Made available in DSpace on 2016-03-15T19:42:28Z (GMT). No. of bitstreams: 1 Maria Silvia Pinto Santa Fe.pdf: 24380001 bytes, checksum: 5167dc1830bb6d8714bfc5796133e03d (MD5) Previous issue date: 2012-08-10 / This dissertation was to discuss the imagination and its relations with teaching/learning process. Contemporaneously is expected that school develops innovative and creative individual to face problems and therefore need the imagination, not understood in its reproductive dimension, but a creative imagination. This study observed that all psycho-pedagogical phenomena need to be a study that keeps a close proximity to the cultural and political phenomena. The main focus is a reflection on the role of the imagination as teaching/learning strategy in three areas of knowledge: Reading Procedures, Portuguese Language and Mathematics. Students were chosen of 3rd year of elementary school and the strategies used by the teacher in the classroom to promote child development by considering the repertoire and the abilities of each student. This work has as theoretical-methodological reference contributions of cultural historical psychology, in particular those made by L. S. Vygotsky beyond the theories developed in particular with A. R. Luria, A. N. Leontiev and its contributors. For analysis of the material collected used Bardin and Content Analysis. / Esta dissertação tem como objetivo discorrer sobre o papel da imaginação e sua relação com o processo de ensino/aprendizagem. Contemporaneamente espera-se que a escola forme indivíduos inovadores, criativos para enfrentar problemas e, para tal, precisa da imaginação, não entendida na sua dimensão reprodutora, mas uma imaginação criadora. Observa-se neste estudo que todo fenômeno psico-pedagógico necessita ser um estudo que mantenha uma proximidade com os fenômenos políticos e culturais. O foco principal é uma reflexão sobre o papel da imaginação como estratégia de otimização do processo de ensino-aprendizagem em três áreas do conhecimento: Procedimentos de Leitura, Língua Portuguesa e Matemática. Optou-se por alunos do 3º ano do Ensino Fundamental I e as estratégias utilizadas pela professora em sala de aula para promover o desenvolvimento da criança aproveitando o repertório e as habilidades de cada aluno. Este trabalho tem como referência teórico-metodológica as contribuições da Psicologia Histórico-Cultural, com ênfase nas teorias apresentadas por L. S. Vygotsky, além das elaboradas em especial com A. R. Luria, A. N. Leontiev e seus colaboradores. Para análise do material coletado utilizou-se L. Bardin e a Análise de Conteúdo.

Made available in DSpace on 2016-03-15T19:44:07Z (GMT). No. of bitstreams: 1 Sullivan Bernardo de Almeida.pdf: 12110307 bytes, checksum: 01576eb38f85b76f20f714588b172d60 (MD5) Previous issue date: 2012-12-12 / Instituto Presbiteriano Mackenzie / Di Cavalcanti's official production is the subject of studies in many disciplines, each of which takes its own particular approach. This official production is understood to be all of the verbal-imagery work produced by the artist throughout his career in order to meet the demands of the art market. However, the book Cartas de Amor à Divina, a compendium containing letters, cards, drawings and reproductions of portraits of Ivette Bahia Rocha, the "Divina", is understood as unofficial production. Published in 1987, the book records the fifteen-year loving relationship of Di Cavalcanti and Ivette. The set reveals the drama of an older man, 62 at the time, who cannot control a 23-year-old woman. Ivette met the painter in 1959 on a visit to his studio in Copacabana, Rio de Janeiro, and became an assiduous studio guest, occupying, little by little, all spaces of the artist's life: she was his secretary, financial administrator, muse and wife. The relationship ended in 1974, during the middle of a political and cultural transformation in Brazil. Structured from the concepts that guide the study of History of Culture, this study is dedicated to analyzing the verbal imagery content contained in Di Cavalcanti's epistolary, which was transformed into a book in 1987. The goal is to identify the reasons for which the relationship's dynamic was conflicted and how such subversions interfered or not in the painter s artistic production. / A produção oficial de Di Cavalcanti é objeto de estudos em diferentes disciplinas e, abordada de forma diversa em cada uma delas. Entende-se como produção oficial toda obra imagético-verbal produzida pelo pintor ao longo de sua carreira artística e, com objetivo de atender as demandas do mercado de arte. Porém, entende-se como produção oficiosa o livro Cartas de Amor à Divina, um compêndio contendo, cartas, cartas-desenhos e reproduções dos retratos de Ivette Bahia Rocha, a destinatária. Publicado em 1987, o livro é um registro dos quinze anos de relacionamento afetivo vivido por Di Cavalcanti e Ivette, a Divina. O conjunto revela o drama de um homem que não consegue controlar uma jovem de 23 anos, tendo ele à época 62 anos de idade. Ivette conheceu o pintor em 1959 em visita ao seu atelier, em Copacabana, no Rio de Janeiro. Tornou-se uma das convivas assíduas do atelier, ocupando, pouco a pouco, todos os espaços na vida do artista. Foi secretária, administradora financeira, musa e mulher. O relacionamento terminou em 1974 em meio à transformação político e cultural pela qual passava o Brasil. Estruturada a partir dos conceitos que orientam os estudos da História Cultural, esta pesquisa dedica-se a análise do conteúdo imagético-verbal contido no epistolário de Di Cavalcanti transformado em livro em 1987. O objetivo é identificar os motivos pelos quais se instalavam os conflitos naquela dinâmica relacional e, de que maneira aquelas subversões interferiam ou não na produção artística do pintor.

