Orientador: Gisele Maria Schwartz / Banca: Afonso Antonio Machado / Banca: Yara Aparecida Couto / Resumo: Este estudo, de natureza qualitativa, teve por objetivo investigar como a expressão criativa está sendo inserida no contexto dos processos de ensino e aprendizagem da dança, para além das técnicas específicas, na visão de professores-coreógrafos e participantes de academias de dança, no âmbito do lazer. Para tanto, o estudo foi dividido em duas etapas complementares, sendo a primeira relativa a uma pesquisa bibliográfica e a segunda, uma pesquisa exploratória, para a qual foi utilizado como instrumento para coleta de dados um questionário misto, contendo perguntas abertas e fechadas. O instrumento foi aplicado a uma amostra intencional de 20 sujeitos, composta por professores-coreógrafos e bailarinos, maiores de 18 anos, com experiência de mais de um ano na prática de dança. Os dados foram analisados de maneira descritiva, utilizando-se a técnica de Análise de Conteúdo Temático e os resultados evidenciam que a criatividade é uma capacidade que tem suas características e qualidades amplamente reconhecidas como essenciais ao processo de ensino-aprendizagem na dança pelos sujeitos da pesquisa. Para esses, estas expressões criativas apresentam extensos conceitos e significados, permitem aos sujeitos descobrirem diferentes formas de expressar seus sentimentos e emoções, sendo as características individuais e a personalidade, apontadas como agentes de grande influência. Embora acarretem, para alguns indivíduos, circunstâncias muitas vezes constrangedoras, com o tempo e ações pedagógicas adequadas, acontecem com maior naturalidade e se tornam uma fonte inesgotável de descobertas e conhecimentos, contribuindo, assim, com diversos contextos condizentes com os aspectos subjetivos, bem como, com a percepção de uma maneira mais prazerosa de se compreender os sentidos de dançar. Entretanto, os dados referentes à dimensão curricular para a formação nestes cursos... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This study, of qualitative nature, aimed at investigating how the creative expression has been placed within the context of teaching and learning of dance beyond the specific techniques vision teachers, choreographers and dance academies participants in leisure scope. Thus, the study was divided into two complementary stages, the first relating to a literature review and the second is an exploratory research for which it was used for data collection a mixed questionnaire containing open and closed questions. The instrument was administered to a purposive sample of 20 subjects composed of teachers, choreographers and dancers, over 18 years, with experience of more than a year in the practice of dance. Data were descriptively analyzed, using the Thematic Content Analysis technique and the results show that creativity is a skill that has its own characteristics and qualities widely recognized as essential to the process of teaching and learning in dance for the subjects of this research. For them, these creative expressions have extensive concepts and meanings, and enable individuals to discover different ways of expressing their feelings and emotions, and individual characteristics and personality was identified as agents of great influence. While entailing some individuals embarrassing circumstances with time and appropriate pedagogical actions, this happens more naturally and become an inexhaustible source of discoveries and knowledge, thus contributing to several contents consistent with the subjective aspects as well as the perception of a more pleasant way to understand the meanings of dance. However, data concerning the scale curriculum for training in these technical courses in dance, revealed priority in acquiring knowledge depicting the characteristics and technical qualities as well as developing the skills and physical abilities and motor functions. The creativity was associated... (Complete abstract click electronic access below) / Mestre

