Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2018-04-11T19:30:45Z No. of bitstreams: 1 SavioJordanAzevedoDeLuna_TESE.pdf: 1381171 bytes, checksum: 4460111a6f3b121a1f1e9ea1eb484af2 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2018-04-12T21:23:40Z (GMT) No. of bitstreams: 1 SavioJordanAzevedoDeLuna_TESE.pdf: 1381171 bytes, checksum: 4460111a6f3b121a1f1e9ea1eb484af2 (MD5) / Made available in DSpace on 2018-04-12T21:23:41Z (GMT). No. of bitstreams: 1 SavioJordanAzevedoDeLuna_TESE.pdf: 1381171 bytes, checksum: 4460111a6f3b121a1f1e9ea1eb484af2 (MD5) Previous issue date: 2018-02-23 / A presente pesquisa toma por base e transita no contexto entre a escrita narrativa autobiogr?fica e a dan?a, no intuito de buscar um caminho, resultante da inter-rela??o e sinergia entre as a??es de autossupera??o e de ressignifica??o de si. Consiste na afinidade simbi?tica entre a escrita e a dan?a, de uma rela??o ?ntima que escreve, produz, cria, resilia, transforma e ressignifica, gerando novas percep??es, novas reflex?es, novas experi?ncias, que situar? o indiv?duo em uma nova consci?ncia e condi??o. A investiga??o aponta, no ato da escrita e da cria??o em dan?a, dois estados de percep??o e produ??o simult?nea e consequente. O primeiro mostra uma escrita narrativa de si mesmo direta e distanciada no intuito de se compreender a experi?ncia; o outro, o desejo e a necessidade impl?citos na produ??o de se resiliar, de se libertar das amarras indesejadas e vivenciadas no pret?rito, por meio da cria??o em dan?a, em que a imagina??o e o ato de se expressar por ela criativamente afloram-se e tornam-se o fio condutor de um caminho ? emancipa??o humana. Para tanto, realiza entrevista com quatro int?rpretes/criadores da dan?a, de modo que cada um p?de narrar suas experi?ncias de vida e relatar as raz?es que os levaram a praticar a dan?a, seus efeitos transformadores em suas vidas e, consequentemente, o despertar ? cria??o. O question?rio, aplicado de forma oral, trouxe quest?es semiabertas de natureza explorat?rio-descritiva, sendo os depoimentos transcritos posteriormente. Ademais, de forma complementar, parte da narrativa ocorreu manuscritamente. Com base nesse corpus, analisou, ao final de cada uma das narrativas e de seus relatos, uma escrita narrativa autobiogr?fica, que levou os entrevistados diretamente a um processo de resili?ncia e, portanto, ? ressignifica??o de si dentro de um contexto psicol?gico e social, respectivamente. A metodologia da pesquisa utilizou estrategicamente o estudo de caso com um grupo de bailarinos int?rpretes-criadores do Espa?o Cultural Gira Dan?a da cidade de Natal-RN, com abordagem qualitativa, analisando ainda as distintas hist?rias e experi?ncias resilientes contidas no livro Autobiografia de um Espantalho (CYRULNIK, 2009) como refer?ncia e suporte te?rico. O objetivo da pesquisa ? desvendar a simbiose existente nos estados de resili?ncia advindos de relatos oral e escrito autobiogr?ficos da experiencia??o da dan?a e da produ??o criativa que os levou a pr?pria transforma??o pelo processo ressignificativo. A pesquisa, portanto, une, reflete e aponta pontos de interse??o e de sinergias entre as artes, sejam eles das narrativas escrita sejam da dan?ada, e a resili?ncia do indiv?duo. Defende que o poder criativo resiliente pode levar, consequentemente, para al?m da supera??o de um trauma, sendo o caminho a um mundo mais generoso, mais humano e acolhedor, que promova a ressignifica??o de si mesmo que situar? o indiv?duo definitivamente em si, com o outro e com o mundo que o cerca, adquirindo novos sentidos e novas percep??es que o remeta ao passado e ? mem?ria, de modo que as fronteiras entre a narrativa, a escrita e a dan?a juntas o levem sem percal?os e sem barreiras ao devaneio libertador, de acordo com Gaston Bachelard (1988, 1990, 2009). / This research has as base and works the context between autobiographical narrative writing and dance, aiming to take a way to the inter-relation and synergy between self-resilience and self-resignation. It consists in a symbiotic affinity between writing and dance, through an intimate relationship that writes, produces, resigns, changes, reframes, creating new perceptions, new reflections, new experiences, that brings to the person a new consciousness and condition. This investigation points to, during writing and dance creation, two states of perception and simultaneous and consequence production. The