La notion d’« abstraction perceptuelle (perceptual abstraction) » apparaît dans le domaine de la psychologie cognitive avant d’être associée à l’art optique et cinétique dans les pages du catalogue de l’exposition « The Responsive Eye » au Museum of Modern Art en 1965. Ce lien tissé entre abstraction et phénoménologie de la perception, bien qu’il ait connu une résonance historiographique modeste, traduit avec justesse certains enjeux et complète les catégories du mouvement et de l’effet, sur lesquelles le débat et la réflexion se sont le plus souvent orientés. À partir de ce cadre initial des années 1950 et 1960 est établi un second cadre, plus vaste, allant des avant-gardes historiques à nos jours, d’un « art perceptuel ». Au sein de ce corpus transhistorique sont rassemblées des oeuvres caractérisées par leur oscillation constante entre surface et volume, fait et effet, matière et vibration. Le phénomène de palpitation et de dissolution, qui se substitue à la composition et à la polychromie, rend impossible la saisie d’oeuvres tantôt incandescentes, tantôt évanescentes. Dans cette exploration constante des seuils du visible, la perception est traitée comme un médium à part entière. À travers oeuvres et textes, cette étude entend mettre en avant les résonances thématiques entre les époques et les courants afin, précisément, d’établir un panorama, le plus large possible, des pratiques relevant de ce que Jean Clay présenta comme « une prise de conscience de l’instabilité du réel ». / The term “perceptual abstraction” appears within the field of cognitive psychology before being associated, in the catalogue of the exhibition "The Responsive Eye" at the MoMA in New York in 1965, with Optical Art and Kinetic Art, two parallel trends around which debate and reception were focused for about a decade. At the same time, this link between abstraction et perception, despite the modest resonance of its term, is relevant for understanding these kinds of artistic practices with the potential of covering a wider historical and aesthetic field. Beyond this narrow chronological frame of the 1950s and 1960s, this concept describes a type of Perceptual Art that is based on an oscillation between fact and effect, matter and flux, surface and volume—an art in which composition and polychromy give way to vibration and dissolution, from the historical avant-gardes until today. Through an analysis of diverse artworks and texts, this study approaches perception beyond the commonly used categories of mechanical movement and optical effect. Considered as a medium in itself by some artists, perception is driven to its limits and the spectator’s capacity to grasp form and space is questioned. Thematic echoes between periods and trends are highlighted, precisely in order to define the field as broadly as possible—to reflect on what Jean Clay aptly described as “an awareness of the instability of the real.”

The first part of the thesis aims to provide basic background information for teachers prior to teaching FAE. The second part provides reflections on practical classroom teaching. The thesis also broaches the problems and possibilities which occur when working with with the film medium in the classroom.

Title: Rytiri Kladno hockey match benefits for spectrators Objectives: Analysis and description of benefits, taken from the visiting Rytiri Kladno hockey game to spectators in the season 2012/2013. Finding satisfaction with individual benefits and propose measures that could lead to increased satisfaction and increase attendance. Methods: observation, electronic survey, written interview, personal interview Results: Proposals and recommendations to improve spectator satisfaction and increased attendance. Keywords: Rytiry Kladno, marketing research, ice hockey, hockey match benefits, spectator satisfaction

La présente thèse étudie le rapport entre la vie et l’oeuvre d’Eugène Ionesco selon la perspective de l’autoportrait. Dans ses ouvrages fort divers — essai, roman et théâtre — l’écrivain se penche ouvertement sur sa vie et son passé pour y trouver l’essence de son existence. L’autoportrait ainsi dressé revêt constamment de nouvelles formes. Complexe et transgénérique, il embrasse plusieurs enjeux littéraires et métaphysiques que nous tentons d’analyser et de circonscrire dans le cadre d’une réflexion tripartite. Dans un premier temps, nous étudions la nature de « l’écriture de soi » chez Ionesco en regard des notions d’autobiographie et de journal pour en saisir l’originalité. Nous abordons ensuite l’écriture romanesque de l’auteur afin de montrer d’une part comment ce dernier introduit une dimension autobiographique dans une œuvre fictive et afin de révéler d’autre part son objectif sur le plan de l’écriture de soi. Enfin, nous analysons la nature de l’autoportrait dramatique ionescien du point de vue générique et examinons le mode de représentation de soi « hors de soi », c’est-à-dire, sur scène. / This thesis analyzes the relationship of Eugène Ionesco's life and works through a selfportrait lens. In his rich variety of works across multiple genres, e.g. essays, novels and plays, the author openly examines his life and his past to find the essence of his existence. Thus approached, the self-portrait constantly takes on new forms. Complex and cross-genre, it takes up various literary and metaphysical issues which will be analyzed and delineated through a tripartite approach. Firstly, the nature of self-writing in Ionesco's works will be considered in comparison to the concepts of autobiographical and journal writing in order to appreciate his originality more thoroughly. Next, his novelistic writing will be explored to show, on the one hand, how he adds an autobiographical dimension to fiction, and to reveal on the other hand, his goal as far as self-writing is concerned. Finally, the nature of Ionesco’s dramatic selfportrait will be analyzed from a genre standpoint as will his self-representation from “ outside himself”, that is to say, on stage.

