Made available in DSpace on 2014-06-11T19:22:30Z (GMT). No. of bitstreams: 0 Previous issue date: 2008Bitstream added on 2014-06-13T20:09:40Z : No. of bitstreams: 1 kobayashi_at_me_ia.pdf: 14767955 bytes, checksum: acfbf52c7c9ede58c727fbf11456a00f (MD5) / Universidade Estadual Paulista (UNESP) / A pesquisa que apresento, sob forma de Trabalho Equivalente, investiga os procedimentos artísticos envolvidos na produção de um portfólio, a partir a partir do estudo de alguns conjuntos de trabalhos plásticos produzidos ou orientados por mim. A primeira etapa do processo consistiu em analisar os dez anos iniciais de minha produção artística, partindo das primeiras composições, realizadas em 1996, e chegando ate as pinturas mais recentes executadas durante o primeiro ano de mestrado em 2006. Organizei os trabalhos mais significativos, cronologicamente, em quatro portfolios que traduzem os interesses, as necessidades e as expectativas de períodos específicos. O segundo momento da pesquisa foi dedicado ao relado de algumas das minhas experiências no ensino de arte, ocorridas nos anos de 2006 e 2007, através das quais tive a oportunidade de orientar a produção de uma série de visualidades. Como produto final dessa sistematização propus a elaboração de um novo portfólio que sintetiza o meu percurso como artista visual e como professora na área de Artes. As imagens presentes neste relatório circunstanciado não desempenham função ilustrativa; elas constituem o verdadeiro substrato desta reflexão comunicada, essencialmente, através da linguagem visual. / The research that I present, in a form of Equivalent Work, investigates the artistic procedures envolved in the production of a portfolio from the study of some plastic art work set produced of orientated by me. The first stage of the process consisted in analyse the first ten years of my artistic production starting from ghe first composition, realizead in 1996 and finishid until the most recent paitings executed durint the first year of the Visual Art Masters, in 2006. I organized the most significant works chronologically, in four portfolios that express the intersts, needs and expectationsa of specific periods. The second stage was dedicated the report of some art teaching experiences of mine, occured in the years of 2006 and 2007, through them I had the opportunity to orientate the production of visualitics. As the result of this system I propused an elaboration of a new portfolio that systhetizes my trajectory as a visual and as a teacher in the art area. The present imges in the written repor don't represent illustrative function; they compose the real abstracat of this communicated reflection essentiallly through the visual language.

Orientador: Pelódidas Cypriano de Oliveira / Banca: Maria Silvia Barros de Held / Banca: Issao Minami / Resumo: A pesquisa que apresento, sob forma de Trabalho Equivalente, investiga os procedimentos artísticos envolvidos na produção de um portfólio, a partir a partir do estudo de alguns conjuntos de trabalhos plásticos produzidos ou orientados por mim. A primeira etapa do processo consistiu em analisar os dez anos iniciais de minha produção artística, partindo das primeiras composições, realizadas em 1996, e chegando ate as pinturas mais recentes executadas durante o primeiro ano de mestrado em 2006. Organizei os trabalhos mais significativos, cronologicamente, em quatro portfolios que traduzem os interesses, as necessidades e as expectativas de períodos específicos. O segundo momento da pesquisa foi dedicado ao relado de algumas das minhas experiências no ensino de arte, ocorridas nos anos de 2006 e 2007, através das quais tive a oportunidade de orientar a produção de uma série de visualidades. Como produto final dessa sistematização propus a elaboração de um novo portfólio que sintetiza o meu percurso como artista visual e como professora na área de Artes. As imagens presentes neste relatório circunstanciado não desempenham função ilustrativa; elas constituem o verdadeiro substrato desta reflexão comunicada, essencialmente, através da linguagem visual. / Abstract: The research that I present, in a form of Equivalent Work, investigates the artistic procedures envolved in the production of a portfolio from the study of some plastic art work set produced of orientated by me. The first stage of the process consisted in analyse the first ten years of my artistic production starting from ghe first composition, realizead in 1996 and finishid until the most recent paitings executed durint the first year of the Visual Art Masters, in 2006. I organized the most significant works chronologically, in four portfolios that express the intersts, needs and expectationsa of specific periods. The second stage was dedicated the report of some art teaching experiences of mine, occured in the years of 2006 and 2007, through them I had the opportunity to orientate the production of visualitics. As the result of this system I propused an elaboration of a new portfolio that systhetizes my trajectory as a visual and as a teacher in the art area. The present imges in the written repor don't represent illustrative function; they compose the real abstracat of this communicated reflection essentiallly through the visual language. / Mestre