first one shows a direct and at the distance self-narrative writing that aim to understand experience; the last one shows desire and necessity of the production of resilience, of becoming free from undesired ties that came from the past, through dance creation, when imagination and the act to express creatively emerge and become the way to human emancipation. To this, it realizes interview with four interpreters/dance creators, then each one had a chance to tell their experiences and reasons to practice dance, and its transforming effects in their lives and, consequently, the emergence of creation. The questionnaire, applied orally, had semi opened questions from exploratory-descriptive nature, and after the transcription of the testimonies. In addition to this, it had a part of writing narratives. Based on this corpus, it analyzed, at the end of narratives, an autobiographical narrative writing that pushes interviewers to the resilient process and, therefore, to self-reframing in a psychological and social context, respectively. The methodology used strategically a case of study, based on an interpreter-creator dancer group from Espa?o Cultural Gira Dan?a in Natal-RN, with a qualitative approach, analyzing different and resilient histories and experiences that there are in the book Autobiografia de um Espantalho (CYRULNIK, 2009), as reference and theoretical support. This research aims to show symbioses in the state of resilience that came from autobiographic oral and writing testimonies related to dance experience and creative production that take dancers to changes by the reframing process. This research, therefore, links, reflects, and points to the inter-section and synergies between arts, that came from writing narratives or from dance, and the individual resilience. It points resilient creative power that can, consequently, overcome trauma, showing the way to a more generous, human, and welcoming world, that promotes self-reframing and situates person in her/himself, related to other people, and to the world around, bringing new senses and new perceptions linking the past and memory, with this, the boundaries between narrative, writing and dance together take this person, without mishaps and fences, to the total and free divagation, according to Gaston Bachelard (1988, 1990, 2009).

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-01-03T21:25:00Z No. of bitstreams: 1 AlyssonAmancioDeSouza_DISSERT.pdf: 4550236 bytes, checksum: 1c10fb7c1799934f0a71cd8c38e2c76c (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-01-09T14:19:20Z (GMT) No. of bitstreams: 1 AlyssonAmancioDeSouza_DISSERT.pdf: 4550236 bytes, checksum: 1c10fb7c1799934f0a71cd8c38e2c76c (MD5) / Made available in DSpace on 2017-01-09T14:19:20Z (GMT). No. of bitstreams: 1 AlyssonAmancioDeSouza_DISSERT.pdf: 4550236 bytes, checksum: 1c10fb7c1799934f0a71cd8c38e2c76c (MD5) Previous issue date: 2015-09-24 / A presente pesquisa tem como objetivo principal refletir sobre os processos n?o formais desenvolvidos em dan?a na contemporaneidade. Os cursos livres, escolas, academias, ONGs e associa??es ainda s?o as institui??es que mais formam bailarinos no Brasil (STRAZZACAPPA, 2012), nesse sentido julgamos necess?rio cont?nuas pesquisas que possam discutir e contribuir para a potencializa??o destes espa?os. Por conseguinte, este trabalho ? fundamentado metodologicamente na abordagem fenomenol?gica e mais especificamente na an?lise do fen?meno situado, tendo como campo constitutivo de estudo uma institui??o de ensino n?o formal do interior do Cear?, a Associa??o Dan?a Cariri (ADC), existente desde 2007, a qual vem fomentando diversas atividades culturais na regi?o do Cariri, sul deste estado. A partir desse contexto, a presente pesquisa aborda uma reflex?o sobre como a forma??o de ensino h?brida, proposta pela ADC, vem influenciando os artistas locais e modificando os corpos sujeitos e o ambiente da dan?a do Cariri, atrav?s de composi??es coreogr?ficas, aumento de eventos de dan?a, implementa??o de novos espa?os e pesquisas em dan?a, traduzindo-se, portanto, em um campo constitutivo voltado ? forma??o, a difus?o e ao desenvolvimento da dan?a na contemporaneidade. / This research aims to contribute to a reflection on the non-formal processes developed in dance nowadays. Free courses, schools, academies, ONGs and associations are still the institutions that make up more dancers in Brazil (STRAZZACAPPA, 2012), in this sense we consider necessary ongoing research that can discuss and contribute to the enhancement of these spaces. Therefore, this work is based methodologically on the phenomenological approach and more specifically in the analysis of situated phenomenon, with the constitutive field study a non-formal educational institution in the interior of Cear?, the Association Dance Cariri (ADC), existing since 2007, which has fueled various cultural activities in Cariri, south of this state. From this context, this research addresses a reflection on how the formation of hybrid teaching, proposed by the ADC, is contaminating local artists and modifying the subjects bodies and the Cariri dance environment through choreographic compositions, event increased dance, implementation of new spaces and research in dance, resulting therefore in a constitutive field relates to education, dissemination and development of dance in contemporary times.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-01-26T15:31:20Z No. of bitstreams: 1 MariaDeFatimaAlvesDeSena_DISSERT.pdf: 3596112 bytes, checksum: b2462f647c76e64acff06ef0330aafee (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-01-27T10:50:57Z (GMT) No. of bitstreams: 1 MariaDeFatimaAlvesDeSena_DISSERT.pdf: 3596112 bytes, checksum: b2462f647c76e64acff06ef0330aafee (MD5) / Made available in DSpace on 2017-01-27T10:50:57Z (GMT). No. of bitstreams: 1 MariaDeFatimaAlvesDeSena_DISSERT.pdf: 3596112 bytes, checksum: b2462f647c76e64acff06ef0330aafee (MD5) Previous issue date: 2016-07-27 / A hist?ria do ensino de Dan?a em n?vel T?cnico no Brasil ? recente, data dos anos de 1960, sendo uma das mais antigas a Escola de Teatro e Dan?a do Par?. Conv?m ressaltar que tais escolas est?o ligadas no seu in?cio ao ide?rio da Escola T?cnica no Brasil datado dos anos de 1900 que tinham por objetivo profissionalizar o indiv?duo. A pesquisa ? de natureza qualitativa descritiva sob o vi?s da abordagem da an?lise de conte?do. Teve como objeto de estudo o Centro Educacional Norte-Rio-Grandense de Artes (CENA). Ao se utilizar dessa forma, a pesquisa, e ao adot?-la nos despimos de uma atitude apoiada em uma l?gica linear racionalista. Para a produ??o de dados de pesquisa, alguns procedimentos foram utilizados: revis?o de literatura, pesquisa documental, fontes da mem?ria viva, entrevistas para a coleta dos dados e discuss?o da coleta do material. Partindo do entendimento de que as escolas t?cnicas de dan?a s?o locais de forma??o, prop?e-se neste trabalho, apresentar, discutir e analisar o Curso T?cnico de Dan?a do Estado do Rio Grande do Norte (CENA - Centro Educacional Norte-Rio-Grandense de Artes), bem como suas metas e projeto art?stico/pedag?gico enquanto ensino profissionalizante. Disp?e-se ainda a compreender como se constituiu a cria??o do CENA, com foco no contexto social, pol?tico e cultural do Estado no sentido de refletir sobre o processo de forma??o dos discentes no que se refere ao m?todo ensino e aprendizagem, as concep??es de dan?a e pedag?gica do curso referendado, bem como seu projeto art?stico. / The history of the Technical level dance education in Brazil is recent. It has begun in the 1960s and one of the first examples is the School of Theater and Dance of Par?. It is worth mentioning that these schools are linked at its inception to the ideals of the Technical School in Brazil dating from the 1900s which were focused in professionalizing citizens. The research is descriptive qualitative under the bias of the approach to content analysis. It had as object of study was Centro Educacional Norte-Rio-Grandense de Artes (CENA). By using this method of research and in order to apply it, we undressed ourselves of an attitude supported by a rational and linear logic. For the production of research data some procedures were used, such as: literature review, documentary research, living memory sources, interviews for data collection and discussion of data collection. Based on the understanding that the technical dance schools are artistic training places we proposed in this research to present, to discuss and to analyze the Technical Course of Rio Grande do Norte State Dance, as well as its goals and artistic / pedagogical project as professional education. If it has still to understand how it was the creation of the CENA , focusing on social, political and cultural state in order to reflect on the process of formation of the students as regards the method teaching and learning, the dance concepts and pedagogic countersigned course as well as its artistic design.