Entrepreneurial intention has become perhaps the fastest growing line in entrepreneurship cognition research. Such inquiries of intention-based models generally focus on answering and predicting why an individual makes his/her decision to be an entrepreneur. However, a few limitations inspired the researcher, such as the antecedents of intentions and opportunity evaluation in front-end factors and nascent activities in back-end factors, which were excluded in past studies. In terms of entrepreneurship opportunities, this research suggests that the new paradigm could answer the following questions: Firstly, what are the main factors that influence the intentions of nascent entrepreneurs after entering the implementation stage? Secondly, why do they strive for entrepreneurial goals by means of various actions? Based on the theory of planned behavior (TPB), the research focuses on nascent entrepreneurs, examining the roles of concrete entrepreneurial opportunities and nascent activities in an existing intention-based model. How can an intention-action model with both predicting and explaining abilities be created? The sample poll was from the participants of an entrepreneurship plan financially sponsored by the Taiwan government. This work confirmed that the voluntary sample was consistent with nascent entrepreneurs and was opportunity-based. Deleting those lacking opportunities or with missing data resulted in 207 usable responses, and then, the qualitative research of 19 participants from participant observation or in-depth interviews was conducted. By way of such a multimethod analysis, the results show that the ¡§attitude toward entrepreneurial opportunity,¡¨ entrepreneurial self-efficacy, and perceived social norms are the main factors influencing entrepreneurial intentions. Besides, intentions and entrepreneurial self-efficacy dominate and influence the nascent entrepreneurs¡¦ activities to reach the entrepreneurial goals. Finally, this research identifies two research approaches: one is ¡§To Be¡¨ and the other is ¡§To Act.¡¨ The latter forms a more explaining and predictable opportunity-based ¡§entrepreneurial intention-action model.¡¨ The stakeholders of entrepreneurial policy will face the challenges of how to improve the ¡§attitude toward entrepreneurial opportunity¡¨ and how to inspire the further actions of nascent entrepreneurs.

A presente pesquisa investiga o conceito de modelo de ação, um dos elementos que configuram a proposta de Bertolt Brecht para o exercício com suas peças didáticas. Para isso, em um primeiro capítulo, são contextualizados os aspectos que fundamentam essa proposta por meio de uma análise da situação em que tais ideias foram elaboradas. No capítulo seguinte, analisa-se com maior detalhamento as considerações do dramaturgo alemão referentes ao conceito de modelo de ação. Ainda neste capítulo, um experimento denominado Sete vezes Sr. Schmitt é abordado como possibilidade na prática com a peça didática. Por fim, no terceiro capítulo, descreve-se e examina-se os procedimentos artísticos e a encenação intitulada BadenBaden, tanto nos âmbitos das premissas que embasaram esse trabalho quanto nas repercussões desse processo para os artistas envolvidos. Dessa forma, especula-se acerca dos vínculos entre a proposta brechtiana das peças didáticas e a prática de encenação contemporânea, no campo da Pedagogia do Teatro. / The current research aims at investigating the concept of action model, one of the elements that constitutes Bertolt Brecht\'s proposal for the exercise with his own learning plays. In the first chapter, the founding aspects of his proposal are contextualized through an analysis of the context in which those ideas were conceived. The next chapter analyzes with more specific details the German dramaturge\'s considerations referring to the concept of action model; in the same chapter, the experiment called \"Seven times Mr. Schmitt\" is described as a possibility in the practice with the learning play. Finally, in the third chapter, the artistic procedures are described and analyzed, and the staging entitled BadenBaden, both in the premises that justify this research, as well as the repercussion of this process for the artists involved. Thus, the connections between Brecht\'s proposal for the learning plays and the contemporary staging practice are evaluated, in the context of the Theater Pedagogy.

