[pt] Figura-chave da chamada arte conceitual, o artista norte-americano Dan Graham iniciou sua trajetória artística em meados da década de 1960 muito por acaso. Convidado por amigos, tornou-se sócio da John Daniels, galeria em Nova York bastante ativa, mas de vida breve. Falido, viu-se obrigado a retornar à casa de seus pais em Nova Jersey. Durante a viagem de trem, pôde observar a nova cidade. Dessa experiência surgiu Homes for America, notório ensaio fotográfico sobre as habitações em massa dos subúrbios norte-americanos, que integra um primeiro conjunto de trabalhos do artista destinados a revistas. Algum tempo depois, Graham ingressou na Nova Scotia College of Art and Design, Halifax, dando início a um período em que seu interesse se volta para o vídeo, a performance e a instalação, interrompido por Public Space/Two Audiences, trabalho realizado para a Bienal de Veneza de 1976 que impõe ao artista uma autocrítica. A despeito de seu êxito, Graham reconhece que a instalação se aproximara em demasia do conceito de cubo branco. Como saída para o impasse, adotou a ideia de plano da cidade, passando a propor projetos de intervenção urbana até iniciar, no começo dos anos 80, seus pavilhões. Levando em conta a obra de Graham, ampla e diversa em seus meios, a tese é monografia que tem por objetivo realizar um estudo analítico sobre a prática do artista, definida, a meu ver, nos termos de um modelo crítico-conceitualista. / [en] Key figure of the so-called conceptual art, the North American artist Dan Graham began his artistic career in the mid-1960s quite by chance. Invited by friends, he became a partner of the John Daniels, a gallery in New York very active, but short-lived. Bankrupt, he was forced to return to his parents home in New Jersey. During the train ride, Graham can saw the new city. From this experience came Homes for America, notorious photographic essay on mass tract housing of North American suburbs, which is part of a first set of works for magazines. A while later, Graham joined the Nova Scotia College of Art and Design, Halifax, starting a period in which your interest turns to video, performance and installation, interrupted by Public Space/Two Audiences, work done for the Venice Biennale in 1976 that impose the artist self-criticism. Despite its success, Graham recognizes that the installation was near of the concept of the white cube. As out of the impasse, he adopts the idea of city plan, going to propose urban interventions projects, starting in the early 80s their pavilions. Considering Graham s work, broad and diverse in its mediums, the thesis is a monograph that aims to carry out an analytical study of the practice of the artist, defined, in our view, in terms of a critical-conceptualist model.

Polymetric writing is an integral technique in contemporary compositional practice. Dan Welcher and Yo Goto are principal employers of this practice in the wind band medium. Their methods endure even the results of modern scholarship showing limited human perception of polyrhythmic events. This dissertation provides a comprehensive metric analysis of excerpts from the music of Welcher and Goto. Five examples are explored from major band works of each of the two composers. The analytical process in the study utilizes the metrical concept set forth by Maury Yeston, so that a comparison can be made between the rhythmic components of the competing meters. The results of the study show that both Welcher and Goto, in all ten excerpts, create polymetric sections containing elements that surpass the aural limits proposed by modern scholarship. Additionally, through identification of the misaligned metric layers causing each polymeter, pedagogical considerations are offered to aid performance of each identified excerpt.

This study sought to discover the principles of characterization governing the Sheng and the Dan roles in the Chinese opera. Seven Dan role divisions and three Sheng role divisions were studied. It was discovered that throughout its long history the Chinese opera had adhered to its original singing and dancing styles; that the creative activities involved in the opera's staging were subordinated to singing and dancing styles; that the actors in the Chinese opera perform only one role category in their career; that years of rigid training were required before the actors were allowed to perform on stage; that each role division had its peculiar method of characterization that was shown through their performances, their costumes, and their acting techniques.

"Direct Address" is a document intended to complement a body of artwork, including photographs and digital video. The focus of this text is to discuss my process of creating documentary film. Beginning with my thesis film it traces my development as documentary filmmaker over a two-year period, highlighting shifts in my thinking and activity during that time.

