A câmera subjetiva abrange o ponto de vista, em suas múltiplas implicações narrativas, enunciativas, audiovisuais. À sua crescente presença no audiovisual contemporâneo correspondem expansões de seus sentidos comumente relacionados à linguagem clássica narrativa cinematográfica e a uma normatividade que restringe seu uso sistemático. Novos usos da câmera subjetiva associam novos fatores e novas funções dentro do cinema, relacionando técnicas e tecnologias com resultados estéticos. Esta pesquisa investiga a câmera subjetiva como recurso de linguagem e de estilo audiovisual que movimenta variáveis entre a espectatorialidade e o filme. / Subjective camera embraces point of view, in several narrative, enunciative and audiovisual implications. The sense commonly related to classical cinema narrative language becomes expanded with new approaches of subjective camera in contemporary works, breaking the rules that restrain its systematic utilization. New usage of subjective camera links new functions and new elements inside cinema, connecting technologies and technics with aesthetics results. This research examines subjective camera as an audiovisual stylistic feature that crosses film language and spectatorship.

A presente pesquisa investiga como os elementos visuais ao dispor dos cineastas podem contribuir para a representação de estados alterados de percepção no cinema, de modo a ampliar a discussão sobre a expressividade do trabalho de direção de fotografia. Por meio da análise e interpretação de três filmes brasileiros que apresentam personagens fora de si e construções visuais contundentes - Estorvo (2000), de Ruy Guerra, Filme de Amor (2003), de Júlio Bressane e A Concepção (2005), de José Eduardo Belmonte -, a pesquisa discute de que maneira as características da imagem podem contribuir para a criação de pontos de vista, atmosferas e sentidos, que permitem a apreensão do filme para além de sua compreensão intelectual. Partindo do reconhecimento da ligação entre narrador e personagens, a análise se volta à força expressiva das imagens usadas ao longo dos filmes, tomando como referência reflexões sobre o expressionismo na pintura e no cinema. Essa discussão serve de base para a identificação de um imaginário sobre os estados alterados de percepção e suas relações com a sociedade presente na cinematografia brasileira dos anos 2000. / The present research investigates how the visual elements available to the filmmakers can contribute to the representation of altered states of perception in the cinema, in order to broaden the discussion about the expressiveness of the cinematography work. Through the analysis and interpretation of three Brazilian films that present characters out of their minds and rich visual constructions - Estorvo (2000), by Ruy Guerra, Filme de Amor (2003), by Júlio Bressane and A Concepção (2005), by José Eduardo Belmonte -, the research discusses how the characteristics of image can contribute to the creation of points of view, moods and senses, which in turn make possible the apprehension of the film beyond its intellectual understanding. Acknowledging the connection between narrator and characters, the analysis focus on the expressive force of the images used throughout the films, taking as reference reflections on Expressionism in painting and in cinema. This discussion serves as basis for the identification of a position regarding altered states of perception and their relations with society in Brazilian cinematography of the 2000s.