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-03-20T22:57:49Z No. of bitstreams: 1 JeffersonMeloDeAraujo_DISSERT.pdf: 3431772 bytes, checksum: af8f468776899efe2e09179c069663cf (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-03-24T21:11:31Z (GMT) No. of bitstreams: 1 JeffersonMeloDeAraujo_DISSERT.pdf: 3431772 bytes, checksum: af8f468776899efe2e09179c069663cf (MD5) / Made available in DSpace on 2017-03-24T21:11:31Z (GMT). No. of bitstreams: 1 JeffersonMeloDeAraujo_DISSERT.pdf: 3431772 bytes, checksum: af8f468776899efe2e09179c069663cf (MD5) Previous issue date: 2016-10-14 / A presente pesquisa busca uma reflex?o sobre a Dan?a Coral proposta pelo estudioso Rudolf Von Laban. A discuss?o foca a possibilidade de trabalhar essa proposi??o no ?mbito escolar em uma experi?ncia desenvolvida numa escola p?blica com crian?as de 10 a 11 aos de idade. Trata-se assim de um estudo de natureza qualitativa que conjuga a narrativa da trajet?ria docente, pesquisa bibliogr?fica e o estudo de caso. O trabalho tem por objetivo pensar a composi??o em dan?a na escola a partir da Dan?a Coral labaniana como possibilidade de experienciar uma dan?a que ? coletiva e se constr?i no compartilhar dos modos de dan?ar de cada educando. Al?m disso a pesquisa apresenta um substrato te?rico-pr?tico por ora que permite apontamentos preliminares sobre as rela??es tecidas entre a po?tica da aprendizagem da Dan?a Coral e como se propicia um processo de agu?amento focal de percep??es da dan?a, processo ativado pela ludicidade, pela improvisa??o dirigida, pelo di?logo intercorporal, contribuindo para uma mem?ria de sensibiliza??o inicial em dan?a, mesmo com todos os desafios do contexto escolar em sua dinamicidade, ampliando as percep??es e repert?rios em um processo educativo e art?stico, implicando as dimens?es individual e social. A partir da pesquisa, pudemos constatar que a Dan?a Coral se mostrou eficaz para um contato sens?vel e criativo com a dan?a no espa?o escolar. / This research seeks to reflect on the Coral Dance proposed by scholar Rudolf von Laban. The discussion focuses on the possibility of working this proposition in schools in an experiment developed in a public school with children aged 10 to 11 to age. It is thus a qualitative study that combines the narrative of teaching history, literature and the case study. The work is aimed at reflecting the composition in school dance from Dance Coral labaniana as a possibility to experience a dance that is collective and is built in share modes of dance of each student. Furthermore, the research presents a theoretical and practical substrate for now allowing preliminary notes on the relationships woven between the poetics of Coral Dance learning and how it provides a focal sharpening process dance perceptions, process activated by the playfulness, the improvisation directed by interbody dialogue, contributing to an initial awareness of memory in dance, even with all the challenges of the school context in its dynamism, expanding perceptions and repertoires in an educational and artistic process, involving the individual and social dimensions. From the research, we found that the Coral Dance has proven effective in a sensitive and creative contact with dance at school.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-05-31T20:35:24Z No. of bitstreams: 1 ThaysAnyelleMacedoDaSilvaRamos_TESE.pdf: 4327819 bytes, checksum: ad7aa3651a6eb3284d5823e96c79b4ac (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-06-01T19:26:34Z (GMT) No. of bitstreams: 1 ThaysAnyelleMacedoDaSilvaRamos_TESE.pdf: 4327819 bytes, checksum: ad7aa3651a6eb3284d5823e96c79b4ac (MD5) / Made available in DSpace on 2017-06-01T19:26:34Z (GMT). No. of bitstreams: 1 ThaysAnyelleMacedoDaSilvaRamos_TESE.pdf: 4327819 bytes, checksum: ad7aa3651a6eb3284d5823e96c79b4ac (MD5) Previous issue date: 2017-02-17 / Na tese, vestimos o afeto de um entendimento fenomenol?gico, a possibilidade de um corpo que por sua capacidade afetiva se abre ao outro para interrogar sua pr?pria exist?ncia, criando e recriando a cultura, ampliando o processo de conhecer, sentir, pensar, agir, ser, transformar-se. Nesse contexto, a presente tese afirma o corpo e sua possibilidade de afeto em Lecuona, obra coreogr?fica da Companhia de Dan?a