Made available in DSpace on 2016-04-26T18:16:12Z (GMT). No. of bitstreams: 1 Flavia Oliveira.pdf: 658192 bytes, checksum: 0d8183da942f045e2f92e27ae00dfc8a (MD5) Previous issue date: 2007-05-14 / The project at hand examines two of the most relevant moments of the Brazilian art of dancing as seen through its reflexes in the media. To attain this objective, we analyzed the corpus constituted by reviews published on the subject of dancing in the two most important daily newspapers of the largest city in the country: São Paulo Folha de São Paulo and O Estado de São Paulo, between the periods of 1975-1980 and 1995-2000. Our survey presents an overview of essential elements in search of connection between art and media in the Brazilian contemporary culture. Our secondary objetive was to focus on responses of the performance of critics. As far as methodology is concerned, our study is based on texts written by authors Flora Sussekind, Adorno, Gerd Borheim, Roberto Schwartz, Davi Arrigucci Jr. among others, proceeding to in-depth analysis of each professional criticism and the general panorama. This study also shows the reflection of time in the art of dancing, as picture of an entire generation, as opposed to only one author. At the same this paper will present a record of the major dancing events in São Paulo, within the periods stated above, as seen through the particular political and economic moment in time of the country. Consequently, perspectives appoint towards the conclusion that reviews and professional criticism of dancing became more relevant with the increase of performances in this art form, as São Paulo turned into the cultural center of the country in the last few decades. There is no way to deny the dialogue between dance and criticism, although not necessarily to the extent suggested by the theories which had been examined. However, definitely, there is a conjunction betwen the art of dancing and professional criticism / Trabalhando com um corpus constituído pela crítica de dança publicada nos jornais Folha de S.Paulo e O Estado de S.Paulo nos períodos 1975-1980 e 1995-2000, este projeto examinou dois momentos relevantes da dança brasileira através dos seus reflexos na mídia. A pesquisa debruça-se sobre elementos da crítica e da cultura em busca das relações entre as artes e os meios de comunicação na cultura brasileira contemporânea. Com isso, tem também por objetivo analisar os reflexos da atuação da crítica. Metodologicamente, o estudo baseou-se em textos críticos de autores como Flora Süssekind, Adorno, Gerd Borheim, Roberto Schwarz, Davi Arrigucci Jr., entre outros, para traçar um panorama da crítica e para transitar entre ele. Também foram importantes as marcas que o tempo deixa ver e podem fazer parte de uma geração, não mais de um autor. Em paralelo, foi realizado um estudo sobre os principais eventos de dança em São Paulo nos referidos períodos, atento à situação política e econômica. Dentro dessas perspectivas, as conclusões apontam que a crítica de dança passou a ter mais peso com a movimentação crescente das montagens de dança nos últimos anos da década de 70 e com a transformação da cidade de São Paulo no principal pólo cultural do País. Não dá para negar que houve um diáologo entre dança e crítica, mesmo sem ter o alcance sugerido pelas teorias estudadas. Há, portanto, uma conjunção entre a dança e a crítica em São Paulo

pesquisa propõe uma reflexão sobre o grotesco como operador e mediador fundamental da cena teatral, visando ao encontro de uma \"arquitetura\" do grotesco nas imagens do corpo do ator. A análise parte da observação de duas experiências poético-estéticas distintas no tempo e no espaço, que parecem exemplares no tocante à discussão sobre o grotesco e ao trabalho de composição cênica através da dança: o Butô de Tatsumi Hijikata (1929-1986) e parte da produção teórica e artística (das décadas de 1910 e de 1930, respectivamente) do encenador russo V. E. Meyerhold (1875-1940). A transposição das questões observadas sobre o tema do grotesco para o âmbito da criação e construção da cena, nas duas experiências artísticas abordadas, foi orientada por uma pergunta-chave: Pode a dança ser uma espécie de arquitetura corporal do grotesco cênico, ou seja, através das imagens do corpo que dança, podemos observar a operação grotesca na encenação? / This research presents a reflection about the grotesque as an operator and a vital intercessor of the dramatic scene, aiming at a grotesque \'architecture\' in the images of the actor\'s body. The analysis is based in two poetic-esthetic experiences distinguished on time and in space, that appear to be examples concerning the discussion about the grotesque and the labor of the stage composition through the dance: the Butoh of Tatsumi Hijikata (1929-1986) and the theoretical and artistic production (particularly in the decade of 1910 and 1930) of the russian V. E. Meyerhold (1875-1940). The transposition of the remarked issues about the grotesque to the field of creation and scene construction, in both artistic approached experiences, had been guided by a central question: could dance be a sort of corporal architecture of the grotesque scenery, in other words, through the images of the dancing bodies, could we observe the grotesque operation on stage?

