abstract: This document analyzes the use of the Principles of Design within the applied project It’s My Party, a multimedia dance theatre production, as a means to address and overcome the stigmatization of the Human Immunodeficiency Virus (HIV). Through the orchestration of dance, music, props, acting, video, and spoken word, this interdisciplinary work investigates how these production elements synthesize into a transformative theatrical experience for audiences. Outlined in this document is the eight month design process. The process included concept design, assessing, processing, customizing the message, script development, rehearsals, and video production, and concluded with an evening length production. Analyzed through the structural narrative of The Hero’s Journey, this autobiographic work details the author’s HIV-positive (HIV+) coming out story from a restorative narrative perspective. By addressing the subject of HIV from a contemporary point-of-view, this project strives to reencode the troubling associations affiliated with HIV with an empowered and hopeful understanding. / Dissertation/Thesis / Masters Thesis Dance 2016

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This text presents the results of my master's research about the analysis of five travel reports. The reports chosen are from travelers Alexander Baguet, Arsène Isabelle, Auguste de Saint-Hilaire, Nicolau Dreys and Robert Avé-Lallemant. The objective of this work is to understand how these travelers perceived the environment of Pampa, an unknown territory to them. These reports may give us a complex understanding of the relationships established between humans and the natural world, especially with regard to the temporal space of research that is the Pampa in the first half of the nineteenth century. This region still lacks studies in the area and it is interesting because it is a biome divided by borders of States that were formed and consolidated in that period, trying to get more influence in this vast region. In this perspective, I use environmental history as a theoretical reference to perform the analysis of the sources. / Este trabalho apresenta os resultados da minha pesquisa de mestrado que trata da análise de cinco relatos de viagem. Os relatos escolhidos são dos viajantes Alexander Baguet, Arsène Isabelle, Auguste de Saint-Hilaire, Nicolau Dreys e Robert Avé-Lallemant. O objetivo do trabalho é compreender como estes viajantes percebiam o ambiente do Pampa, um território desconhecido para eles. Estes relatos podem nos propiciar um entendimento mais complexo sobre as relações estabelecidas entre os seres humanos e o mundo natural, especialmente no que se refere ao recorte espaço temporal da pesquisa que é o Pampa na primeira metade do século XIX. Esta região carece ainda de estudos na área e se demonstra interessante por ser um bioma recortado por fronteiras de Estados Nacionais que naquele período se formavam e se consolidavam, disputando influência sobre esta vasta região. Nesta perspectiva, utilizo a história ambiental como referência teórica para realizar a análise das fontes.

I denna vetenskapliga uppsats kommer boken En man som heter Ove och filmen En man som heter Ove jämföras med varandra, med fokus på Oves tillbakablickar. Detta görs genom att analysera bokens och filmens tillbakablickar som förklarar Oves förflutna. Filmens tillbakablickar visas via flashbacks. Syftet med denna uppsats är att se hur stor påverkan skillnaden mellan bokens tillbakablickar och filmens användande av flashbacks har på karaktären Ove. Oves resa placeras i Craig Battys modell av protagonistens resa, både i bok och film. De båda resorna jämförs med fokus på Oves bakgrundsberättelse och hur det påverkar Oves karaktär i nutid. Vidare analyseras filmens val av flashbacks med hjälp av Linda Aronsons teori om flashbacks användning och funktion. Analysens resultat visar att Oves bakgrund har stor betydelse för hur Ove agerar i nutid vilket leder till att Ove upplevs olika i de olika medierna.