A presente pesquisa objetiva, em essência, discutir questões referentes à expressividade em textos literários, como também observar a riqueza de suas múltiplas possibilidades de construção estética. Esse material é burilado pelos recursos fônicos, morfossintáticos e léxico-semânticos do sistema linguístico. Foram utilizados como corpus para o trabalho os contos de Ana Maria Machado e as poesias de José Paulo Paes, produções inseridas no Programa Literatura em Minha Casa e que sensibilizaram os leitores pelo jogo verbal primoroso, resultado das escolhas e das combinações dos autores. Foram tomados como referência para análise dos textos os recursos linguístico-expressivos neles observados, pretendendo demonstrar o potencial expressivo, com vistas a propor alternativa pedagógica, de caráter produtivo para o ensino, despertando a sensibilidade frente ao texto literário e contribuindo para promover o prazer de ler dos alunos do ensino fundamental. Para tanto, a autora buscou na estilística fundamentos teóricos e metodológicos que aprofundassem a temática em tela / This research aims, in essence, to discuss issues related not only to expressiveness in literary texts, but also to observe the richness of its aesthetic construction multiple possibilities. This material is shaped by phonic, morphosyntactic and lexical-semantic language system resources. As a corpus for this work, the tales of Ana Maria Machado and the poetry of José Paulo Paes were used, productions included in the Literature in My House Program which sensitized readers by exquisite verbal play, the result of choices and combinations of authors. Texts for analysis of the linguistic-expressive features observed in them were taken as reference, intending to demonstrate expressive potential, with a view to proposing a pedagogical alternative, the productive character for teaching, raising the susceptibility to literary text and helping to promote the pleasure of reading of elementary students. Therefore, we leaned on stylistic grounds to seek theoretical and methodological which could deepen the thematic display

Considerando que expressividade é uma forma significativa de comunicação corporal, que busca através da Dança a harmonia das formas biológica, cultural e filosófica do ser humano, este estudo objetiva descrever e compreender a percepção dos acadêmicos de Educação Física que cursam a disciplina de Metodologia do Ensino da Dança Escolar sobre sua expressividade. Inicialmente são apresentados conceitos, classificações, bem como os níveis de complexidade da expressividade. Na seqüência faz-se uma interação entre Expressividade, Educação Física e Dança, ressaltando a importância do ato criativo da expressividade dentro do contexto de ensino. Participaram do estudo 16 acadêmicos do curso de Educação Física da Universidade Regional Integrada do Alto Uruguai e das Missões (URI) Campus de Erechim, que cursavam a disciplina de Metodologia do Ensino da Dança Escolar. Os instrumentos utilizados na pesquisa foram entrevistas semi-estruturadas (inicial e final) e notas de campo. O período de coleta de dados aconteceu de 02 de abril de 2008 a 28 de maio de 2008 na Sala de Dança e no Auditório Central da URI. As informações obtidas foram agrupadas em unidades de significado, que reescritas, originaram categorias de análise. Os resultados mostram uma significativa evolução em relação às definições de expressividade, evidenciando a linguagem do corpo em sua sensibilidade, bem como a constatação de como é possível criar e também incentivar a criação de novos movimentos, derrubando barreiras sociais com a Dança inserida no contexto da Educação Física. / If we consider that expressivity is one significative way of corporal communication, which searches through Dance the harmony of the biological, cultural and philosophical forms of human being, so this study desires to describe and to understand the perception of Physical Education undergraduate students who attend classes of Methodology of School Dance Teaching about their expressivity. In the beginning of this study is showed the concepts, classifications, as well as expressivity complexity levels. In the sequence, it does a interaction between Expressivity, Physical Education and Dance, it noted the importance of the creative act of expressivity inside teaching’s context. The participants were 16 students of Physical Education course from Universidade Regional Integrada do Alto Uruguai e das Missões (URI), Campus de Erechim. They attend classes of Methodology of School Dance Teaching discipline. The instruments utilized in the research were semistructured interviews (initial and final) and field notes. The collective period has happened at April 02nd, 2008 until May 28th, 2008 at Dance Room and at URI’s Central Auditorium. The informations were grouped in units of meanings that were rewrited. This originated the analyze categories. The results show a significative evolution related to expressivity definitions, which clear out the body language in your sensibility, as well as the observation that creating and also motivating the creation of new movements are possible, breaking down social obstacles with the Dance taking a place inside the Physical Education’s context.