Summary: Salivary alpha-amylase: More than an enzyme - Investigating confounders of stress-induced and basal amylase activity (Dipl.-Psych. Jana Strahler) The hypothalamus-pituitary-adrenal (HPA) axis and the autonomic nervous system (ANS) are two of the major systems playing a role in the adaptation of organisms to developmental changes that threaten homeostasis. The HPA system involves the secretion of glucocorticoids, including cortisol, into the circulatory system. Numerous studies have been published that introduced salivary cortisol to assess HPA axis activity and therefore strengthens its role as an easy obtainable biomarker in stress research that can be monitored easily and frequently. Recent findings suggest a possible surrogate marker of autonomic activity due to autonomic innervation of salivary glands: salivary alpha-amylase (sAA). Up to date, additional methodological research is needed for a better understanding of the advantages and disadvantages of sAA activity in comparison to already established markers of ANS activity. The aim of the present thesis is to further our knowledge of confounders of sAA activity under basal and acute stress conditions and to strengthen the validity of this enzyme as an easy obtainable alternative for ANS testing. After introducing classical and modern stress concepts and stress system physiology (chapter 2), the reader is acquainted with anatomical basics of salivary gland innervation and secretion of salivary proteins, including sAA, due to autonomic innervation (chapter 3 and 4). Afterwards, a more nuanced review of methodological considerations of sAA determination shows gaps of knowledge concerning its usefulness as a marker of ANS activity (chapter 5). Given the fact that the integration of sAA into developmental and aging research is a relative recent phenomenon, several issues have to be addressed before a final conclusion could be drawn. Therefore, we conducted a series of studies incorporating these considerations regarding behavioral correlates of inter- and intraindividual differences in sAA activity with a special emphasis on older adults. Chapter 7 deals with sAA activity under psychological stress conditions in different age groups. Since vulnerability to disease and disease prevalence patterns change with age, it is important to investigate stress reactivity of people in different age groups. We therefore investigated children between 6 and 10 years, because childhood is a sensitive period of growth and development, and thus plays an important role for later life health. Young adults were included to represent the most studied human age group as a reference. Older adults between 59 and 61 years were investigated, because at this age the course is set for the further development of a person’s health in later life, and because autonomic stress responses in older age might be important determinants of cardiovascular and inflammatory aging. Our goal is to test for associations of sAA with more established stress system markers, i.e., salivary cortisol as outcome measurement of HPA reactivity, heart rate (HR) and heart rate variability (HRV) as markers for autonomic reactivity, and to directly compare these responses between different age groups across the life span. Secretion of sAA and cortisol was repeatedly assessed in 62 children, 78 young adults, and 74 older adults after exposure to a standardized psychosocial stressor, the Trier Social Stress Test. In addition, cardiovascular activity was measured in both adult groups. Older adults showed attenuated sAA, HR, and HRV responses. Furthermore, we found higher sAA but lower cortisol at baseline as well as lower sAA and cortisol responses in children. Age by sex interactions were observed only for cortisol with higher responses in older male participants. No associations between the parameters were found. Results in children and young adults confirm previous results. Overall, findings implicate sAA as an alternative or additional autonomic stress marker throughout the life span, with marked and rapid responsiveness to stress in three relevant age groups. The impact of age and chronic stress on basal sAA activity is the center of interest in chapter 8. We therefore assessed diurnal profiles of sAA and salivary cortisol in 27 younger and 31 older competitive ballroom dancers as well as 26 younger and 33 older age- and sex-matched controls. According to the Allostatic Load concept, repeated, non-habituating responses to social-evaluative conditions, which characterize the lives of competitive ballroom dancers, should be associated with stress system dysregulations. Furthermore, we expect to see an increased sympathetic drive associated higher overall alpha-amylase activity in older adults. Analyses revealed an elevated daily overall output of sAA in older adults while there was no effect of age on mean cortisol levels. Alterations of diurnal rhythms were only seen in younger male dancers showing a flattened diurnal profile of sAA and younger dancers and female older dancers showing a blunted diurnal rhythmicity of cortisol. Furthermore, we found a negative correlation between summary indices of basal sAA and the amount of physical activity. In conclusion, higher overall output of sAA in