A ideia de circularidade, de unidade e de renovação cíclica é um tema frequente nas obras de Caio Fernando Abreu e configura uma estrutura narrativa com o mesmo padrão. Tal estrutura, que reproduz o ciclo da vida, está refletida nos textos ficcionais, ao narrar a história de um personagem-protagonista, da transição da infância para a adolescência até a maturidade. Este trabalho propõe que o conjunto da obra ficcional do escritor pode ser lido como uma unidade narrativa cujo enredo é a trajetória de um personagem na formação de sua individualidade, de sua consciência e de sua vocação literária. Ao enfocar o indivíduo, com as suas experiências, encontros e desencontros, dramas e alegrias, o escritor compõe uma radiografia emocional do humano de seu tempo, em um período de quase quatro décadas. Além das questões expostas, e por elas, intenta destacar a relevância, a atualidade e a qualidade da obra de Caio, por abordar temas universais e perenes que ultrapassam aquele momento histórico e por seu estilo original e refinado no trabalho da palavra. O Autor fez sua passagem em 1996 e seus livros continuam sendo reeditados, inclusive com material inédito, e novas traduções de suas obras estão sendo publicadas, assim como e-books, no Brasil e no exterior. O fato de conquistar tantos leitores jovens do século XXI confirma a vitalidade da obra deste mestre de engenho e arte. Para investigar e descrever as maneiras como a unidade narrativa é realizada, os referenciais teóricos são os ensaios de Ricardo Piglia, as conferências e palestras de Jorge Luis Borges, as teorias do Romance de Formação ou Bildungsroman, as pesquisas de Joseph Campbell relacionadas à Jornada do herói ou Monomito e outros estudos complementares. / The idea of circularity, of unity and cyclical renewal is a frequent theme in the works of Caio Fernando Abreu and sets up a narrative structure with the same pattern. This structure, which reproduces the cycle of life, is reflected in fictional texts narrating the story of a character-protagonist, since the transition from childhood to adolescence and until maturity. This work proposes that the set of the writer's fictional work can be read as a narrative unity which plot is the trajectory of a character in the formation of his individuality, his conscience and his literary vocation. By focusing on the individual, their experiences, encounters and disagreements, dramas and joys, he composes a human emotional radiography of his time in a period of nearly four decades. In addition to the issues exposed, and for them as well, the study intends to highlight the relevance, timeliness and quality of Caio's work, by addressing universal and perennial themes that transcend his historical moment and for his unique and refined style in the art of writing. The Author has passed away in 1996 and his books continue to be reissued, including unreleased material, new translations of his books are being published, as well as e-books, in Brazil and abroad. The fact that he has been conquering so many young readers of the XXI century attests to the vitality of the work of this master of ingenuity and art. To investigate and describe the ways in which the narrative unity is performed, the theoretical background are the essays by Ricardo Piglia, conferences and lectures by Jorge Luis Borges, theories of Novel of Formation or Bildungsroman, Joseph Campbell's research on The Hero's Journey or Monomyth and other additional studies.

A vida de um jovem e seu percurso pelo mundo em busca de sua identidade é o mote do romance de formação, subgênero que teve seu auge entre os séculos XVIII e XIX. Franco Moretti e Esther Labovitz, entre outros críticos por nós considerados, estudaram a fundo o romance de formação o Bildungsroman , sendo que esta última autora focalizou a variante feminina no Bildungsroman do século XX. O presente trabalho tem como objetivo analisar o romance da escritora italiana Melania Mazzucco Lei così amata. O romance recorta e focaliza uma parte da vida da escritora suíça Annemarie Schwarzenbach, portanto possui as características do romance biográfico. Contudo, pretendemos, neste estudo, evidenciar principalmente as características que fazem dessa obra um romance de formação. Por meio da conturbada trajetória vivida pela protagonista, buscamos reconhecer, nas viagens empreendidas por ela, ao redor do mundo, as características fundamentais do romance de formação. Em particular, com base nos estudos de Mikhail Bakhtin sobre o cronotopo, analisamos as formas com que o tempo vivido nos diferentes continentes Ásia, América e África marcam o percurso formativo da heroína. / The life of a young man and his way through the world in search of his own identity is the motto of the formation novel, subgenre which had its climax between the 18th and the 19th centuries. Franco Moretti and Esther Labovitz, among other critics considered by us, studied the formation novel in depth the Bildungsroman , this last author focusing on the feminine variant in the Bildungsroman of the 20th century. This study aims at analyzing the novel of the Italian writer Melania Mazzucco Lei così amata. The novel focuses on part of the life of the Swiss writer Annemarie Schwarzenbach, therefore it presents all the characteristics of the biographical novel. However, in this study, our main intention is to demonstrate all the features that make this work a formation novel. Through the troubled trajectory lived by the protagonist, we try to recognize, in her journeys around the world, the fundamental features of the formation novel. In particular, based on the Mikhail Bakhtins studies of the chronotope, we analyze the forms in which the time lived in the different continents Asia, America and Africa determine the heroines formative course.