Grupo Corpo, como uma educa??o estesiol?gica. Os objetivos da pesquisa transcorrem entre lan?ar um olhar fenomenol?gico sobre as tramas de amor dan?adas em Lecuona; estabelecer conex?es entre as express?es filos?ficas e art?sticas. Sendo a primeira em busca de uma compreens?o do corpo, da estesia e do afeto e a segunda, mediante o envolvimento da pesquisa nas po?ticas da dan?a. Conex?o que oportuniza a reflex?o sobre uma educa??o estesiol?gica. O percurso metodol?gico dessa pesquisa se encoraja em uma atitude fenomenol?gica de Maurice Merleau-Ponty. Neste aspecto, destacamos a redu??o fenomenol?gica para interrogar a experi?ncia vivida em busca de novos sentidos e significados relativos ao corpo e sua possibilidade de afeto nesta pesquisa. Como refer?ncia para descrever as cenas de Lecuona, fizemos uso do roteiro para aprecia??o de obras coreogr?ficas ?A dan?a como carta do vis?vel, do corpo e do movimento humano?, desenvolvido pelo Grupo Estesia/DEF/UFRN. Os crit?rios das cenas escolhidas para descri??o foram pautados na significa??o, no que nos fazem pensar sobre a estesia do corpo, as po?ticas do movimento, os fluxos est?ticos, e a rela??o da dan?a com a exist?ncia e com a educa??o e a arte, conforme nos orienta o roteiro em quest?o para aprecia??o de obras coreogr?ficas. Fizemos uso do v?deo da dan?a, das imagens, entrevistas com o core?grafo e com os bailarinos. A tese em quest?o se divide em quatro cap?tulos. No primeiro, constru?mos um pensamento sobre o afeto, cujas principais refer?ncias s?o: Maurice Merleau-Ponty, com sua ontologia, suas no??es de sens?vel e corpo estesiol?gico ? este corpo capaz de sensa??o que atrav?s do movimento do olhar que ? significa??o, abre-se ao mundo das rela??es, expressa- se e inaugura as possibilidades de conhecimento?, como tamb?m Michel Maffesoli e sua convoca??o a uma ?ordo amoris? de Max Sheler, esse buscando o irrefletido dessa no??o como uma ordem aos afetos como ligame societal. No segundo cap?tulo, convocamos Georges Didi-Huberman para desenhar uma dimens?o est?tica que se encontra na imagem dos ?vagalumes? e, assim, pensarmos a dan?a e seus fluxos est?ticos como capacidade afetiva e interrogativa da exist?ncia. Assim, refletimos sua pot?ncia para um estado de performance (bailarino-espectador) como cria??o de campos afetivos. Dentro desses pressupostos, pensamos as po?ticas do Grupo Corpo nesse cen?rio da dan?a brasileira. No terceiro, trilhamos com o olhar os gestos dan?ados dos bailarinos de Lecuona, descrevemos suas tramas amorosas repletas de afeto e conhecimento. Por fim, no quarto cap?tulo, mediante o pensamento afetivo constru?do nos tr?s cap?tulos antecedentes, refletimos sobre uma educa??o estesiol?gica que se configura no corpo e pelo afeto. Uma educa??o que vai al?m de instru??o e t?cnica, uma educa??o que emerge das sensa??es, que v? no corpo e em suas possibilidades de afeto, um espa?o de aprendizados significativos, envolvidos por uma dimens?o est?tica do existir, articulando, criando e recriando sentidos nas diversas rela??es da exist?ncia. Neste entendimento, Lecuona reverbera as potencialidades educativas dessa pesquisa ao nos incendiar com seu amor: ao nos fazer experimentar as sensa??es da dan?a e nos envolver em seus sentidos, operando em n?s campos de reflex?es sobre nossa pr?pria exist?ncia. / In the thesis, we do not think of affection as a classification of positive and fraternal emotions. However, we clothe the affection of a phenomenological understanding, the possibility of a body that by its affective capacity opens itself to another to interrogate its own existence, creating and recreating culture, broadening the process of knowing, feeling, thinking, acting, being, becoming. In this context, the present thesis affirms the body and its possibility of affection in Lecuona, choreographic work of the Dance Company Grupo Corpo, as a esthesiological education. The objectives of the research run between throwing a phenomenological look at the love plots danced in Lecuona; to establish connections between philosophical and artistic expressions. The first one in search of an understanding of the body, of the estesia and the affection and the second, by means of the research involvement in the poetics of the dance. Connection that facilitates the reflection on a esthesiological education. The methodological approach of this research is Maurice Merleau-Ponty's phenomenological