A linguagem constitui tema de grande interesse para um estudo compreensivo dos fenômenos subjetivos. Na psicologia e em outras ciências humanas, são várias as abordagens que historicamente se dirigiram aos fenômenos linguísticos como âmbito central no esforço de compreensão precisa daqueles. Na psicologia contemporânea, a linguagem permanece enquanto tema de estudo privilegiado pois abarca, ao mesmo tempo, a ordem da produção de sentidos individuais e intersubjetivos, além de se apresentar enquanto sistema cultural e historicamente instituído. Articula, desta forma, o individual e o social, fenômenos da ordem do particular que remontam a um contexto cultural de subjetivação. Como parte de um esforço para compreender o objeto de estudo da psicologia a partir da filosofia de Maurice Merleau-Ponty (1908 1961), propusemos que um estudo aprofundado da noção de linguagem que suas reflexões subsidiam poderá representar um passo relevante. Veremos que, já no debate com as ciências do comportamento e com a fisiologia clássica, nA Estrutura do Comportamento (1942), Merleau-Ponty realiza uma leitura de que, sem recorrer ao âmbito da consciência, é possível identificar um protótipo da atividade significativa já na relação do organismo vivo com seu meio. Posteriormente, ao voltar-se para a Fenomenologia da Percepção (1945), ponto central do projeto filosófico do autor, veremos de que maneira ele apresenta, em sua descrição da consciência perceptiva e da subjetividade corpórea, suas primeiras teses a respeito da linguagem, que têm como conceitos centrais o sentido gestual da fala e o caráter fundante da atividade expressiva em relação ao significado. Trata-se de propor que as operações de sentido se realizam através da própria expressão, e não que a expressão meramente traduz um sentido que lhe precede em pensamento. Acompanharemos os desenvolvimentos desta temática nos anos 1950, onde o diálogo com a linguística de Saussure dá novos contornos ao projeto de compreensão da linguagem, que vai do sentido gestual para o caráter diacrítico da língua enquanto sistema sedimentado através da fala. / Language presents a theme of great importance to the comprehensive study of subjectivity phenomena. In psychology, as well as in other human sciences, there are several schools of thought that historically approached the linguistic phenomena as a central scope in the effort to comprehend the cultural processes of subjectivation. In contemporary psychology, language remains a privileged field of study as it encompasses, at the same time, the orders of production of individual and intersubjective meaning, as well as presenting itself as historically instituted. Therefore, it articulates the individual and social spheres, phenomena of the personal order that remounts to a cultural context of subjectivation. As part of a larger effort to comprehend the object of study of psychology from the point of view of Maurice Merleau-Pontys (1908 1961) philosophy, we proposed an in-depth study of the notion of language as made possible by his reflections. We will see that, already in the discussion with the behavioral sciences and with classical physiology, in The Structure of Behavior (1942), Merleau-Ponty points out that even without resorting to an account of consciousness it is already possible to identify a prototypic signification activity in the relation between the living organism and its environment. Subsequently, in turning to the Phenomenology of Perception (1945), a central point in the author\'s philosophical project, we will see how he presents, on his description of perceptual consciousness and of embodied subjectivity, his first thesis about language itself, that are organized around the gestural meaning of speech and on the founding character of expression in relation to meaning. He proposed that meaning operations are carried out through expression itself, opposing the idea that expression acts as a mere translation of a meaning that precedes it in thought. We accompany the development of this theme in the 1950s, where the dialogue with saussurean linguistics gives new outlines to the project of comprehending language, that develops from the gestural meaning to the diacritic character of language as a system sedimented through speech.

