Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-07-07T13:59:17Z No. of bitstreams: 1 sergioaugustolealdemedeiros.pdf: 1554362 bytes, checksum: 65a161ef20e11282bc5644a8bc85eaad (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-08T13:28:47Z (GMT) No. of bitstreams: 1 sergioaugustolealdemedeiros.pdf: 1554362 bytes, checksum: 65a161ef20e11282bc5644a8bc85eaad (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-08T13:29:00Z (GMT) No. of bitstreams: 1 sergioaugustolealdemedeiros.pdf: 1554362 bytes, checksum: 65a161ef20e11282bc5644a8bc85eaad (MD5) / Made available in DSpace on 2016-07-08T13:29:00Z (GMT). No. of bitstreams: 1 sergioaugustolealdemedeiros.pdf: 1554362 bytes, checksum: 65a161ef20e11282bc5644a8bc85eaad (MD5) Previous issue date: 2012-08-27 / Este trabalho é fruto de uma pesquisa de doutorado realizada no Programa de Pós Graduação em Educação da Faculdade de Educação da Universidade Federal de Juiz de Fora com o objetivo de investigar as implicações do cinema no processo formativo dos estudantes. A relação entre cinema e educação é historicamente marcada por práticas educativas que utilizam o cinema como instrumento didático, recurso audiovisual com linguagem/objeto decodificável, e/ou identificado como vetor de ideologia. Considerando o cinema como enunciação estética e com implicações no processo formativo dos sujeitos, emerge a questão referente à educabilidade das imagens tendo em vista as especificidades da arte cinematográfica. Para Deleuze, assim como para Cabrera, as imagens são uma modalidade do pensamento, e o pensamento relativo às imagens não é exclusivamente intelectual, pois leva em conta o afeto que veicula. Assim, a linguagem imagética não está fundada na noção de um sistema de regras ou códigos, mas, como ensina Bakhtin, nas relações dialógicas dos signos em contextos enunciativos. Indagando sobre o olhar cinematográfico e suas implicações na educação da (pela) sensibilidade, e de que modo as imagens do cinema podem favorecer a construção de um olhar sobre o humano escapando dos enquadramentos massificantes e do pensamento representacional, em 2010, foi iniciada uma investigação empírica com alunos do curso de Pedagogia da Faculdade de Educação da UFJF que, em certo sentido, contraria a tendência majoritária nas pesquisas educacionais com o tema cinema-educação, que tem nos alunos ou professores da escola básica seus sujeitos preferenciais. A criação do projeto CINEDUCA, na Faculdade de Educação da UFJF, pelo grupo de pesquisa Linguagem, Interação e Conhecimento (LIC), em 2010, foi o lócus para as investigações empíricas. A proposta do projeto era criar espaço para se pensar com o cinema, ampliando o exercício da recepção fílmica com a criação de um ambiente em que os espectadores pudessem partilhar suas experiências no movimento do olhar, de modo a olhar as imagens fílmicas de dentro delas, atravessando sua transparência, indo além daquele senso comum que coisifica as imagens, naturaliza-as e delas se apropria interpretando-as de acordo com o véu da rotina. Com os enunciados dos sujeitos que participaram do CINEDUCA foram construídas zonas de significação indicando que, quando se trata de levar o cinema para um espaço acadêmico e educacional, os sujeitos/espectadores naturalmente esperam uma fruição diferenciada, vinculada a uma intencionalidade supostamente referente a um objetivo educativo. No caso do CINEDUCA emergiram duas acontecências: o espaço de visionamento e a ideia de espectatura criativa, indicando que, com as imagens fílmicas, os sujeitos/espectadores se colocam diante do filme com leituras de mundo que lhes são próprias, apesar de aceitarem o olhar da câmera que também lhes desvela outras leituras. As imagens do cinema, por meio dos efeitos que provoca, promovem uma interação entre o cognitivo-inteligível e o afetivosensível do espectador. Dessa forma, não é apenas o sujeito cognitivo que se senta no banco na escola ou na poltrona para assistir a um filme, mas é também o sensível que necessita estar em um constante despertar, colocando novos desafios que atuem como filtros prazerosos no contato com o mundo, estimulando seu desejo de saber. Mais que um aprendizado sobre o cinema como território inusitado de construção de saberes, o que fica indicado nos enunciados dos sujeitos desta pesquisa é a possibilidade de uma educação da sensibilidade com o cinema desafiando para projetos educativos que problematizem e penetrem na ordem discursiva nãoverbal presentes em diferentes suportes visuais. Sob esse