to its social and economic condition. We all have something to say, and there are important messages that, because of our defective democratic system, we stop listening.
Tesis
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Junior, Edison Aguiar. "Tempos diferentes coexistindo nos pilares e no currículo do Centro Cultural Sobradinho". Universidade do Estado do Rio de Janeiro, 2012. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=6194.
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O presente trabalho é fruto de uma pesquisa qualitativa, a partir de um estudo de caso. Parte das questões enfrentadas na produção curricular do processo de
formação dos cursos de artes de um centro cultural, em Quissamã, município situado em uma região periférica no interior do estado do Rio de Janeiro. O trabalho
aborda questões que interferem na formulação dos currículos, que se dão no cotidiano. O currículo não é escrito é dado na demanda do processo formativo e se
apresenta como espaço discursivo. O estudo se inscreve no campo político da dimensão cultural da realidade social, tornando possível, na sua discussão, a absorção das contribuições dos estudos pós-coloniais. O trabalho depesquisa sobre o objeto aproxima a atuação do centro cultural às posturas contra-hegemônicas globais a partir de uma ação local. Está instalado em um sobrado construído no século XIX. O seu espaço físico é um prédio histórico, que no passado foi uma residência da aristocracia rural local. Este espaço foi ressignificado e hoje é um espaço livre às novas descobertas que discute nossa contemporaneidade sem perder de vista o seu passado. A restauração do prédio e a criação do centro cultural pertencem a um movimento, no qual valores e sentidos foram descolados e passaram a ter nova significação, o que interfere na ação política da instituição.The following work is the consequence of a qualitative research, from a study of the case. Part of questions faced in the curriculum production on the formation process of Art courses of an institution, in Quissamã, a county located in a peripheral region in the state of Rio de Janeiro. The work addresses issues which interfere in the curriculum formulation, that are given everyday. The curriculum is not written, is given in the demand of formative process and presents itself as a discursive space. The study falls on politic area of the cultural dimension of social reality, making possible, on the discussion, the absorption of the contributions of postcolonial studies. This research work closer with local action of the cultural center at global counter-hegemonic postures. The cultural center is installed in a townhouse built in the nineteenth century. Your physic space is in a historic building which in the past was a residence from the rural local aristocracy. This space was reframed and nowadays is a free space to new discovers to discuss our contemporaneity not forgetting its past. The restauration of the building and the creation of the cultural center belongs to a movement, which values and meaning were taken off and started to have a new meaning, what interferes on the politic action of the instituition.
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Tonon, Leonardo. ""Barba, cabelo e bigode" : culturas organizacionais e identidades em duas barbearias do centro de Porto Alegre". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2008. http://hdl.handle.net/10183/12746.
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Alguns locais muitas vezes passam despercebidos aos olhares dos pesquisadores da área da Administração. Dentre esses, estão as antigas e pequenas organizações prestadoras de serviço que perpetuam sua existência nas grandes cidades. Neste trabalho, por meio de uma pesquisa etnográfica realizada junto a duas barbearias localizadas no centro da cidade de Porto Alegre, foi possível identificar as especificidades relacionadas à gestão dessas. Além disso, a realização da pesquisa permitiu identificar e refletir sobre a maneira como se constroem e são construídos tanto seus fatores culturais quanto identitários. Nesse sentido, uma das primeiras constatações foi a de que essas organizações conservam a dimensão de ofício em relação ao trabalho dos profissionais que lá atuam, demonstrando que muitos elementos são tradicionalmente conservados (ou mesmo alterados) em virtude do relacionamento estabelecido entre os profissionais e clientes. Além do mais, a identificação das características simbólicas e culturais desvelaram elementos significativos referentes às relações sociais que permeiam esses espaços, demonstrando, por exemplo, que diversas características hierárquicas de poder se manifestam de maneira simbólica entre os sujeitos. Os fatores culturais, por sua vez, foram também capazes de demonstrar como se constituem as questões identitárias nesses ambientes. Dessa forma, foi possível perceber que a identidade adquire características multifacetadas na medida em que se constitui e se manifesta a partir das dimensões pessoal, social, de trabalho e organizacional que, por sua vez, influenciam e são permanentemente influenciadas por questões relacionadas a gênero, em especial ao masculino. Em suma, ofícios, culturas e identidades permitem a identificação, a descrição e a reflexão acerca de um todo complexo, que por sua vez se baseia nas teias de significações e ressignificações sociais que permeiam esses espaços sociais.There are places which sometimes are not noticed by the Business Administration researchers. Among these there are the old and small service organizations that still remain in big cities. In this paper, through an ethnographic research of two barber shops located downtown in Porto Alegre, in the state of Rio Grande do Sul in Brazil, it was possible to identify the specificities related to their management. Besides, the research helped identify and reflect on how their cultural and identity factors are developed. This way, one of the first findings was that these organizations store the work dimension of the professionals employed there, showing that many elements are traditionally kept (even altered) as a result of the relationship between professionals and clients. In addition to that, the identification of the symbolic and cultural characteristics revealed significant elements concerning the social relationships that fill these spaces, demonstrating, for example, that many hierarchical power characteristics convey themselves symbolically among the subjects. The cultural factors were also able to express the way they develop the identity affairs in such places. Therefore, it was observed that the identity acquires multifaceted features as it constitutes and displays itself from the personal, social, work and organizational dimensions, and they permanently influence and are influenced by gender-related matters, more specifically by the male gender. Summarizing, work, cultures and identities allow the identification, description and reflection of a complex totality which is based on the intricate social significance web that fill these social spots.