A presente pesquisa investiga o conceito de modelo de ação, um dos elementos que configuram a proposta de Bertolt Brecht para o exercício com suas peças didáticas. Para isso, em um primeiro capítulo, são contextualizados os aspectos que fundamentam essa proposta por meio de uma análise da situação em que tais ideias foram elaboradas. No capítulo seguinte, analisa-se com maior detalhamento as considerações do dramaturgo alemão referentes ao conceito de modelo de ação. Ainda neste capítulo, um experimento denominado Sete vezes Sr. Schmitt é abordado como possibilidade na prática com a peça didática. Por fim, no terceiro capítulo, descreve-se e examina-se os procedimentos artísticos e a encenação intitulada BadenBaden, tanto nos âmbitos das premissas que embasaram esse trabalho quanto nas repercussões desse processo para os artistas envolvidos. Dessa forma, especula-se acerca dos vínculos entre a proposta brechtiana das peças didáticas e a prática de encenação contemporânea, no campo da Pedagogia do Teatro. / The current research aims at investigating the concept of action model, one of the elements that constitutes Bertolt Brecht\'s proposal for the exercise with his own learning plays. In the first chapter, the founding aspects of his proposal are contextualized through an analysis of the context in which those ideas were conceived. The next chapter analyzes with more specific details the German dramaturge\'s considerations referring to the concept of action model; in the same chapter, the experiment called \"Seven times Mr. Schmitt\" is described as a possibility in the practice with the learning play. Finally, in the third chapter, the artistic procedures are described and analyzed, and the staging entitled BadenBaden, both in the premises that justify this research, as well as the repercussion of this process for the artists involved. Thus, the connections between Brecht\'s proposal for the learning plays and the contemporary staging practice are evaluated, in the context of the Theater Pedagogy.

Submitted by Maike Costa (maiksebas@gmail.com) on 2016-06-20T12:25:22Z No. of bitstreams: 1 arquivo total.pdf: 937413 bytes, checksum: e26481374c45fb855ad72178d9093a1d (MD5) / Made available in DSpace on 2016-06-20T12:25:22Z (GMT). No. of bitstreams: 1 arquivo total.pdf: 937413 bytes, checksum: e26481374c45fb855ad72178d9093a1d (MD5) Previous issue date: 2016-03-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This paper aims to analyze Machado de Assis‘s novel ―Quincas Borba through the theory from Jacques Rancière about ―strategic – or Napoleonic – action model‖. We presented the analysis of the novel by relating it to a short tale from the same author entitled ―O Espelho‖ (The mirror), by establishing a relationship between the characters (specially Rubião, main character of the novel) and Napoleonic personas – Napoleon I/Napoleon III. We tried to demonstrate the character in contraposition to heroic accomplishments of the French emperor such as the critic and parodic inversion of the Napoleonic model, negatively based on Napoleon‘s saga, but also on reflections from Machado de Assis about the gaps and contradictions on Brazilian bourgeoisie society from the second half of 19th century, which tried to inspire themselves on ideas and ideologies originated, mostly, on France, as discussed by Roberto Schwarz. / A presente pesquisa tem a finalidade de analisar o romance Quincas Borba, de Machado de Assis, à luz da teoria de Jacques Rancière sobre o ―modelo estratégico – ou napoleônico de ação‖. Apresentamos a análise do romance relacionando-o com o conto machadiano ―O espelho‖, buscando caracterizar os personagens, principalmente Rubião, protagonista do romance, confrontando-o às figuras napoleônicas – Napoleão I / Napoleão III. Tentamos demonstrar o personagem em contraponto ao marco heroico do imperador francês, como a inversão crítica e paródica do modelo napoleônico, inspirado negativamente na saga de Napoleão, mas também as reflexões de Machado de Assis sobre as lacunas e contradições da sociedade burguesa brasileira oitocentista, da segunda metade do século XIX, que buscava se inspirar nas ideias e ideologias provenientes principalmente da França, discutidas por Roberto Schwarz.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