O exercício de crítica cultural aqui empreendido busca refletir sobre a contemporaneidade a partir da análise e interpretação do longa-metragem O som ao redor (2012) de Kleber Mendonça Filho. A fim de chegar a uma compreensão do que sua forma diz sobre o momento presente, realizamos uma investigação sobre o filme a partir das contribuições de diferentes disciplinas e também de abordagens analíticas da imprensa e da academia. A começar pelo estudo da forma narrativa, propomos definições para noções como autor, autor implícito, narrador, ponto de vista e foco narrativo. Essas noções se mostram úteis no desenvolvimento da análise com relação ao que entendemos como sendo o foco narrativo, uma relação de significação entre as instâncias da emissão e da recepção de uma narrativa. A focalização, assim compreendida, permitiu a identificação da produção de quatro espacialidades na trama da narrativa fílmica: (a) o espaço doméstico contemporâneo e as práticas de consumo, marcados pelo desejo e pelo medo; (b) o espaço de poder do homem cordial contemporâneo; (c) o espaço da propriedade e da auto-atribuição ambígua de um espaço de representação; e, por fim, (d) o espaço da subalternidade. Esses espaços, por sua vez, são articulados por meio de uma prática temporal contraditória, estabelecida entre passado e futuro, que mantém o presente em estado de suspensão crônica. Observa-se, nos termos de Jameson (2002 [1981]), o inconsciente político dessa narrativa: o reconhecimento do papel da classe média na manutenção de relações de mando arcaicas, lugar que o próprio narrador simula assumir e ao qual, por vezes, corre o risco de assimilar-se. Desse modo, a miragem da classe média quanto ao autocontrole econômico e simbólico e seu horror à expropriação e aos despossuídos continuam a contribuir para manter as desigualdades e injustiças sociais do país. Como forma de conclusão, indica-se, na leitura do filme, a possibilidade de entendimento do passado como uma simples permanência caso se veja o tempo (e a história) apenas como continuidade. Inversamente, se a dimensão temporal for compreendida como sujeita a simultaneidades, aberta, portanto, à equivocidade, possibilidades de futuro podem emergir, configurando-se uma outra leitura. Nesse sentido, práticas do passado no presente, sujeitas à continuidade e à transformação, dão a dimensão da importância das práticas presentes, já que, estas, antecipam, desde já, práticas futuras. / The exercise of cultural criticism undertaken here aims to reflect on contemporary temporality through an analysis and interpretation of the feature film Neighbouring Sounds (2012), directed by Kleber Mendonça Filho. To understand what its form says about the current moment, I investigate the structure of the film considering contributions from different disciplines and also analytical approaches, offered by the press and scholars. Starting with the study of the narrative form, I propose definitions for notions like author, implicit author, narrator and point of view. These notions have proved themselves useful in the development of an analysis of what is understood as the narrative focus. However, the Anglophone criticism does not use that term as often as point of view. Thus understanding point of view as a relationship of signification between the addresser and the addressee of a narrative, I observe the production of four spatialities in the plot of the film: (a) the contemporary domestic space and consumerist practices, marked by desire and fear; (b) the space of the power of the contemporary cordial man; (c) the space of property and of the ambiguous selfattribution of a representational space; and, finally, (d) the space of subalternity. These spaces, then, are articulated by a contradictory time practice, established between the past and the future, which keeps the present in a chronic suspension state. I observe, following Jamesons (2002 [1981]) expression, the political unconscious of that narrative: the recognition of the role of the middle class in the maintenance of the archaic power relations. The narrator, in simulating these power relations, runs the risk of reproducing them. Thus the middle-class mirage of economic and symbolic self-control, compounded by a middle-class horror of expropriation and of the destitute, perpetuate the inequalities and social injustices in Brazil. To conclude, I indicate, in this reading of the film, the possibility of understanding the past as simply permanence if time and history are only regarded as continuity. Conversely, if the temporal dimension is grasped as subject to simultaneities, therefore, open to the equivoque, a different possible future may emerge, creating another reading. In this new sense, practices of the past in the present, subject to continuity and to transformation, give importance to the present practices, since these ones anticipate future practices.

This thesis presents transformation as the key principle of production, as well as reception of a literary text. As far as production is concerned, the thesis takes off from the passing nature of any moment, any element of reality, and it perceives a literary text as a way to save and conserve that element. It is obvious that should the given element of the physical reality - perishable in its true character - survive in a text, it needs to undergo a change, a transformation: what needs to change in order for it to survive? By analyzing authors who discuss this nature of the text in their works, the thesis comes to understanding the production of a text as a discovery of such an environment within the text, which would allow the element of reality to be conserved. As far as reception is concerned, the thesis studies the influence a literary text has on our experience of reality. The problem is not only tackled as a perception of the world via a certain literary work, which was for example the case with the literary characters of Don Quixote or Madame Bovary, but the thesis tries to describe the deep transformation of our perception of reality caused by a poetic outlook on elements of the real world.

This paper, then, purposes to examine these two characteristics of Styron's novel form--structure and point of view--as they are handled in his major works, the novels Lie Down in Darkness and Set This House on Fire, and the novella The Long March.

Video modeling is an evidence-based practice for teaching a wide range of skills to individuals with disabilities. Recent advances in technology have also made video modeling and video prompting more accessible and feasible for teachers and practitioners. This study aims to see if a functional difference exists between two filming perspectives: point-of-view and spectator. Using a single-subject alternating treatments design with least-to-most prompting, the researcher investigated differences between the two perspectives. Four individuals participated in this study—two males and two females between the ages of 19 and 21 with varying disabilities. Data were analyzed visually. Tasks that were taught are: cutting paper using a paper slicer, gluing paper onto a painted wood block, and opening a combination lock. At the conclusion of the study, it was determined that there is not a substantial difference between the two perspectives. However, participants successfully learned the new skills in both perspectives, indicating that positive outcomes may be observed when using a video prompting intervention to teach new skills to young adults with disabilities.