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Loza, Villavicencio Lourdes Emperatriz. "Centro de Interpretación de la Cultura Cusqueña". Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/652944.
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Un Centro de Interpretación de Cultura es aquel equipamiento arquitectónico que promueve la investigación, conservación, divulgación y puesta en valor del objeto que lo constituye mediante la revelación del significado del legado cultural o histórico a través de la interacción del público con la información expuesta en cada ambiente que lo conforme. Mediante el presente proyecto de tesis se presenta la propuesta del Primer Centro de Interpretación de la Cultura Cusqueña, proyecto que nace de un previo análisis de la problemática y la fijación de objetivos, y del estudio del lugar donde este se emplazará, para lo que se buscaron referentes existentes a nivel mundial y nacional. Posteriormente, se procederá con el análisis técnico del lote, y con la programación arquitectónica del proyecto.A Cultural Interpretation Center is an architectural equipment that promotes the research, conservation, diffusion and valuing of the object that composes it by the revelation of the cultural or historical legacy meaning from the interaction between the public and the information that each room provides. This thesis project presents the proposal of the First Cusco’s Cultural Interpretation Center, the project was born of the problem analysis and the goal setting and the study of the possible project location which was achieved by the study of the global and national references, to continue with the technical analysis of the area and the architectural program of the Project.
Tesis
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Vilca, Vera Carlos Francisco. "Centro Cultural y Museo de las culturas Moche y Chimú en Trujillo". Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2021. http://hdl.handle.net/10757/657365.
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El proyecto se enfoca en analizar los aspectos culturales y sociológicos de la ciudad de Trujillo, y fusionarlos con la arquitectura de Centro Cultural y Museo para elaborar un proyecto arquitectónico que respete las características principales del contexto y se relacione entre ellas.
En la investigación, se encontraron tradiciones culturales de la época incaica en Trujillo que aún siguen practicándose. Sin embargo, la práctica de estas va quedando en el olvido o reducido al punto de solo practicarlo en especificas familias que conservan estas tradiciones. Por lo que realizar un proyecto que albergue, difunda estos aspectos culturales de Trujillo, que armonice con su contexto natural y su cultural, fue el principal objetivo de este trabajo.
Es por ello que, en fusión con el regionalismo crítico, a modo de énfasis, se pudo generar una sinergia entre la arquitectura y cada una de las características propias del lugar. Ya sea por su ubicación, emplazamiento, colores, materiales y técnicas constructivas.
Permitiendo que el proyecto funcione como un foco cultural que alberga las principales actividades culturales de Trujillo, así como promover la difusión de las culturas Moche y Chimú, y principalmente armonizando con su contexto inmediato.
Mediante la exhibición de piezas arqueológicas de ambas culturas, la promoción y difusión de las actividades culturales de la zona se logra con éxito el propósito del proyecto. El cual tiene como finalidad mantener viva las principales culturas de Trujillo, Cultura Moche y Chimú, y que su legado se mantenga vigente con el transcurrir del tiempo.The project focuses on analyzing the cultural and sociological aspects of the city of Trujillo, and merging them with the architecture of the Cultural Center and Museum to develop an architectural project that respects the main characteristics of the context and is related to each other. In the investigation, cultural traditions from the Inca period were found in Trujillo that are still being practiced. However, the practice of these is being forgotten or reduced to the point of only practicing it in specific families that preserve these traditions. Therefore, carrying out a project that shelters, disseminates these cultural aspects of Trujillo, that harmonizes with its natural and cultural context, was the main objective of this work. That is why, in fusion with critical regionalism, by way of emphasis, a synergy could be generated between the architecture and each of the characteristics of the place. Either because of its location, location, colors, materials and construction techniques. Allowing the project to function as a cultural focus that houses the main cultural activities of Trujillo, as well as promoting the diffusion of the Moche and Chimú cultures, and mainly harmonizing with its immediate context. Through the exhibition of archaeological pieces from both cultures, the promotion and dissemination of the cultural activities of the area, the purpose of the project is successfully achieved. The purpose of which is to keep alive the main cultures of Trujillo, the Moche and Chimú culture, and that their legacy remains in force over time.
