Orientador: Rosana Giaretta Sguerra Miskulin / Banca: Hermes Renato Hildebrand / Banca: regina Coeli Moraes Kopke / Resumo: Este trabalho apresenta as dimensões implícitas nos processos de visualização e de representação de conceitos matemáticos, mediados por obras artísticas e pelo software K3DSurf, em uma perspectiva Semiótica, objetivando compreender os processos de visualização e de representação de conceitos matemáticos em Cálculo Diferencial e Integral (CDI), no contexto das Tecnologias de Informação e Comunicação (TIC). A abordagem metodológica utilizada foi qualitativa, dada pelos momentos de Observação, Entrevistas e de aplicação de um conjunto de Atividades Exploratório-Investigativas com base em algumas reproduções de obras de arte, desenvolvidas com um grupo de alunos de graduação em Matemática da UNESP /Rio Claro. Nela identificamos diversas formas de linguagem, tais como, a escrita, a fala, os gestos e os esboços, que auxiliaram no desenvolvimento dos conceitos matemáticos em CDI. A análise dos resultados, baseados em alguns pontos da Teoria Semiótica de Peirce (2008), foi abordada por categorias de análise constituídas, explicitadas como: a primeira categoria denominada Processos de exploração e percepção dos entes geométricos, refere-se à Primeiridade, a segunda categoria denominada Processos de visualização dos entes geométricos, refere-se à Secundidade, as terceira e quarta categorias denominadas Processos de representação dos entes geométricos e Processos de re-significação dos conceitos algébricos, referem-se à Terceiridade. Essas categorias levam a inferir que, no contexto deste estudo, diversas metodologias para a aprendizagem e desenvolvimento dos conceitos matemáticos por meio da visualização e da representação foram empregadas, entre elas os aspectos de experimentação, as relações nos processos de semelhança e os momentos de socialização. Também observamos e enfatizamos a importância dos conhecimentos matemáticos dos alunos... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This work shows the implicit dimensions within the process of visualization and representation of mathematical concepts mediated by artistic works and by the K3DSurf software under a semiotic perspective, aiming to comprehend the process of visualization and representation of mathematical concepts in the Differential and Integral Calculus (CDI), within the context of Information and Communication Technologies (TIC).The methodological approach used in this work was the qualitative research, given in moments of observation, interviews and application of a set of Exploration-Investigative Activities, based in art works, with a group of undergraduate students in mathematics. In these activities we identified some forms of language, such as writing, speech, gestures and sketches, which helped students develop mathematical concepts in CDI. The analysis of the results, based on Peirce‟s Semiotics Theory (2008), was addressed by categories of analysis that can be pointed out in the following way: the first one was called Exploration Procedures and Perception of the Geometric Entities, referent to the firstness; the second one was the Procedures of Visualization of Geometric Entities, referent to the secondness; the third and the fourth ones were called Procedures of Representation of Geometric Entities and Procedures of Re-Signification of Algebraic Concepts, both of them referent to the thirdness. These categories led us to conclude, on this research context, that many methodologies were applied in order to develop and to learn the concepts of CDI through visualization and representation, including aspects of experimentation, the relationships within the similarity processes and moments of socialization. We also observed the importance of mathematical knowledge acquired before the Exploration-Investigative Activities. This prior knowledge, in many instances, has led the first steps towards... (Complete abstract click electronic access below) / Mestre