Esta pesquisa objetiva verificar de que maneira os processos de derivação prefixal e sufixal são abordados por materiais didáticos utilizados atualmente no Ensino Funda-mental II e propor atividades que desenvolvem a competência lexical e a competência comunicativa do aluno aprendiz. Primeiramente, analisamos e descrevemos como os processos de formação de palavras são abordados em três materiais didáticos - Por-tuguês: linguagens, 6º ao 9º ano; Projeto Teláris: português: ensino fundamental, 6º ao 9º ano; Para viver juntos: português, 6º ao 9º ano -, obras sugeridas pelo Programa Nacional do Livro Didático (PNLD) 2016, destinadas ao Ensino Fundamental II. Além disso, questionamos tanto as razões desse conteúdo estar presente majoritariamente no 9º ano, quanto o porquê de não explorarem satisfatoriamente a expressividade das criações lexicais. Percebemos que para se trabalhar com expressividade e com as-pectos semânticos, é necessário repensar as aulas de Língua Portuguesa, principal-mente no que diz respeito ao Ensino do Léxico, uma vez que esse estudo ainda parece estar marginalizado na sala de aula. A fim de mostrar ao professor a importância das discussões sobre processos de formação de palavras, em especial da prefixação e da sufixação, propusemos algumas atividades, por meio da análise de poemas de Ma-noel de Barros, que mostram que os elementos presentes na construção de unidades lexicais vão além das meras descrições normativas encontradas em livros didáticos e em gramáticas. O estudo dos afixos em neologismos presentes na poesia permite que se notem as questões de expressividade na formação de novas palavras. Na busca para se comprovar a importância desse aspecto dos estudos do Léxico, elaboramos e aplicamos exercícios para turmas do 6º ano, visto que consideramos indispensável abordar essa temática logo na série inicial do Ensino Fundamental II. O objetivo das atividades foi o de estimular a reflexão a respeito da importância e do significado das palavras formadas por prefixação e sufixação. Para tanto, voltamos nosso olhar para as construções inesperadas presentes na poética de Manoel de Barros, poeta que une prefixos e sufixos a bases de forma inesperada. Os alunos foram convidados a analisar o sentido desses prefixos e desses sufixos, bem como o significado da nova palavra para que pudessem constatar a questão da expressividade e perceber que as criações lexicais surgem tanto por necessidade quanto por questões estilísticas. Dessa forma, levando a poesia para a sala de aula, pretendemos mostrar aos alunos a importância de se compreender como as palavras são formadas e quais os signifi-cados das criações lexicais poéticas no contexto em que se inserem. / This research aims to verify how the prefixal and suffixal derivation processes are addressed by teaching materials currently used in junior high school and propose activities that develop lexical competence and communicative competence of the student. First, we analyze and describe how the word formation processes are addressed in three teaching materials - Portuguese: languages, 6th to 9th grade; Teláris project: Portuguese: high school, 6th to 9th grade; To live together: Portuguese, 6th to 9th grade - works suggested by the National Textbook Program (PNLD) in 2016, aimed at junior high school. Moreover, we question both the reasons why this content is present mainly in the 9th grade, and why not explore satisfactorily the expressiveness of lexical creations. We realize that to work with expressiveness and semantic aspects, it is necessary to rethink the Portuguese classes, especially with regard to the Lexicon of Education, since this study still seems to be marginalized in the classroom. In order to show the teacher the importance of discussions on formation processes of words, especially prefixing and suffixing, we proposed some activities through the analysis of Manoel de Barros poems, which show that the elements present in the construction of lexical units go beyond mere normative descriptions found in textbooks and grammars. The study of affixes in neologisms present in poetry allows one to notice the expression issues in the formation of new words. In the quest to prove the importance of this aspect of the Lexicon studies, we elaborated and applied exercises for classes of 6th year, as we consider necessary to address this issue at an early grade of high school. The aim of the activities was to encourage reflection about the importance and meaning of words formed by prefixing and suffixing. For that, we turn our gaze to the unexpected constructions in the poetics of Manoel de Barros, a poet who joins prefixes and suffixes to bases unexpectedly. The students were asked to analyze the meaning of these prefixes and suffixes, as well as the meaning of the new word so they could find the question of expressiveness and realize that the lexical creations arise both by necessity and stylistic issues. Thus, taking poetry to the classroom, we aim to show students the importance of understanding how words are formed and the meanings of lexical poetic creations in the context in which they operate.