O presente trabalho propõe a análise da trajetória do protagonista do mangá Angel Sanctuary, da autora Yuki Kaori, publicado originalmente no Japão entre 1994 e 2000, sob a luz da jornada do herói de Joseph Campbell, a fim de traçar seu perfil como herói japonês contemporâneo de mangá. Propõe-se juntamente a análise do diálogo da obra com a mitologia judaico-cristã, principal fonte de inspiração e referências da autora para a confecção de sua história. Para tanto, é feita uma apresentação dos elementos próprios das histórias em quadrinhos e da jornada do herói, para que depois sejam aplicadas ao mangá Angel Sanctuary, no qual são apontadas as etapas da jornada e seus arquétipos, assim como suas relações com as mitologias nas quais são baseados. A análise aponta para uma diferença entre o pensamento tipicamente japonês, que tende a encarar com naturalidade a presença de forças opostas num mesmo ser e na natureza, em contraste com a forte separação entre Bem e Mal presente nas religiões judaico-cristãs. / This dissertation thesis proposes the analysis of the trajectory of the manga Angel Sanctuarys protagonist, from author Yuki Kaori, originally published in Japan between 1994 and 2000, considering Joseph Campbells Heros Journey, in order to trace his profile as a contemporary Japanese manga hero. It also proposes the analysis of the mangas dialog with the Judeo-Christian mythology, main source of the authors inspiration and references for the confection of her story. To do so, the characteristic elements of comic books and the Heros Journey are presented, so that they can be applied to Angel Sanctuary, in which the journeys steps and archetypes are indicated, as well as their relations to the mythologies in which they are based. The analysis points to a difference between typical Japanese thinking, that tends to face the presence of opposing forces inside a single being and in nature with naturality, in contrast with the well-defined separation between Good and Evil existent in Judeo-Christian religions.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-09-27T18:49:15Z No. of bitstreams: 1 gheysalemesgoncalvesgama.pdf: 4548618 bytes, checksum: 237e8caee2745f73a0be0a21f32bed87 (MD5) / Approved for entry into archive by Diamantino Mayra (mayra.diamantino@ufjf.edu.br) on 2016-09-27T20:48:27Z (GMT) No. of bitstreams: 1 gheysalemesgoncalvesgama.pdf: 4548618 bytes, checksum: 237e8caee2745f73a0be0a21f32bed87 (MD5) / Made available in DSpace on 2016-09-27T20:48:27Z (GMT). No. of bitstreams: 1 gheysalemesgoncalvesgama.pdf: 4548618 bytes, checksum: 237e8caee2745f73a0be0a21f32bed87 (MD5) Previous issue date: 2016-05-31 / A presente tese pretende investigar a mudança na representação da identidade cultural analisando o papel alegórico desempenhado pela estrada nos road movie brasileiros lançados entre 1960 e 2015. A hipótese revela que este grupo de obras fílmicas apresenta, num determinado momento histórico, representações de identidade coletiva (a identidade nacional), modificando-se posteriormente, para representar uma identidade fragmentada. Como resultado desse esforço observa-se a existência daquilo que presentemente estamos chamando de duas fases do road movie brasileiro: a “Viagem Física” (congrega filmes lançados entre a década de 1960 até 1998) e a “Jornada Interior” (com filmes de 1998 até 2015). O que mais diferencia essas duas fases são as alegorias assumidas pela estrada nestes road movies, que se modificam, ao mesmo tempo em que se verifica mudança na própria identidade cultural, esta última confirmada em autores como Anderson (2008); Bauman (2008, 2001, 1998) e Hall (2005). Se na primeira fase a estrada é apresentada como uma alegoria da nação e do povo brasileiro, na segunda fase, começa a representar a transformação individual, odisseia subjetiva, um espaço existencial, de transformação, que se configura como um ritual de passagem. A tese é amparada, para além dos fundamentos teóricos, na análise fílmica de seis películas: Iracema, uma transa amazônica (BODANZKY; SENNA, 1974); Bye bye Brasil (DIEGUES, 1979); Jorge, um brasileiro (THIAGO, 1988); Central do Brasil (SALLES, 1998); Cinemas, aspirinas e urubus (GOMES, 2005) e Dromedário no asfalto (VARGAS, 2014). Assim, se busca demonstrar, observando a representação de algumas características sociais e culturais presentes no cinema nacional, a real confluência entre as mudanças alegóricas nos road movies brasileiros com as transformações na construção da nossa própria identidade cultural. / This thesis aims to investigate the change in the representations of the cultural identity by analyzing the allegorical role played by the road in the Brazilian road movies released between 1960 and 2015. The hypothesis is that this group of films brings about, in a given historical moment, representations of collective identity (national identity), but changing later to represent a fragmented identity. As a result of this effort one might find the existence of what is now being called the two phases of the Brazilian road movie: the "Physical Journey" (congregating films released between 1960 to 1998) and the "Journey Within" (films from 1998 to 2015). What most distinguishes these two phases are the allegories personified by the road in these road movies, which change at the same time that changes in the cultural identity occur, the latter being confirmed by authors such as Anderson (2008); Bauman (2008, 2001, 1998) and Hall (2005). If the first phase, the road is presented as an allegory of the nation and of the Brazilian people, whereas in the second phase it begins to represent the individual transformation, the subjective odyssey, an existential space of transformation, which is configured as a rite of passage. The thesis is supported, in addition to the theoretical foundations, by the cinematic analysis of six films: Iracema, uma transa amazônica (BODANZKY; SENNA, 1974); Bye bye Brasil (DIEGUES, 1979); Jorge, um brasileiro (THIAGO, 1988); Central do Brasil (SALLES, 1998); Cinemas, aspirinas e urubus (GOMES, 2005) e Dromedário no asfalto (VARGAS, 2014). Thus, this work seeks to show, by watching the representation of some social and cultural characteristics present in the national cinema, the real confluence between the allegorical changes in Brazilian road movies with those in the construction of our own cultural identity.