Tesis
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Laurinavičiūtė, Rasa. "Organizacinės kultūros ypatumų ryšys su organizacijos įvaizdžiu (Kauno m. pirminės sveikatos priežiūros centro padalinių pavydžiu)". Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130605_160532-51458.
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Organizacinės kultūros poveikio priemonių nustatymas ir analizė,kuriomis gali disponuoti organizacija, formuodama organizacijos įvaizdį.The Analysis factors of organizational culture influencing organization's image building process.
Książki na temat "Centro delle Culture Extraeuropee"
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Tomìo, Luca. Mali: Crocevia di culture : Milano, Agora, Centro studi arti extraeuropee, 11 maggio-30 giugno 2000 : Como, Musei civici, 29 settembre-29 ottobre 2000. Milano: Agora, 2000.
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1923-, Bellini Giuseppe, Gorlier Claudio i Zoppi Sergio, red. Saggi e ricerche sulle culture extraeuropee. Roma: Bulzoni, 1986.
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1923-, Bellini Giuseppe, Gorlier Claudio i Zoppi Sergio, red. Saggi e ricerche sulle culture extraeuropee. Roma: Bulzoni, 1985.
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1903-2002, Brignoni Sergio, Brignoni Graziella, Gianinazzi Claudio, Giordano Christian i Museo delle culture extraeuropee (Lugano, Switzerland), red. Culture extraeuropee: Collezione Serge e Graziella Brignoni. [Lugano?]: Edizione Città di Lugano, 1989.
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Gianinazzi, Claudio. Museumsführer: Museo delle culture extraeuropee : [Sammlung Serge und Graziella Brignoni]. [Lugano]: Edizioni Città di Lugano, 1990.
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Laguzzi, Gabriele. La musica delle culture extraeuropee e la gioia dell'essere: Saggio introduttivo. Carmagnola, TO: Oggero, 1989.
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(Firm), PeruCultural Org Pe, red. PeruCultural.org.pe: Centro cultural virtual. [Lima?]: PeruCultural.org.pe, 2005.
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Museo delle culture extraeuropee "Dinz Rialto" (Rimini, Italy). Sezione America precolombiana. Antica America: Guida alla Sezione America precolombiana del Museo delle culture extraeuropee "Dinz Rialto". Firenze: Ponte alle Grazie, 1992.
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Pena, Ernesto de la. El centro sin orilla. México, D.F: Consejo Nacional para la Cultura y las Artes, 1997.
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1923-, Bellini Giuseppe, Gorlier Claudio i Zoppi Sergio, red. Saggi e ricerche sulle culture extraeuropee: Atti del convegno di Ponza, 7-10 ottobre 1988. Roma: Bulzoni, 1989.
Znajdź pełny tekst źródłaCzęści książek na temat "Centro delle Culture Extraeuropee"
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Veneroso, Primo. "Il fenomeno del Bicchiere Campaniforme in rapporto alle culture della Sicilia centro-occidentale". W From Cave to Dolmen, 231–36. Archaeopress Publishing Ltd, 2014. http://dx.doi.org/10.2307/j.ctvqmp11h.26.
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Meesha, Nehru. "The path to becoming a writer in contemporary Cuba: The role of the Centro de Formación Literaria Onelio Jorge Cardoso and the movement of talleres literarios1". W Literary culture in Cuba, 178–93. Manchester University Press, 2012. http://dx.doi.org/10.7228/manchester/9780719083754.003.0007.
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Ho, Kong Chong. "From Port City to City-State: Forces Shaping Singapore’s Built Environment". W Culture and the City in East Asia, 212–33. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198233589.003.0011.
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Abstract The built environment of the city at any point in time represents a confluence of various forces. While the formation and reproduction of cities depend on the mobilization, extraction, and concentration of surplus (Har vey 1973), this economic imperative is being mediated by a political process in which the state takes an active role in ensuring the reproduction process through intervention in production and consumption (Castells 1981). The structural approaches (see Castells 1981; Peterson 1981) to state planning have assumed a stable social and economic environment which allows planning and state action to be theorized, but actual case studies have indicated that the situation is otherwise. For example, Eckstein’s (1990) study of El Centro, an inner-city settlement in Mexico city, indicated the importance of: (1) historical factors behind current social relations; (2) shifting issue based alliances between various groups; and (3) even incidental events such as the World Cup championship soccer matches that took place in Mexico City. Thus, apart from the routine housekeeping functions, all government efforts to manage and shape the built environment are open to various pressures and interpretations.