In this thesis, I will examine how I worked artistically with perspectives and subjective truths in my two short films, What I Wanted to Say and TIPS. Both films are exploring the use of first-person perspective in different ways to allow the audience to experience two different opinions of the story. This exploration is the main part of my artistic research. Through my work with perspectives, I have also added the dual perspective of working as an actor-director on both films and how that method evolved through this process. This method will also be explored as a part of this thesis. In working with perspectives, I have studied when to focus on what role, both when it comes to what character’s perspective should be in focus on the screen at what time, and when to focus on what part of the actor-director role. Searching for this balance will be the focus of my artistic research, as well as looking into the possibility of allowing both roles the focus at the same time. The first film I made, What I Wanted to Say, is a love letter to a broken relationship, a short drama that explores the difficulties of ending a relationship. For this film, I used the same visuals twice but changed the voiceovers so that the visuals of the couple being in love and then fighting with each other would be influenced by each character’s subjective thoughts. The voiceovers take the audience on a reflective journey through their thoughts as Lisa leaves her lover, Oliver at the end of the film. The second film, TIPS, is a story about the newly hired bartender, Sarah, and a group of guys celebrating their friend’s birthday. Here, I worked on changing the perspectives visually through closeups and point-of-view shots, as Sarah builds up the courage to flirt for tips. This act is misinterpreted by the guys who decide to follow her home after work in pursuit of her phone number. We move back and forth between the perspective of Sarah, who learns to stand up for herself, and the self-proclaimed leader of the friend group, Pete, who learns to apologize in the end. I will be starting my thesis with an introduction to my work on the films and the artistic research. Then, I will bring up theories from my acting background to explain why I started working with perspectives and how I work with acting, before exploring the method of working as an actor-director and how I worked with that during the two film productions. The exploration of perspectives came about as a response to the seemingly growing number of echo chambers, which I will be explaining more in-depth through the research part of this thesis. Here, I will study the structure of echo chambers and look at the possibility of having narrative films counteract them. Moving over to the discussion part I will go more in-depth on how I worked with the perspectives, both when writing the script and when acting-directing. I will also look at how I worked with and developed my method of acting-directing, before concluding the thesis with a summary and how I plan to continue my work on perspectives.

De Quincey's writing has already been thoroughly examined from the point of view of his critical statements, and attempts have been made to resolve some of the many contradictions which occur in such statements. In this thesis, however, De Quincey's work is approached not from a consideration of critical theory but through an examination of his ideas and techniques as they related to the well established literary and psychological category of the sublime. De Quincey's interpretation of the sublime in literature relates closely to his theory of the literature of power, and provides a central standpoint from which to examine many different aspects of his writing. De Quincey's general application of the theory of sublimity reveals a concentration upon a certain number of fixed formulae which can be used as guidelines to his criticism of literature as well as his own creative processes. De Quincey's ideas relating to sublimity provide, in addition, a religious and philosophical background from which to approach both the areas of criticism and creation. Ideas connected with the sublime also allow a convenient approach to De Quincey's theory of symbolism, his use of opium, and the dreams which haunted his life and became the substance of his creative writing. To observe the close relationship between these various aspects of De Quincey's life and thought is to become aware of the patterns which dominated his literary processes. Having shown the various modes of the sublime as exemplified by De Quincey's works in general, the thesis proceeds to a detailed examination of some passages in his literary criticism as they specifically relate to these modes. The emphasis is not upon the value and meaning of the criticism per se, but rather upon the extent to which it expresses De Quincey's continuing search for the powerful or sublime effect in literature. The critical contexts examined are seen to function on the basic principles already established, and these same principles are then applied to De Quincey's major fiction. The same patterns, involving paradox, symbolism and revelation, are clearly in evidence, and, indeed, reveal the main intention of these works. The English Mail-Coach, The Confessions of an English Opium Eater, and the Suspiria De Profundis are all discussed in considerable detail, and while considerations other than that of the principle of the sublime are included, this principle remains always the basic starting point. From an analysis of the workings of the sublime principle in De Quincey's writing, a new kind of unity becomes apparent in his work, a unity of symbols and images, of mood and emotion. An awareness of this special kind of unity contributes to an understanding of a writer who seems, on many occasions, to be discontinuous, erratic and wildly mistaken. / Thesis / Doctor of Philosophy (PhD)

Even though the topic of gender is ever more present, as confirmed by the large amount of popular scientific literature on the topic, well-informed scientific papers on the topic of relationship between gender and conflicts within the environment of teaching staff are lacking both in domestic and foreign literature. The impetus for the creation of this thesis was the contemplation of the idea of how a larger proportion of males within teaching staff would influence the feminized Czech education system. The thesis investigates whether the gender makeup of teaching staff of selected kindergartens influences the types of conflicts that arise and how their characteristics depend on the gender makeup. The first chapter defines the notion of conflict from a theoretical point of view based on published literature and enquires into their causes and sources, as well as approaches to solutions. The second chapter deals with the notion of gender and presents current approaches and attitudes to this issue. In the second part of this chapter, we present several views on the difference between the male and female brain, perception, ways of thinking and assessment of sensory input, male and female communication and differing approaches to conflicts. The third chapter elucidates the function, core business and...

There is significant literature demonstrating the effectiveness of video modeling for teaching skills to students with disabilities. Still, much less is known about how video modeling, particularly point-of-view video modeling (POV-VM), might be applied to teach academic skills to children with an autism spectrum disorder. This multiple probe single-case design study used explicit instruction techniques to teach multiplication, division, and fraction skills to two elementary-aged students with an autism spectrum disorder. A visual analysis of the data showed that POV-VM using explicit techniques to deliver the videos is an effective intervention for autistic students This research study adds to the evidence supporting POV-VM in providing instruction to autistic students.