This thesis is aimed at the educational potential of theatre arts in a relationship to its recipients which are children of a younger school age and to its other actors like theatre lecturers and teachers. In the theoretic part of the thesis are defined the specifications of theatre art aimed at a child spectator in terms of a content of the theatre inscenations, school as a partner of cultural institutions, work with the audience, accompanying programs and its developers. The theoretic part of the thesis also maps already realized studies in the field of theatre education. The empirical part of the thesis is an effort to find out the educational efficiency of the theatre workshop programs, these being realized by a professional Czech theatre scenes, and reveals the methods of utilization of the educational potential of these programs by theatre lecturers and teachers. Research investigation showed a high effectivity of these programs in terms of personal and social growth of its recipients, specifically developing their key competences.

No description available.

Este trabalho busca analisar uma experiência de teatro realizada durante 22 anos com funcionários de uma empresa e refletir sobre a relação possível entre o teatro e a empresa por meio de uma proposta de Dramaturgia Cênica. Para tanto, apresenta-se o resgate histórico do percurso através do levantamento e análise crítica de materiais significativos relativos às diversas encenações realizadas. Estabelece- se, também, um diálogo entre a experiência e alguns referenciais teóricos na perspectiva de um teatro brechtiano para a construção de um modelo que contribua para um processo de humanização, favorecendo transformações pessoais e interferências no ambiente de trabalho e na realidade social em geral. / This dissertation sets out to analyse a theatre work experience developed with employees of one company over the course of 22 years. In it, I seek to reflect on the possible relationship between theatre and the company through a proposal for stage dramaturgy. To achieve this objective, it rebuilts the whole history line of this experience, through a selection and critical analisys of some relevant material about the groups theater productions. It also stabilishes a dialogue between the experience and some theoretical work, particularly about Brechtian theater, aiming to develop a model capable of contributing to the process of humanisation, encouraging personal transformation and changes in the workplace environment and in the broader social reality.

Le festival n'est pas une activité a-juridique. Cette activité événementielle attractive est encadrée par les pouvoirs publics tant par des mesures de police administrative que dans son occupation du domaine public. Cet événement présentant incontestablement des atouts pour la politique touristique et culturelle d'un territoire est devenu une véritable institution cofinancée par les pouvoirs publics. Oscillant entre mission de service public et simple activité de prestation de services, la question de l'intérêt public local de cette activité est au cœur d'un contentieux émergent devant le juge administratif. Dans le même temps, la valeur du festival tend à se privatiser. L'introduction du mécénat, le recours à certains droits de propriété intellectuelle pour protéger cette valeur (droit des marques pour l'appellation et le droit d'auteur pour la programmation) et le travail des groupes de pression pour obtenir un nouveau droit voisin en faveur des organisateurs de spectacles sont autant d'indices qui illustrent ce mouvement de privatisation. De plus, la tentation d'appropriation des concepts festivaliers incite à proposer une qualification juridique globale pour laquelle la notion de fonds de commerce s'avère adaptée. Enfin, l'application de contrats de franchise ou de partenariat aux festivals constitue des instruments juridiques utiles pour permettre leurs duplications. / A festival is a legal activity. This attractive entertaining event is regulated by the government as well through administrative policies measures as by its occupation of the public domain. This event, undoubtedly providing with potential assets for tourism and cultural policies of a given territory, has become an institution cofinanced by public authorities. Oscillating between public service mission and plain private service provision, the issue of local public interest of this activity is at the heart of an emerging dispute before the administrative law judge. At the same time, the value of the festival tends to become privatized. The introduction of corporate philanthropy and sponsoring, the use of specific intellectual property rights to protect that value (name branding laws for the designation and copyright laws for the programming) and groups lobbying for new laws to protect event organizers are all indicators that illustrate the privatization trend. Moreover, the temptation of appropriation of festival concepts fosters the proposal of a comprehensive legal qualification for which the concept of business is appropriate. Finally, the application of franchise or partnership to the festivals provides legal instruments useful to enable their duplication.