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Bartolo, Carmelo Di. "Synthesis of research and projects in Bionics and Design developed at CRIED (Centro Ricerche IED) from 1978 to 1998". W MAP RESEARCH BIONICS Transdisciplinary Ecosystems in Bionics, Biodesign and Biomimicry: Scientific and technological aspects for a design culture, 163–80. Editora Blucher, 2023. http://dx.doi.org/10.5151/9786555502220-13.
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La Terr, Alessio. "Cultural activism against inequalities: the experience of Quaderni Urbani in Bologna". W Young People's Participation, 17–28. Policy Press, 2021. http://dx.doi.org/10.1332/policypress/9781447345411.003.0002.
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The chapter presents the story of Quaderni Urbani, a “cultural activism” project carried out by a group of young activists participating in a political squat (centro sociale) named Làbas and based in the city of Bologna (Italy). The chapter, written by one of the activists involved in the project, discusses how Quaderni Urbani has sought to combine cultural commitment with social conflict by organising independent, accessible, countercultural events (i.e. open workshops, thematic readings and collaboration with independent artists) inspired by the values of anti-fascism, anti-racism, and anti-sexism. Reading the experience of Quaderni Urbani through the lenses of Frankfurt School’s critical theory and Bourdieu and Passeron’s analysis of culture as reproduction, the chapter analyses how Quaderni Urbani has attempted to transform art and culture in ways that will foster social change and question hegemonic thinking.
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Martins, Alexandra, Ben Margolis, Max van Ees i Bryce Newton. "Balancing Tourism Development With Cultural Integrity". W Cases on Innovation and Sustainability in Tourism, 141–55. IGI Global, 2024. http://dx.doi.org/10.4018/979-8-3693-4151-3.ch008.
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Specific to Portugal, CREATOUR was launched in 2016 to bolster and create tourism experiences in small cities and rural areas, focusing on the Norte, Centro, Alentejo, and Algarve regions of Portugal, where tourism has the most potential, but is underdeveloped. The main goal of CREATOUR is to develop attractive experiences in these less visited areas. CREATOUR consists of five research centers and forty pilot organizations across Portugal that research the best ways to culturally boost tourism. This chapter will discuss the success of the CREATOUR network in developing tourism centered around culture and local sustainability. Both quantitative and qualitative sources are referenced to illustrate the ability of CREATOUR to facilitate culturally respectful tourism. Through the description of CREATOUR's initiatives, it is conveyed that the network revitalizes underdeveloped tourism economies while simultaneously enriching tourists' travels by sustainably showcasing their diverse heritages.
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Taneja, Anjali, i William Wagner. "Transforming Opioid Addictions Care in New Mexico: Combining Medication Treatment with Patient Autonomy, Civic Engagement and Integrative Healing". W Leading Community Based Changes in the Culture of Health in the US - Experiences in Developing the Team and Impacting the Community. IntechOpen, 2021. http://dx.doi.org/10.5772/intechopen.98463.
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Opioid addiction is a complex issue. New Mexico has historically experienced some of the highest rates of deaths from opioid overdose, and opioid addictions have affected generations of New Mexicans -- starting many years before the more recent national crisis. Treatment approaches to opioid and other addictions are fraught with paternalism, stigma, surveillance, criminalization, shaming, racism, discrimination, and issues with access to care. Current treatment paradigms fail to take into account the social and economic factors of people, community, and context. New paradigms embracing a broader, more-just contextualization of addictions, along with evidence-based treatment approaches are needed to transform medicine’s historic role in the “war on drugs”. The Strong Roots/Raices Fuertes program was developed by two community clinics, Casa de Salud and Centro Sávila, in Albuquerque, New Mexico. The program evolved from a desire to to acknowledge and right historical harms that the medical-industrial complex has caused; to provide rapid access to dignified, life-saving, evidence-based holistic treatment for opioid addictions in a community setting; and to build a model of care that transforms the biomedical model into one of solidarity with community and collective care. Five key concepts underpin the program design: 1) Harm Reduction, Autonomy, and Agency; 2) Healing-Centered Engagement; 3) Language and Cultural Humility; 4) Transforming Health Systems Design; 5) Workforce Diversity and Pipeline Training. The program’s core components include conventional approaches such as low-barrier access buprenorphine (suboxone®) to medication treatment, primary care, case management, syringe exchange, and counseling/therapy in addition to more community-rooted and integrative healing modalities such as healing circles, acupuncture, massage, reiki, ear acudetox, and civic engagement. In sharing the values, lessons learned, and tools from our work in the Strong Roots/Raices Fuertes program, we hope to inspire and encourage others wishing to develop new systems of care for people dealing with addiction issues.
