602 resultados para Rétrécissement urbain
Resumo:
Since around twenty years, the Saguenay CMA seems to have underwent a population decline and important economic transformations, wich would have confronted citizens and local actors to a situation of a possible decline. In a context of an ageing population generalized to the whole Quebec, the Saguenay CMA can be seen as a precursor territory of the population decline phenomenon for a medium-sized city. It’s the scale and the extent of the phenomenon wich seem to have become more important. In this context, is it possible to reverse the situation from an urban planning based on growth, to a planning that takes into account the possiblity of the decrease and the ageing of the population, as well as the reorganization of econimic activities? The analysis of the actors’s speech, who are involved in planning, economic development and politics, raise the question of the difficulty to conceive the decrease of the population and the economic tranformations, not as an occasional phenomenon, but as a possibly structural phenomenon that may last over time. The subject of the decline seems to generate a form of discomfort among the actors, going even to the complete reject of the situation as a possible reality. For several, the eventuality of a generalized decline is inconceivable, the decrease can be perceived as a political failure. It appears that most of the strategies put in place to correct the situation, are based on the goal of a return to the growth. From the signs in the built framework, through the strategy of territorial marketing and municipal interventionism, until the appearance of urban brownfields, the impacts of the population decrease and the economic transformations seems, for the greater part very subtile, but to be present on the territory of the CMA. The shrinking cities phenomenon is observed in this study according to a new approach that confronts the actors’s speech, the territory reality and the analysis of the economic and demographic dynamics. It is thus an exploratory research wich tries to question the current way of thinking the urban growth.
Resumo:
Gabriel Urbain Fauré lived during one of the most exciting times in music history. Spanning a life of 79 years (1845-1924), he lived through the height of Romanticism and the experimental avant-garde techniques of the early 20th century. In Fauré's music, one can find traces of Chopin, Liszt, Mendelssohn, Debussy and Poulenc. One can even argue that Fauré presages Skryabin and Shostakovich. The late works of Gabriel Fauré, chiefly those composed after 1892, testify to the argument that Fauré holds an important position in the shift from tonal to atonal composition and should be counted among such transitional composers as Gustav Mahler, Claude Debussy, Erik Satie, Richard Strauss, and Ferruccio Busoni. Fauré's unique way of fashioning harmonic impetus of almost purely linear means, resulting in a synthesis of harmonic and melodic devices, led me to craft the term mélodoharmonique. This term refers to a contrapuntally motivated technique of composition, particularly in a secondary layer of musical texture, in which a component of harmonic progression (i.e. arpeggiation, broken chord, etc.) is fused with linear motivic or thematic development. This dissertation seeks to bring to public attention through exploration in lecture and recital format, certain works of Gabriel Fauré, written after 1892. The repertoire will be selected from works for solo piano and piano in collaboration with violin, violoncello, and voice, which support the notion of Fauré as a modernist deserving larger recognition for his influence in the transition to atonal music. The recital repertoire includes the following--Song Cycles: La bonne chanson, opus 61; La chanson d'Ève, opus 95; Le jardin clos, opus 106; Mirages, opus 113; L'horizon chimérique, opus 118; Piano Works: Prelude in G minor opus 103, No. 3; Prelude in E minor opus 103, No. 9; Eleventh Nocturne, opus 104, No.1; Thirteenth Nocturne, opus 119; Chamber Works: Second Violin Sonata, opus 108; First Violoncello Sonata, opus 109; Second Violoncello Sonata, opus 117.
Resumo:
Le tourisme est au coeur des processus de valorisation des territoires urbains. Le patrimoine - pilier majeur de la touristification - tend à prendre un caractère marchand, en tant que produit à valoriser économiquement dans un contexte de villes en compétition. À partir de l'analyse de deux centres urbains en mutations - Lyon et Pékin -, cette recherche montre d'une part l'usage marchand du patrimoine, produit et mobilisé par les pouvoirs publics. D'autre part, ce papier questionne la notion d'authenticité - centrale dans les discours sur la mise en valeur du patrimoine. Apparaissant comme inopérante du point de vue heuristique, nous faisons l'hypothèse qu'elle détient une dimension proprement « fétiche », concourant à la perception déformée de la réalité des rapports sociaux en jeu dans la production patrimoniale.
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1903.
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1865 (A1865,SER2,T5).
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1867.
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1868 (A1868,SER3,T3).
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1843.
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1845.
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1866 (A1866,SER3,T1).
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1862.
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1861.
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1864.
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1847.
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1846.