La frontière nord du Mexique est une sorte d’aimant qui attire d’immenses migrations humaines. Bien que cette «arrière-mur » entre les deux pays soit l’une des plus longues, dangereuses et traversées du monde, elle est aussi l’une des plus « poreuses » et de plus filmées. La problématique de cette recherche se pose sur la façon dont la frontièreentre le Mexique et les États-Unis est construite, filmiquement parlant, dans un corpus précis de films. Les travaux proposés sont : Los que se quedan (Juan C. Rulfo et Carlos Hargerman, 2008), Norteado (Rigoberto Pérezcano, 2009),également la production étasunienne, A better life (Christian Weitz, 2011). Ma recherche se fonde sur l’hypothèse selon laquelle la trilogie représente la frontière en trois étapes ou facettes de la frontière. D’un point de vue physique ougéographique, dans Los que se quedan la frontière est bien lointaine, elle est vue depuis le Sud. En revanche, dans Norteado la frontière commence à « s’approcher», jusqu'à sa traversée. Tandis que, dans A better life, la frontière estvue depuis le Nord. Le spectateur « construira » la frontière à travers un voyage migratoire, en trois degrés, trois faces et trois films. La focalisation de Los que se quedan se centre sur les témoins plutôt que sur la frontière comme espace. Norteado, se focalise sur deux aspects : la frontière comme un espace ressenti par le personnage en transit. A better life met l’accent sur les ressentiments du protagoniste face à la frontière. / The border between Mexico and the United States is known for being one of the largest, busiest and most dangerous in the world. This "barrier-wall" is not only one of the most extensive, dangerous and crossed in the world, but it is also one of the most "porous" and the most filmed. This doctoral thesis focuses on the representation of that real and imaginary border in cinema. The purpose is to study what elements are used, which ones are reoccurring and how they are related in a corpus of three films whose constants are: the trip, the wait and the failure or success of crossing the border. The corpus is framed in Those Who Remind (Los que se quedan, Juan Rulfo y Carlos C. Hargerman, 2008), Norteado (Rigoberto Pérezcano, 2009), and A Better Life (Christian Weitz, 2011). Together these movies make a kind of a circle where the border, the journey and the crossing are rewritten. Our research is founded on the hypothesis that the trilogy represents the frontier in three stages or facets. From a physical or geographical point of view, in Los que se quedan, the border is perceived as a faraway place, it is seen from the “South”. In Norteado, the border gets closer until the immigrant crosses it. Meanwhile, in A better Lifethe borderline is situated far from the geographical line: In the “North”. The trilogy shows the movement of the border through the immigrant figure, in a trip which is performed in three moments. The spectator “constructs” the border through a migratory journey in three degrees, three faces and in three films. The concentration of Los que se quedan is on the characters rather than on the frontier as a space. Norteado focuses on two aspects: the border as a geographical place and what the character feels in transit. A better Life emphasizes on how the characters feel in front of the border.