ponto de vista, o cinema desestabiliza a pedagogia ancorada no senso que toma a imagem como portadora de sentido monolítico a serviço da ilustração de discursos verbais e passível de interpretação e decodificação. As questões que emergem deste trabalho se apresentam mais como um desafio à reflexão sobre as imagens do cinema reconhecendo os efeitos que ela produz no sentir, pensar e agir humano. / This work is the result of a doctoral research carried out within the Post-Graduation Program of the School of Education of the Federal University of Juiz de Fora (UFJF), aiming at investigating the implications of the cinema in the students´ formative process. The conection between the cinema and education is historically marked by educational practices which use the cinema as a pedagogical tool, an audiovisual resource with a decodifying language/object, and/or identified as an ideological vector. In considering the cinema as aesthetic utterance and its implications in the formative process of these subjects, the issue related to image education is raised, bearing in mind the specificities of the cinematographic art. For Deleuze, as well as for Cabrera, images are a modality of thought, and thought related to images is not exclusively intellectual, as it takes the affection it evokes into account. Therefore, imagetic language is not based on the notion of a system of rules or codes, but, as Bakhtin points out, on the dialogical relationships of the signs in enunciative contexts. By inquiring about the cinematographic look and its implications in the teaching of(by) sensibility and about how cinematographic images can favour the construction of a look on the human being devoid of massive classification and representational thought, an empirical investigation was started in 2010, which targets undergraduate students of Pedagogy at the School of Education of UFJF and, at a certain level, runs against a major trend in educational research whose topic is cinema-education, having either primary school pupils or teachers as their preferable subjects. The creation of the CINEDUCA Project in 2010 by the research group Language, Interaction and Knowledge (LIC) in the School of Education of UFJF provided the locus for the empirical investigations. The proposal was to make room for thinking through the cinema, widening film reception experience with the creation of an environment through which viewers could share their experiences by eye moves, so as to look at the cinema images from inside, going through their transparency, going beyond that common sense which leads to image thingfication, makes them natural and takes hold of them, interpreting them under the disguise of routine. By using the utterances of the subjects who took part in the CINEDUCA project, meaning zones were outlined, showing that, when it comes to taking the cinema to educational and academic settings, the subjects/viewers naturally expect a differentiated fruition, linked to the intentionality supposedly conected to an educational goal. In the case of CINEDUCA, two happenings came into play: the viewing space and the idea of creative expectation, showing that by means of cinema images the subjects/viewers place themselves before the film with world readings that are peculiar of themselves, in spite of accepting the look of the camera which also reveals other readings.Through their effects, cinema images promote interaction between the cognitive-intelligible and the affective-sensitive characteristics of the viewer. Therefore, it is not only the cognitive subject sitting at a school desk or couch to watch a film, but it is also the sensitive one who needs to be in a constant awakening process, posing new challenges which act as pleasant filters in the interaction with the world, stimulating his drive for knowledge. More than learning about the cinema as an unexpected field of knowledge construction, what is shown by the utterances is the possibility of teaching sensibility, with the cinema challenging educational projects that problematize and 2 deepen into nonverbal discoursive order found in different visual frames. Within this perspective, the cinema unbalances sense-based pedagogy which assumes image as holding a monolith meaning in the service of illustrating verbal discourses, subject to interpretation and decodification. The questions raised in this work are more of a challenge to reflection on the cinema images, recognizing the effects it brings into human feeling, thinking and acting.

