This diploma thesis is focused on topics of and respiratory chain and their processing as educational animations for secondary schools. In the theoretical part of the diploma thesis, supporting terms are defined (visualisations, interdisciplinary relations, animations). Next, themes are included in educational field and thematic unit in RVP G. Two analyses of the topic of respiratory chain are mentioned and evaluated in this part. Firstly, there is an analysis focused on the most used chemical and biological textbooks. The second one is focused on available online animations. For research purpose of the diploma thesis quantitative method was used - a questionnaire survey. Results of this survey are listed in the practical part. Practical part presents educational materials specified for support of education topics of respiration and respiratory chain. Stress on illustrative nature and interdisciplinarity is laid in these materials. The principal materials are educational animations which were made in program Adobe Flash Professional CS6. Study text was also written to these animations. Created educational animations give a complex view on respiratory process. These materials can be used in biology and chemistry subjects or in scientific courses. Animations include two tests giving feedback to...

Este trabalho tem como objetivo principal apresentar critérios norteadores de escrita criativa em roteiros de animações virtuais. Através de pesquisa bibliográfica e documental se buscou sistematizar conhecimentos referentes à criatividade no âmbito escolar e mais especificamente, no âmbito das ciências, com recorte para o caso de roteiros elaborados por alunos de ensino médio em aulas de Física visando produção de animações virtuais. A produção desses roteiros foi alicerçada pelo Projeto de Expansão do Laboratório Didático Virtual de Física (LabVirt), da Escola do Futuro da USP, desenvolvido no segundo semestre de 2004, onde foram envolvidas diversas unidades da USP tal como a Faculdade de Educação, através do Curso de Licenciatura em Física na Disciplina de Metodologia do Ensino de Ciências, que foi responsável pela preparação pedagógica dos professores, pelo recebimento dos roteiros e pelo encaminhamento dos mesmos para as outras equipes que ficaram responsáveis pela produção artística e pela programação. Nesse Projeto, uma das funções da equipe da Faculdade de Educação foi a de orientar os professores quanto à estruturação dos roteiros levando-se em conta uma relação existente entre um bom roteiro e uma boa animação virtual. Como ponto de partida sabia-se que um bom roteiro deveria conter aspectos criativos e aspectos formais. Isso gerou uma necessidade de se definir o que se entendia por aspectos criativos já que os aspectos formais não apresentaram dificuldades de definição. Esta pesquisa se constituiu num desdobramento dessa necessidade e os Testes de Escrita Criativa de Torrance, com critérios elaborados para avaliar escrita criativa em histórias infantis, na década de 1960, foram adaptados para o caso dos roteiros. De uma listagem de 108 roteiros cadastrados no acervo da Faculdade de Educação, foram escolhidos aleatoriamente cinco deles que tivessem representatividade de diferentes escolas os quais foram avaliados pela autora desta pesquisa e por juízes, com vistas à validação desses critérios, que depois de validados serviram para análise de outros dez roteiros representativos de diferentes escolas, também escolhidos aleatoriamente. Concluiu-se que a elaboração de roteiros por parte de alunos os coloca numa situação propícia às suas demandas contemporâneas e abrem espaços para a criatividade. Concluiu-se também que os critérios elaborados por Torrance para avaliar escrita criativa em histórias infantis permitem uma adaptação e são válidos para nortear a escrita criativa em roteiros de animações virtuais. / This work has as main objective to present guiding criteria of creative writing in scripts of virtual animations. Through bibliographical and documental research one looked for systematizing referring knowledge to the creativity into the scholastic milieu and more specifically, in the Sciences milieu, with cutting for the case of scripts elaborated by students of High School in classes of Physics focusing production of virtual animations. The production of those scripts was strengthened by the Project of Expansion of Physics Virtual Didactic Laboratory (LabVirt), of the School of the Future of USP, developed in the second semester of 2004, where different units of the USP were involved, such as Faculdade de Educação, by the Course of Degree in Physics in the Discipline of Methodology of the Teaching of Sciences, that was responsible for the teachers? pedagogic preparation, for the scripts receiving and for the sending of them to the other teams that were responsible for the artistic production, and for the programming. In that project, one of the functions of the team of the Faculdade de Educação was the one of guiding the teachers with as about the structure of the scripts, being taken into account an existing relationship between a good script and a good virtual animation. As starting point was known that a good script should contain creative aspects and formal ones. That generated a need to define what one understood for creative aspects since the formal aspects did not present difficulties of definition. This research has constituted in an unfolding of that need, and the Tests of Creative Writing by Torrance, with criteria elaborated to evaluate creative writing in childish tales in the decade of 1960, were adapted for the case of the scripts. Of a list of 108 scripts registered in the collection of Faculdade de Educação, five of them, which were representative of different schools, were chosen indiscriminately to be evaluated by the author of this research, and by judges, focusing to validate those criteria, which after being validated were applied to analyze other ten representative scripts of different schools, these were also chosen indiscriminately. It was concluded that the elaboration of scripts on the part of students places them in a favorable situation to their contemporary demands, and the scripts open spaces for the creativity. It was also reached that the criteria elaborated by Torrance in order to evaluate creative writing in childish tales allow an adaptation and they are valid to orientate creative writing in scripts of virtual animations.

