Thesis (MPhil)--University of Stellenbosch, 2005 / Parallel title in Chinese characters. CD-ROM in end pocket of book. Bibliography. Also available via the Internet.

Thesis (B.Sc)--University of Hong Kong, 2000. / "A dissertation submitted in partial fulfilment of the requirements for the Bachelor of Science (Speech and Hearing Sciences), The University of Hong Kong, May 10, 2000." Also available in print.

Thesis (Ph.D.)--McMaster University, 2005. / Advisor: R. Granofsky. Includes bibliographical references (leaves 262-273). Also available via World Wide Web.

The aim of the study is to analyse how the teacher’s teaching and relation to the pupils is presented in three children’s books for ages 6 to 9. Another aim is to compare how the image of teachers and relations to pupils agrees with how these are presented in literature in a historical perspective. The analysis applies a qualitative method used in comparative literature with the aid of narratological devices such as “narrative point of view” and “pattern of address”. The result of the analysis shows that the teacher is portrayed in many ways. In a historical perspective the presentation of the teacher both follows and breaks a pattern. Yet another finding is that the actual teaching is not considered to any great extent in children’s literature. Instead it is upbringing that receives most treatment in the literature.

For children, high quality friendships are associated with adaptive social, emotional and academic functioning. There is also evidence that children experience real and imaginary friendships in similar ways, and that imagined relationships could have an impact on development. However, less is known about the relationships made possible by virtual agents in digital media. This dissertation research was designed to provide preliminary data about children’s concepts of virtual agents, and the social opportunities they attribute to such entities. In Studies 1 and 2 (combined N = 48), preschool aged children differentiated the social affordances of a stuffed dog and a virtual dog. Participants played a game in which they guessed whether a child in a video was referring to a stuffed dog or a virtual dog in a series of statements. Items designed to assess high quality friendships, such as comfort, protection and love, were attributed more to the stuffed dog than the virtual dog. Studies 3 and 4 examined adult and child concepts of a virtual child, and how concepts of this entity might differ from a real child, a child on a video chat program (e.g., Skype™) and an inanimate doll. Adults and children attributed a range of properties to each child agent, including biological, psychological and social properties, as well as opportunities for relationships. In Study 3 (N = 144), adults did not differentiate between the virtual child and the doll on the social property; however, they favored the doll on opportunities for unilateral relationships. In Study 4 (N = 30), five to eight-year-old children indicated an overall preference for the doll on the social property, as well as on opportunities for reciprocal relationships. Children also favored the doll on opportunities for love, companionship, and intimate disclosure. Altogether, these findings suggest that virtual agents afford more limited social opportunities than inanimate artifacts, and they are less likely to be loved by children and adults alike. These results raise important questions about the design goals for virtual agents, and the functions they are intended to serve in our everyday lives. This dissertation includes both previously published and co-authored material.

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Orientador: Graziela Estela Fonseca Rodrigues / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-10T16:26:40Z (GMT). No. of bitstreams: 1 Melchert_AnaCarolinaLopes_M.pdf: 12507812 bytes, checksum: 0c88654f7f09f37cc079b91df7a6a145 (MD5) Previous issue date: 2007 / Resumo: Este trabalho teve por objetivo realizar uma criação artística, tendo como foco o eixo Estruturação da Personagem do Método Bailarino-Pesquisador-Intérprete (BPI). Pretendeu-se, também, a realização de uma reflexão teórica do desenvolvimento deste processo criativo. O BPI é um Método de perspectiva sistêmica, que integra aspectos sociais, culturais, emocionais e físicos, cujo foco é a identidade do corpo. Este Método possui três eixos inter-relacionados e indissociáveis: O Inventário no Corpo, O Co-habitar com a Fonte e a Estruturação da Personagem. A personagem no BPI é trabalhada como uma possibilidade de desenvolvimento da Imagem Corporal e como um processo de nucleação, possibilitando o fechamento de uma gestalt. O Co-habitar com a Fonte foi realizado na região do Vale do Paraíba (SP), onde se efetivou pesquisas de campo sobre a manifestação popular brasileira do jongo. A partir do co-habitar, realizou-se um aprofundamento do Inventário no Corpo, o que possibilitou a abertura do processo criativo. A presente pesquisa descreve as várias etapas de como se estruturou a personagem, que são apresentadas e descritas através de agrupamentos por conteúdos e dinâmicas específicas de trabalho. As incorporações de objetos são descritas como necessidades de se conquistar a expressão do corpo. As individualizações das ações de campo e o aprofundamento do Inventário no Corpo conduziram à etapa da Incorporação da Personagem. A pesquisa de campo complementar, as referências literárias, a experimentação de objetos e as elaborações cênicas possibilitaram o desenvolvimento da Estruturação da Personagem. O nome da personagem é apresentado como uma perspectiva de possibilitar ao intérprete o desenvolvimento de seu processo. A Estruturação da Personagem foi realizada a partir da efetivação do Método do BPI, onde o corpo em desenvolvimento aprofundou o contato com suas origens, co-habitou com outros corpos e integrou os conteúdos vivenciados dando passagem a uma personagem, possibilitando a este realizar uma dança original, integrada e orgânica / Abstract: The purpose of this work was to produce an artistic creation focusing on the ¿Character Construction¿ by using the Dancer-Researcher-Performer (DRP) Method, (Bailarino-Pesquisador-Intérprete: BPI). In addition, I intend to produce a textual reflection showing a theoretical development of this creative process. The DRP is a method of systematic perspective that integrates social, cultural, emotional and physical aspects and whose focus is corporal identity. This Method possesses three centers, all interrelated and inseparable: The ¿Body¿s Inventory¿, the ¿Co-habituate with the Source¿ and the ¿Construction of the Character¿. The Character in DRP functions as a possibility of Corporal Image development and as a centering process, permitting a closure of a gestalt. The ¿Co-habituate with a Source¿ took place in the region of Vale do Paraíba (SP), where I underwent the field research that deals with the popular manifestation ¿the jongo¿. Using the Cohabituate as the starting point, the Inventory of the Body phase was subsequently achieved on a profound level, thus opening the terrain in support of a creative process. The current research describes the various stages of how one construct¿s the character, which subsequently are presented and described through content groupings and specific work dynamics. Incorporating objects are referred to as necessary to capture body expression. All specific actions derived from the field research as well as the in depths work in the Body Inventory stage were aptly followed through in the Character Incorporation stage. Complementary field research, literal references to specific experiments with objects as well as theatrical experimentation permitted the Construction of the Character. The name of the character is presented as a perspective in order for the performer to develop her process. Implementing the DRP method, where the emergent body deepened its contact with its origins, co-habiting with other bodies and incorporating its empirical contexts experienced during the character formation, gave aperture for the Construction of Character. This, in the end, permitted an original dance both integrated and organic / Mestrado / Mestre em Artes