This dissertation examines the video-installations created by American artist Dan Graham in the 1970s. It investigates the artist's relationship to Minimalism by analyzing themes Graham highlights in his own writings and in interviews. In particular, I explore how the artist's understanding of Herbert Marcuse, Walter Benjamin, and R.D. Laing informed his post-Minimalist work and how concepts gleaned from these sources are manifest in his video-installations. Also undertaken are discussions of the artist's interest in aestheticized play, the just-past present, the debate between Behaviourism and phenomenology, surveillance, and Modern architecture. In addition, I investigate Graham's position in Conceptual art, use of site-specificity, and the practice of institutional critique. At the outset, I provide an in-depth analysis of two of Graham's magazine pieces, Schema (March 1966) and Homes For America, that ties together the artist's reading of Marcuse and his rejection of Minimalist phenomenology. Next, I give an account of the artist's connection to early video art and his use of time-delay in works such as Present Continuous Past(s) and Two Viewing Rooms as a means to highlight the just-past present. Finally, I examine Graham's architectural video-installations Yesterday/Today, Video Piece for Showcase Windows in a Shopping Arcade, and Video Piece for Two Glass Office Buildings as instances of site-specific art and as part of the artist's practice of institutional critique. I also explore his references to the notions of art-as-window and art-as-mirror as an expansion of his engagement with Minimalism. Throughout, my discussion includes comparisons between Graham's work and that of other artists like Vito Acconci, Bruce Nauman, and Hans Haacke. In sum, this study offers an expanded understanding of how Graham employed video and installation in his art as a means to move beyond Minimalism and to interrogate contemporary American society.

The four novels Hyperion, The Fall ofHyperion, Endymionand The Rise of Endymionconstitute the Hyperion Cantosby the American science fiction writer Dan Simmons. Thisgalactic-empire,epic,science fictionnarrative containsa plethora ofliterary references. The dominant part comes from the nineteenth-century Romantic poet John Keats. The inclusion of passages from his poetry and letters is pursuedin my analysis.EmployingLubomír Doležel’scategorizations of intertextuality—“transposition,” “expansion,” and “displacement”—I seek to show how Keats’s writings and his persona constitute a privilegedintertext inSimmons’s tetralogyand I show its function.Simmons constructs subsidiary plots, some of which are drivenby Keats’s most well-known poetry. In consequence, some of the subplotscan be regarded as rewrites of Keats’s works.Although quotations of poetry have a tendency to direct the reader’s attention away from the main plot,slowing down the narrative,such passages in the narrativesevokeKeats’s philosophy of empathy, beauty andlove,which is fundamental for his humanism.ForKeats, the poet is a humanist, giving solace to mankind through his poetry. I argue that the complex intertextual relationships with regards toKeats’s poetryand biographyshow the way Simmons expresses humanism as a belief in man’s dignity and worth, and uses it as the basis for his epic narrative.

Metropolitan mosquitoes: Understanding urban livestock keeping and vector-borne disease in growing tropical sites – The potential of sustainable control methods and the risks for emergence to Sweden.

