Submitted by Matheus Almeida Bauer Zytkuewisz (matheus.bauer@unesp.br) on 2019-01-29T13:12:00Z No. of bitstreams: 1 Dissertação_Matheus_Almeida_Bauer_Zytkuewisz.pdf: 5568207 bytes, checksum: c6747256bad7b516b287fd10aa92c0ed (MD5) / Approved for entry into archive by Ana Carolina Gonçalves Bet null (abet@iq.unesp.br) on 2019-01-31T12:11:11Z (GMT) No. of bitstreams: 1 zytkuewisz_mab_me_araiq_int.pdf: 5431251 bytes, checksum: 6c4f196e54624f6719164e31587bd433 (MD5) / Made available in DSpace on 2019-01-31T12:11:11Z (GMT). No. of bitstreams: 1 zytkuewisz_mab_me_araiq_int.pdf: 5431251 bytes, checksum: 6c4f196e54624f6719164e31587bd433 (MD5) Previous issue date: 2018-12-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O presente trabalho de mestrado teve como temática geral a experimentação no ensino de Química, especificamente o emprego da perspectiva investigativa de ensino no nível superior. A pesquisa visou verificar como a inserção de um erro proposital em uma atividade experimental possivelmente suscitaria no amadurecimento e formação do Espírito Científico dos alunos do curso da licenciatura. A metodologia de pesquisa teve abordagem qualitativa do tipo Estudo de Caso, e as fontes de informação foram compostas de sujeitos e documentos. Os sujeitos foram os alunos do curso de licenciatura cursando no ano de 2017 na disciplina de Laboratório de Ensino de Química Geral, e os documentos textuais foram um roteiro alterado, um formulário de proposição de hipóteses adido de um roteiro provisório, e um relatório final, no qual os alunos também propuseram um roteiro retificado para a realização da atividade experimental. Ainda, foi realizado um grupo focal com os participantes da atividade, e os alunos também responderam a um questionário, o qual providenciou suporte para a conseguinte entrevista individual. O tratamento e análise das informações coletadas se deu pela Análise de Conteúdo, para a qual foram utilizadas categorias a priori para o questionário e entrevista reflexiva, e categorias a posteriori para o grupo focal e documentos textuais. Como conclusão do estudo, concebe-se que a intervenção aqui proposta, a qual é dotada de um elemento inédito, por si só, em ação pontual, não foi capaz de suscitar a níveis significativos características do espírito científico nos sujeitos. Porém, a mesma se revelou como excelente pedra angular para o início da construção do espírito científico e de noções mais adequadas de ciência nos sujeitos. / The work herein presented had as general theme practical work regarding chemical education, and had its scope on the employment of inquiry-based activities at the undergraduate level. This research intended to unveil how the interposition of a purposeful error on a experimental activity could promote the formation and maturation of the scientific spirit on undergraduate students. The research methodology had used a qualitative approach, on the manners of a case study, and the information sources regarded subjects and documents. The subjects were the students undergoing the “Laboratório de Ensino de Química Geral” course, and the textual documents were a modified script, a hypothesis form coupled with a provisional script and a final report, in whose the students should add a rectified script that would allow them to perform the activity without issues. In addition, the students composed a focus group with the groups that participated in our intervention, as well as an individual questionnaire regarding aspects of nature of science. The latter provided support for the accomplishment of individual interviews with the students. The data gathering and treatment of collected data was done in the ways of the content analysis, for whose we employed a priori analytical categories for the questionnaire and individual interview, and established a posteriori categories for the focus group and textual documents. As a conclusion, we conceived that the intervention proposed on this work, which features a brand-new tool for inquiry, by itself was unable to achieve significant aspects of the scientific spirit on the subjects. However, the intervention unraveled excellent potentialities as cornerstone for the scientific spirit and more informed notions of science on the subjects. / 001

