Submitted by admin tede (tede@pucgoias.edu.br) on 2018-10-01T17:42:08Z No. of bitstreams: 1 MÁRCIA MENDONÇA SOUSA.pdf: 1434316 bytes, checksum: a89be9c53c5a1aa0287ed89609ce0874 (MD5) / Made available in DSpace on 2018-10-01T17:42:09Z (GMT). No. of bitstreams: 1 MÁRCIA MENDONÇA SOUSA.pdf: 1434316 bytes, checksum: a89be9c53c5a1aa0287ed89609ce0874 (MD5) Previous issue date: 2018-06-25 / This study proposes a comparative analysis of Clarice Lispector's The Passion According to GH, whose crossing between the body and art reveals unfolding of being before the becoming, which, in order to exist and to be self-sufficient, must be escaped from silence and pronounce with authenticity, since whoever is silent is closer to anonymity and has no identity, property. Therefore, we seek to explore, in the narrative, the construction of the being that is inherent in the formation and manifestation of its expressiveness. Dumbness is the revelation of fragility, the distressing and disturbing fragmentation of bodies in interaction. Through language, bodies can interact, strangling, disintegrating, and rebuilding themselves in the face of the unusual. The muted language of G.H. manifests a non-existence, an anonymity that, in the face of becoming, becomes uneasy, reveals the pains of being and of defining oneself. In the face of everyday and banal events, literary art attributes a new configuration to the object and this new sudden illumination in the consciousness of the extras allows new insights into life, a kind of epiphany. In this crossing, this study seeks to analyze the crossing between the body and the art, promoting dialogues, which will dehumanize the image of the conventional human, disobjectifying the being and revealing its component side, actant and work of art, as the body language is captured through of the body experiment. The very existence is used as an artistic representation, as a thinking object, whose main function is to create symbols, since the image is not intended to make the meaning it has more comprehensible, but to make the object artistic because it represents a particular vision , a new perception about the object. The research adopts a current hermeneutical approach, phenomenological, existentialist and comparative, since it is understood that they are indispensable items to develop this study about the crossing between the body and the work of art, in order to show that the body-language is the authenticity of being in the literature by Clarice Lispector. / Este estudo propõe uma análise comparativa da obra A paixão segundo G.H., de Clarice Lispector, cuja travessia entre o corpo e a arte revelam desdobramentos do ser perante o devir, que, para existir e autoafimar-se, o ser deve fugir do silêncio e pronunciar-se com autenticidade, já que quem se cala está mais próximo do anonimato e não possui identidade, propriedade. Por isso, procuramos explorar, na narrativa, a construção do ser que está inerente à formação e à manifestação da sua expressividade. A mudez é a revelação da fragilidade, a fragmentação angustiante e inquietante dos corpos em interação. Através da linguagem, os corpos podem interagir, estranhando-se, descontruindo-se e reconstruindo-se perante o inusitado. A linguagem emudecida de G.H. manifesta uma não existência, um anonimato que, frente ao devir, inquietase, revela as dores de ser e de definir-se. Frente aos acontecidos cotidianos e banais, a arte literária atribui uma nova configuração ao objeto e essa nova iluminação súbita na consciência dos figurantes permite novos insights perante a vida, uma espécie de epifania. Nessa travessia, este estudo procura analisar a travessia entre o corpo e a arte, promovendo diálogos, que vão desautomatizando a imagem do humano convencional, desobjetificando o ser e revelando seu lado componente, actante e obra de arte, pois o corpo linguagem é captado através do corpo experimento. A própria existência é utilizada como representação artística, como objeto pensante, cuja função principal é a de criar símbolos, já que a imagem não tem o objetivo de tornar mais compreensível o significado que possui, mas de tornar artístico o objeto por representar uma visão particular, uma nova percepção sobre o objeto. A pesquisa adota uma abordagem hermenêutica atual, fenomenológica, existencialista e comparativa por entender que são itens indispensáveis para desenvolver este estudo sobre a travessia entre o corpo e a obra de arte, a fim de mostrar que o corpo-linguagem é a autenticidade do ser na literatura de Clarice Lispector.