Este trabalho tem como objetivo principal apresentar critérios norteadores de escrita criativa em roteiros de animações virtuais. Através de pesquisa bibliográfica e documental se buscou sistematizar conhecimentos referentes à criatividade no âmbito escolar e mais especificamente, no âmbito das ciências, com recorte para o caso de roteiros elaborados por alunos de ensino médio em aulas de Física visando produção de animações virtuais. A produção desses roteiros foi alicerçada pelo Projeto de Expansão do Laboratório Didático Virtual de Física (LabVirt), da Escola do Futuro da USP, desenvolvido no segundo semestre de 2004, onde foram envolvidas diversas unidades da USP tal como a Faculdade de Educação, através do Curso de Licenciatura em Física na Disciplina de Metodologia do Ensino de Ciências, que foi responsável pela preparação pedagógica dos professores, pelo recebimento dos roteiros e pelo encaminhamento dos mesmos para as outras equipes que ficaram responsáveis pela produção artística e pela programação. Nesse Projeto, uma das funções da equipe da Faculdade de Educação foi a de orientar os professores quanto à estruturação dos roteiros levando-se em conta uma relação existente entre um bom roteiro e uma boa animação virtual. Como ponto de partida sabia-se que um bom roteiro deveria conter aspectos criativos e aspectos formais. Isso gerou uma necessidade de se definir o que se entendia por aspectos criativos já que os aspectos formais não apresentaram dificuldades de definição. Esta pesquisa se constituiu num desdobramento dessa necessidade e os Testes de Escrita Criativa de Torrance, com critérios elaborados para avaliar escrita criativa em histórias infantis, na década de 1960, foram adaptados para o caso dos roteiros. De uma listagem de 108 roteiros cadastrados no acervo da Faculdade de Educação, foram escolhidos aleatoriamente cinco deles que tivessem representatividade de diferentes escolas os quais foram avaliados pela autora desta pesquisa e por juízes, com vistas à validação desses critérios, que depois de validados serviram para análise de outros dez roteiros representativos de diferentes escolas, também escolhidos aleatoriamente. Concluiu-se que a elaboração de roteiros por parte de alunos os coloca numa situação propícia às suas demandas contemporâneas e abrem espaços para a criatividade. Concluiu-se também que os critérios elaborados por Torrance para avaliar escrita criativa em histórias infantis permitem uma adaptação e são válidos para nortear a escrita criativa em roteiros de animações virtuais. / This work has as main objective to present guiding criteria of creative writing in scripts of virtual animations. Through bibliographical and documental research one looked for systematizing referring knowledge to the creativity into the scholastic milieu and more specifically, in the Sciences milieu, with cutting for the case of scripts elaborated by students of High School in classes of Physics focusing production of virtual animations. The production of those scripts was strengthened by the Project of Expansion of Physics Virtual Didactic Laboratory (LabVirt), of the School of the Future of USP, developed in the second semester of 2004, where different units of the USP were involved, such as Faculdade de Educação, by the Course of Degree in Physics in the Discipline of Methodology of the Teaching of Sciences, that was responsible for the teachers? pedagogic preparation, for the scripts receiving and for the sending of them to the other teams that were responsible for the artistic production, and for the programming. In that project, one of the functions of the team of the Faculdade de Educação was the one of guiding the teachers with as about the structure of the scripts, being taken into account an existing relationship between a good script and a good virtual animation. As starting point was known that a good script should contain creative aspects and formal ones. That generated a need to define what one understood for creative aspects since the formal aspects did not present difficulties of definition. This research has constituted in an unfolding of that need, and the Tests of Creative Writing by Torrance, with criteria