Les films classiques ont créé des images stéréotypées féminines, en fixant des modèles déterministes du caractère féminin, des rôles féminins, de l’ « être femme ». Ces modèles risquent de supplanter la réalité, car ils réduisent la diversité des figures féminines. Depuis longtemps le féminisme a lutté contre tous les stéréotypes sexistes. Cette thèse se propose d’étudier les films d’Agnès Varda, Chantal Akerman et Catherine Corsini pour comprendre les devenir-femme(s) à travers des relations intimes et sociales. Dans leurs œuvres cinématographiques, elles rendent compte, chacune à leur manière, d’une nouvelle façon de produire des images du corps de la femme et de sa subjectivité. Les questions de la subjectivité féminine liées aux notions de désir, de jouissance, de plaisir et de sexualité rejoignent la psychanalyse pour comprendre, d’une part, le mécanisme de l’appareil cinématographique suscitant le fantasme des spectateurs, d’autre part, la possibilité d’une objectivation positive de la complexité de la figure féminine. Notre première approche se focalise sur la relation entre femmes telle que la relation mère-fille et la relation homosexuelle féminine. La deuxième envisage le contexte socioculturel dans lequel évoluent les personnages féminins des films de ces cinéastes à travers l’analyse du langage, de la narration et de l’espace cinématographiques, en s’intéressant à leurs styles, leurs esthétiques et leurs choix narratifs de la vie des femmes. Ainsi c’est le regard qui est nouvellement questionné et le maniement du dispositif cinématographique comme capables d’interroger, voire de susciter une autre subjectivité des femmes. Nous intégrons différentes approches théoriques dans l’analyse des films. Ainsi, la psychanalyse, le féminisme, la théorie queer, la sémiologie, l’esthétique vont enrichir notre réflexion sur le regard des femmes chez nos trois femmes cinéastes. / Classic films have created a stereotypical image of women by setting deterministic standards for female personality, her role and what is meant by ‘being a woman’. These standards might supplant reality, as they minimize the diversity of female figures. Feminism has long fought against gender stereotypes. This study examines films by Agnès Varda, Chantal Akerman and Catherine Corsini in order to understand the construction of femininity through intimate and social relations. In their films, each filmmaker develops unique approaches to produce images of the female body and its subjectivity. Psychoanalysis sheds light on the questions of female subjectivity related to the notions of desire, pleasure, and sexuality. It allows us to appreciate the mechanism of the camera arousing the viewers’ fantasies, as well as the possibility of a positive objectification of the complex female figure. This study first focuses on the relationships between women, such as the mother-daughter relationship and the homosexual relationship. It then explores the socio-cultural context in which the female characters live through an analysis of language, narration and space in the films, namely the filmmakers’ styles, aesthetics and narrative choices in the life of women. It examines how gender can influence the camera’s perspective and how it can question, or even produce, a new female subjectivity. Psychoanalysis, feminism, queer theory, semiology and aesthetics are all approaches which support and expand the analyses of female perspective as developed by the three women filmmakers.