<p>This thesis tells the story of a design case creating an user interface for a MMORPG where the player are able control the body language of the avatar. By this the game can achieve a gameplay about drama and strong characterization. The thesis addresses considerations on what aspects of body language that can be important for computer games and other virtual environments. It also offers design considerations when designing interfaces for using gestures and other body signals to communicate emotions in virtual environments such as computer games. The main design consideration when creating the interface was to treat the player as an actor and the game world as a stage. The player needs to be in control of combinations of facial expressions, body posture and gestures as well as relative avatar positioning to other characters and objects. The interface was first tested as a paper prototype, re-designed, re-tested and then implemented into a computer prototype.</p>

Syftet med detta examensarbete är att få insikt i hur lärarens ickeverbala kommunikation och actio påverkar elevers motivation. Utifrån en etnografisk arbetsmetod observerades en svensklärare på en gymnasieskola under fyra lektionstimmar för att undersöka hur läraren kommunicerade med sina elever ickeverbalt. Parallellt med observationerna intervjuades både läraren och eleverna som deltog i undersökningen. Undersökningen visade att lärares ickeverbala kommunikation och actio har en stor påverkan på elevernas motivation, att denna påverkan sker omedelbart och att den kan förändras under en pågående lektion. När en lärare medvetandegör hur hon eller han kommunicerar med sina elever ickeverbalt kan aspekter som oavsiktlig och intuitiv kommunikation få en mindre påverkan på undervisningen. Detta bidrar i sin tur till att utveckla lärarens ickeverbala kompetens och på så sätt sin förmåga att motivera sina elever under hela lektionen. / The purpose of this thesis is to examine the influence of a teacher's non-verbal communication and actio on students' motivation. Based on an ethnographic working method, a Swedish-language teacher at a high school was observed during four lessons in order to examine how the teacher communicated non-verbally with the students of the class. In parallel with the observations, interviews were conducted with the teacher and the students who participated in the survey. The survey showed that a teacher's non-verbal communication and actio has very high impact on the motivation of students, that this impact is immediate and that it can change during an on-going lesson. When a teacher becomes aware of how he or she communicates with students non-verbally, aspects such as non-intentional and intuitive communication have a lesser influence on the tuition. This, in turn, contributes to the development of the teacher's competence and capability to distribute his or her energy, thereby staying motivated and maintaining the ability to motivate students for the full duration of a lesson.

Syftet med studien är att undersöka på vilket sätt en slagverkare använder kroppen som semiotisk resurs samt hur övningsprocessen under en begränsad period är utformad. För att undersöka detta har jag under en femveckorsperiod övat på ett marimbastycke 20 minuter om dagen fem dagar i veckan och dokumenterat detta genom videoobservationer och loggboksskrivande. I analysen utgår jag ifrån ett designteoretiskt perspektiv. I resultatet redovisas att kroppen används både som uttrycksmedel men även som ett substitut för metronomen. Under övningspassen ligger ett stort fokus på tempo och stycket övas i uppdelade avsnitt och sällan som helhet. I diskussionen debatteras mitt användande av kroppen som semiotisk resurs utifrån ett designteoretiskt perspektiv. Vidare diskuteras i förhållande till relevant litteratur och forskning huruvida min övningsstrategi är fördelaktig för min progression. / The purpose of this study is to examine how a percussionist uses her body as a semiotic resource and how the process of practising during a limited period is designed. In order to realize this I have self-monitored my 20 minute long practice sessions five days a week during a five-week period. This process has been documented by a video recording device and by writing a log after each session. In the analysis I use design theory as a theoretical perspective. The results show that my body is used both as an expressive tool as well as substitute for the metronome. During the practice sessions, tempo appears to be the main focus, and the musical piece is played in separate movements and rarely played from beginning to end. In the last chapter usage of the body as a semiotic resource is discussed from a design theoretical perspective. Lastly the use and quality of my practice strategy is discussed in relation to relevant literature and research.