elaborated to evaluate creative writing in childish tales in the decade of 1960, were adapted for the case of the scripts. Of a list of 108 scripts registered in the collection of Faculdade de Educação, five of them, which were representative of different schools, were chosen indiscriminately to be evaluated by the author of this research, and by judges, focusing to validate those criteria, which after being validated were applied to analyze other ten representative scripts of different schools, these were also chosen indiscriminately. It was concluded that the elaboration of scripts on the part of students places them in a favorable situation to their contemporary demands, and the scripts open spaces for the creativity. It was also reached that the criteria elaborated by Torrance in order to evaluate creative writing in childish tales allow an adaptation and they are valid to orientate creative writing in scripts of virtual animations.

互動敘事為敘事創作開啟了許多新的可能性，不論是在各種多媒體敘事創作平台上或是提供更擬真、更深刻的說故事體驗，是傳統敘事所無法提供的。透過日新月異的傳播工具，要在各種平台上創作出這類多媒體互動敘事，對於各種敘事創作者來說是一項相當大的挑戰，也引發了許多相關議題的探討：要如何開發出好用的創作工具，不但是可以降低創作技術門檻，同時也提升創造力。如何設計出一個創作模型是能夠讓故事建構者（包含原創作者、中介創作者、體驗者等本系統目標使用者）對於故事內容、結構以及像長度、複雜度、主軸、文類等故事特性有更多的控制權。 為了探討這議題，本研究提出一個多媒體敘事創作以及互動敘事腳本產生的框架，結合 3D 戲劇平台建立一個具有創作環境，以故事建構者設定的條件與敘事理論為基礎的故事篩選與腳本產生機制，及3D虛擬模擬環境的互動敘事系統。在創作與故事產生方面，故事建構者可以針對各種條件的篩選（像是故事主軸、長度、敘事架構、時間順序等等）由同一組故事片段產生各種敘事上的可能性。本研究設計一個演算法，有效重組既有的故事片段以產生符合作者所有條件設定的互動敘事腳本。 這種機制的另一個特色就是所產生的互動敘事腳本與敘事平台是獨立的，不受到特定平台的技術門檻、創作格式所侷限。為展現此腳本產生系統在各種敘事表現形式上的彈性，在本研究的系統實作中，可以同時產生故事的文字形式並在3D敘事系統 The Theater 上以即時的動畫、攝影機規劃與簡易互動呈現結果。最後，此研究設計一個質化前導實驗，以了解使用者面對具互動、動畫與個人化的敘事內容時，會有甚麼看法與反應。 此次研究的貢獻為設計一個建構在3D虛擬環境上的互動敘事創作的架構，並提供適當的故事腳本產生機制，讓創作者的故事片段擁有重複利用價值。此外，透過故事內容的篩選過程，我們能提供故事建構者在故事結構與內容上有高度的控制，讓產生出來的敘事腳本符合故事建構者所設定的條件、具有良好的敘事理論基礎，並即時在3D虛擬環境中以角色動畫演出。以這次建立互動敘事平台的經驗以及於使用者測試中所得到的回饋，本研究也對於敘事創作介面與輔助工具提供一些設計原則，並提出一些互動敘事系統未來可再延展的議題。 / Interactive storytelling opens a world of possibilities for narrative creation on multimedia platforms, allowing a more compelling and immersive experience compared to traditional narratives. With the emergence of new storytelling technologies, the authoring of such narratives in complex virtual environments becomes an issue critical in the domain of multimedia storytelling platforms: How can we reduce the authoring effort as well as enhance creativity for interactive narratives? How can we design a flexible framework to allow creators of the story (including authors and experiencers at various stages of the interactive story) to have control over the story content and structure based on characteristics such as length, complexity, plot line, and genre? In order to address these issues, we propose the design of an interactive storytelling platform with models for authoring, story generating based on narrative theory and constraints set by story creators, and simulation in virtual environments. In the platform the creators of the story can specify characteristics (such as plot, length, narrative structure, time sequence, and etc.) on story fragments in order to generate variations of interactive stories. An algorithm we devise will filter and recombine story fragments from these characteristics, generating a high-level interactive script that satisfies all authorial and structural constraints. This mechanism provides sufficient abstraction from the technical implementation in that it is platform independent, and can be highly expressive in various forms of discourse. To implement the results of the story generation and demonstrate the abstraction from the virtual environment, we simulate the generated interactive narrative both in text form and in the 3D animation environment of The Theater. The Theater platform is complete with autonomous character animation, simple interaction methods, and automatic camera planning. Finally, we carry out a qualitative pilot study to understand how users would perceive and react to the animated, interactive, and personalized narrative content. Through this implementation, our contributions are to design a flexible framework for authoring interactive narratives for 3D environments, and also provide story generating tools that allow easy reuse and recombining of existing story fragments. Moreover, the filtering and selection process provides high-level control over the story content and structure, thus enforcing the authorial control as well as ensuring the generated stories have a basis in narrative theory. From the experience of implementing this platform and feedback obtained from the user experiment, we hope to suggest design principles for authoring tools and interfaces of interactive narratives.