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Pilipenko, Gleb. "Language as a Home Tradition: Linguistic Practices of the Russian Community in San Javier, Uruguay". W Homemaking in the Russian-speaking Diaspora, 140–63. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474494496.003.0008.
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This chapter deals with the language situation of the members of the first Russian migration wave to Uruguay and their descendants. These were followers of the religious movement “New Israel” who settled in San Javier in 1913–1914. The field research was conducted in 2015 and 2018 with the purpose of investigating connections between everyday life, the host society’s attitudes to the newcomers and language use (dialect and contact features of Russian). Many members of the community are dispersed in the rural areas and live on ranches. Members of the young generation do not speak Russian anymore. The middle-aged and the elderly people’s speech demonstrates heavy interference with Spanish, numerous borrowings, metalinguistic comments, reiteration constructions, pauses and code-switching. Russian is no longer taught in elementary schools. Cultural organizations and centres of Russian culture in San Javier (Centro cultural Maximo Gorki) and Montevideo serve as homes for the Russian language when meetings of co-ethnics and social and cultural events are organized and play a role in the maintenance and preservation of the Russian language. “Old timers” are joined by new immigrants then. The language use in the participants’ homes and in the cultural centres includes artefacts, which relate to Russia.
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Blanco García, Juan Francisco. "INDICIOS ARQUEOLÓGICOS DE DESIGUALDAD SOCIAL EN LOS POBLADOS DE LA FASE DE PLENITUD DE LA CULTURA DEL SOTO DE MEDINILLA (700¬400 A. C.) SITUADOS EN EL CENTRO DE LAS CAMPIÑAS MERIDIONALES DEL DUERO. ARCHAEOLOGICAL EVIDENCES OF SOCIAL INEQUALITY IN THE SETTLEMENTS OF THE PLENITUDE PHASE OF SOTO DE MEDINILLA CULTURE (700¬400 BC) SITUATED IN THE CONCAVE ALLUVIAL PLAINS OF MIDDLE DUERO RIVER". W Anejos a Cuadernos de Prehistoria y Arqueología Universidad Autónoma de Madrid. Homenaje a la profesora Catalina Galán Saulnier, 87–100. UAM Ediciones, 2014. http://dx.doi.org/10.15366/anejos.galan2014.007.
Pełny tekst źródłaStreszczenia konferencji na temat "Centro delle Culture Extraeuropee"
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Burgio, Gianluca, i Giovanna Acampa. "Paradigmi relazionali nello spazio urbano: il caso-studio del centro storico di Palermo". W International Conference Virtual City and Territory. Roma: Centre de Política de Sòl i Valoracions, 2014. http://dx.doi.org/10.5821/ctv.8031.
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In questo scritto analizzeremo le modalità attraverso le quali vengono sovvertite, con piccole
azioni dei cittadini, le regole che disciplinano gli spazi urbani. Partendo dal caso studio del
centro storico di Palermo illustreremo come la “conquista” anche temporanea, di strade e
piazze possa permettere una rivitalizzazione ed una rivalutazione dei luoghi.
Il nostro interesse è rivolto a comprendere come si siano sviluppati processi di ri-conquista dello
spazio urbano, che hanno permesso di “addomesticare” alcuni spazi della città, modificando usi
e configurazioni comuni, che estrapolati dal contesto abituale sono stati inseriti in nuove
relazioni.
La scelta di prendere Palermo come caso studio deriva da alcune caratteristiche di questa città:
la prima caratteristica può essere individuata nelle sue radici storico-culturali che in qualche
modo favoriscono l’insediamento di nuove comunità; l’altra caratteristica è che le forme di
scambio con abitanti di diverse culture avvengono, non in periferia, ma in centro. Questo rende
la città siciliana un caso non unico ma atipico nel panorama europeo, dove si tende ad avere
una spinta centrifuga e quindi una emarginazione delle popolazioni non locali e dei ceti meno
abbienti.
Da questo punto di vista il centro di Palermo può essere considerato come una sorta di spugna,
che riesce non solo ad assorbire nuove comunità ma anche ad attrarre esponenti del ceto
sociale medio. A differenza di altre città europee, dove si sono innescati processi di
gentrification grazie agli interventi strutturali promossi dalla pubblica amministrazione, a
Palermo il processo di riqualificazione è dovuto a piccole azioni promosse dai residenti.