Syftet med studien är att undersöka körledares uppfattningar om och arbete med icke-verbal kommunikation med kör. I bakgrundskapitlet belyses tidigare forskning och områdesorienterad litteratur som handlar om icke-verbal kommunikation. Datamaterialet består av tre ostrukturerade kvalitativa intervjuer där tre körledare fått reflektera över begreppet icke-verbal kommunikation, hur de uppfattar begreppet och hur de arbetar med icke-verbal kommunikation i körsammanhang. Det teoretiska perspektiv som ligger till grund för studien är det tolkande hermeneutiska perspektivet. I resultatet framkommer att körledare använder sig av olika icke-verbala kommunikationsformer såsom pianot, olika kroppsliga uttryck och rösten. Dessa icke-verbala kommunikationsformer används för att förmedla affekter och undertexter samt för att tolka notbilder. Det framkommer även i resultatet att de tre körledarna har olika syn på dirigering. Vad som är viktigast skiftar från att dirigering är ett otyg till att dirigeringen och tekniken är det viktigaste verktyg en körledare har. Avslutningsvis diskuteras resultatet i förhållande till tidigare forskning och litteratur. / The purpose of this study is to investigate the conductors' perceptions of and work with non-verbal communication with choir performance. The background chapter describes previous research and literature on nonverbal communication. The results of the study came through three unstructured interviews, where three choir conductors reflected over the term non-verbal communication and how they apprehend the concept. The theoretical perspective underlying this study is the interpretative hermeneutic perspective. The results show that conductors use different non-verbal communication methods in their work with choir. The non-verbal communications that the choir leaders, among other things use are the piano, the voice, but they also how reflect over hos sheet music can be interpreted. It is also apparent that the three conductors have different views on conducting. The conductor’s thoughts rang from that conducting is a bad thing and should be used sparingly. Whilst other say that conducting is the most important tool and should not be neglected. In the conclusion, the results are discussed in relation to previous research and literature.

Made available in DSpace on 2014-06-11T19:24:48Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-03-26Bitstream added on 2014-06-13T19:11:33Z : No. of bitstreams: 1 villaca_js_me_bauru.pdf: 5084088 bytes, checksum: 41bc1c71318f690d6730de021e4eb73f (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Como proposta para reflexão da prática pedagógica foi oferecida uma oficina às licenciandas em pedagogia, seguida de um planejamento a partir do tema corporeidade, o qual foi posteriormente desenvolvido por elas. Tal procedimento foi realizado com o intuito de se avaliar se ele era capaz de auxiliar as licenciandas a redimensionar sua prática, à medida que buscava ampliar o conhecimento e considerava o processo de transposição didática, no fazer docente destas alunas. A oficina sobre corporeidade e sua prática pedagógica, nas séries iniciais do ensino fundamental e educação infantil, foi iniciada com a investigação das concepções das licenciandas sobre corporeidade e sua prática pedagógica, incluindo o conhecimento que possuíam em relação às orientações dos RCNEI e PCNs sobre o tema. A partir de então, seguiram-se encontros semanais num total de 14, nos quais se realizaram discussões a partir de textos, seminários e aulas expositivas que trabalharam tanto linguagem corporal como metodologias, meios e estratégias de ensino e ainda, dinâmicas e representações em silhuetas. Seguiu-se então, a apresentação pelas licenciandas, divididas em grupos, de problemas relacionados ao tema corporeidade, vivenciados por elas em sala de aula e de planejamentos para trabalhá-los através de intervenções. Estas últimas foram gravadas em vídeo e apresentadas a toda turma de licenciandas, para serem discutidas por elas. Para finalizar, foram realizadas entrevistas semi-estruturadas com a intenção de se esclarecer dúvidas e complementar informações coletadas durante todo esse processo. Os dados mostram que as idéias iniciais apontadas pelas licenciandas sobre corporeidade e sua prática se relacionavam a temas como autoconhecimento, autonomia, desenvolvimento biopsicossocial e relações com o meio. As licenciandas apontaram como ponto importante para... / Concerning the study of didactic transposition, it was offered, in a timetable subject, a workshop for pedagogy licensed teachers, which was included at its end, the arrangement of an intervention with nursery and primary school students, under the theme body-language. With the aim of evaluating if this process could help the teachers on remeasurement of its pedagogical practice, the workshop included two phases: the first was aimed on expand the teacher's knowledge on body-language and the second, when the learning process was discussed, with reference on the arrangement and the teaching act, aware of the scientific content didactic transposition developed by the licensed for the subject to be taught. The workshop initiated with a research on the licensed's conception about body-language and its practice, including their own ideas about the RCN and PCNs orientation. There were weekly meetings (14 in a total), where there were discussions about texts, lectures, expositive classes, besides activities (mirror, statue, silhouette) related to the body identity, gender, image and expression, besides symbology, followed by reflection and discussion that worked, with the researcher and the discipline teacher, both the body language and the teaching methodologies, means and strategies. To this step, it was followed the presentation, by the licensed organized in groups, of problems related to the theme body-language, experienced by them in class, and the arrangement to work them through interventions. These last ones were recorded in video and presented to all the licensed for discussion and evaluation about the pedagogical practice. Finally, there were semi-structured interviews with the aim of provide to the licensed the opportunity of solving doubts, expressing their difficult points and moreover, complement the collected information during the whole process... (Complete abstract, clicar acesso eletrônico abaixo)