The main purpose of the study was to compare the effectiveness of conceptual change oriented instruction accompanied with computer animations and traditionally designed chemistry instruction on 10th grade students&rsquo / understanding, achievement and retention of gases concepts and attitudes towards chemistry as a school subject. Also students&rsquo / views about nature of science were investigated. Quasi experimental design was used in this study. 67 tenth grade students from two intact classes of a chemistry course taught by the same teacher in Sokullu High School were enrolled. The hypotheses were tested by using analyses of covariance and two- way analyses of variance. The results indicated that instruction based on conceptual change approach caused significantly better acquisition of the scientific conceptions, achievement and retention related to gases concepts than traditionally designed chemistry instruction. Science process skill was determined as a strong predictor in the concepts related to gases. Moreover instruction based on conceptual change approach improved students&rsquo / attitudes as a school subject. However no significant effect of gender difference on students&rsquo / understanding, achievement and attitudes toward chemistry as a school subject was found. Finally experimental group students&rsquo / views about some characteristics of nature of science were determined as more realistic than control group students.

ABSTRACT EFFECTS OF 7E LEARNING CYCLE MODEL ACCOMPANIED WITH COMPUTER ANIMATIONS ON UNDERSTANDING OF DIFFUSION AND OSMOSIS CONCEPTS B&uuml / lb&uuml / l, Yeter Ph. D., Department of Secondary Science and Mathematics Education Supervisor: Prof. Dr. &Ouml / mer Geban August 2010, 232 pages The main purpose of the study was to compare the effectiveness of the instruction based on 7E learning cycle model accompanied with computer animations and traditionally designed biology instruction on 9th grade students&rsquo / understanding and achievement related to diffusion and osmosis concepts and their attitudes toward biology as a school subject. Quasi experimental design was used in this study. A total number of 66 ninth grade students from four intact classes of a biology course taught by the same biology teacher in a private high school in Istanbul were enrolled. The study was conducted during spring semester of 2008-2009 academic year. This study included two experimental and two control groups. Experimental and control groups were randomly assigned. The students in the control group were instructed with traditionally designed biology instruction, while the students in the experimental group were instructed with 7E learning cycle model based instruction accompanied with computer animations. In the experimental group, students were taught with respect to the sequence of 7E learning cycle model which are elicit, engage, explore, explain, elaborate, evaluate, and extend through the use of activities such as demonstration, computer animations, laboratory activities, and discussions. In the control group, traditionally designed biology instruction was implemented through the teacher explanation, demonstrations, and use of textbook. Diffusion and Osmosis Diagnostic Test (DODT), Diffusion and Osmosis Achievement Test (DOACH), Attitude Scale Toward Biology (ASTB) were administered to both groups as a pre-test and post-test to assess students&rsquo / understanding and achievement of diffusion and osmosis concepts, and students&rsquo / attitudes toward biology respectively. Science Process Skill Test (SPST) was given at the beginning of the study to determine students&rsquo / science process skills. Moreover classroom observations were conducted. The hypotheses were tested by using analysis of covariance (ANCOVA) and two-way analysis of variance (ANOVA). The results indicated that instruction based on 7E learning cycle model accompanied with computer animations caused significantly better acquisition of the scientific conceptions related to diffusion and osmosis concepts than traditionally designed biology instruction. Science process skill was determined as a strong predictor in the concepts related to diffusion and osmosis. Moreover instruction based on 7E learning cycle model accompanied with computer animations was more effective for improvement of students&rsquo / attitudes as a school subject. However no significant effect of gender difference on students&rsquo / understanding, achievement, and attitudes toward biology as a school subject was found.

Este estudo teve como propósito investigar se os atrativos turísticos e os serviços agregados ao Passeio de Trem Maria-Fumaça atendem às expectativas do turista. O paradigma adotado foi o de corte qualitativo servindo-se da metodologia descritiva do tipo estudo de caso. Análise documental, observação, entrevista, história oral, questionário, memorial descritivo, nota de campo e registro de relatos orais foram utilizados como instrumentos para coleta de informações. Os participantes do estudo foram os protagonistas definidos como sendo as diversas categorias de turistas estudadas, os animadores lúdicos e Susana Giordani, gestora do passeio, além de testemunhas oculares e fontes primárias. Por se tratar de estudo qualitativo, para descrição, análise e discussão dos resultados, foram elaboradas categorias de análise. Para os turistas definiram-se as seguintes: expectativa do turista (1); e emoções e sentimentos que o passeio desperta (2). Já em relação à gestora do passeio, as categorias foram: o produto pensado pela gestora (1); o sucesso do passeio na ótica da gestora (2); e o significado do passeio para a região, os animadores lúdicos e a comunidade na ótica da gestora (3). Aos animadores lúdicos, as categorias foram assim definidas: o olhar do animador lúdico em relação ao passeio (1); e o sucesso do passeio na opinião dos animadores (2). Os resultados apontaram que as animações culturais e lúdicas são o diferencial do passeio. Apesar das críticas negativas assinaladas, o Passeio de Trem Maria-Fumaça corresponde às expectativas da demanda turística. / Submitted by Marcelo Teixeira (mvteixeira@ucs.br) on 2014-05-13T17:55:17Z No. of bitstreams: 1 Dissertacao Valdete E S Debenetti.pdf: 4301724 bytes, checksum: 305ab67694426e4042376655806c4ace (MD5) / Made available in DSpace on 2014-05-13T17:55:17Z (GMT). No. of bitstreams: 1 Dissertacao Valdete E S Debenetti.pdf: 4301724 bytes, checksum: 305ab67694426e4042376655806c4ace (MD5) / This study had by purpose to investigate if attractive tourists and the aggregate services to the Maria-Fumaça Train Trip take care of the tourist expectations. The adopted paradigm was the qualitative cut serving itself of the descriptive methodology type case study. Documental analysis, comment, interview, verbal history, questionnaire, descriptive petition, field note, and verbal reports register were used as instruments for information collect. The study participators were definite protagonists as being the several tourists categories studied, the playful entertainers and the trip manager, beyond eyewitnesses and primary sources. By being a qualitative study, for description, analysis and discussion of results, the categories of analysis were elaborated. For tourists the following ones were defined: tourist expectation (1); and emotions and feelings that the trip awakes (2). Regarding the trip manager the categories were: the product thought by manager (1); the success of the trip in the manager optics (2); and the meaning of the trip to the region, the playful entertainers and the community in the manager optics (3). To the playful entertainers, the categories were: the playful entertainer look regarding the trip (1); and the success of the trip in the entertainer opinion (2). The results pointed that the cultural and playful animations are the trip differential. Despite the negative critics, the Maria-Fumaça Train Trip corresponds to the tourist demand expectations.

Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2018-04-27T11:55:33Z No. of bitstreams: 2 Dissertação - Cristiano Costa Pereira - 2018.pdf: 5590619 bytes, checksum: 00114c7f4540586e469f9d4b9fb124aa (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-04-27T12:01:22Z (GMT) No. of bitstreams: 2 Dissertação - Cristiano Costa Pereira - 2018.pdf: 5590619 bytes, checksum: 00114c7f4540586e469f9d4b9fb124aa (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-04-27T12:01:22Z (GMT). No. of bitstreams: 2 Dissertação - Cristiano Costa Pereira - 2018.pdf: 5590619 bytes, checksum: 00114c7f4540586e469f9d4b9fb124aa (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-02-28 / Outro / Cinema is a cultural product that constitutes subjectivity. This work analyzed the rationality of the free animated film "The Ice Age 3" (BlueSkay / Fox, 2009), which according to ANCINE obtained the largest audience from 2009 to 2015 in cinemas in Brazil. The theoretical reference of this work is the Critical Theory of Society, especially Theodor Adorno, Herbert Marcuse and Walter Benjamin, and Karl Marx's Historical Dialectical Materialism. The analysis of the production of the film "The Ice Age 3" revealed the presence of the rationality of the cultural industry when it presents the dominant ideology, stereotypes, clichés, tickets, experience, expropriation of schemes, profit as external purpose, humor that does not reconcile with humanity, impoverishment of content, personification of situations and resolutions that are social, typification of characters, emphasis on detail to give appearance of novelty, heroic median individual, technique primacy, spectacular outputs and an assembly that offers no space for the imagination and can´t see contradictions of the society. In this sense, it presents elements that outline a pseudoformation that promote the adaptation of the subjects to the capitalist logic. This dissertation was developed by means of the MINTER agreement in Education UFG / IFMT 2015, defended in 2018. / O Cinema é um produto cultural que constitui a subjetividade. Este trabalho analisou a racionalidade do filme de animação livre “A era do Gelo 3” (BlueSkay/Fox, 2009), que segundo a ANCINE obteve maior público de 2009 a 2015 nas salas de cinema do Brasil. O referencial teórico deste trabalho é a Teoria Crítica da Sociedade, principalmente Theodor Adorno, Herbert Marcuse e Walter Benjamin, e o Materialismo Histórico Dialético de Karl Marx. A análise da produção do filme “A era do Gelo 3” revelou a presença da racionalidade da indústria cultural quando apresenta a ideologia dominante, estereótipos, clichês, tickets, vivência, expropriação de esquemas, lucro como finalidade externa, humor que não reconcilia com a humanidade, empobrecimento do conteúdo, personificação de situações e resoluções que são sociais, tipificação de personagens, ênfase no detalhe para dar aparência de novidade, heroificação do indivíduo mediano, primado da técnica, saídas espetaculares e uma montagem que não oferece espaço para a imaginação e para perceber as contradições existentes na sociedade. Nesse sentido, apresenta elementos que delineiam uma pseudoformação que promovem a adaptação dos sujeitos à lógica capitalista. Esta dissertação de Mestrado foi desenvolvida por meios do convênio MINTER em Educação UFG/IFMT 2015, defendida em 2018.