Made available in DSpace on 2014-06-11T19:24:53Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-05-25Bitstream added on 2014-06-13T18:21:26Z : No. of bitstreams: 1 gouveia_caa_me_rcla.pdf: 2371074 bytes, checksum: 89245ba1d6c62a5dcfd43ebc036935be (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este trabalho apresenta as dimensões implícitas nos processos de visualização e de representação de conceitos matemáticos, mediados por obras artísticas e pelo software K3DSurf, em uma perspectiva Semiótica, objetivando compreender os processos de visualização e de representação de conceitos matemáticos em Cálculo Diferencial e Integral (CDI), no contexto das Tecnologias de Informação e Comunicação (TIC). A abordagem metodológica utilizada foi qualitativa, dada pelos momentos de Observação, Entrevistas e de aplicação de um conjunto de Atividades Exploratório-Investigativas com base em algumas reproduções de obras de arte, desenvolvidas com um grupo de alunos de graduação em Matemática da UNESP /Rio Claro. Nela identificamos diversas formas de linguagem, tais como, a escrita, a fala, os gestos e os esboços, que auxiliaram no desenvolvimento dos conceitos matemáticos em CDI. A análise dos resultados, baseados em alguns pontos da Teoria Semiótica de Peirce (2008), foi abordada por categorias de análise constituídas, explicitadas como: a primeira categoria denominada Processos de exploração e percepção dos entes geométricos, refere-se à Primeiridade, a segunda categoria denominada Processos de visualização dos entes geométricos, refere-se à Secundidade, as terceira e quarta categorias denominadas Processos de representação dos entes geométricos e Processos de re-significação dos conceitos algébricos, referem-se à Terceiridade. Essas categorias levam a inferir que, no contexto deste estudo, diversas metodologias para a aprendizagem e desenvolvimento dos conceitos matemáticos por meio da visualização e da representação foram empregadas, entre elas os aspectos de experimentação, as relações nos processos de semelhança e os momentos de socialização. Também observamos e enfatizamos a importância dos conhecimentos matemáticos dos alunos... / This work shows the implicit dimensions within the process of visualization and representation of mathematical concepts mediated by artistic works and by the K3DSurf software under a semiotic perspective, aiming to comprehend the process of visualization and representation of mathematical concepts in the Differential and Integral Calculus (CDI), within the context of Information and Communication Technologies (TIC).The methodological approach used in this work was the qualitative research, given in moments of observation, interviews and application of a set of Exploration-Investigative Activities, based in art works, with a group of undergraduate students in mathematics. In these activities we identified some forms of language, such as writing, speech, gestures and sketches, which helped students develop mathematical concepts in CDI. The analysis of the results, based on Peirce‟s Semiotics Theory (2008), was addressed by categories of analysis that can be pointed out in the following way: the first one was called Exploration Procedures and Perception of the Geometric Entities, referent to the firstness; the second one was the Procedures of Visualization of Geometric Entities, referent to the secondness; the third and the fourth ones were called Procedures of Representation of Geometric Entities and Procedures of Re-Signification of Algebraic Concepts, both of them referent to the thirdness. These categories led us to conclude, on this research context, that many methodologies were applied in order to develop and to learn the concepts of CDI through visualization and representation, including aspects of experimentation, the relationships within the similarity processes and moments of socialization. We also observed the importance of mathematical knowledge acquired before the Exploration-Investigative Activities. This prior knowledge, in many instances, has led the first steps towards... (Complete abstract click electronic access below)

This research focuses on how many African cultural objects found their way to Western museums or private collections. Therefore the author examines to what extent African states have succeeded in their quest for the return of their cultural objects and what the inadequacies in the current international legal regime for the return of cultural objects are. Can the return of African cultural objects properly be identified as a human right issue and will such identification present better chances for their return? Also look at how existing international human rights mechanisms are applied in the quest for the return of African cultural objects. Focuses on the specific African countries of Nigeria and Ethiopia in respect of their efforts towards the return of their tangible and moveable cultural heritage. / Thesis (LLM (Human Rights and Democratisation in Africa)) -- University of Pretoria, 2007. / A Dissertation submitted to the Faculty of Law University of Pretoria, in partial fulfilment of the requirements for the degree Masters of Law (LLM in Human Rights and Democratisation in Africa). Prepared under the supervision of Prof. Andreas Eshete of the Faculty of Law, University of Addis Ababa, Ethiopia. / http://www.chr.up.ac.za/ / Centre for Human Rights / LLM

Due to increasing teacher accountability and standardized test score requirements attributed to the No Child Left Behind Act of 2001, this essay examines research of the positive influences of arts education on student academic achievement and social growth. Howard Gardner's Multiple Intelligences Theory and brain research, such as that of Eric Jensen, suggest the necessity for various types of instruction and assessment to ensure that all students' learning needs are met; and to maximize the potential for intellectual growth in each student. Harvard University's Project Zero programs: Artful Thinking, Art Works for Schools, and Arts PROPEL are examined. A+ Schools Program (North Carolina), and various schools and school districts around the United States having arts-rich curricula and high student academic and social achievement are identified. Community Outreach programs: Chicago Arts Partnership in Education (CAPE),Young Audiences of Indiana, the Pennsylvania Ballet show positive arts influence outside of the traditional classroom setting. Research by James S. Catterall, J. Burton, R. Horowitz, and H. Abeles on the question of learning transfer taking place across the disciplines is also examined.

The presented dissertation deals with the topic of scientific research of experience/lived experience of works of art, using the methods of cognitive sciences and phenomenology. The work selectively summarizes the current research of such experiences in the field of history and theory of art, but especially in the field of cognitive neuroscience of art. The work identifies a fundamental reduction of experiencing art works caused by the epistemology, methodology and concepts of cognitive sciences embedded in cognitivism. Furthermore, the dissertation theoretically considers the possibilities of interdisciplinary collaboration with phenomenology, which, in turn, describes the experience non-reductively, from a first-person perspective. The dissertation identifies the basic conceptual problems of this interdisciplinary project and proposes a solution using neurophenomenology. In its experimental part, the dissertation presents some results of my own neuroimaging studies, which examined the experiences of viewers while viewing art works, both in terms of specific results and in terms of methodology. Finally, I will present a proposal for a new neuroimaging experiment inspired by neurophenomenology, which will use phenomenological introspective and interviewing methods in combination with objective...