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Cette dissertation a comme finalité de faire une analyse du matérialisme qui est contenu dans les deux versants de la pensée de Gaston Bachelard, lépistémologique et le poétique. On partira de lhypothèse que la notion bachelardienne de matérialisme a surgi dans la poétique des éléments cosmiques, pour se développer et sapprofondir ensuite dans le versant épistémologique, principalement dans louvrage Le matérialisme rationnel. Le développement du travail va mettre en évidence dun côté la distinction bachelardienne entre les deux types dimagination, limagination matérielle et limagination formelle et de lautre, la critique que Bachelard oppose à la perspective substantialiste des éléments présentés par certains auteurs. Lanalyse de la voie épistémologique va se tourner vers la chimie du XXème siècle afin de démontrer comment cette branche de la science a su dépasser les difficultés présentées par le substantialisme contenu dans les théories chimiques antérieures. Le travail se terminera en mettant en évidence la notion de matière comme résistance, faisant ressortir en même temps la critique que fait Bachelard du vice de locularité. / O objetivo da dissertação é fazer uma análise do materialismo presente nas duas vias do pensamento de Gaston Bachelard, a epistemológica, e a poética. Vamos partir da hipótese de que a noção bachelardiana de materialismo surge na poética dos elementos cósmicos sendo depois desenvolvida e aprofundada na vertente epistemológica, principalmente na obra O materialismo racional. O desenvolvimento do trabalho tornará evidente a distinção bachelardiana entre a imaginação material e a imaginação formal, e a crítica que Bachelard faz à perspectiva substancialista dos elementos apresentada por certos autores. A análise da vertente epistemológica vai se voltar para a química do século XX a fim de mostrar que esta supera o substancialismo, inerente às teorias químicas antecedentes. A conclusão tornará evidente a conceitualização da matéria enquanto resistência, ressaltando a crítica que Bachelard faz ao vício da ocularidade.

Spaces are determined not only by their physical qualities, but also by the narratives created during their occupation. These persistent yet ephemeral stories infuse our experience of space with meaning and can be the vehicle through which we consciously express our world view and explore our evolving identity. In architecture, the immaterial is explained as a ‘genius loci’, a spirit tied to a physical space that gives it a specific character and allows for deep connection and identification to occur. Through an exploration of metaphors that have traditionally conveyed the presence of immaterial forces, this thesis reveals how the relationship between psyche and space is embedded in a logic of the imagination; interpreting the experience of space in a language of light and shadow. Additionally this thesis examines how spaces are transformed through the psychological process of mental projection and explores how associations that are deeply rooted in the collective unconscious affect the inner world of the individual. Architecture is therefore seen not as a practice that is psychologically neutral but one that is filled with rich emotional content. To build, constitutes a way to bring order, to set boundaries, to transform the apparent chaos of the world into a comprehendible form. This thesis investigates how the experience of inhabiting can be a catalyst for the imagination to project layers of memory, myth and symbolism onto a location, thereby facilitating the translation of space into place. For Architects the conscious incorporation and evocation of the immaterial is seen as a vital and necessary process that can uniquely contribute to the ensouling of architecture, and the creation of meaningful places.

none

Spaces are determined not only by their physical qualities, but also by the narratives created during their occupation. These persistent yet ephemeral stories infuse our experience of space with meaning and can be the vehicle through which we consciously express our world view and explore our evolving identity. In architecture, the immaterial is explained as a ‘genius loci’, a spirit tied to a physical space that gives it a specific character and allows for deep connection and identification to occur. Through an exploration of metaphors that have traditionally conveyed the presence of immaterial forces, this thesis reveals how the relationship between psyche and space is embedded in a logic of the imagination; interpreting the experience of space in a language of light and shadow. Additionally this thesis examines how spaces are transformed through the psychological process of mental projection and explores how associations that are deeply rooted in the collective unconscious affect the inner world of the individual. Architecture is therefore seen not as a practice that is psychologically neutral but one that is filled with rich emotional content. To build, constitutes a way to bring order, to set boundaries, to transform the apparent chaos of the world into a comprehendible form. This thesis investigates how the experience of inhabiting can be a catalyst for the imagination to project layers of memory, myth and symbolism onto a location, thereby facilitating the translation of space into place. For Architects the conscious incorporation and evocation of the immaterial is seen as a vital and necessary process that can uniquely contribute to the ensouling of architecture, and the creation of meaningful places.