[pt] A tese apresenta o olhar como objeto de pesquisa de um estudo sobre o campo da moda. Aborda o modo como as instâncias de comunicação, por meio da mídia, incitam disposições visuais nos agentes, tendo por base as práticas de representação do produto de vestuário que estão em consonância aos suportes de visualização das imagens de moda. Através de uma pesquisa de campo realizada em uma turma do curso de Design de Moda da Faculdade SENAI CETIQT – RJ, durante o semestre de 2015/01, foram analisadas as formas de apropriação das convenções visuais em jogo na comunicação de moda. Fotografias e questionários foram utilizados para a construção dos dados de pesquisa. Pelo exame das experiências de campo, as informações obtidas foram postas em diálogo com referências teóricas da sociologia da arte e da moda, bem como da história da arte. A partir do emprego de vitrines e revistas de moda, delimitou-se o contexto das práticas de comunicação da moda. As disposições visuais foram analisadas de acordo com as imagens e a interação entre os agentes responsáveis por sua produção. Três padrões visuais de percepção foram identificados. O primeiro se refere à frontalidade como característica resultante da relação entre as práticas da fotografia e a pose das modelos. O segundo se estabelece pela elegância como um significado atribuído ao conjunto de elementos visíveis nas imagens. E, o terceiro se relaciona ao espaço dos desfiles e ao modo como se instaura uma perspectiva monocular devido aos ângulos de registro das passarelas. / [en] The thesis presents the look as object of research of a study on the field of fashion. It discusses the way in which the media incites visual dispositions to the agents, based on the practices of representation of the clothing product that are in line with the supports of visualization of the fashionable images. Through a field research carried out in a class of Fashion Design course at SENAI CETIQT College - RJ, during the semester of 2015/01, the forms of appropriation of visual conventions at play in fashion communication were analyzed. Photographs and questionnaires were used to construct the research data. By examining the field experiences, the information obtained was put into dialogue with theoretical references of the sociology of art and fashion, as well as the history of art. From the use of shop windows and fashion magazines, the context of fashion communication practices was delimited. The visual dispositions were analyzed according to the images and the interaction between the agents responsible for their production. Three visual patterns of perception were identified. The first refers to frontality as a characteristic resulting from the relationship between the practices of photography and the pose of models. The second is established by elegance as a meaning attributed to the set of elements visible in the images. And, the third is related to the space of the fashion shows and the way in which a monocular perspective is established due to the angles of the catwalks.

Cette thèse met en valeur une correspondance entre le système visuel humain d’un point de vue strictement scientifique et une expression plastique personnelle associant installations et photographies questionnant la mal-voyance. Comment rendre l'art accessible à tous ? Pour répondre à cette question nous avons interrogé les relations entre art et science et montré qu’ils sont tous deux concernés par la perception : l’art, car il développe une approche sensible, la science, car elle s’appuie sur une connaissance approfondie de l’œil et peut en pallier les défaillances. Nous avons étudié la perception d’un point vue théorique en nous attardant sur la théorie de la Gestalt, ainsi que les phénomènes que constituent les illusions et la synesthésie qui met en avant l’association des sens. Nous avons ensuite abordé la cécité à partir des points de vue terminologique et statistique, puis du vécu psychique et pratique du mal-voyant. Forts de cela, notre propos repère comment s’impose la figure de l’aveugle dans la culture occidentale à travers la littérature et les arts. De sa considération au cours de la Grèce antique à l’ouvrage, Les Aveugles, de Sophie Calle en passant par le Picasso mélancolique de la période bleue, nous avons pu apprécier l’évolution de son image. Il est alors temps de se pencher sur les rapports que le mal-voyant entretient avec l’art et, dans ce cadre l’intérêt que peut revêtir le braille qui infiltre la peinture, la sculpture, la photographie, la performance, etc. Comment appréhender l’art sans passer par le visuel en développant tous les autres sens ou en misant sur l’économie du visible ? L’architecture quant-à elle s’adapte aux normes juridiques tout en développant une créativité qui enrichit le vivre ensemble. Les innovations de la science en arrivent à proposer des outils révolutionnaires comme les dispositifs de substitution sensorielle, l’œil artificiel, ou encore un appareil photographie pour les mal-voyants. La perception étant la clé d’une communication entre voyant et mal-voyant. / This dissertation focuses on the link between the human visual system – examined from a scientific point of view – and the personal plastic expression relating facilities and photographs which deal with visual impairment. How can art be made accessible to everybody? To answer this question I explored the links between art and science and I demonstrated that both deal with perception: art develops our sensitive approach whereas science relies on a deep knowledge of the eye and can alleviate its failures. I examined perception from a theoretical point of view, dwelling on the Gestalt theory as well as on the phenomena deriving from illusions and the synesthesia which emphasizes senses association. I then dealt with blindness, first with its terminology and statistics and then with the psychological and practical life experience of the visually impaired. Against this backdrop, my research led me to investigate the image of the visually impaired through literature and art in western culture. I assessed its evolution first from an analysis of its image in ancient Greece, then through a book entitled Les Aveugles by Sophie Calle and also through the Blue Period of melancholy Picasso. This led me to examine how the visually impaired connect with art in order to gauge how fundamental Braille is in painting, sculpture, photography performance etc. How can we perceive art without resorting to visual perception? By developing all other senses or by relying on visual perception economy? Architecture adapts to legal standards while developing a kind of inventiveness which enriches the “living together”. Regarding scientific innovations, revolutionary tools are being proposed such as sensory replacement devices, the artificial eye or a camera for the visually impaired. The perception being the key of a communication between clairvoyant and visually impaired.