L’inversione della tendenza degenerativa che era in atto e l’inversione dell’andamento dei
valori immobiliari non è dovuta quindi ad una politica integrata, quanto alla libera iniziativa delle
fasce sociali più deboli. In this script we’ll describe the everyday,little actions of the citizens that break the rules of the
urban areas’ organization.
Starting from the Old Town of Palermo, that we used as the example in our analysis, we’ll show
how the “conquest”, even just temporary, of streets and squares could achieve a revitalization
and a revaluation of quarters. Our focus is on understanding how revitalization/ re-conquest of urban areas has taken place.
By altering people preconcieved ideas of areas of the city, this process achived the
“domestication” of some areas that, out of their usual context, are inserted in new relations.
Our choice to take Palermo as example derives from some typical characteristics of this city: the
first one is due to its historical-cultural origins which, in some way, favor the settlement of new
comunities; the second is that the way of live among population of different cultures develops in
the centre of the city, not in the suburbs. These features make Palermo not unique, but atipical
compared to the rest of Europe where immigrants and lower-class people, are generally forced
to the external areas of towns.
From this point of view we can imagine Palermo’s Old town as a sponge which is able not just
to absorb new comunities, but also to attract people from the middle classes. In European cities
gentrification processes are started thanks to projects realized by the Public Administrations, On
the contrary in Palermo this process generates from actions of the inhabitants themselves.
The change of degenerative trend and the increasing value in the Real Estate Market is
therefore not caused by a political action, but thanks to the initiative of the lower class.
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Reis de Matos Braz, Patricia. "CULTURA E DESENVOLVIMENTO URBANO NO PORTO. Variações de discursos e de práticas na política municipal recente da cidade." W Seminario Internacional de Investigación en Urbanismo. Universitat Politècnica de Catalunya, Grup de Recerca en Urbanisme, 2024. http://dx.doi.org/10.5821/siiu.12780.
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The present paper aims to discuss the relationship between culture and urban development, regarding the cityof Porto as a case study. Considering its recent and irregular history of culture promotion, which has importantreferences since the acknowledgement of the Historic Centre as a UNESCO World Heritage Site, in 1996, thearticle explores political agendas, projects, and achievements, which place culture as strategic for urbandevelopment. From that moment to the present day, Porto has experienced three styles of governance, withdirect effects on the treatment given to the municipality's cultural and heritage policy. The article, therefore,analyses the relationship of the mentioned policies with urban policy, from the variation of discourses andpractices of municipal policy. Keywords: Porto, culture, urban development, municipal policy. O presente trabalho tem como objetivo discutir a relação entre cultura e desenvolvimento urbano, tendo acidade do Porto como estudo de caso. Considerando a sua história recente e irregular de promoção da cultura,que conta com importantes referenciais desde o reconhecimento do Centro Histórico como Património Mundialda UNESCO, em 1996, o artigo explora agendas políticas, projetos e realizações, que situem a cultura comodimensão estratégica para o desenvolvimento urbano. De 1996 até à atualidade, o Porto passou por três estilosde governação, com reflexos diretos na política cultural e patrimonial do município. O artigo analisa a relaçãodas citadas políticas com a política urbana, a partir da variação dos discursos e dos modos de fazer da políticamunicipal. Palavras-chaves: Porto, cultura, desenvolvimento urbano, política municipal.
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Priore Lima, Renata, Adriana Massucatti Silva do Nascimento i Amanda Bozzi Nunes. "CENTRALIDADES CONTEMPORÂNEAS EM SÃO PAULO. Estudo sobre a construção do eixo Berrini - Chucri Zaidan". W Seminario Internacional de Investigación en Urbanismo. Universitat Politècnica de Catalunya, Grup de Recerca en Urbanisme, 2022. http://dx.doi.org/10.5821/siiu.12201.