Maditsi is one of the most significant authors in Sepedi literature. He has written various texts, including poetry, short stories and a novelette. He won the first award of the Samuel E Mqhayi prize awarded by the Suid -Afrikaanse Akademie vir Wetenskap en Kuns in 1971, with his poetry book Monamolomo bolela monatsebe o tlo go kwa. His exceptional writing proficiency have been recognised by a scholar such as Thobakgale (1996: 6), who writes: (Maditsi) could be called the leading author of the development of Sepedi short stories, because his short stories, namely Mogologolo (1970), Monyane (1974) and Dipheko (1985) are of high standard as compared to the initial ones as they have raised the standard of Sepedi short stories. The aim of this dissertation is to analyse Maditsi’ s short story ‘Pheko ya pula’ from the anthology Dipheko, as a traditional short story, with special reference to two levels, namely content and plot. When analysing ‘Pheko ya pula’, two strategies have been chosen, namely ‘to define’and ‘to intepret’. The reason is because in this research there are terms such as journey, patronage, etc, that require definition, as well as ideas (characters, events, design, title, theme, topic, technique, conflict and others) that require interpretation and are related to the topic. Furthermore, the model used in this investigation was the adapted narratological model developed by Groenewald (1993) and Mojalefa (1997). This model differ from older models developed by narratologists such as Genette (1980) and Strachan (1988), because it emphasizes that when one discusses content, topic is important. When plot structure is examined, theme is highlighted, and when style is investigated, atmosphere plays a very important role. With regard to the content level, it was revealed that content consists of four elements, namely characters, events, time and place. Furthermore, it was also discovered that characters are subdivided into two categories, namely main and minor characters. These major characters are kind- hearted person and quarrelsome person and they are described according to the following index: intention, patronage, resistance, assistance and patronised. In the short story ‘Pheko ya pula’, the kind-hearted person is Potego, while the quarrelsome person is Mathoma, because he opposes Potego’s kindness. If this text is read and studied intensively the reader realises that the assistance of the quarrelsome person, Mathoma is the resistance of the kind-hearted person, Potego, and vice versa. Events can be classified into two categories, namely essential and other events. The essential events are further subdivided into three categories, namely first, middle and last events. The concept of time at the content level is explained in terms of three categories, namely narratological time, historical time and indefinite time. Place is divided into two categories: the physical place where events occur and indefinite place. In analysing plot structure, three elements are important, namely theme, design and title, because theme links the events of the plot of ‘Pheko ya pula’. Title plays a significant role in distinguishing the name of the literary text and design identifies the type of literary work. Four phases of plot, namely exposition, development, climax and denouement, have also been examined as pillars of the literary text. In the exposition phase, the first conflict (local witchdoctors refused to find the rain charm for the Puding community) is discussed in terms of the following techniques: contrast, foreshadowing, naming, focus, repetition and others. Sequence of events, flashback, symbol and other techniques were used in the development. In the climax, the author used cycle, repetition and other techniques, while in the denouement he used flashback and foreshadowing. In conclusion, this research has also examined the way Maditsi has used the journey as a technique in Sepedi literature, because ‘Pheko ya pula’ is based on a journey from the beginning to the end. The author has used this important technique with consummate skill. / Dissertation (MA)--University of Pretoria, 2008. / African Languages / unrestricted

In this research project, the potential of integrating ePortfolios into the reflection and assessment component between a personal trainer and client was examined. Research demonstrates that more effective learning occurs when reflection and engagement are integral components. The problem that this thesis aimed to answer was the importance of enhancing student engagement, in the classroom and beyond. New technology applications like ePortfolios allow for great student reflection and deep learning but are not universally applied. As such, this study explored the potential of integrating an e portfolio as a reflection technology to enhance engagement during learning. While ePortfolios are commonly found in an academic setting, professionals in healthcare have also used ePortfolios with their patients, clients or peers. Could ePortfolios be used by personal trainers, clients, coaches and athletes? If so, how? What would be the outcomes? The focus of this research project was to explore the potential of integrating ePortfolios into the reflection and assessment component between a personal trainer/client. Eight trainers throughout the Ottawa area were interviewed to gain an understanding of their perception on the ways in which trainers could enhance their client’s fitness journey through the use of an ePortfolio and if so, how would the ePortfolio would be used. The results of this research project provided insight as to whether or not reflective technology strategies such as ePportfolios would enhance the client’s fitness journey and if so, how would the ePortfolio be used. Ultimately, this thesis will inform our understanding of how ePortfolios can be transferred from an academic setting to foster deep learning in kinesiology settings.