older adults was in line with the phenomenon of a “sympathetic overdrive” with increasing age. Furthermore, a lower output of sAA in people who are more physical active was in line with the hypothesis of an exercise-induced decrease of sympathetic activity. Taken together, results of chapter 7 and 8 show a clear impact of age on sAA activity, either under acute stress or basal conditions. One problem when integrating sAA into developmental and aging research is the use of adrenergic agonists and antagonists what is very common in older adults, i.e. antihypertensive drugs (AD). As well, the previously shown sympathetic overactivity that occurs with normal aging is associated with higher blood pressure (BP). Therefore, chapter 9 deals with a possible impact of high BP and AD on diurnal sAA activity in 79 older adults (33 normotensive adults, 16 medicated vs. 45 hypertensive adults, 34 medicated). Results showed a pronounced rhythm of sAA in all groups. Diurnal profiles differed significantly between men and women with men lacking the typical decrease of sAA in the morning and showing more pronounced alterations throughout the day. An effect of AD on sAA profiles and area under the curve values indicates that subjects not using AD´s show a heightened diurnal profile and a higher total output of sAA. Descriptively, this was also true for hypertensive older adults. Hypertensive subjects and those not using AD showed the highest diurnal output of sAA and the steepest slope. In sum, our results show an impact of antihypertensive medication and a difference between normotensive and hypertensive subjects on characteristics of diurnal sAA activity. Hence, findings are of particular interest in research using sAA as a prognostic indicator of pathological states and processes. Given the fact that hypertension was also shown to be associated with substantial changes of transmitters within the suprachiasmatic nucleus (SCN) - the “biological clock” that receives photic input from retinal glands via the retinohypothalamic pathway - and an altered output from the SCN to the sympathetic nervous system, we broaden the idea of a possible effect of different lighting conditions on morning sAA profiles in chapter 10. In a counterbalanced within-subjects design six men and 16 women of different ages collected sAA morning profiles on two consecutive days with leaving their shutters closed on the one day (= dark) and open their shutters on the other day (= bright). We were able to replicate earlier findings of light-induced changes of salivary cortisol with higher responses during the bright condition. On either day, women showed larger cortisol increases than men. Despite multisynaptic autonomic connections arising from the SCN projecting to multiple organs of the body, we could not find an effect of sunlight on sAA morning profiles. Evidence for circadian clock gene expression in human oral mucosa might account for this result and indicates that peripheral oscillators may act more like integrators of multiple different time cues, e.g. light, food intake, instead of a “master” oscillator (SCN). Results of chapter 7 to 10 provide clear evidence that sAA is heightened in states of autonomic arousal, i.e. stress, aging and hypertension, and that its circadian rhythmicity seems to be regulated rather integrative than directly via efferent input from hypothalamic SCN neurons. In chapter 11 this thesis tries to approach one central question: What is the biological meaning of the findings made? According to this enzyme´s anti-bacterial and digestive action short term changes might not have a biological meaning itself but rather reflect just a small part of multiple coordinated body responses to stressful stimuli. While the sympathetic branch of the ANS mainly stimulates protein secretion, the parasympathetic branch stimulates saliva flow. Acute stress responses might therefore be interpreted as reflecting predominant sympathetic activity together with parasympathetic withdrawal. The same mechanism could also be suitable for the finding of higher diurnal levels of sAA in older adults or hypertensive subjects reflecting a higher peripheral sympathetic tone in these groups. Diurnal profiles of sAA itself may reflect circadian changes in autonomic balance. Circadian rhythms are of great advantage since they enable individuals to anticipate. This pre-adaptation enables the individual to cope with upcoming demands and challenges. Our finding of a relationship between sAA and salivary cortisol what strengthens the relevance of glucocorticoids that were previously shown to be able to phase shift circadian rhythms in cells and tissue. Within a food-related context there is evidence that decreasing levels of sAA in the morning could reflect increases of feeling hungry since sAA systematically increases during food consumption and with the subjective state of satiety. So far, much more research is needed to identify underlying physiological mechanisms of circadian sAA rhythmicity. Taking the next step, future studies will have to focus on the integration of sAA assessment into longitudinal studies and different disease states to prove its applicability as a marker of sympathetic neural functioning in the genesis and prognosis of disease.

