TITLE: Fostering of spatial imagination of students using three projections - different approaches in Czech and Danish Education SUMMARY: This master thesis is focused on description of different conception of teaching geometry in chosen czech and danish mathematics textbooks and on the possibilities of fostering the spatial imagination at elementary school. On example of one particular class from an elementary school in Prague, we will take an inside view of the advantages and disadvantages of using three projection in mathematics education and its influence on development of spatial imagination. In this class, a diagnostic interview was taken to determine the level of spatial imagination development and in order to find out, how these children can work with three projections. KEY WORDS: pupils of primary school age, spatial imagination, three projections, conceptions of geometry teaching

The topic of this thesis is geometry, its practical usage in architect’s profession (especially its application in computer design and realization of buildings) and its current way of teaching at schools of architecture. The thesis systematically describes geometric objects’ construction and properties, its modelling in CAD systems and examples of its usage in architecture, in some cases including the way of its realization. Geometric objects are systematically organized into chapters about point, curves, surfaces and solids. The outcome of the thesis is a concept of geometry courses modification in the way that they encourage the spatial imagination development instead of “drill” and the gained knowledge is directly useful in architect’s profession. A supplementary research (in appendix) analyses the state-of-the-art of teaching of geometry at selected schools of architecture in Europe and its effect to spatial imagination development. The research was focused at contents and form of the selected geometry courses and its influence to spatial imagination.

Mgr. Jan Siřínek, The Scenic Principle in Psychotherapy Abstract This dissertation explores the effectivity of a targeted application of body/drama- oriented therapy in the act of inducing a corrective emotional experience. The term scenic- symbolic principle is introduced and meant to 1) ascribe symbolic significance to people, objects, or parts intrinsic to the therapy room; 2) enable these as roles for dramatization; and 3) employ the symbolic significance of physical contact and body motion. Therapeutic schools that use the scenic-symbolic principle are summarized. Detailed attention is given to Pesso Boyden System Psychomotor (PBSP) therapy, in which the scenic-symbolic principle serves as the central instrument in achieving a corrective emotional experience. After examining the theoretical concepts and intervention procedures of PBSP, this paper describes an experiment, in which 40 persons were randomly distributed between experimental and control groups (N = 20 for each group). The goal of the experiment was to achieve a change in attitude towards a job, task, or duty that the subjects were facing, in an effort to reduce negative emotions. While intervention in the experimental group was enriched by using the scenic-symbolic principle, both groups demonstrated significant improvement (pe < 0.001; pc...

This thesis is aimed at creating work sheets from the area of solid geometry. It should make easy spatial imagination to students and help teachers at basic schools by teaching solid geometry as well. These work sheets are made by using Cabri 3D geometry software.

[pt] No ano de 1965, o cineasta Jorge Prelorán deu início a uma vasta série documental, intitulada Relevamiento Cinematográfico de Expresiones Folklóricas Argentinas, direcionada à pesquisa e ao registro audiovisual de regiões interioranas do país. O projeto, que contou com o patrocínio de instituições como a Universidad Nacional de Tucumán e o Fondo Nacional de las Artes, foi desenvolvido em meio a um pulsante contexto intelectual e artístico, marcado tanto pela emergência das mais diversas propostas de renovação da linguagem cinematográfica, como pelo amplo fenômeno conhecido como boom do movimento folclórico, ocorrido nos anos 1960, na Argentina. Nesse sentido, o objetivo desta tese foi o de investigar de que maneira Jorge Prelorán teria reelaborado, nas películas por ele realizadas para o Relevamiento (1965-1975), um conjunto de temas, tópicas, metodologias, recursos narrativos e procedimentos discursivos provenientes de três amplos domínios, com os quais o diretor manteve os mais estreitos contatos: a larga tradição de ensaios de interpretação da Argentina, dedicada, ao longo do tempo, à tarefa de figuração da nação; os campos do folclore e da antropologia vigorantes no país, em suas múltiplas vertentes; e as correntes do cinema etnográfico com as quais o diretor chegou a estabelecer longevos vínculos. Os diálogos travados entre a obra de Prelorán e as tradições intelectuais e artísticas mencionadas – diálogos esses que estiveram quase sempre pautados nas estratégias de descrição da natureza, nos diferentes modos de figuração do tempo e do espaço e nos modelos de representação da arte e da cultura manejados pelo documentarista – foram concebidos, ao longo da pesquisa, como variações em torno de quatro grandes temas: a cartografia, a viagem, o compêndio e a metodologia empática de filmagem. / [en] In 1965, the filmmaker Jorge Prelorán began to develop a vast documentary series, entitled Relevamiento Cinematográfico de Expresiones Folklóricas Argentinas, dedicated to the study and filming of inlands regions of the country. The project, which was sponsored by Universidad Nacional de Tucumán and Fondo Nacional de las Artes, took place in the midst of an intellectual and artistic context marked both by the emergence of diverse proposals for the renewal of cinematographic language, and by the cultural phenomenon known as boom of the folk movement, which occurred in the 1960s in Argentina. Therefore, the purpose of this thesis was to investigate how Jorge Prelorán reformulated, in the films he made for the project between 1965 and 1975, a set of themes, topics, methodologies, narrative resources and discursive procedures originated from three broad domains, with which the director maintained close contacts: the long tradition of Argentine essays, dedicated to the interpretation of the nation; the fields of folklore and anthropology prevailing in the country, in its multiple phases; and the modalities of ethnographic cinema with which the director related in those years. The dialogues that were established between Prelorán s work and the intellectual and artistic traditions mentioned previously – dialogues that were almost always based on the strategies of describing nature, on the different modes of representing time and space and on the models of depicting art and culture used by the filmaker – were conceived throughout this research as variations around four major themes: cartography, travel, compendium and empathic filming methodology.