The thesis regards nonverbal communication and its function in work suit. It concerns above all relationships among particular co-workers, businessmen and their clients or leading and work candidates.Comfortable atmosphere at work is important for better achievement and feeling of personal significance. Right use of nonverbal communication in business can help to make a good deal and affects trustworthy.The results showed that sum of nonverbal signals can tell us the opinion of the other person no matter what is he or she saying. What are you saying is not what are you thinking about. If you know this diference you can change somebody´s thoughts with right use of nonverbal communication. The research showed that it is not possible to make results or conclusions only with use of two or three nonverbal signals. It is important to compare more signals. The whole thesis showed that nonverbal communication is quiet important and can help us to build better relationships.

Nesta dissertação, foram investigadas as estratégias pragmáticas que crianças empregam para recuperar a atenção da mãe numa cena de interação denominada EAC (Espaço de Atenção Conjunta). Por meio de vídeos doados por mães em momentos de interação lúdica com seus filhos em ambiente doméstico, identificamos e categorizamos algumas estratégias evidenciadas por conhecimentos pragmáticos e culturais na linguagem infantil de crianças de 2 a 6 anos. Concluímos que, além da atuação de aspectos físicos (por exemplo, do aparelho fonador), de aspectos processuais (por exemplo, os contextos interativos) e aspectos psíquicos (por exemplo, a vontade), são fatores socioculturais que, em paralelo, atuam para que a criança alcance a atenção da mãe, condição precípua para que restabeleça o EAC. Identificamos que as estratégias pragmáticas variariam em grau de complexidade a depender da maturidade das crianças. As crianças de mais tenra idade e de menor maturidade tendem a mobilizar mais o corpo como ferramenta manipulatória, e as mais maduras tendem a evidenciar seu background cultural, além das estratégias remanescentes da protolíngua (conceito inspirado em Damásio para remeter aos estágios mais incipientes de interação durante o processo de aquisição de linguagem). Constatamos, durante as análises, que as ideias de gradação e de complexidade legitimam-se como traços definidores de atitudes pragmáticas, adotadas por crianças, hoje concebidas como parte de um grande grupo heterogêneo chamado primeira infância, mas que podem ser realocadas em dois grupos etários: de 2 a 4 anos; e de 5 a 6 anos. Esse rearranjo reflete a descoberta de que as estratégias para retomada de EAC distinguem-se nesses dois grupos, fazendo cair por terra a referência generalizante primeira infância. / In this dissertation, we investigated the pragmatic strategies that children use to recover their mother\'s attention, in an interaction scene called JAE (Joint Attention Environment) EAC, in Portuguese. Using videos donated by mothers, in moments of playful interaction with their children, in a domestic environment, we identify and categorize some strategies evidenced by pragmatic and cultural knowledge in the language of children from 2 to 6 years. We conclude that, in addition to the physical aspects (e.g.: speech articulators), processual aspects (e.g.: interactive contexts) and psychic aspects (e.g.: willingness), there are sociocultural factors that, in parallel, act for a child to reach the attention of the mother, an essential condition for restoring the JAE. We also identified that the pragmatic strategies vary in degree of complexity, depending on the maturity of the children. Children from an early age and less mature tend to mobilize more the body, as a manipulative tool, and the ones more mature tend to evidence their cultural background, in addition to the remaining strategies of the protolanguage (a concept inspired by Damásios works to refer to the most incipient stages of interaction throughout the language acquisition process). During analysis, we noticed that the ideas of gradation and complexity are legitimized as defining traits of pragmatic attitudes adopted by children, which have been conceived as part of a larger heterogeneous group called \"early childhood\". We understand that those defining traits can be reallocated in two age groups: from 2 to 4 years; and from 5 to 6 years. These rearrangements reflect the findings that approaches for retaking JAE differ in these two groups, bringing down this \"early childhood\" generalizing reference.