Cette thèse se propose d’apporter un éclairage nouveau sur la pratique des artistes algériens de 1962 à aujourd’hui en examinant les rapports entre écritures et œuvres, qu’il s’agisse d’imbrication avec des mots dans la création artistique comme les titres, d’autonomie avec des écrits d’artistes ou de pratiques collectives dans le cas d’un travail en commun entre artiste et écrivain. À partir d’un corpus constitué de figures tutélaires de la période post-indépendance telles que Mohammed Khadda, Choukri Mesli ou Denis Martinez, d’artistes des années 1990 comme Adel Abdessemed, Kader Attia ou Rachid Koraïchi et de la jeune génération représentée par Yasser Ameur, Walid Bouchouchi ou Souad Douibi, notre objectif est d’interroger les liens entre évènements historiques et écriture dans la pratique artistique. Dans un premier temps, durant les années qui suivent l’indépendance et la volonté de s’émanciper des instituions coloniales, au moment où se met en place un nouvel « art algérien », on observe une manière d’envisager l’écriture, soit comme réactivation du passé (national), soit comme vecteur d’arabisation, soit comme revendication de diversité linguistique, soit comme quête d’abstraction. Il s’agit ensuite, pour la période de 1988 à 2000, de mettre à jour les particularités d’une écriture de l’exil et de l’intitulation des œuvres à l’étranger en insistant notamment sur l’extranéité et la revendication identitaire avec le soufisme. Enfin à partir de 2000, une nouvelle scène artistique se met en place en Algérie. Objet de transmission, l’écriture dans l’art se déploie dans un contexte de globalisation accrue, à un moment où la circulation des artistes et des œuvres change d’échelle. Ce rapport nouveau à l’écriture est envisagé dans une perspective comparatiste avec le Maroc et la Tunisie. / This thesis seeks to shed new light on the practices of Algerian artists from 1962 to the present day by examining the connection between writings and works of art, whether in the interweaving of words in the artistic work such as the titles, the autonomy of the artists’ writing, or the collaborative practices of artists and writers. Drawing from a corpus of work consisting of tutelary figures of the post-independence period such as Mohammed Khadda, Choukri Mesli, or Denis Martinez, of artists from the 1990s such as Adel Abdessemed, Kader Attia, or Rachid Koraïchi, and the young generation represented by Yasser Ameur, Walid Bouchouchi, or Souad Douibi, our objective is to question the connections between historic events and writing in artistic practices. At first, during the years which follow the independence and the will to become emancipated established colonial, as is set up a new "Algerian art", we observe a way of envisaging the writing, either as reactivation of the (national) past, that is as vector of Arabisation, as claiming of linguistic diversity, or as a quest of abstraction. It is then a question, for the period from 1988 to 2000, to examinate the peculiarities of a writing of exile and the naming the works abroad by insisting in particularly on the foreignness and the identity claiming with the Sufism. Finally, from 2000, a new artistic scene emerging in Algeria. As an object of transmission, writing in art is increasingly used in a global context leading to a moment when the circulation of artists and works changes of scale. This new connection to writing is envisaged in a comparative perspective with Morocco and Tunisia.

Elizabeth Waltenburg es una artista contemporánea argentina. En su muestra, despierta!, las obras en óleo sobre tela representan a mujeres, niños y animales en fondos extraños y deprimidos. Ella utilize simbolismo de animales y figuras femeninas para discutir el feminismo actual. Ella trabaja en un tiempo complicado por el feminismo, el postfeminismo, la critica de ambos, y un sistema de comunicación global. Su trabajo marca una tendencia hecho por la confusión de todos estos movimientos. Esta tesis discute su trabajo en el contexto de la historia de representaciones de mujeres, de niños y de animales para llegar a una mejor comprensión de los que hace ella. English: Elizabeth Waltenburg is a contemporary Argentine artist. In her show, “Wake Up!”, the oil on canvas works represent women, children and animals on strange and depressed backgrounds. She uses the symbolism of feminine and animal figures to comment on contemporary feminism. She works in a complex era marked by feminism, post-feminism, criticism of both schools and a system of global communication. Her work incorporates elements from all the issues above. This thesis discusses her work in the context of the history of representation of women, children, and animals in order to arrive to a better comprehension of the kind of work she does.