Este estudo teve como propósito investigar se os atrativos turísticos e os serviços agregados ao Passeio de Trem Maria-Fumaça atendem às expectativas do turista. O paradigma adotado foi o de corte qualitativo servindo-se da metodologia descritiva do tipo estudo de caso. Análise documental, observação, entrevista, história oral, questionário, memorial descritivo, nota de campo e registro de relatos orais foram utilizados como instrumentos para coleta de informações. Os participantes do estudo foram os protagonistas definidos como sendo as diversas categorias de turistas estudadas, os animadores lúdicos e Susana Giordani, gestora do passeio, além de testemunhas oculares e fontes primárias. Por se tratar de estudo qualitativo, para descrição, análise e discussão dos resultados, foram elaboradas categorias de análise. Para os turistas definiram-se as seguintes: expectativa do turista (1); e emoções e sentimentos que o passeio desperta (2). Já em relação à gestora do passeio, as categorias foram: o produto pensado pela gestora (1); o sucesso do passeio na ótica da gestora (2); e o significado do passeio para a região, os animadores lúdicos e a comunidade na ótica da gestora (3). Aos animadores lúdicos, as categorias foram assim definidas: o olhar do animador lúdico em relação ao passeio (1); e o sucesso do passeio na opinião dos animadores (2). Os resultados apontaram que as animações culturais e lúdicas são o diferencial do passeio. Apesar das críticas negativas assinaladas, o Passeio de Trem Maria-Fumaça corresponde às expectativas da demanda turística. / This study had by purpose to investigate if attractive tourists and the aggregate services to the Maria-Fumaça Train Trip take care of the tourist expectations. The adopted paradigm was the qualitative cut serving itself of the descriptive methodology type case study. Documental analysis, comment, interview, verbal history, questionnaire, descriptive petition, field note, and verbal reports register were used as instruments for information collect. The study participators were definite protagonists as being the several tourists categories studied, the playful entertainers and the trip manager, beyond eyewitnesses and primary sources. By being a qualitative study, for description, analysis and discussion of results, the categories of analysis were elaborated. For tourists the following ones were defined: tourist expectation (1); and emotions and feelings that the trip awakes (2). Regarding the trip manager the categories were: the product thought by manager (1); the success of the trip in the manager optics (2); and the meaning of the trip to the region, the playful entertainers and the community in the manager optics (3). To the playful entertainers, the categories were: the playful entertainer look regarding the trip (1); and the success of the trip in the entertainer opinion (2). The results pointed that the cultural and playful animations are the trip differential. Despite the negative critics, the Maria-Fumaça Train Trip corresponds to the tourist demand expectations.

Made available in DSpace on 2018-06-27T19:13:33Z (GMT). No. of bitstreams: 3 Vinicius Bisognin.pdf: 3237197 bytes, checksum: d5213702c8f66050cb6fb6af982a3d09 (MD5) Vinicius Bisognin.pdf.txt: 117183 bytes, checksum: 408acfe12278db4be967a0514d2f4607 (MD5) Vinicius Bisognin.pdf.jpg: 3397 bytes, checksum: e96b2dd1373c87f056e7bc7925ef4a54 (MD5) Previous issue date: 2014-04-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Computational resources have been identified as important auxiliary teaching, in view of the current technological developments. Thus, the purpose of this study demand through the use of computational simulations and animations to provide high school students an understanding of the more general principle of Conservation of Mechanical Energy. Learning activities with the use of computational simulations and animations are structured according to the methodology of Three Pedagogical Moments (TMP) and will make use of a Blog as a Virtual Learning Environment (VLE) to provide greater interaction between students and teacher and between them and the simulations and animations. It is expected that the learning of physics concepts involved in the subject of Mechanical Energy Conservation is enhanced. / Os recursos computacionais têm sido apontados como importantes auxiliares do ensino, tendo em vista a evolução tecnológica atual. Desta forma, a proposta desse trabalho procura através da utilização de simulações e animações computacionais proporcionar aos estudantes de Ensino Médio uma compreensão mais generalizada do princípio da Conservação de Energia Mecânica. As atividades de aprendizagem com o uso das simulações e animações computacionais estão estruturadas de acordo com a metodologia dos Três Momentos Pedagógicos (TMP) e farão uso de um Blog como Ambiente Virtual de Aprendizagem (AVA) para proporcionar maior interação entre os estudantes e o professor e entre eles e as simulações e animações. Espera-se que a aprendizagem dos conceitos físicos envolvidos no tema Conservação de Energia Mecânica seja potencializada.