A presente pesquisa investiga os caminhos trilhados pelas gravadoras de discos 78rpm que atuaram na cidade de São Paulo, desde a inauguração da gravação elétrica até a consolidação do rádio. Analisa-se, especialmente. o processo de incorporação, seleção, ou recriação das empresas fonográficas diante da produção musical brasileira. A tecnologia elétrica conferiu uma densidade sonora inédita à reprodução das músicas e alterou profundamente a experiência auditiva do ouvinte, a forma de conceber a gravação de sons por parte das companhias fonográficas, e a sua relação com as empresas de radiofonia, criando um modelo de atuação que será utilizado ao longo de todo o século XX. Como objeto privilegiado de análise estão as primeiras séries de gravações produzidas na capital paulistana, cujos acordes e vozes registrados - como os tangos, gravados nos anos 20 - foram emudecidos pelo esquecimento ou pelas péssimas condições de conservação dos fonogramas; outros - como a \"música caipira\", ou os choros e as valsas - foram intensamente reproduzidos pelas rádios e vitrolas, e permanecem vivos até hoje em nossa memória musical. / This work examines the paths follwed by the 78rpm disc recording companies, that operated in São Paulo city, since the inauguration of the electric recording process, until the consolidation of the radio companies. Particularly, the record companies\' processes of incorporation, selection and re-creation of brazilian music are analyzed. The new technology granted an unprecedented density to the sounds reproduced by the victrola and deeply transformed the listener\'s auditive experience. It also changed the way that the recording companies conceived the recording process and their relation with the radio companies, creating an operating paradigm that would be used during the whole 20th century. The first series of records produced in the city of São Paulo are the main research objects analyzed, which voices and chords registered - like tangos, recorded during the 1920\'s - were silenced by the forgetfullness or the discs\' bad conditions of conservation; others - like the \"caipira music\", \"choro\" or valses - were intensily reproduced by the radio or victrolas, and remain alive in our musical memory.

In the 1990s and early 2000s, the Chechens fought against the Russians for independence. The focus in the literature available has been on the wars and the atrocities caused by the wars. The literature then hypothesizes that the insurgency of today is just a continuation of the past. They do not focus on a major event in Chechen history: the Soviet liquidation of the Chechen-Ingush Autonomous Soviet Socialist Republic in 1944. It is this author’s assertion that the liquidation of the Chechen-Ingush ASSR forever changed the mindset of the people because it fractured a society that was once unified. This project will compare the Chechen insurgency from the beginnings until the deportation and after the deportation. This will allow me to show how the deportation changed the Chechen mindset and disprove the assertion that these two Chechen wars were just a continuation of the past.