Introducción: La hemorragia digestiva alta (HDA) es una de las emergencias más frecuentes en medicina. Parte de su abordaje incluye la realización de una segunda endoscopia de control programada llamada “second look” (SL) con el propósito de reducir la incidencia de resangrado. No obstante, existe controversia en cuando su indicación y utilidad. Objetivo: Evaluar la efectividad del SL en la prevención del resangrado intrahospitalario en pacientes adultos con HDA no variceal. Métodos: Se llevó a cabo un estudio de cohorte retrospectivo sobre 1 144 pacientes con diagnóstico de HDA admitidos en la Unidad de Hemorragia Digestiva de un centro de referencia de la Seguridad Social en Lima, Perú; durante los años 2012 y 2014. La variable de respuesta fue el resangrado y la variable de exposición fue la programación a SL. Además se midió la hemoglobina al ingreso, comorbilidades, trasfusión de paquetes globulares y variables endoscópicas. Se calculó la incidencia acumulada (IA), riesgo relativo (RR), efectividad y mediante un modelo lineal generalizado de familia Poisson link log con errores estándar robustos se estimaron razones de tasas de incidencia (RTI). Resultados: La IA global de resangrado fue de 24,48% (n=280). Se encontró diferencia significativa entre las incidencias acumuladas (IA) entre el grupo de SL y el grupo de control (11,7 % vs 29,0 %, respectivamente, p<0,01). El RR fue 0,40 (IC95%:0,29-0,56) y la efectividad fue de 59,81% (IC95%: 44,17-71,08). En los modelos de regresión también se encontró una disminución de las tasas de incidencia tanto en el modelo crudo (RTI: 0,34 IC95%: 0,24-0,49), como en el modelo ajustado con diferencia estadística significativa entre los sometidos y no sometidos a SL (RTI: 0,12 IC95%: 0,08-0,18), por las variables asociadas con el resangrado (RTI: 0,21 IC95%: 0,15-0,30) y por las variables que cumplían los criterios clásicos de confusión (RTI: 0,12 IC95%: 0,08-0,18). Conclusiones: El SL es efectivo en la prevención de resangrado intrahospitalario en pacientes adultos con HDA en un hospital de referencia nacional. / Background: Upper gastrointestinal bleeding (UGIB) is one of the most common medical emergencies. Part of its approach includes performing a second endoscopy, known as second look (SL). However, its indications and usefulness are controversial. Objectives: To evaluate the effectiveness of SL in preventing nosocomial rebleeding in adult patients with non-variceal upper gastrointestinal bleeding. Methods: A retrospective cohort of 1144 patients diagnosed with UGIB admitted at a Digestive Bleeding Unit of a reference center for Social Security in Lima, Peru was performed; during the years 2012 and 2014. The response variable was rebleeding and the exposure variable was programmed SL. Besides hemoglobin on admission, comorbidities, blood transfusion and endoscopic variables were measured. The cumulative incidence, relative risk (RR) and effectiveness were calculated, and using a generalized linear model of the Poisson family link log with robust standard errors, incidence rate ratios (IRR) were estimated. Results: The cumulative incidence rebleeding overall was 24.48% (n = 280). Significant difference between the cumulative incidences (IA) between the SL group and the control group (11.7% vs 29.0%, respectively, p <0.01) was found. The RR was 0.40 (95% CI 0.29 - 0.56) .The calculated effectiveness was 59.81% (95% CI: 44.17 - 71.08). The regression models also found a decrease in incidence in both crude model (IRR: 0.34 95% CI 0.24 to 0.49) and in the adjusted models. The first model was adjusted for variables with statistically significant differences between exposed and unexposed (IRR: 0.12 95% CI 1.8 to 0.18), the second was adjusted for variables that were significantly associated with rebleeding (IRR 0.21 95% CI 0.15-0.30). The third model was adjusted for variables that met classical criteria of confusion (IRR: 0.12 95% CI 0.08 to 0.18). / Tesis