The aim of this thesis is to discuss ontological experiences of the writer and reader of literature. It argues that literary creation entails an experience of a state of being where the distance of ??my?? being/speaking and (an)other??s disappears: hence the total union of a being with (an)other. It suggests that this state of being created in the course of literary creation is also significant for everyday life. It analyses the texts of three theorists who addressed this issue: Sartre, Barthes, and Bachelard. Whilst Sartre speaks nothing about a state of being of the creative writer in relation to inspirational otherness, he suggests the change of the writer into a free being, in relation to the reader. Sartre holds that the reader, while becoming a free being, and revealing another (the writer)??s freedom, transforms what s/he is not into his or her own in reading-creation. This implies that in reading-creation, the distance of a being and another disappears. Barthes asserts that in writing the death of the ??author-person?? as an original creator is needed; this means that, for him, writers write finding no distance between themselves and language, which is what speaks itself. Although readers create as ??subject??, Barthes holds, they may find no distance between their being and the text, losing their subjectivity. Bachelard suggests that the poetic dreamer (as both the writer and reader of poetry) experiences a state of being in which neither subjectivity nor object is sensed. In this state, he holds, the speaking of (an)other becomes the speaking of the poetic dreamer. This poetic dreaming state which involves the complete harmony between a dreaming being and other being(s) is termed by Bachelard childhood. He suggests that childhood is permanent and subsistent as an archetypal state of mind and bears witness to the childhood of humankind. As the Bachelardian sense of childhood denotes an ultimate harmonia involving the liberation from the ??prison of self??, it carries significant implications for everyday life.

Thesis (M. Phil.)--University of Hong Kong, 2000. / Includes bibliographical references (leaves 269-277).

Este estudo tem como tema o espaço fílmico. Com ele propõe-se compreender como o espaço fílmico organiza esteticamente algumas noções de intimidade através das ocorrências dos espaços simbólicos de reclusão propostos por Bachelard: a casa, o ninho e o canto. Para tanto, a pesquisa desdobra-se em dois eixos teóricos: o espaço como uma construção técnica e o espaço como uma construção simbólica. Através disso, na primeira parte, observa-se como a estética e técnica fílmicas abordam a construção imagética do espaço, do surgimento da câmera fílmica até hoje. Junto disso, explora-se como o espaço abriga a narrativa do cinema ficcional e como se organiza o ponto de vista que enuncia este espaço. Na segunda parte, apresenta-se o conceito de simbólico a partir de Barthes (1990); e os conceitos de espaços simbólicos de reclusão e intimidade a partir de A poética do espaço de Gaston Bachelard (2012), e em que medida eles são articulados por elementos simbólicos nas imagens representantes dos espaços. Esta possibilidade teórica resulta em um instrumento de análise que ajuda a mapear esse tipo de ocorrência nas imagens fílmicas. O resultado da discussão teórica é testado e analisado em um movimento de análise fílmica. Foram considerados quatro curtas-metragens baseados/adaptados do conto Pela passagem de uma grande dor, de Caio Fernando Abreu, por se pautarem esteticamente, assim como a Poética do espaço, por uma temática da intimidade. Os filmes são: Morangos Mofados (Corveto, 1987); Pela passagem de uma grande dor (Polidoro, 2005); Pela passagem de uma grande dor (Mainhard, 2007); e Desespero agradável (Machado, 2010). Os resultados encontrados apontam para diferentes organizações estéticas dos espaços de reclusão e intimidade postulados por Bachelard (2012) nos filmes analisados. / This research is about the filmic space. It aims at an overall understanding of the aesthetic implications that organize the filmic space as the means of establishing an effect of intimacy. It is hypothesized that this effect of intimacy occurs in filmic images of certain spaces that carry symbolic elements that point towards notions of the reclusiveness found at home, at the nest and at the corners, as portrayed by Bachelard. To do so, this study proposes itself as twofold: it considers the technical construction of the space and the symbolic construction of the space. Firstly, it is presented how the aesthetics and film technique tackle imagetic expression of space from the beginning of film in 1895 to nowadays. Along this exploration it is presented the theoretical points that consider the space such as the editing and scenography. It is also considered how the space nests the narrative of the fiction film and how it is perceived by the camera. In a second moment it is considered the symbolic construction of space. To explore this it is presented the concept of symbolic within the theory of Roland Barthes, then it is presented the Poetics of Space by Gaston Bachelard, in particular its concepts of symbolic space, spaces of reclusion and intimacy. Along this, it is considered the intricacies of the concepts of effect and intimacy as they appear in the images and symbolic spaces of Bachelard. This twofold proposal results in an instrument of analysis within the grasp of the methodological considerations of Film Analyses. As for the empirical testing, the theoretical proposal is applied on several sequences of four short subject films based on/adapted of the short story Pela passagem de uma grande dor, by Caio Fernando Abreu. The films are Morangos Mofados (Corveto, 1987); Pela passagem de uma grande dor (Polidoro, 2005); Pela passagem de uma grande dor (Mainhard, 2007); e Desespero agradável (Machado, 2010). This proposal, regarding its commitment to the study of an effect of intimacy through space, was not found in the bibliographical background check in the area of Film Studies, albeit it seems to provide and add a different perspective to the study of filmic space.