Due to changes in UK and Scottish policy and NHS directives, there have been many changes and improvements in the way information is provided to patients affected by cancer and their families over the last decade. The information provided should be accurate, detailed and tailored to the individual’s needs across the whole of their cancer trajectory. People affected by laryngeal cancer could be classed as a “Cinderella” group as there is a lack of research with this group of patients and their families, in comparison to other types of cancer, even though the impact of treatment can have a profound and debilitating effect on the individual and their family’s quality of life. How this group of patients and their families use and source information to help them make sense of their experiences across their trajectory is unknown, therefore this study explored the role of information based on the experiences of people affected by laryngeal cancer across their cancer trajectory. The study adopted an interpretive prospective longitudinal approach, using two in-depth qualitative interviews with twenty patients and eighteen carers from across the main treatment pathways associated with this type of cancer. The data were analysed using Framework Analysis and influenced by Dingwall’s Illness Action Model. Four broad thematic headings were developed to explain the role of information: “Search for Normality”, “Illusion of Certainty”, “Reality of Uncertainty” and “Culture of Caring”. Relationships were identified between these headings at four key stages across the cancer trajectory. The ii broad theme “Search for Normality” overarched the whole of the cancer trajectory explaining how information was sourced and used to help this group understand their experience of symptoms. The main findings from the study show that two broad categories of information are used: information from health professionals and experiential information from one’s own and others’ experiential knowledge of health and illness. Both categories of information are sourced and used in different ways at different stages over the course of the trajectory and become inextricably linked over time. The study shows that information is not an entity that can be studied on its own but needs to be studied and explained in the ways it is situated, used and experienced within the context of the complex needs and experiences of this group of patients and their families. This study is the first longitudinal study to provide an explanation of the role of information with people affected by laryngeal cancer across their cancer trajectory. The findings show how the different types of information used from the various sources influence how people affected by laryngeal cancer perceive and understand their diagnosis, treatment and the outcome of treatment. The study findings suggest that health professionals need to situate information in the context of the individual’s understanding and prior knowledge of health and illness to ensure that it does not set unrealistic expectations, with a clear need for continuity and supportive care identified in the post-treatment and follow-up phases.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

A presente dissertação tem como objetivo propor uma reflexão sobre as contribuições que a prática de jogos teatrais pode trazer para o aprendizado de língua estrangeira (italiano). A hipótese de nossa pesquisa é que a realização de jogos teatrais a partir de modelos de ação (KOUDELA, 1991, 1996), práticas muito comuns à pedagogia do teatro, possa criar novas oportunidades/situações de aprendizagem e potencializar o processo de ensino-aprendizagem de línguas na perspectiva da abordagem comunicativa. Para isso, utilizamos como base as fichas de jogos propostos por Spolin (2001), as quais foram ampliadas e contextualizadas para o contexto de línguas. Quanto aos aspectos teóricos, procuramos apresentar o conceito de jogo, o sistema de jogos da norte-americana Viola Spolin, reflexões sobre protocolo e modelo de ação. Procuramos ainda, relacionar esses conceitos, inerentes à pedagogia do Teatro, à hierarquia de abordagens, métodos e técnicas (ANTHONY, 1963; RICHARDS & RODGERS, 1986), à aprendizagem colaborativa de línguas (FIGUEIREDO, 2003), ao ensino comunicativo (ALMEIDA FILHO 1993, 2012; RICHARDS, 2006) e à pedagogia Pós-Método (KUMARAVADIVELU, 1994, 2003). A experiência que fundamentou nosso trabalho foi realizada com alunos e professores de língua italiana, no mês de julho de 2012, em um curso de difusão cultural da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo ministrado pelo próprio pesquisador. Como metodologia da pesquisa, servimo-nos da análise de dados qualitativos obtidos através do visionamento das aulas gravadas, da aplicação de questionário inicial e final e produção de protocolos realizados pelos participantes (KOUDELA, 1996, 2001). A análise dos dados sinaliza para as seguintes contribuições dos jogos teatrais para a sala de comunicativa, tais como: desenvolvimento da autonomia de alunos e professores em relação ao processo ensino-aprendizagem, uso integrado das habilidades comunicativas, facilitação da interação negociada e construção de ambientes autênticos de interação oral durante o processo de ensino-aprendizagem de línguas / The present study intends to propose a reflection about the contributions the practice of theater games