Made available in DSpace on 2015-04-14T13:54:14Z (GMT). No. of bitstreams: 1 462501.pdf: 1626962 bytes, checksum: 59c8b40a771521a79897a11fa56edddd (MD5) Previous issue date: 2014-06-27 / Introduction: The increase in life expectancy brings new demands with regard to the creation of strategies to provide a healthy aging with a better quality of life for the population. The dance can be one of these ways due to be a low cost activity and culturally accepted. Purpose: Evaluate the relationship between regular dance practice, quality of life, self-image and self-esteem in postmenopausal women and depressive symptoms in elderly women. Methods: It was conducted a clinical trial of quantitative-qualitative approach, with a sample of postmenopausal women in a social group in the town of Bayeux, PB, Brazil. The study was conducted in three stages, including an initial assessment, three months of intervention with dance lessons and a final assessment. WHOQOL Bref, Self-image and self-esteem Questionnaire of Stob?us, Yesavage Geriatric Depression Scale, data sheet including socioeconomic and health data and a questionnaire with open questions were applied. The paired t-student test was used to compare averages between evaluated moments. The Wilcoxon test was applied in case of asymmetry. The McNemar test was used to evaluate proportions. It was adopted the significance level of 5 % (p0,05) and the analyzes were performed using SPSS version 18.0. Qualitative analysis was performed using the technique of content analysis proposed by Bardin. The study was initiated after approval by the Ethics Research Committee at PUCRS and followed the rules of Resolution No. 466 of December 12, 2012 of the National Board of Health. Results: 38 women with a mean age of 62.7?7,2 years took part in this study. There was a predominance of married women. Most of them do not have a complete primary education and has the income, median, of a minimum wage. 73.7% reported health problems with the majority having cardiovascular diseases. Most subjects believed that the dance means health. There is happiness with the body and it was said that dancing provides wellness. There was significant improvement in the social domain of the WHOQOL - bref (p = 0.033). The self-image and self-esteem, which was already positive at the beginning of this study, did not change significantly. The education level was significantly associated with adherence to dance. The subjects that increased their self-image and self-esteem were those who most reduced depressive symptoms (p=0.050). There was a statistically significant positive association among the changes in overall QV score of the WHOQOL - bref with changes in self-image and self-esteem score (p=0.043). Conclusion: The results indicate that cardiovascular diseases are the ones that reach the subjects of sample; Dancing is seen as an activity that promotes health and provides joy, satisfaction and well being. If regularly practiced, it can improve the quality of life of post-menopausal women, particularly with regard to the social domain. Although the dance is not shown effective in reducing depressive symptoms, it may favor the emergence of positive emotions such as joy, cheer, cheerfulness and freedom. / Introdu??o: O aumento da expectativa de vida traz novas demandas no que diz respeito ? cria??o de estrat?gias para proporcionar um envelhecimento saud?vel e com melhor qualidade de vida ? popula??o. A dan?a pode ser um desses caminhos, por ser uma atividade de baixo custo e culturalmente aceita. Objetivos: Avaliar a rela??o entre a pr?tica regular da dan?a, qualidade de vida, autoimagem e autoestima em mulheres p?s-menop?usicas e sintomas depressivos em idosas. M?todos: Ensaio cl?nico de abordagem quanti-qualitativa, realizado com uma amostra de mulheres p?s-menop?usicas de um grupo de conviv?ncia na cidade de Bayeux, PB, Brasil. O estudo foi realizado em tr?s etapas, sendo uma avalia??o inicial, tr?s meses de interven??o com aulas de dan?a e uma avalia??o final. Foram aplicados os seguintes instrumentos: WHOQOL-bref, Question?rio de Autoimagem e autoestima de Stob?us, Escala de Depress?o Geri?trica Yesavage, ficha informativa incluindo dados socioecon?micos e de sa?de e um question?rio com quest?es abertas. Para comparar m?dias entre os momentos avaliados, foi utilizado o teste t-Student pareado. Em caso de assimetria, foi aplicado o teste de Wilcoxon. Na avalia??o de propor??es foi utilizado o teste de McNemar. Foi adotado o n?vel de signific?ncia de 5% (p0,05) e as an?lises foram realizadas no programa SPSS vers?o 18.0. A an?lise qualitativa foi feita atrav?s da t?cnica de An?lise de Conte?do, proposta por Bardin. O Estudo teve in?cio ap?s a aprova??o pelo Comit? de ?tica em Pesquisa da PUCRS e seguiu as normas da Resolu??o n? 466 de 12 de dezembro de 2012 do Conselho Nacional de Sa?de. Resultados: Participaram 38 mulheres com m?dia de idade de 62,7?7,2 anos, com predom?nio de mulheres casadas, a maioria com ensino fundamental incompleto e renda, em mediana, de um sal?rio m?nimo. Destas, 73,7% relataram problemas de sa?de sendo a maioria com doen?as cardiovasculares. A maioria dos sujeitos acredita que a dan?a significa sa?de, est? satisfeita com o pr?prio corpo, e referiu que a dan?a proporciona bem estar. Houve melhora significativa no dom?nio social do WHOQOL-bref (p=0,033). A autoimagem e autoestima, que j? eram positivas, no in?cio do estudo n?o sofreram altera??o significativa. O n?vel de escolaridade se associou significativamente ? ades?o ? dan?a. Os sujeitos que mais aumentaram sua AIAE foram os que mais reduziram os sintomas depressivos (p=0,050). Houve associa??o positiva estatisticamente significativa entre as varia??es do escore geral de QV do WHOQOL-bref com as varia??es do escore de AIAE (p=0,043). Conclus?o: Os resultados indicaram que as doen?as cardiovasculares s?o as que mais atingem os sujeitos da amostra; a dan?a ? vista como uma atividade que favorece a sa?de e que proporciona alegria, satisfa??o e bem estar. Se praticada regularmente, pode melhorar a qualidade de vida de mulheres p?s menop?usicas, em especial no que diz respeito ao dom?nio social. Embora a dan?a n?o se mostre eficaz na redu??o da sintomatologia depressiva, pode favorecer o surgimento de emo??es positivas, como alegria, ?nimo, jovialidade e liberdade.