La thèse intitulée « Expression et expressivité. Éléments pour une problématique linguistique : l'École de Genève (1900-1940) » est l'aboutissement d'un travail de recherche dans le domaine de l'histoire des idées linguistiques. L'étude des théories élaborées dans la première moitié du XXe par trois représentants de la linguistique genevoise (Charles Bally, Charles-Albert Sechehaye et Henri Frei) nous a amenée à formuler et à vérifier l'hypothèse générale du présent travail, à savoir la possibilité de déceler une systématicité de ces approches autour d'une problématique de l'expression, qu'elles mettent en place de manière différenciée et néanmoins concordante sur bien des points. Les convergences et les divergences dont nous tirons les conséquences dans notre analyse nous permettent de juger des conditions dans lesquelles se met en place une dynamique de pensée à l'intérieur d'une école linguistique. Le traitement de cette problématique est représentatif des stratégies par lesquelles ces linguistes ont procédé à une réinscription de certains thèmes théoriques saussuriens (la synchronie, la linguistique de la parole, l'arbitraire du signe, la valeur linguistique). La problématique de l'expression chez des linguistes se réclamant dans une large mesure de l'enseignement saussurien présente un intérêt d'autant plus grand qu'elle semble rompre avec les principes de F. de Saussure, en favorisant des points de vue a priori étrangers à sa conception de la langue : l'approche de l'affectivité ou de la subjectivité, une large part accordée à la « psychologie », une place privilégiée accordée au sujet parlant. / The thesis named “Expression and Expressivity. A Discussion of Some Debatable Linguistic Issues : The School of Geneva (1900-1940)” is the result of research undertaken in the history of linguistic ideas. The study of several theories developed during the first half of the 20th century by three representatives of the Genevan linguistics (Charles Bally, Charles-Albert Sechehaye and Henri Frei) has led us to formulate and put to the test the general assumption of our thesis. What we have tried to achieve is the capturing of the systematic in the way the three accounts discussed deal with the expression issue by pointing out the differences and similarities in each approach of the issue at hand. The converging and diverging aspects from which we draw our conclusions allow us to establish the way a thought dynamics emerges within a linguistic school. Tackling such an issue points out the strategies used by these linguists to revisit some Saussurian theoretical concepts (the synchronic, the linguistics of la parole, the arbitrariness of the sign, the linguistic value). The question of the expression in the case of these linguists is of great importance. The reason is that, although they claim to follow the Saussurian line of thought to a large extent, they seem to depart from Saussure’s main principles by favouring beliefs which are a priori in disagreement with Saussure’s perspective on language: dealing with affectivity or subjectivity, addressing the matter of ‘psychology’ to a great extent, highlighting the role of the speaker.

As technology becomes increasingly intelligent and pervasive in the physical context of daily life, it is crucial to consider the design of technological artifacts to develop new interaction paradigms that can expand technological capabilities, shape behaviors, establish new practices, and broaden our worldview. This thesis proposes using principles of animism to inform the design of interactive objects as a way to encourage people to reflect on their relationships with the world around them, and to perceive objects beyond their roles as mere tools or ephemeral fashion products. Animism, as a design metaphor, can be powerful in creating expressive, affective, and empathetic interactions with interactive objects. Through the use of behavioral, physical, and social metaphors, an animistic object can communicate in a more nuanced way with its changing form and behavior within a given context. An animistic object can connect in multi-sensorial ways to provide an individual and idiosyncratic experience, which can afford one to construct new meanings with their surrounding objects and re-form their relationship with them. Animistic objects aim to create a poetic dialogue between themselves and their humans, fostering a deeper relationship that surpasses their utilitarian and aesthetic value. The goal of this thesis is to define animism in the context of industrial and interaction design, examine dimensions of animistic qualities, and evaluate implications of animistic objects in building rapport between human and artifacts.

The purpose of this study was to explore the union of technical and imagery-based instruction (hereinafter, T-I instruction) in two phases. Phase one: The researcher (1) explored T-I instruction’s influences on aspiring performing artists’ acquisition of learning and performing newly composed pieces and improvisation, and; (2) observed aspiring performing artists’ feelings of learning with T-I instruction versus technical instruction. Phase two: The researcher investigated (1) listeners’ perceived expressivity of aspiring performing artists’ performances that were either influenced by T-I instruction or technical instruction; (2) listeners’ perceived expressivity of aspiring performing artists’ performances of newly composed pieces versus improvisations; (3) whether there was a statistical significant difference of T-I instructions’ influence on the progressive differences in the means of listeners’ perceived expressivity between the aspiring performing artists across the time frame of the study; (4) the explanations for their ratings, and; (5) information that helps listeners perceive music as expressive using the Perceived Expressivity Questionnaire (PEQ). Results for Phase one: 60 sub-themes and 13 themes emerged from the data relating to two meta-themes: Learning and Quality of Life. Results for Phase two: Cronbach’s alpha statistical procedure revealed an unacceptably low internal consistency for listeners’ perceived expressivity of aspiring performing artists’ performances (α = .02). Hence, no further statistical analysis was implemented to answer research questions one through three. Explanations for their ratings dealt primarily with aspiring performing artists’ use of 11 musical components. The Brief Essay Responses from the Perceived Expressivity Questionnaire (PEQ) provided possible explanations for the low internal consistency and insight on what kind of information help listeners’ perceive music as expressive. Further discussion on the finding and implications for performing artists and educators’ use of T-I instruction are offered in this document.