Orientador: Eliana Ayoub / Tese (doutorado) - Universidade Estadual de Campinas. Faculdade de Educação / Made available in DSpace on 2018-08-16T12:08:54Z (GMT). No. of bitstreams: 1 Lima_JoseAntoniodeOliveira_D.pdf: 4282194 bytes, checksum: 48d23b3ad338f6ea5ee3ad49831ff2ad (MD5) Previous issue date: 2010 / Abstract: This is a presentation and description of a corporal work technique which is entered in the universe of the somatic education in which the current conception is discussed, including that which concerns the rescue of the individual as a social being. The speech's development explores information in this universe, and manifest themselves in the dialogues between the look of health sciences, art and pedagogy that pervades the entire work. This discussion is based on the body's reality undergone an anatomical, physical, and historical process that determine their movement as an individual, based on what is possible to rescue from these wholes in construction of proposed actions that are in a body technique called: Dynamic Postural Reorganization. / Doutorado / Educação, Conhecimento, Linguagem e Arte / Doutor em Educação

Nonverbal communication such as body language is a vital component of our communication, and since scholars agree that there are some notable differences in the way men and women use body language, the study of gendered nonverbal communication as a social construction is vital to our understanding of how we create gendered identities. The aim of this paper is to investigate how social gender norms concerning body language appear in constructed communication. By studying the body language of the characters in the American sitcom Friends, and with focus on leg postures, I examine how the show Friends enacts and represents stereotyped sex differences in body language. The study encompasses both the distribution of leg positions between the genders, and what these postures seem to accomplish in interaction. As for the relationship between gender and leg postures, I observed the sitting positions of the characters Chandler, Ross, Joey, Monica and Rachel in six episodes from the 1999/2000 season of Friends for the first study. For the analysis of leg postures in relation to the communicative situation, the entire corpus of ten episode recordings was used. Based on repeated inspection of scenes where leg positions could be studied in relation to gender and communication, systematic patterns were identified. The results of the study are consistent with the findings of scholars like Vrugt and Luyerink (2000); women tend to sit in closed postures or with their legs crossed, which is regarded feminine, while men sit in wide positions with their legs spread, which is regarded masculine. Furthermore, the characters/actors in Friends seem to perform their gender roles partly by using different leg positions and wideness of postures. However, leg positions alone were not found to be decisive in the messages communicated, and emotions and stance were communicated using verbal and other non-verbal channels and cues. Instead, leg positions remained gender-stereotypical regardless of the message communicated, and men and women seem to communicate the same message using different leg positions. It is therefore concluded that leg positions are an inherent part of “doing gender”, but that leg positions as such are not necessarily related to the type of message or emotional stance that is communicated.