published_or_final_version / abstract / toc / Education / Master / Master of Education

This thesis examines the early career and art criticism of Stella Bloch, an artist. dancer and writer who was active in New York City during the World War One era. I focus on Bloch's most important essays from this period: -'Intuitions" (I 919) and Dancing and the Drama, East &. West (1922). In "Intuitions" Bloch developed a theory of aesthetics based on her study of Nietzsche and Buddhism. Dancing and the Drama, East & West incorporated this theory into the concept of an "ideal drama," which I have analysed as "orientalist." Linking Bloch's anti-colonial "orientalism" to that of her mentor, Ananda Coomaraswamy, I demonstrate that though Bloch's "ideal drama" was an ambitious critique of the social and artistic values of Western culture, it was still caught up in the "orientalist" discourses of the period.

This thesis will examine the practice of relational aesthetics as it involves the viewer, as well as the way in which it plays out within and outside of the institutional setting of the museum. I will focus primarily on two unique projects: that of The Machine Project Field Guide at Los Angeles County Museum of Art on November 15, 2008, produced by Machine Project, a social project operated out of a storefront gallery in Echo Park; and David Michalek's Slow Dancing at the Lincoln Center Festival in New York City, July 12-29 2007.

This research explores the lives and experiences of female exotic dancers with the aim of gaining an empathic understanding of their involvement in the stripping industry. The stereotypes and generalizations of exotic dancers and the stripping industry undermine the exotic dancer's ability to be seen as an individual with her own story and her own experiences. The participants of this research were selected through convenience sampling and consist of three female exotic dancers. The researcher interviewed the participants using a semi-structured interview format and focused on the dancer's experience within the exotic dancing industry, her family history, her relationships, and personal life. The data was analysed using thematic network analysis. The thematic networks are often contradictory and inconsistent with the common stereotypes and ideas held about exotic dancers. The results indicate that some exotic dancers experience meaning, healing, gratification, and power within their work and live responsible, productive lives. / Psychology / M.A. (Clinical Psychology)

Made available in DSpace on 2014-08-13T14:50:51Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-02-19Bitstream added on 2014-08-13T18:00:14Z : No. of bitstreams: 1 000763842.pdf: 3338682 bytes, checksum: 1dbd5bc314335f751003eed079ecbbbd (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / A dança enquanto um dos conteúdos da cultura corporal ainda enfrenta dificuldades para adentrar os muros da escola. Os professores de Educação Física por não possuírem experiências com este tema, tanto antes como após a graduação, ainda enfrentam limitações para tratá-lo de modo contextualizado. O currículo, resultante de uma seleção no interior da cultura, faz um recorte dos conhecimentos que devem ser tematizados na escola, oferecendo aos professores um panorama geral dos conteúdos, atuando como norteador dos componentes curriculares. O Currículo de Educação Física do Estado de São Paulo, instaurado recentemente, apresenta a dança como um de seus conteúdos, no entanto, o tratamento didático-pedagógico oferecido parece sintetizado em alguns momentos. Assim, foram investigadas algumas possibilidades pedagógicas para contribuir com o trabalho do professor que já enfrenta tantas dificuldades no ambiente escolar. Diante do novo contexto que se instaura, procurou-se investir na utilização das Tecnologias da Informação e da Comunicação (TIC) para disponibilizar aos professores conhecimentos e possibilidades complementares para o tratamento da dança em suas aulas. As TIC no contexto educacional podem viabilizar uma elaboração mais ampla do conhecimento, expandindo as fontes de informação, e propiciando ao professor tratar um conteúdo que muitas vezes não está presente no interior das aulas de Educação Física. Portanto, o objetivo deste estudo foi elaborar e avaliar um material didático complementar ao Currículo de Educação Física do Estado de São Paulo, sob a forma de um blog educacional que