Made available in DSpace on 2016-04-26T18:15:30Z (GMT). No. of bitstreams: 1 Igor Gasparini.pdf: 1781173 bytes, checksum: 4b0d7c7a2b4e6ae815252d0b68cbfee0 (MD5) Previous issue date: 2015-12-14 / The main focus of this study is the cultural journalism crisis, that homogenizes culture and entertainment with severe consequences to the relation between spectator and artistic production. The goal is to investigate the cultural journalism in the analogical and digital medias, facing the emergent digital platforms developed by artists (Movimento 7x7, Discoreografia, and others). The aim is to check if the specific places dedicated to the dance communication are able to attract/cultivate/maintain the public interests, in a moment in which the segmentation is imposed as a form of coexistence. To investigate the relation between the individual with the art piece, the research is based on the Teoria Corpomídia (KATZ and GREINER, 2012). The communication piece‐spectator is worked considering the perspective proposed by MARTÍN‐BARBERO (2009), where the cultural journalism becomes a mediation; and the viewer is seen as an emancipated spectator, according to RANCIÈRE (2010). The studies of SCOTT TIMBERG (2015) about the artistic class, and the ones of PASCAL GIELEN (2013) about the creativity as a fundamentalism are also part of the theoretical foundation. The hypothesis is that the cultural journalism specialized in dance has already initiated a reinvention process, in order to face the increased silence on traditional medias. The methodology was concentrated in literature review, the analysis of a selected corpus and interviews with some of the agents of this context, namely, journalists, artists and curators of public cultural places / O tema principal da pesquisa é a crise que atinge o jornalismo cultural, homogeneizando cultura e entretenimento, com graves consequências para a relação do espectador com a produção artística. O objetivo é investigar o jornalismo cultural tradicional através de veículos de comunicação, sejam eles analógicos ou digitais, em comparação às plataformas digitais emergentes realizadas por artistas (Movimento 7X7, Discoreografia, entre outros). O intuito é o de verificar se os espaços específicos dedicados à comunicação da dança são capazes de atrair/cultivar/manter o interesse do público, em tempos nos quais a segmentação impõe‐se como forma de convívio. Para investigar o encontro do indivíduo com a obra, a pesquisa apoia‐se na Teoria Corpomídia (KATZ e GREINER, 2012). A comunicação obra‐espectador é trabalhada na perspectiva proposta por MARTÍN‐BARBERO (2009), de que o jornalismo cultural tornou‐se uma mediação; e o espectador é visto como um espectador emancipado, a partir de RANCIÈRE (2010). Ainda fazem parte da fundamentação teórica os estudos de SCOTT TIMBERG (2015) sobre a classe artística e os de PASCAL GIELEN (2013) sobre a criatividade como uma espécie de fundamentalismo. A hipótese é a de que o jornalismo cultural especializado em dança já iniciou um processo de reinvenção, de modo a enfrentar o silenciamento crescente nas mídias tradicionais. A metodologia concentrou‐se na revisão bibliográfica, na análise do corpus aqui recortado e na realização de entrevistas com alguns dos agentes desse contexto, a saber, jornalistas, artistas e programadores de espaços públicos

Sport räknas idag som ett gränsöverskridande fenomen som intresserar människor världen över, såväl utövare som åskådare. På senare år har den tekniska utvecklingen bidragit till en förändring i hur sport konsumeras, avståndet mellan utövarna och åskådarna har minskat i takt med en ökad kommersialisering. Samtidigt har de ekonomiska förutsättningarna för klubbar och tävlingar blivit allt tuffare, vilket lett till sportmarknadsförarna tvingats hitta innovativa och kostnadseffektiva sätt att marknadsföra verksamheten. Ett allt populärare sätt att marknadsföra sig är via sociala medier, som existerar till följd av den tekniska utvecklingen. Med tanke på att fler och fler av den yngre generationen syns och hörs på sociala medier dagligen är det intressant att undersöka hur sociala medier påverkat fördelningen av marknadsföringsresurser inom sportindustrin.Syftet med studien är att öka förståelsen för hur den tekniska utvecklingen, i synnerhet sociala medier, förändrat förutsättningarna för interaktion och kommunikation med konsumenter. För att uppfylla syftet har en empirisk undersökning utförts på svenska idrottsklubbar och idrottstävlingar. Undersökningen baseras på kvalitativa intervjuer med respondenter från sju olika idrottsorganisationer. Empirin analyserades med hjälp av en teoretisk referensram innehållande en specifik modell och tidigare forskning fokuserad på tre områden: sportmarknadsföring, relationsmarknadsföring och sociala medier.Studiens resultat visar att de sociala medierna på kort tid har fått en betydande roll för sportorganisationer och hur de kommunicerar med konsumenter. Fördelningen av marknadsföringsresurser har skiftat från tidigare nästan enbart traditionell marknadsföring mot att nu främst fokusera på sociala medier som kanal för kundinteraktion. Med tanke på organisationernas begränsade ekonomiska möjligheter lämpar sig sociala medier väl som ett verktyg för kostnadseffektiv marknadsföring. Idrottsorganisationerna präglas idag alltmer av de sociala medierna och utvecklingen pekar på att de traditionella medierna fortsatt kommer minska med tiden.För framtida forskning anser vi att urvalet bör breddas ytterligare, både ur ett geografiskt och storleksmässigt perspektiv. Dessutom hade det varit av värde att undersöka klubbar och tävlingar mellan olika länder med de olika förutsättningar som råder från land till land. Framtida studier kan också tänkas genomföra studien över ett större tidsintervall för att kunna mäta förändring över tid. / Program: Civilekonomprogrammet