may bring to the learning of a foreign language (Italian). The hypothesis of our research is that the theater games achievement from action models (KOUDELA, 1991, 1996), fairly common practice to the pedagogy of theater, can create new opportunities/learning situations and potentiate the teaching-learning of language process in the communicative approach perspective. To this purpose, we use the records of games proposed by Spolin (2001) as basis, which were extended and contextualized to the context of languages related to the language teaching. Regarding theoretical aspects, we try to present the game concept, the game system of the North American Viola Spolin, reflections about protocol and action model. We also seek to relate these concepts inherent to the theater pedagogy, the hierarchy of approaches, methods and tecniques (ANTHONY, 1963; RICHARDS & RODGERS, 1986), the collaborative language learning (FIGUEIREDO, 2003), the communicative teaching (ALMEIDA FILHO 1993, 2012; RICHARDS, 2006) and the Post-Method pedagogy (KUMARAVADIVELU, 1994, 2003). The experience which grounded our study was conducted with students and teachers of the Italian language, in July of 2012, in a course called Cultural Diffusion ministered by the own researcher performed by University of Philosophy, Letters and Human Sciences of São Paulo. As a research methodology, we serve of the qualitative data analysis obtained by the viewing of recorded lectures and implementing of initial and final questionnaire and protocols production performed by participants (KOUDELA, 1996, 2001). The data analysis points to the following theater games contributions to the communicative room, such as: development of students and teachers autonomy in relation the teaching-learning process, integrated use of communication skills, facilitation of interaction / negotiation and construction of authentic environments of oral interaction during the teaching-learning process of languages

A presente dissertação tem como objetivo propor uma reflexão sobre as contribuições que a prática de jogos teatrais pode trazer para o aprendizado de língua estrangeira (italiano). A hipótese de nossa pesquisa é que a realização de jogos teatrais a partir de modelos de ação (KOUDELA, 1991, 1996), práticas muito comuns à pedagogia do teatro, possa criar novas oportunidades/situações de aprendizagem e potencializar o processo de ensino-aprendizagem de línguas na perspectiva da abordagem comunicativa. Para isso, utilizamos como base as fichas de jogos propostos por Spolin (2001), as quais foram ampliadas e contextualizadas para o contexto de línguas. Quanto aos aspectos teóricos, procuramos apresentar o conceito de jogo, o sistema de jogos da norte-americana Viola Spolin, reflexões sobre protocolo e modelo de ação. Procuramos ainda, relacionar esses conceitos, inerentes à pedagogia do Teatro, à hierarquia de abordagens, métodos e técnicas (ANTHONY, 1963; RICHARDS & RODGERS, 1986), à aprendizagem colaborativa de línguas (FIGUEIREDO, 2003), ao ensino comunicativo (ALMEIDA FILHO 1993, 2012; RICHARDS, 2006) e à pedagogia Pós-Método (KUMARAVADIVELU, 1994, 2003). A experiência que fundamentou nosso trabalho foi realizada com alunos e professores de língua italiana, no mês de julho de 2012, em um curso de difusão cultural da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo ministrado pelo próprio pesquisador. Como metodologia da pesquisa, servimo-nos da análise de dados qualitativos obtidos através do visionamento das aulas gravadas, da aplicação de questionário inicial e final e produção de protocolos realizados pelos participantes (KOUDELA, 1996, 2001). A análise dos dados sinaliza para as seguintes contribuições dos jogos teatrais para a sala de comunicativa, tais como: desenvolvimento da autonomia de alunos e professores em relação ao processo ensino-aprendizagem, uso integrado das habilidades comunicativas, facilitação da interação negociada e construção de ambientes autênticos de interação oral durante o processo de ensino-aprendizagem de línguas / The present study intends to propose a reflection about the contributions the practice of theater games may bring to the learning of a foreign language (Italian). The hypothesis of our research is that the theater games achievement from action models (KOUDELA, 1991, 1996), fairly common practice to the pedagogy of theater, can create new opportunities/learning situations and potentiate the teaching-learning of language process in the communicative approach perspective. To this purpose, we use the records of games proposed by Spolin (2001) as basis, which were extended and contextualized to the context of languages related to the language teaching. Regarding theoretical aspects, we try to present the game concept, the game system of the North American Viola Spolin, reflections about protocol and action