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This article investigates the morphological and functional changes of Chucri Zaidan avenue and its relationship with the new axis of urban centrality of São Paulo, also composed of Berrini Avenue. The study seeks to reveal the construction logics and the process that has been transforming the area into a financial center and condenser axis of a mixture of uses, including leisure activities, services, commerce and culture that enrich the social life of the area. To study it, we will seek to identify the main urban transformations that have occurred throughout history, drawing the changes that have occurred at the ground level, the building typology, the uses and contours of public and collective spaces. The analyses will be based on official documents, drawings drawn from registration maps of the city, on data collected on site, and on the theoretical discussion about the way as a powerful element of condensation of collective spaces and their centrality and urbanity. As a result, it is verified that the axis is constructed as a linear centrality, through the implementation of mixed-use buildings, with predominance of office buildings, implanted in partially open blocks configured with paths and permeable free areas, with a wide offer of green areas. On the other hand, it lacks social mixing. Keywords: Linear Centrality, Collective Spaces, Metropolis of São Paulo, Urban life. Este artigo investiga as mudanças morfológicas e funcionais da avenida Chucri Zaidan e sua relação com o novo eixo de centralidade urbana de São Paulo, composto também pela avenida Berrini. O estudo busca revelar as lógicas de construção e os processos que vem transformando a área em centro financeiro e eixo condensador de atividades de lazer, serviços, comércio e cultura que enriquecem a vida social da cidade. Para estudá-la, buscaremos identificar as principais transformações urbanas que ocorreram ao longo da história, desenhando as mudanças transcorridas na tipologia edificada, nos usos e contornos dos espaços públicos e coletivos. As análises serão embasadas por documentos oficiais, desenhos elaborados a partir de mapas cadastrais da prefeitura, dados coletados in loco, bem como na discussão teórica sobre a via como elemento estruturador dos espaços coletivos e de sua centralidade e urbanidade. Como resultado, verifica-se que este eixo se constrói como uma centralidade linear, mediante a implantação de edifícios de uso misto, com predominância de edifícios de escritórios, implantados em quadras parcialmente abertas configuradas com caminhos e áreas livres permeáveis, com ampla oferta de áreas verdes. Por outro lado, é carente de mistura social. Palavras-chave: Centralidade Linear, Espaços Coletivos, Metrópole de São Paulo, Vida urbana.
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Cerasoli, Mario. "Periferias urbanas degradadas: normas de asentamiento y formas del habitar: ¿cómo intervenir?" W International Conference Virtual City and Territory. Barcelona: Centre de Política de Sòl i Valoracions, 2009. http://dx.doi.org/10.5821/ctv.7533.
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Hablar de periferia hoy implica deber revisar el significado mismo de la palabra. La de frontera parece la definición más apta para describir la periferia contemporánea, pudiéndose aplicar a todos los asentamientos a baja densidad que, en las últimas décadas, inexorablemente rodearon las grandes ciudades - y, no solamente las grandes - yendo a ocupar territorios casi siempre ex agrícolas. Una periferia que se caracteriza básicamente por ser “incompleta”, obvio efecto del incumplimiento de los procesos, tanto espontáneos como planificados, que la produjeron. La escena romana es un extenso colector de periferias, diferentes y no homogéneas, por lo general deterioradas, nacidas a partir del final de la Segunda Guerra Mundial y el crecimiento de las cuales llegó hasta hoy siguiendo parcialmente el dibujo de un plan urbanístico.
Sin embargo la periferia espontánea posee casi siempre rasgos afirmados de una “calidad” que en ésas planificadas es escasa o totalmente ausente. Son periferias heterogéneas sobre todo de carácter ilegal que unen la ausencia substancial de espacios públicos de relación, de “lugares centrales”, a una provisionalidad que acentúe el carácter de periferia de las mismas. Las primeras periferias nacen de la “necesidad” - vivir, trabajar, descansar - en un momento en el cual la administración pública no puede o no quiere hacer frente a la cuestión de la vivienda; en el curso de los años este modelo de asentamiento se consolida y comienza a auto reproducirse, cambiando peligrosamente sus características hasta perder su carácter de “necesidad”. La casa individual con jardín, lejos del centro de la ciudad, se transformó en uno de los desiderata más difusos de los últimos años, de donde las ciudades comenzaron a ser contaminadas verdaderamente en gran parte - en círculo vicioso - por el trafico generado de aquellos que viven en las periferias lecha y deben llegar cotidianamente al centro de la ciudad con medios privados.
La gente se ha “acostumbrado” a vivir en estas periferias heterogéneas y el problema de la “ausencia de ciudad” no viene mas percibido como un problema primario pero las exigencias se limitan a más servicios y mejor movilidad, pública y privada. Entonces, en treinta años se transformó el concepto de vivienda, el de ciudad y el de periferia. Pero a este fenómeno se acompaña una decadencia sensible de la calidad de la vida y, por lo tanto, del ambiente. Hay un vínculo muy estrecho entre nacimiento y difusión de las periferias e inicio del proceso, aun en acto, de difusión y dispersión urbana.