attitude. In this respect, we emphasize a phenomenological reduction to interrogate a lived experience in search of new meanings and meanings related to the body and its possibility of affection in this research. As a reference to describe the scenes of Lecuona, we made use of the script for appreciation of choreographic works ?A dan?a como carta do vis?sivel do corpo e do movimento humano?. The criteria of the scenes chosen for description were based on meaning, on what makes us think about the body's esthetics, the poetics of the movement, the aesthetic flows, and the relationship of dance with existence and with education and art, according to Guides the script in question for appreciation of choreographic works. We made use of the video of the dance, of the images, interviews with the choreographer and with the dancers. The thesis in question is divided into four chapters. In the first, we construct a thought about affection, whose main references are: Maurice Merleau-Ponty, with his ontology, his notions of sensitiveness and the body of the estesia. Also we are Michel Maffesoli and his call to an "ordo amoris" by Max Sheler, who sought the unreflective of this notion as an order to affections. In the second chapter, we called Georges Didi-Huberman to draw an aesthetic dimension that is found in the image of the "fireflies" and, thus, to think of dance and its aesthetic flows as the affective and interrogative capacity of existence. Thus, we reflect its potency for a state of performance (dancer-spectator) as the creation of affective fields. Within these assumptions, we think about the poetics of Grupo Corpo in this scene of Brazilian dance. In the third, we look at the danced gestures of the dancers of Lecuona, we describe their amorous plots full of affection and knowledge. Finally, in the fourth chapter, through the affective thinking built up in the three previous chapters, we reflect on a esthesiological education that is configured in the body and by affection. An education that goes beyond instruction and technique, an education that emerges from the sensations that it sees in the body and its possibilities of affection, a space of meaningful learning, involved by an aesthetic dimension of existing, articulating, creating and recreating meanings in the diverse relations of existence. In this understanding, Lecuona reverberates the educational potential of this research by burning us with his love: by making us experience the sensations of dance and engaging in his senses, operating in us fields of reflection on our own existence.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-09-05T19:32:11Z No. of bitstreams: 1 JuarezZacariasNeto_DISSERT.pdf: 4167822 bytes, checksum: 983f7415c4bcf23caf97755084d36b5a (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-09-15T19:00:26Z (GMT) No. of bitstreams: 1 JuarezZacariasNeto_DISSERT.pdf: 4167822 bytes, checksum: 983f7415c4bcf23caf97755084d36b5a (MD5) / Made available in DSpace on 2017-09-15T19:00:26Z (GMT). No. of bitstreams: 1 JuarezZacariasNeto_DISSERT.pdf: 4167822 bytes, checksum: 983f7415c4bcf23caf97755084d36b5a (MD5) Previous issue date: 2016-04-05 / A presente pesquisa tem como objetivo principal investigar a lentid?o como metodologia de conhecimento do corpo e como pot?ncia criativa para a dan?a. Compreende a lentid?o como pot?ncia qualitativa, proporcionando reflex?es acerca do corpo na dan?a. O processo de acelera??o dos corpos na contemporaneidade abriu espa?os potentes de investiga??o nesta pesquisa, como: refletir acerca do processo de desacelera??o do corpo que dan?a, culminando em uma reflex?o sobre a pausa na dan?a; investigar como se d? atrav?s do sabor da lentid?o o processo de entendimento qualitativo do movimento dan?ado, no seu fazer art?stico-criativo e pedag?gico; propor a dan?a como pot?ncia, proporcionando o entendimento da mesma como ?rea de conhecimento e de amplia??o da consci?ncia por meio das experi?ncias vividas. Os relatos da inf?ncia, do in?cio da trajet?ria art?stica, da aplica??o pr?tica da pesquisa realizada na Escola de Dan?a do Teatro Alberto Maranh?o, do projeto c?nico Ami?de (2015) e do fazer art?stico-docente proporcionaram uma reflex?o acerca das potencialidades da dan?a, propondo a lentid?o como linguagem em dan?a que se constr?i aos poucos e profundamente, gerando um aumento na consci?ncia de si e do mundo. A lentid?o atua nesta pesquisa como objetivo de