model. We also seek to relate these concepts inherent to the theater pedagogy, the hierarchy of approaches, methods and tecniques (ANTHONY, 1963; RICHARDS & RODGERS, 1986), the collaborative language learning (FIGUEIREDO, 2003), the communicative teaching (ALMEIDA FILHO 1993, 2012; RICHARDS, 2006) and the Post-Method pedagogy (KUMARAVADIVELU, 1994, 2003). The experience which grounded our study was conducted with students and teachers of the Italian language, in July of 2012, in a course called Cultural Diffusion ministered by the own researcher performed by University of Philosophy, Letters and Human Sciences of São Paulo. As a research methodology, we serve of the qualitative data analysis obtained by the viewing of recorded lectures and implementing of initial and final questionnaire and protocols production performed by participants (KOUDELA, 1996, 2001). The data analysis points to the following theater games contributions to the communicative room, such as: development of students and teachers autonomy in relation the teaching-learning process, integrated use of communication skills, facilitation of interaction / negotiation and construction of authentic environments of oral interaction during the teaching-learning process of languages

First-person games often support the player’s gradual accretion of knowledge of the game’s rules during gameplay. They thus focus on challenging and developing performative skills, which in turn supports the player in attaining feelings of achievement and skills mastery. However, an alternative disruptive game design approach is proposed as an approach that encourages players to engage in higher-order thinking, in addition to performative challenges. This requires players to cognitively engage with the game at a deeper level. This stems from the player’s expectations of game rules and behaviours being disrupted, rather than supported, requiring players to learn and re-learn the game rules as they play. This disruptive approach to design aims to support players in satiating their needs for not only achievement and mastery at a performative level but also, their needs for problem-solving and creativity. Utilising a Research through Design methodology, a model of game space proposes different stages of a game’s creation, from conceptualisation through to the final player experience. The Ludic Action Model (LAM), developed from existing game studies and cognitive psychological theory, affords an understanding of how the player forms expectations in the game as played. A conceptual framework of game components is then constructed and mapped to the Ludic Action Model, providing a basis for understanding how different components of a game interact with and influence the player’s cognitive and motor processes. The Ludic Action Model and the conceptual framework of game components are used to construct the Disruptive Game Feature Design and Development (DisDev) model, created as a design tool for ‘disruptive’ games. The disruptive game design approach is then applied to the design, development, and publication of a commercial game, Amnesia: A Machine for Pigs (The Chinese Room, 2013). This application demonstrated the suitability of the design approach, and the proposed models, for establishing disruptive game features in the game as designed, developing those features in the game as created, to the final resolution in the game as published, which the player will then experience in the game as played. A phenomenological template analysis of online player discussions of the game shows that players tend to evaluate their personal game as played (i.e. their personal play experience) in relation to their a priori game as expected (i.e. the experience that they expected the game to provide). Players reported their play experiences in ways that suggested they had experienced cognitive engagement and higher-order thinking. However, player attitudes towards this type of play experience were highly polarised and seemingly dependent on the correspondence between actual and expected play experiences. The discussion also showed that different methods of disruption have a variable effect on the player experience depending on the primacy of the game feature being disrupted. Primary features are more effectively disrupted when the game’s responses to established player actions are subsequently altered. Secondary game features, only present in some sections, are most effectively disrupted when their initially contextualised behaviour is subsequently altered, or recontextualised. In addition, story-based feature disruption is most effected when the initial encoding stage is ambiguous, thus disrupting players’ attempts to form an initial understanding of them. However, these different methods of disruption may be most effective when used in conjunction with each other.