Orientador: Prof. Dr. Paulo Vieira Neto / Dissertaçao (mestrado) - Universidade Federal do Paraná, Setor de Ciências Humanas, Programa de Pós-Graduação em Filosofia. Defesa: Curitiba, 01/12/2016 / Inclui referências : f. 73-75 / Área de concentração: Filosofia / Resumo: Na presente dissertação procuramos apresentar aquilo que identificamos como a leitura literária segundo o filósofo francês da primeira metade do século XX, Gaston Bachelard. Para tal, traçamos uma leitura em "voo panorâmico" da trajetória formativa do autor acerca de sua concepção sobre a Ciência e a postulação de seus conceitos, assim como do embate travado entre o conceito e a imagem, especificamente literária, que leva o adjetivo de poética. Para isso, mobilizamos as obras do autor desde o "Ensaio sobre o Conhecimento aproximado" (1928), primeira obra publicada do autor, até sua derradeira obra, inacabada e publicada postumamente por sua filha Suzanne Bachelard, intitulada "Fragmentos de uma poética do fogo" (1988), atravessando artigos e publicações esparsas que formam e fundam o corpus de sua obra. Logo em seguida, nos lançamos à concepção propriamente dita de Bachelard acerca da leitura literária, tendo em vista as categorias da solidão e da intimidade, tão caras ao leitor bachelardiano, daqui que Bachelard denomina como devaneio escrito na criação do poeta/escritor, e de sua teoria expressa na dupla fenomenológica ressonância-repercussão no ato da leitura literária. Palavras-chave: leitura literária, leitor, imagem poética, Bachelard. / Abstract: In this final paper, we intended to show the elements that can be identified as literary reading according to first half 20th Century philosopher Gaston Bachelard. So it was need to draw a reading as a "flyby" over his formative years and around his conception on Science and concepts' postulations, just like the shock it provoked between the concept and image, primarily the literary image, named as an adjective, poetic. Then, we moved around author's works since "Essai sur la connaissance approchée" (1928), his first book, until his last and unfinished work, published by his daughter Suzanne Bachelard, called "Fragments d'une poétique du feu" (1988), crossing over articles and scattered works which formed and founded Bachelard's corpus. Afterwards, we went through Bachelard's own concepts around literary reading, focusing the categories of solitude and intimacy, some things really concerned for bachelardian readers and from what he calls as written reverie found on writer's/poet's creation. This way, and looking up on important moments of philosopher's work we ended exposing his theory expressed about the identification of double phenomenology, the literary reading act's resonance-feedback. Key-words: literary reading, poetical image, reverie, resonance-feedback, Bachelard

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Cette dissertation a comme finalité de faire une analyse du matérialisme qui est contenu dans les deux versants de la pensée de Gaston Bachelard, lépistémologique et le poétique. On partira de lhypothèse que la notion bachelardienne de matérialisme a surgi dans la poétique des éléments cosmiques, pour se développer et sapprofondir ensuite dans le versant épistémologique, principalement dans louvrage Le matérialisme rationnel. Le développement du travail va mettre en évidence dun côté la distinction bachelardienne entre les deux types dimagination, limagination matérielle et limagination formelle et de lautre, la critique que Bachelard oppose à la perspective substantialiste des éléments présentés par certains auteurs. Lanalyse de la voie épistémologique va se tourner vers la chimie du XXème siècle afin de démontrer comment cette branche de la science a su dépasser les difficultés présentées par le substantialisme contenu dans les théories chimiques antérieures. Le travail se terminera en mettant en évidence la notion de matière comme résistance, faisant ressortir en même temps la critique que fait Bachelard du vice de locularité. / O objetivo da dissertação é fazer uma análise do materialismo presente nas duas vias do pensamento de Gaston Bachelard, a epistemológica, e a poética. Vamos partir da hipótese de que a noção bachelardiana de materialismo surge na poética dos elementos cósmicos sendo depois desenvolvida e aprofundada na vertente epistemológica, principalmente na obra O materialismo racional. O desenvolvimento do trabalho tornará evidente a distinção bachelardiana entre a imaginação material e a imaginação formal, e a crítica que Bachelard faz à perspectiva substancialista dos elementos apresentada por certos autores. A análise da vertente epistemológica vai se voltar para a química do século XX a fim de mostrar que esta supera o substancialismo, inerente às teorias químicas antecedentes. A conclusão tornará evidente a conceitualização da matéria enquanto resistência, ressaltando a crítica que Bachelard faz ao vício da ocularidade.