Solicitud de envio manuscrito de artículo científico / El objetivo del presente estudio fue determinar los efectos del programa ART-EMO en la Inteligencia Emocional de jóvenes voluntarios que trabajan con niños en una organización privada. La muestra estuvo conformada por 10 participantes entre los 21 y 30 años, de los cuales el 10% eran hombres y el 90% mujeres. Se administró el Inventario de Inteligencia Emocional en adultos: EQ-i-M20 creado por Pérez-Fuentes, Molero, Mercader y Gázquez (2014) y validado en estudiantes peruanos por Domínguez-Lara, Merino-Soto y Gutiérrez-Torres (2017) en dos condiciones de tiempo (antes y después) y el programa ART-EMO fue creado mediante un diseño cuasi experimental con un solo grupo para fines de la investigación en el 2017, habiéndose tomado como referencia a Guerrón (2015). Los resultados evidenciaron que el programa tuvo un impacto alto a nivel total de la Inteligencia Emocional (d=.82) y en sus dimensiones Intrapersonal (d=1.04), Interpersonal (d=.90) y Adaptabilidad (d=1.01); mientras que, en Estado de ánimo (d=.67) y Manejo de estrés (d=.55), fue moderado. Se concluye que el programa es eficaz. Con ello, se pretende que las instituciones implementen planes que promuevan el desarrollo de las emociones en las personas que brindan servicios de voluntariado. / The aim of this investigation was to determine the effect of ART-EMO program on the Emotional Intelligence of young volunteers working with children in a private organization. The sample was conformed by 10 participants with ages between 21 y 30 years old, being 10% gentleman and 90% ladies. It managed the Inventory of Emotional Intelligence in Adults: EQ-i-M20 created by Pérez-Fuentes, Molero, Mercader and Gázquez (2014) and validated in Peruvian students by Domínguez-Lara, Merino-Soto and Gutiérrez-Torres (2017) in two weather conditions (before and after) and the ART-EMO program was created using a quasi-experimental design with a single group for research purposes in 2017, taking as reference Guerrón (2015). The results showed that the program had a high impact at the total level of the Emotional Intelligence (d = .82) and in its dimensions Intrapersonal (d = 1.04), Interpersonal (d = .90) and Adaptability (d = 1.01); whereas, in General Mood (d = .67) and Stress Management (d = .55), it was moderate. It concludes that the ART-EMO program was effective. Based on this, it is intended that institutions implement plans that promote the development of emotions in people who provide volunteer services. / Tesis

La présente thèse a pour point de départ une exposition florentine organisée en 1990 et intitulée « Pittura di luce ». Ses organisateurs entendaient désigner ainsi un courant de la peinture florentine du milieu du XVe siècle fondé sur la lumière et la couleur claire. Comme l’avait bien compris l’exposition, cette « peinture de lumière » est d’abord identifiable dans la « manière colorée » portée par Fra Angelico et Domenico Veneziano, mais elle doit aussi être élargie à une manière plus « blanche », qui va de Masaccio aux premières œuvres d’Andrea del Verrocchio, au début des années 1470. Les implications techniques et symboliques d’un tel style méritent également d’être étudiées car elles renforcent le sens et la cohérence d’un mouvement publiquement soutenu par les Médicis et dont l’ambition majeure fut de « faire surgir » les peintures religieuses de la pénombre des églises (I). L’étude du développement géographique vaste mais discontinu de la pittura di luce approfondit les hypothèses proposées dans le cas florentin : tout autant qu’une façon moderne et proprement « renaissante » de peindre, la « manière claire » est aussi fondée sur une lumière théologique, associée en partie à la religiosité franciscaine. Piero della Francesca est assurément le grand protagoniste de ce double rayonnement, dans les cours et dans les campagnes (II). C’est également Piero qui sera au cœur de la redécouverte d’une peinture que les XIXe et XXe siècles ont réappris à voir grâce aux historiens de l’art et aux artistes, mais également en raison du changement des conditions de vision des œuvres d’art. En ce sens, la pittura di luce constitue un chapitre important de l’histoire du regard, que l’on propose de rapprocher d’autres redécouvertes picturales elles aussi fondées sur la notion d’apparition (III). / This thesis starts from an 1990 Florentine exhibition called “Pittura di luce” which intended to identify a trend in the mid-15th-century Florentine painting. This “painting of light” is not only, as was said at the time, a “coloured style” led by Fra Angelico and Domenico Veneziano, but it should be extended to a more “white manner”, from Masaccio to the first works of Andrea del Verrocchio, in the early 1470s. The technical and symbolical meanings of this style are to be studied as they reinforce the sense and the coherence of a trend publicly sustained by the Medici. The major aim of the “pittura di luce” is to make “emerge” religious paintings from the darkness of the churches (I). The study of the vast but also discontinuous geographical development of this “bright style” amplifies the hypotheses of the Florentine case: as much as a modern way of painting, it has very often a more archaic connotation of divine light. Piero della Francesca is surely the major figure of this ambivalent development (II). He is also one of the most significant examples of the way in which the “pittura di luce” was forgotten, and then rediscovered during the 19th and 20th centuries, thanks to art historians and artists, but also to the changes of the conditions of vision of the works of art. In this sense, the “pittura di luce” is an important chapter of the history of look, that we propose to compare with other rediscoveries of similar “paintings of apparition” (III).