The Great Plains are prevalent among the literature of the nineteenth century, but receive hardly a single representation among the landscapes of the Hudson River School. This is certainly surprising; the public was teeming with interest in the Midwest and yet the principal landscape painters who aimed to represent and idealize a burgeoning America offered hardly a glance past the Mississippi River. This geographical silence is the result of a tension between idealistic and empirical representations of the land, one echoed in James Fenimore Cooper’s The Prairie, Washington Irving’s A Tour on the Prairies, and Margaret Fuller’s Summer on the Lakes, in 1843. Margaret Fuller’s more physical and intimate Transcendentalism unifies this tension in a manner that heralds the rise of the Luminists and the plains-scapes of Worthington Whittredge.

This is a micro-history that explores everyday life on a small scale by tracing the common, if elusive lives of Thomas Dula, Ann Melton, and Laura Foster, and the communities they lived in, to explore the culture in which they lived—and died. Reactions to the murder unleashed an outpouring of discourse embedded in broader, national debates concerning gender roles. The dominant cultural theme that emerged from the murder trials as reflected in middle-class newspapers maintained that true women did not kill and real men acted as gentlemen and defenders of women’s honor. The project mines a wealth of primary source material: court documents, population censuses, and newspapers. By examining the discourse surrounding Tom Dula’s execution and Ann Melton’s acquittal for the murder of Laura Foster it illuminates the murder narrative as a public forum for discussing gender roles and power in 1860s America.

This thesis is an analysis of the World War II television drama COMBAT!, which ran from 1962 to 1967, and how this program dealt with and addressed the national memory of the Second World War. The way in which the “Good War” is remembered has changed over time. In the years of the conflict and immediately following its conclusion, there was a sense of zealous patriotism surrounding the war, but as our culture changed, a more critical approach was taken. This paper examines the way in which the show deals with its two main subjects – the American forces and the Germans which opposed them. This depiction is analyzed and deconstructed through the lens of historical or collective memory, a concept which deals with how a group of people view their past. Particularly, COMBAT! uses an air of complexity and nuance in how the combatants are treated that was not found in many earlier depictions of the war. It is important for the reader to understand the thinking behind the way in which this program deals with the memory of World War II. This thesis dissects the intended messages that arise from the show’s portrayal. The paper concludes with an examination of how this more critical view can be applied to the portions of the war outside of COMBAT’s scope. Attention is also paid to the way in which this attitude of remembrance has continued on into future works that deal with both World War II and the wars that followed.

This thesis uses the observations of Nancy J. Peterson on historical wounds as a springboard to discuss Octavia Butler’s novel Kindred and its use of both white and black characters to reexamine the origins of the historical wounds and why they are so difficult to deal with even today. Other scholarly works will be used to further investigate the importance of each character in the story and what they mean to the wound itself. Specifically, Dana is analyzed alongside the other main characters: Rufus, Alice, and Kevin. Though Dana’s relationships with these characters, Kindred’s version of the past can be examined in order to determine why the past is so difficult to overcome and what the novel does to come to an understanding or reconciliation with it. This, in turn, allows for the present to be compared to Butler’s representation of the past as a way of reexamining history.

This research argues that with the rise of the middle-class, Victorian England saw the development of a power model in which middle-class men, middle-class women and disenfranchised bodies of children and lower-class women suffered from the demands of bodily domination. Because the bodily health of middle-class men was believed to represent national health, it was imperative that he dominate his body, particularly with regard to sexual urges. Consequently, the bodies of women with whom he sought sexual release suffered from forms of bodily domination as well. Through an analysis of journals and private writings of those living in Victorian England, magazines, books, and advisory texts published during the nineteenth century, and philosophical interpretations of Victorian sexuality by historians, an image emerges in which Victorian sexuality is categorized by the need to dominate the body.

This thesis uses qualitative ethnographic research methods to present a case study that explores the multiplicity of meanings and representations that are attached to the Old Deery Inn & Museum in Blountville, Tennessee. Within the community, the Inn functions as a center for cultural memory, with the physical structure itself acting as an artifact that holds community identity. This community narrative contrasts with the official narrative used by tourism entities that markets the Inn as a part of the Appalachian region, situating the Inn within a complex and intricately constructed identity of place that is shaped by lived experiences as well as perceived cultural markers. By unraveling the narratives, this study unpacks the ways that the Inn’s various identities figure into the development of current interpretation and management efforts, and the way that this locally important historical site fits into the larger narrative of tourism marketing in East Tennessee.