investiga??o principal e como metodologia de uma linguagem em dan?a. O estudo da Eukin?tica labaniana, da ?dan?a pelos sentidos: composi??o coreogr?fica? e da ?improvisa??o pelos sentidos? de Leal (2012) nos fizeram perceber que as pesquisas acerca das qualidades expressivas do movimento dan?ado e a investiga??o de propostas metodol?gicas em dan?a contempor?nea, baseadas nos sentidos, culminaram no entendimento do movimento, da pausa e da dan?a como pot?ncias qualitativas que ampliam a consci?ncia do corpo, entendendo-o em sua totalidade. / The present research aims firstly at investigating slowness as a means of understanding the body as creative power for dance. It comprises slowness as qualitative power, providing reflections on the dancing body. The process of body acceleration of contemporaneity has opened powerful investigating fields in this research, such as the reflection about the deceleration process of the dancing body, culminating in a reflection on pauses in dance, the investigation of how the process of understanding the qualitative aspect of the danced movement occurs within the flavor of slowness, in its artistic-creative and pedagogical practice, the proposition of dance as a power, providing its understanding as a knowledge field and of increased awareness by means of lived experiences. Memories from childhood, from the beginning of the artistic career, from the practical use of the research carried out at the Theater Alberto Maranh?o Dance School, from the scenic design Ami?de (2015) and from the practice as an artist and teacher, all these have made reflection possible on dance potential, proposing slowness as dance language gradually and deeply built, causing wider self and world awareness. Slowness in this research is the objective of the main investigation and the methodology of a dance language. The study of Eukin?tic of Laban, "Dance by the senses: choreographic composition" and "improvisation by the senses" of Leal (2012) let us realize that the studies on the expressive qualities of the danced movement and the study of methodological proposals in contemporary dance, based on the senses, have culminated in the understanding of movement, pause and dance as qualitative power which amplifies body consciousness, understanding it entirely.

This work is mainly concentrated on the development of new versatile ligand based on N,N’-disubstituted-1,8-diaminonaphthalene (1,8-DAN) for main group chemistry. Therefore, our initial efforts were made on the design of new ligand scaffold by using 1,8-DAN. Following that, new ligand family supported by 1,8-DAN was applied as ligands to main group elements (B, Al, In, Ga, and C). Furthermore, six-membered ring carbenes which are derived from the reaction between N,N’-disubstituted-1,8-diaminonaphthalene and carbon are also investigated. In addition, the stable carbenes were implied as a new ligand system for palladium, leading to the formation of metal ligand complexes. Therefore, the synthesis and reactivity of these complexes are also reported. Chapter I gives an explanation on the basic concepts in terms of the ligand designs and reports the reasons why N,N’-disubstituted-1,8-diaminonaphthalene has been chosen as the framework of for these ligands. Chapter II presents the approach to synthesize ligands depending on the substitution. Regarding this, three methods were successfully used: reductive amination, application of acyl halide followed by reduction, and copper catalyzed C-N coupling reactions. Chapter III describes the reactions between the N,N’-disubstituted-1,8-diaminonaphthalene and main group elements B, Al, Ga, and In in 13 group. In this chapter, a variety of mononuclear and dinuclear complexes are investigated and fully characterized. Furthermore, some computational studies are also reported for the comparison with experimental results. Chapter IV deals with new ligand family, carbene, which is derived from N,N’-disubstituted-1,8-diaminonaphthalene. Therefore, not only fundamental concepts for the NHC (N-heterocyclic carbene) are discussed but also synthetic pathways are introduced. Moreover, interesting features of free carbene are presented as well. Chapter V reports the potential of this new carbene ligand family as ligands for transition metal compound, especially, Pd(II) compounds. Several different pathways for synthesizing the desired metal carbene complexes are presented.