El punto de ruptura de la tradición del asentamiento, esa cultura de orígenes antiguas y casi universales que se transmitió probablemente oralmente de padre en hijo y que era, por todos, conocida, se pone a fines de los años sesenta e inicio de los setenta. Una transformación que lleva a un asentamiento difuso de carácter residencial, con densidad muy baja (menos de 15 hab/ha. y menos de 1 m3/m2), unido a los centros principales por medio de algunas rutas o, en los casos más afortunados, de infraestructuras ferroviarias con las cuales fueron garantizadas las conexiones con los lugares del estudio y del trabajo y del tiempo libre.
Se transformaron las modalidades de vivir, trabajar, descansar, adaptándose a lo que venía de vuelta en vuelta ofrecido por las ciudades. Frecuentemente la población se organizó para remediar, incluso ilegalmente, a las decisiones o las no-decisiones de las públicas administraciones, yendo así a diseñar un sistema territorial que es cada vez más difuso e menos poli céntrico que pero se caracteriza por gravitar sobre las grandes áreas urbanas y para manifestar en modo cada vez más acentuado los caracteres de mono funcionalidad difícilmente manejable en términos de eficacia de servicios y equipamientos públicos.
Esta investigación sobre la periferia italiana y en particular romana se desarrolló utilizando técnicas de diagnósticos tradicionales soporte de ayuda de medios innovadores que ahora entraron a formar parte de las herramientas del urbanista: fotos satelitales, videos, internet. El recurso a tales medios permitió poder seguir mejor las transformaciones del territorio mismo en vivo, permitiendo al mismo tiempo la comparación con distintas fuentes informativas. Técnicas y fuentes innovadoras que no pueden sustituir al hombre pero que pueden facilitar mucho el trabajo de los operadores del sector, incluso en términos didáctico y de difusión de los conocimientos. *** ENG: To talk about periphery today implies the need of reviewing the meaning of the word itself. “Border” seems to be the most appropriate definition to describe the contemporary periphery, being it applicable to all the low density settlements that, in the last decades, inexorably surrounded big cities - and, unfortunately, not only those - occupying territories that generally used to be for agriculture. A periphery that is characterized basically for being “incomplete”, as a natural consequence of the interruption of the processes, as much spontaneous as planned, that produced it.
The Roman scene is an extensive collector of peripheries, different and non homogenous, generally deteriorated, born since the end of World War II and which are still growing, only partially according to a general urban plan. Nevertheless the spontaneous periphery shows almost always established characteristics of a “quality” that are little or totally present in those planned. They are heterogeneous peripheries mainly of illegal character that unite the substantial absence of public spaces for social relation, of “central places”, to a provisional state that stresses their character of periphery.
The first peripheries were born from the “necessity” - to live, to work, and to rest - in a period when the public administration could not or did not want to address the problem of settlements; during the years, this model of settlements have consolidated and begun to replicate itself, dangerously changing its typical features until losing its character of “necessity”.
The private house with garden far from downtown, has become one of the most diffuse desiderata of the last years, when the cities began to be polluted because of - in a vicious circle - the traffic generated by those living in the peripheries and obliged to reach downtown every day. People get used to live in these heterogeneous peripheries that combine the absence of spaces for social relation and a provisional state stressing the character of periphery. And they do not perceive the “absence of the city” as a major problem, but only ask for more services and better mobility, both public and private.
In thirty years, the idea of living, city and periphery was transformed. But this phenomenon goes with a sensible decay of the quality of life and of the environment. There is a very strict relation between birth and diffusion of the peripheries and the beginning of the process, still in place, of urban diffusion and dispersion. The breakthrough point of the settlements tradition - that culture of old and almost universal origins that was transmitted probably orally of father in son and that was by all well-known – can be put by the end of the Sixties and beginning of the Seventies.
A transformation that brings to a diffuse settlements of residential character, with very low density (less than 15 hab/ha and less than 1 m3/m2), connected to the main cities by means of some routes or, in the most lucky cases, of railway infrastructures ensuring the connections with the places of study, work and spare time.
The patterns of living, working and resting changed and adapted to what was offered by the cities. Frequently, the population was ready to remedy, even illegally, to the decisions or the not-decisions of the public administrations, thus creating a territorial system that is more and more widespread and less polycentric, which is characterized for weighing on the great urban areas and for showing in a more and more marked way the characters of hardly manageable mono functionality in terms of effectiveness of services and public infrastructures.
This investigation on the Italian, and in particular Roman , periphery was carried out by using techniques of traditional analysis together with innovative tools that are now considered of normal use for the city planner: photos satellite, videos, Internet.
The use of such means allowed following the transformations of the territory better and in real time, at the same time allowing the comparison with different informative sources. These innovative techniques and sources cannot replace the human resource but can very much facilitate the work of the operators of the sector, also in terms of teaching and diffusion of knowledge.