This study will focus on confined, negative space, the claustrum, in its varied manifestations, and on ascents and descents within both the cities themselves and the specific buildings which house these claustra. By definition, the claustrum signifies psychological and often physical confinement. In both films, the major characters are restricted by claustra which simultaneously reflect their psychological conditions or stages of development and also confine them physically. Both Roeg and De Palma are keenly aware of how to manipulate the spectator’s own fears of claustra and exploit them to the full in all of their films. This analysis deals with the aesthetics of space interpreted towards psychological ends: the malevolent space of the claustrophobic nightmare, rather than the positive space of the felicias dream. One model of positive psychological space can be found in Gaston Bachelard’s The Poetics of Space (1964). His essential comments on enclosed spaces - especially on the diametric opposition of garret and cellar - and his insights into the nature of the city and its influence on its inhabitants are briefly examined and then inverted to provide a starting point for this study.

Thesis advisor: C. Patrick Proctor / Schools, districts, and states are at a time of transition from the federal No Child Left Behind Act (NCLB) to The Every Student Succeeds Act (ESSA) and this change comes alongside evolving state policy landscapes. Since NCLB and the epoch of English-only education in Massachusetts, which ended after the passage of the Language Opportunity for Our Kids (LOOK) Act in 2017, have been shown to have a primarily negative impact on emergent bilingual students, a historically marginalized group of learners, there is a need for educators and researchers to understand how educators are comprehending and responding to policy changes. Yet processes of policy interpretation and implementation are often not straightforward and many factors from the location of an organization to an individual’s role, connections, and prior professional experiences (Burch & Spillane, 2005; Spillane, 1998) can impact policy understandings and implementation. The purpose of this qualitative dissertation was to understand how educational leaders interpreted and responded to ESSA and the LOOK Act in Massachusetts. Utilizing sensemaking theory as a theoretical framework (Spillane, Reiser, & Reimer, 2002), analysis of 17 participant interviews as well as state documents demonstrated that district, state, school, and organizational leaders were optimistic about the educational future of bilingual children in Massachusetts. They viewed the LOOK Act as offering needed flexibility for designing educational programs, as better aligning with participants’ beliefs about bilingualism and language learning, and as potentially facilitating the increased engagement of bilingual families as stakeholders with a voice. Educational leaders understood ESSA in relation to how they understood NCLB. They also viewed ESSA primarily as a compliance mandate. Participants responded to ESSA and LOOK by defending their intentional focus on the immediate: the policies, initiatives, and practices that aligned with their beliefs about what is best for bilingual students. These priorities included reconceptualizing programs of education for bilingual students and launching English Learner Parent Advisory Councils, both made possible by the LOOK Act, as well as hiring and retaining equity-minded district leaders, advocating at the state and district levels around funding structures, building teacher capacity to teach emergent bilingual students, developing multiple pathways for children, and shifting belief systems around bilingualism and bilingual children. Developing understandings of how educators interpret and respond to ESSA and LOOK can further inform educators’ crafting of policies and programs that can benefit bilingual children. / Thesis (PhD) — Boston College, 2019. / Submitted to: Boston College. Lynch School of Education. / Discipline: Teacher Education, Special Education, Curriculum and Instruction.