Made available in DSpace on 2015-04-14T14:22:37Z (GMT). No. of bitstreams: 1 399719.PDF: 7662813 bytes, checksum: 2799554f7817b008499cee1ae335119e (MD5) Previous issue date: 2007-12-19 / A presente pesquisa, de car?ter qualitativo, caracteriza-se como estudo de caso e problematizou a tem?tica dan?a e educa??o, focalizando os significados constru?dos a partir do e no aprendizado da dan?a para o grupo de alunos envolvidos no projeto Dan?a Crian?a. Este projeto existe h? 23 anos na Escola Municipal de Ensino Fundamental Jos? Loureiro da Silva, localizada na Vila Cruzeiro do Sul, bairro perif?rico de Porto Alegre. A coleta de dados foi feita atrav?s de entrevistas semi-estruturadas com 9 integrantes do projeto (faixa et?ria entre 6 e 14 anos), 3 familiares e 2 professoras, al?m de conversas informais. Tamb?m foram realizadas observa??es participantes durante as aulas (incluindo os e momentos de entrada e sa?da) e nas apresenta??es. O procedimento de an?lise dos dados foi baseado na an?lise de conte?do que gerou as seguintes categorias: significados e sentimentos em rela??o ? dan?a; motiva??o para aprender dan?a na escola; expectativas em rela??o ? dan?a e ? vida. O estudo est? embasado na perspectiva da educa??o est?tica (HERMANN, 2005; DUARTE JR, 1981,1991) e situado na proposta pedag?gica da Escola Cidad? (AZEVEDO, 1999, 2000; GADOTTI, 2000). Os resultados apontam, principalmente, que o projeto de dan?a constitui-se em um importante referencial para esta comunidade em rela??o ? constru??o de uma aprendizagem significativa e no resgate de sentimentos de participa??o, integra??o e mobiliza??o. As representa??es sociais desveladas na pesquisa indicam que a dan?a para este grupo d? sentido n?o s? ao aprendizado, mas ? pr?pria vida. A partir das constata??es da pesquisa, recomenda-se que projetos de educa??o alternativos sejam incorporados ? realidade das escolas, como forma de potencializar o desenvolvimento integral dos alunos e de resignificar o ato educativo, enquanto um ato de constru??o de conhecimento baseado na alegria e na beleza.