The purpose of this study was to explore how master jazz pedagogues and artist-level jazz musicians used pedagogical content knowledge to sequence their instructional methods when teaching jazz improvisation. Pedagogical content knowledge served as the theoretical framework for this study. To gain insights into how they used their knowledge when teaching jazz improvisation, I first sought to explore how they learned to improvise. For this study, an overarching research question “How did the participants learn to improvise in jazz?” aided me with contextualizing how they learned content and pedagogy when they began to improvise. Then, the following questions guided my investigation into how these participants used their pedagogical and content knowledge when they taught jazz improvisation: (1) How, if at all, did the participants’ curriculum knowledge influence their approaches to teaching jazz improvisation? (2) How, if at all, did the participants’ pedagogical knowledge influence their approaches to teaching jazz improvisation? (3) How, if at all, did the participants’ content knowledge influence their approaches to teaching jazz improvisation? In this study both the artist-level musicians and master jazz pedagogues all subscribed to an organic mode of teaching jazz improvisation, and not a one size fits all approach that many published jazz materials espouse. Most of these participants did not utilize an established curriculum for teaching, but rather relied on the knowledge of their students and their own content knowledge of what they know and how they learned for the best practices of teaching. Based on the pedagogical content knowledge they provided in this study, I devised a model for teaching jazz improvisation to undergraduate students. I organized this model by developing an eight-semester, or four-year sequence, of pedagogy and content for instruction. For each academic year, I present a description of what I learned from the participants, and how this pedagogical content knowledge can be used with students to learn how to improvise in jazz. I then present a two-semester outline (one academic year) that demonstrates how the pedagogical principles and content knowledge shared by the participants in this study can be sequenced. Each of the participants in this study taught their students based on their own content knowledge and the knowledge of their students. In order to teach jazz and jazz improvisation, preservice teachers need more than just a casual experience with jazz pedagogy, and should look to increase their own content knowledge in the area of jazz through both formal and informal educational opportunities. Furthermore, the scope of this study was limited to world renowned jazz musicians and educators who taught at the university level and only considered the perspectives of jazz educators. Additional studies could focus on active school music teachers who identify as jazz educators or could involve researchers studying the perspectives of the students regarding how they learn pedagogy and content and how they use/retain this knowledge with improvisation. Keywords: jazz, jazz pedagogy, jazz improvisation, pedagogical content knowledge, jazz education

The thesis deals with intertextuality in Karel Čapek's drama R.U.R. and Dan Wells' trilogy Partials Sequence. The aim of the thesis is the interpretation and subsequent comparison of the above-mentioned works and finding mutual resemblances mostly in the main motives, but also in genre characteristics, environment, story sequence and other topics reflected in both works. Since the topic of the thesis already assumes the existence of intertextual relationship between the two works, therefore the aim of the work is not proving its existence but we are trying to determine how far these similarities goes and whether they are just random intertextual similarities or whether Dan Wells, although he does not admit it publicly, necessarily had to be inspired directly by Čapek's drama. Keywords: intertextuality, Gerard Genette, Roland Barthes, Karel Čapek, R.U.R., Dan Wells, Partials Sequence, robot.

Duo Chopinesque by Michael Hennagin and Chameleon Music by Dan Welcher represent two of the most significant percussion ensemble compositions written in the last twenty years. Both works are written for the mostly mallet type of percussion ensemble wherein the keyboard instruments predominate. However, the most unique aspect of these two pieces is their use of musical quotation. Duo Chopinesque borrows Chopin's Prelude in E minor in its entirety, while Chameleon Music borrows portions from four Mozart Sonatas. This paper places each work within the history of the percussion ensemble, and in the larger history of musical quotation in the twentieth century. In addition, the compositional characteristics of both works are examined with particular emphasis on each composer's use of borrowed material from the music of Mozart and Chopin. Particular attention is paid to the relationship between quoted material and newly composed rhythmic motives.