"Das Programm sieht ja nicht nur gut aus, es macht auch genau das was ich will!" - solche oder ähnliche Aussagen liest man oft, wenn Software-Programme von Anwendern beurteilt werden. Was Nutzer damit beschreiben ist weitestgehend als Look & Feel einer Anwendung bekannt. Der Begriff Look bezieht sich dabei auf die visuellen Bestandteile der Anwendung, wie die genutzten Medienelemente und deren Layout. Das Themenfeld Feel umfasst das interaktive Verhalten einer Anwendung, die auf Eingaben des Nutzers reagiert (Feedback) oder bereits vorher Hinweise auf die eigene Verwendbarkeit gibt (Feed-Forward). Allgemein gilt, je interaktiver eine Anwendung, desto wichtiger ist das "Gefühl" im Look & Feel. Als Beispiel dienen die sogenannten natürlichen Benutzerschnittstellen (NUI), wie die sich in den letzten Jahren enorm verbreitende Form des Multi-Touches. Bei dieser interagiert der Nutzer direkt mit der Anwendung ohne separate Eingabegeräte als Vermittler seiner Aktionen. Eine weitere Charakteristik dieser Benutzerschnittstellen ist deren intuitive Verwendbarkeit. Dies bedeutet, dass sich während der Interaktion mit den Programmen deren Strukturen und Funktionen von selbst erschließen. Um dies zu gewährleisten ist die sorgsame Gestaltung des Feels von Beginn der Entwicklung an bedeutsam. Umso überraschender ist das Ergebnis unseres Vergleichs aktueller Prototyping-Werkzeuge für Benutzeroberflächen, die den Aspekt Feel oftmals nicht oder nur unzureichend berücksichtigen und stattdessen das Aussehen (Look) einer Anwendung fokussieren. In unserer kürzlich erschienenen Arbeit "Look without Feel - A Basal Gap in the Multi-Touch Prototyping Process", die wir auf der Konferenz "Mensch und Computer 2013" in Bremen präsentierten und die mit dem Honorable Mention Paper Award ausgezeichnet wurde, untersuchten wir diesen Sachverhalt für den Prototyping-Prozess von Multi-Touch Anwendungen genauer.

In a stopping rule problem, a real-time player decides to stop or continue at stage n based on the observations up to that stage, but in a k-step look-ahead stopping rule problem, we suppose the player knows k steps ahead. The aim of this Ph.D. dissertation is to study this type of prophet problems for simple random walk, determine the optimal stopping rule and calculate the expected return for them. The optimal one-step look-ahead stopping rule for a finite simple random walk is determined in this work. We also study two infinite horizon stopping rule problems, sum with negative drift problems and discounted sum problems. The optimal one, two and three-step look-ahead stopping rules are introduced for the sum with negative drift problem for simple random walk. We also compare the maximum expected returns and calculate the upper bound for the advantage of the prophet over the decision maker. The last chapter of this dissertation concentrates on the discounted sum problem for simple random walk. Optimal one-step look-ahead stopping rule is defined and lastly we compare the optimal expected return for one-step look-ahead prophet with a real-time decision maker.

Reading is not an easily learned skill for most students. I chose to look at the methodology being used by teachers in East Tennessee to instruct emerging readers. Through my review of literature, I researched reading approaches implemented in American classrooms in the last 150 years. I compared and contrasted data to determine current researchers' findings concerning the most effective techniques for teaching reading and how teachers have implemented this knowledge base into their teaching strategies. Teachers cannot teach what they do not know. Therefore, I also researched literature addressing the growing concern among educators with teachers' preparation and professional development opportunities as well as the amount of specific preparation teachers received regarding the reading methods they are using. After compiling the data from my interviews with 30 East Tennessee first-grade teachers, I found that most said they did not feel adequately prepared to teach emergent readers. These teachers reported they had not had instruction that provided foundations in a wide range of research-based approaches to reading. The professional development offerings for teachers already in the classroom were often sporadic and did not compensate for their lack of preparation in college. There is a need for colleges and universities to re-evaluate the current teacher preparation programs. School systems should strive to provide quality inservice opportunities for instructors of emergent readers as well as hiring reading coaches or specialists to assist the reading instructors.