Submitted by Setor de Tratamento da Informa??o - BC/PUCRS (tede2@pucrs.br) on 2015-10-06T11:35:37Z No. of bitstreams: 1 475532 - Texto Completo.pdf: 1600842 bytes, checksum: dc356ce5c58b87c1c560bc54264adbb8 (MD5) / Made available in DSpace on 2015-10-06T11:35:37Z (GMT). No. of bitstreams: 1 475532 - Texto Completo.pdf: 1600842 bytes, checksum: dc356ce5c58b87c1c560bc54264adbb8 (MD5) Previous issue date: 2015-08-06 / Conselho Nacional de Pesquisa e Desenvolvimento Cient?fico e Tecnol?gico - CNPq / From the identification of important moments in the personal life story and professional about dance teachers as dancers, teachers and academics from dance course or physical education, this research presents the objective understand through reports of teachers how those moments influence their teaching constitution in view of its entirety. It brings in its theoretical framework relevant authors on subject: Catanante (2000), Dantas (1999), Freire (2013), Josso (2004), Marques (2010), N?voa (1992), Palmer (2012), Strazzacappa and Morandi (2012), Tardif (2002). Through methodological qualitative approach, was used as information collection instrument the semi interview structured that was performed individually with nine teachers belonging to two dance schools. The analysis and interpretation of information were made through by Discursive Textual Analysis proposed by Moraes and Galiazzi (2011). The results of this research pointed out as moments of the trajectory of the interviewed as dancers and teachers. Become more present influences in their speeches: the marks left by teachers who passed through the lives of the interviewees who have become references in make in their teaching, both in teaching and in established relationships, as well as "put themselves" in place of the students because they have gone through similar situations.Entry into the teaching took intrinsically related to their career in the dance, and the taste for teaching the subject narrated more strongly about that choice. The meaning of teaching is linked to the passion for this profession, as well as the "matter" taught: the dance. The academic backgrounds, although different, have become important in the lives of teachers, providing moments of reflections about the body, dance, their students and their own teaching, bringing singularities as the courses offered in each course. With the teaching practice, knowledge were built: by validating their knowledge by "trial and error", managing to deal with the unexpected; improvement of interpersonal relations as well as characteristics considered important for teaching; handling facilities and difficulties encountered in dance education. Over the reports, it became clear that, while the teacher of dance is constituted teacher, denounces its constitution as a person from the perspective of a whole (dimensions: social, emotional, spiritual and rational) identifying the I that Being who teaches dance. / A partir da identifica??o de momentos marcantes na trajet?ria de vida pessoal e profissional de professores de dan?a enquanto dan?arinos, professores e acad?micos do curso de Dan?a ou de Educa??o F?sica, esta pesquisa apresenta, como objetivo, compreender por meio de relatos dos professores de que forma esses momentos influenciam na sua constitui??o docente na perspectiva de sua integralidade. Traz, em seu referencial te?rico, relevantes autores sobre a tem?tica: Catanante (2000), Dantas (1999), Freire (2013), Josso (2004), Marques (2010), N?voa (1992), Palmer (2012), Strazzacappa e Morandi (2012). Por meio da abordagem metodol?gica qualitativa, utilizou-se como instrumento de coleta de informa??es a entrevista semiestruturada, realizada individualmente com nove professoras pertencentes a duas escolas de dan?a. A an?lise e a interpreta??o das informa??es foram realizadas por meio da An?lise Textual Discursiva proposta por Moraes e Galiazzi (2011). Os resultados dessa investiga??o apontaram momentos significativos da trajet?ria das entrevistadas como dan?arinas e professoras. Tornam-se influ?ncias mais presentes em suas falas: as marcas deixadas por professores que passaram pelas vidas das entrevistadas que se tornaram refer?ncias no fazer em suas doc?ncias, tanto no ensino como nas rela??es estabelecidas, assim como o ?se colocarem? no lugar dos alunos por terem passado por situa??es semelhantes.A entrada na doc?ncia se deu relacionada de forma intr?nseca a sua trajet?ria na dan?a, sendo o gosto por ensinar o motivo narrado de forma mais acentuada quanto a essa escolha. O significado da doc?ncia se vincula ? paix?o por essa profiss?o, assim como pela ?mat?ria? ensinada: a dan?a. As forma??es acad?micas, apesar de diferentes, tornaram-se importantes na vida das professoras, proporcionando momentos de reflex?es sobre o corpo, a dan?a, seus alunos e a pr?pria profiss?o, trazendo singularidades conforme as disciplinas oferecidas em cada curso. Com a pr?tica docente, saberes foram constru?dos: por meio da valida??o de seus conhecimentos por ?tentativa e erro?, conseguindo lidar com o imprevisto; melhora das rela??es interpessoais assim como de caracter?sticas consideradas importantes para a doc?ncia; lidando com facilidades e dificuldades encontradas no ensino da dan?a. Ao longo dos relatos, evidenciou-se que, ao mesmo tempo em que o professor de dan?a se constitui professor, denuncia sua constitui??o enquanto pessoa na perspectiva de sua integralidade (dimens?es: social, emocional, espiritual e racional) identificando o Eu desse Ser que ensina a dan?a.