subsidiasse o trabalho do professor no conteúdo de danças folclóricas proposto para o sétimo ano do ensino fundamental. Este material foi publicado e divulgado sob a forma de um blog educacional, que, posteriormente foi avaliado por seis professores de Educação Física do Estado de São Paulo. Ademais, dois.. / Dance as one of the contents of body culture still struggles to penetrate the walls of the school. The Physical Education teachers for not having experience with this issue, both before and after graduation, still face limitations to treat it in a contextualized way. The curriculum, resulting in a selection within the culture, makes a cut of knowledge that must be thematized in school, giving teachers an overview of the contents, and acting as guiding the curriculum components. The Physical Education Curriculum of the State of São Paulo, newly established presents dance as any of its contents, however, the didactic -pedagogical treatment offered seems synthesized in a few moments. Thus, some pedagogic possibilities to contribute to the work of the teacher already facing so many difficulties in the school environment were investigated. Given the new context that is established, we sought to invest in the use of Information Technology and Communication (ICT) to provide teachers knowledge and complementary possibilities for treating dance in their classes. ICT in the educational context can provide a more comprehensive elaboration of knowledge, expanding the sources of information, and providing the teacher treat content that often is not present within the Physical Education classes. Therefore, the aim of this study was to develop and evaluate a complementary teaching material to the Physical Education Curriculum of the State of São Paulo, in the form of an educational blog which subsidize the work of teachers in the content of folk dances proposed for the seventh year of elementary school. This material was published and disseminated in the form of an educational blog, which subsequently was evaluated by six teachers of Physical Education of the State of São Paulo. In addition, two participants in this group taught classes of folk dances from the proposed blog content, experimenting in real teaching situations the possibilities of the... / FAPESP: 12/18436-7

Made available in DSpace on 2014-06-11T19:22:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-09-28Bitstream added on 2014-06-13T20:48:59Z : No. of bitstreams: 1 carvalho_lc_me_ia.pdf: 1197018 bytes, checksum: 7217f62d84ec6b5d89db1807b69617b2 (MD5) / Universidade Estadual Paulista (UNESP) / Esta dissertação apresenta a experiência do Grupo de Danças Brasileiras Gracinha e localiza essa proposta nos contextos brasileiros de arte-educação e de educação não formal. O Grupo de Danças Brasileiras Gracinha é formado por crianças e jovens que frequentam o Centro de Convivência Gracinha, no bairro Jd. Campo Belo, em São Paulo. Esse Grupo realiza, há treze anos, apresentações de danças brasileiras, sendo o Bumba meu boi o folguedo que deu início a essa atividade. Além do espetáculo, também organizam o ciclo de festas rituais do Bumba meu boi – Renascer, Batizado e Morte –, com explícita referência ao folguedo que acontece no estado do Maranhão. Para realizar esse estudo, acompanhei e registrei os ensaios, apresentações e festas do Grupo de Danças Brasileiras Gracinha, entre março de 2010 e junho de 2011. Também realizei entrevistas com os educadores e crianças diretamente envolvidos nesse projeto. E, finalmente, procurei colocar essa experiência no centro de uma reflexão sobre a presença das manifestações da cultura popular em projetos sociais e educacionais / This dissertation is to introduce “Grupo de Danças Brasileiras Gracinha”, and to settle that proposition to the Brazilian art education context, as well as non-formal education. Gracinha Brazilian Dancing Group is formed by children and young people who attend Gracinha Gathering Center – “Centro de Convivência Gracinha”, which is located at the Jd. Campo Belo neighborhood in São Paulo. For thirteen years this group has been performing Brazilian dancing, being “Bumba-Meu-Boi” the festivity to launch such activity. Beyond the show they also organize the cycle of ritual feasting of “Bumba-Meu-Boi” – Rebirth, Baptism, and Death –, an explicit reference to such demonstration, precisely as it takes place in the state of Maranhão. To accomplish these studies, I came along watched and registered “Grupo de Danças Brasileiras Gracinha”´s rehearsals, presentations, and feasts from March 2010 through June 2011. I also interviewed the educators and children directly involved in that project. Last but not least, I have tried to nestle that experience upon the thought of the presence of the manifestations of the so-called folk culture into social and educational projects