A mulher e a cidade: um estudo das relaÃÃes entre as personagens femininas e o espaÃo romanesco em Josà de Alencar e Machado de Assis concentra-se na investigaÃÃo da representaÃÃo do espaÃo nos romances LucÃola, Senhora e Dom Casmurro, a partir da movimentaÃÃo das protagonistas pelos ambientes pÃblicos e privados das narrativas. AtravÃs das anÃlises, observa-se como ocorre o trÃnsito das mulheres de ficÃÃo no espaÃo romanesco, alÃm de verificar como se constituem as relaÃÃes de verossimilhanÃa entre as personagens femininas e a realidade da mulher do sÃculo XIX, sempre tomando por base a movimentaÃÃo espacial. Para o estudo proposto foram levadas em consideraÃÃo a Ãpoca dos autores e a contextualizaÃÃo histÃrico-social da cidade do Rio de Janeiro, palco dos trÃs romances, alÃm da condiÃÃo feminina e sua atuaÃÃo naquela sociedade. Embasam essa etapa as obras de Dante Moreira Leite, Lilia Moritz Schwarcz, Laurentino Gomes, Maria Ãngela DâIncao e Peter Gay. As teorias relativas à personagem de ficÃÃo, de AntÃnio Candido e E.M. Forster, e ao espaÃo romanesco, de Osman Lins, Yves Reuter e Gaston Bachelard, sedimentam as anÃlises das obras que, comparadas entre si, proporcionam um breve panorama do imaginÃrio masculino do sÃculo XIX, sob a perspectiva das relaÃÃes mulher/cidade e personagem/espaÃo, apoiadas ainda nas consideraÃÃes de Luis Filipe Ribeiro. Os romances, apesar de pertencerem a movimentos literÃrios diferentes representam, de forma complementar, a evoluÃÃo do comportamento feminino e a forma como as personagens se relacionaram com os espaÃos pÃblicos e privados.

Esta dissertação, As formas dramáticas do cômico e do trágico em La Celestina, analisa quatro personagens da obra Tragicomedia de Calisto y Melibea ou La Celestina atribuida a Fernando de Rojas. A análise apresenta, a partir de leituras críticas e teóricas, elementos de comicidade e de tragicidade na trajetória das personagens Calisto, Centurio, Celestina e Melibea. O texto é composto de introdução, três capítulos e as considerações finais. Na Introdução, apresentamos um breve histórico das principais críticas instituídas à obra, principalmente, no que diz respeito ao seu gênero literário. No primeiro capítulo, procuramos apontar algumas das diversas formas de comicidade que propiciam o riso no comportamento das personagens Calisto e Centurio; no segundo, apresentamos os elementos pertencentes às teorias do trágico, em seu sentido clássico e moderno, que estão presentes ou se relacionam às ações de Melibea; no terceiro e último capítulo, do mesmo modo, indicamos os possíveis elementos trágicos no comportamento de Celestina. E por fim, as Considerações finais, nas quais, após análise, entendemos que as personagens masculinas, Calisto e Centurio, desempenham uma função cômica na obra, ao passo que as duas femininas, Celestina e Melibea, são responsáveis por grande parte dos aspectos trágicos da referida obra. / This dissertation examines four characters of the work Tragicomedia de Calisto y Melibea or La Celestina attributed to Fernando de Rojas. The analysis shows, from critical and theoretical readings, elements of comicality and tragic in the path of the characters Calisto, Centurio, Celestina and Melibea. The text consists of an introduction, three chapters and final considerations. In the Introduction, a brief history of the main comments attributed to the work is presented, primarily related to its literary genre. In the first chapter, we point out some of the various forms of humor which provide laughter in the behavior of the characters Calisto and Centurio; in the second chapter, we present the elements belonging to the theories of tragedy in its classical and modern sense, which are present or are related to the actions of Melibea; similarly, in the third and final chapter, we indicated the possible tragic elements in the behavior of Celestina. And finally, the closing comments, in which, after the analysis, we believe the male characters, Calisto and Centurio, play a comic role in the piece, while the two women, Celestina and Melibea, are responsible for most of the tragic aspects of the work.

This is an analysis in which we played the games “Journey” and “Brothers: A Tale of Two Sons” with the goal of identifying game design patterns that were used to convey the games’ narratives. Using the method known as formal analysis we examined different situations in the games. Having identified which design patters seemed significant we decided upon a template with which we would present our findings. We found three patterns that we deemed were important enough to be defined in this paper; “Player guidance through Non Player Characters”, “Manipulation of controller effects” and “Visual reminders of the Player’s Goal” and explain these thoroughly. In our discussion we examine the value of our findings and how effective we found our method to be.