Orientador: Suraya Cristina Darido / Banca: Sara Quenzer Matthiesen / Banca: Eliana de Toledo Ishibashi / Resumo: A dança enquanto um dos conteúdos da cultura corporal ainda enfrenta dificuldades para adentrar os muros da escola. Os professores de Educação Física por não possuírem experiências com este tema, tanto antes como após a graduação, ainda enfrentam limitações para tratá-lo de modo contextualizado. O currículo, resultante de uma seleção no interior da cultura, faz um recorte dos conhecimentos que devem ser tematizados na escola, oferecendo aos professores um panorama geral dos conteúdos, atuando como norteador dos componentes curriculares. O Currículo de Educação Física do Estado de São Paulo, instaurado recentemente, apresenta a dança como um de seus conteúdos, no entanto, o tratamento didático-pedagógico oferecido parece sintetizado em alguns momentos. Assim, foram investigadas algumas possibilidades pedagógicas para contribuir com o trabalho do professor que já enfrenta tantas dificuldades no ambiente escolar. Diante do novo contexto que se instaura, procurou-se investir na utilização das Tecnologias da Informação e da Comunicação (TIC) para disponibilizar aos professores conhecimentos e possibilidades complementares para o tratamento da dança em suas aulas. As TIC no contexto educacional podem viabilizar uma elaboração mais ampla do conhecimento, expandindo as fontes de informação, e propiciando ao professor tratar um conteúdo que muitas vezes não está presente no interior das aulas de Educação Física. Portanto, o objetivo deste estudo foi elaborar e avaliar um material didático complementar ao Currículo de Educação Física do Estado de São Paulo, sob a forma de um blog educacional que subsidiasse o trabalho do professor no conteúdo de danças folclóricas proposto para o sétimo ano do ensino fundamental. Este material foi publicado e divulgado sob a forma de um blog educacional, que, posteriormente foi avaliado por seis professores de Educação Física do Estado de São Paulo. Ademais, dois.. / Abstract: Dance as one of the contents of body culture still struggles to penetrate the walls of the school. The Physical Education teachers for not having experience with this issue, both before and after graduation, still face limitations to treat it in a contextualized way. The curriculum, resulting in a selection within the culture, makes a cut of knowledge that must be thematized in school, giving teachers an overview of the contents, and acting as guiding the curriculum components. The Physical Education Curriculum of the State of São Paulo, newly established presents dance as any of its contents, however, the didactic -pedagogical treatment offered seems synthesized in a few moments. Thus, some pedagogic possibilities to contribute to the work of the teacher already facing so many difficulties in the school environment were investigated. Given the new context that is established, we sought to invest in the use of Information Technology and Communication (ICT) to provide teachers knowledge and complementary possibilities for treating dance in their classes. ICT in the educational context can provide a more comprehensive elaboration of knowledge, expanding the sources of information, and providing the teacher treat content that often is not present within the Physical Education classes. Therefore, the aim of this study was to develop and evaluate a complementary teaching material to the Physical Education Curriculum of the State of São Paulo, in the form of an educational blog which subsidize the work of teachers in the content of folk dances proposed for the seventh year of elementary school. This material was published and disseminated in the form of an educational blog, which subsequently was evaluated by six teachers of Physical Education of the State of São Paulo. In addition, two participants in this group taught classes of folk dances from the proposed blog content, experimenting in real teaching situations the possibilities of the... / Mestre