Le mouvement est une composante primordiale et nécessaire de notre existence. Nous l’utilisons tous les jours pour accomplir des tâches simples et essentielles, mais également pour communiquer. Que cela soit intentionnel ou non, nos mouvements signent nos différences interindividuelles, mais aussi intra-individuelles liées à nos états émotionnels, notre status, et nos intentions. Au cours d’une même journée, la cinématique de nos mouvements tend inéluctablement à évoluer et à s’adapter en fonction de notre environnement social. Ce qui différencie le mouvement des robots et des personnages virtuels de celui des humains est sa capacité à varier, un humain ne reproduisant jamais deux mouvements identiques. Néanmoins, ce contraste est de moins en moins évident. Depuis Darwin et ses travaux sur l’impact des émotions dans le mouvement jusqu’aux plus récentes études sur l’expressivité du mouvement dans des contextes d’interactions (p. ex. homme femme, interaction professeur-élève) et d’applications variées (p. ex. autisme, exergame), les chercheurs et entreprises cherchent à implémenter la variabilité du mouvement biologique humain dans les interactions homme-machine (IHM). En s’appuyant sur les Sciences sociales, du mouvement et de l’informatique, ce travail doctoral multidisciplinaire contribue à la compréhension de l’action et de la perception de mouvement expressif à travers trois études dans un contexte sportif d’interaction coach-élève. La première étude a pour objectif de comprendre comment l’expressivité du mouvement humain signe l’émotion perçue. Dans la seconde étude, nous envisageons plusieurs dyades composées de participants dont les status de passations et les conditions expérimentales évoluaient. Enfin, une dernière expérience orientée IHM a été réalisée. Au cours de celle-ci, des personnages virtuels expressifs ont été conçus pour interagir non verbalement avec les participants. Les résultats de ces travaux permettent de mettre en évidence que certains paramètres de l’expressivité du mouvement issue de séries temporelles (ST) (Energie, Caratère direct, Rigidité et l’étendue) sont nécessaires pour discriminer les affects, les status et les ressentis des participants au sein des interactions. La visée applicative de ce travail doctoral est la création d’un coach virtuel qui, au moyen de ces mouvements expressifs, permet une interaction dynamique et crédible. / Movement is a major component of our daily life. Every day we use it to both perform simple and essential task and to communicate. Intentionnal or not our movements sign our intraindividual and interindividual differences liked to our status, intentions and affects. In the same day, the cinematic of our movements evolve and adapt according of our social environnement. Distinction between movements of robot – virtual character and human movement is that the latter can vary. Indeed an identical movement made twice by a human will not be perfectly the same. However this specificity tends to change. From Darwin’s first works studying the impact of affect on movement to recent studies about movement expressivity in various interactive context (e.g. man-woman, student-professor interaction) and various applications (e.g. Autism, Exergames) researchers and entreprises seek to implement this human specificity in human computer interaction (HCI). Based on social science, movement science and computer science, this multidisciplinary work contributes to the understanding of action and perception of expressive movements thanks to three studies in coach-student sport context interaction. The first study aims at understanding how the perceived affect impact the expressivity of human movement. In the second study we examine dyadic interactions involving different status of participants and social set-up. Finaly we desgined an expressive full-body virtual agent and used it in an interactive trask. The main contribution of this PhD thesis is to show that expressivity features computed from different time-series (Energy, Caractère franc,rigidité and sptatial extent) are relevant to discriminate participants’ affects, status and thoughts. One goal and possible application of this work is the design of a virtual trainer allowing credible and dynamic full-body interactions thanks to its expressive movements.

Transformers have emerged as a powerful architecture for various tasks in natural language processing, computer vision, and multi-modal domains. Despite their success, understanding the computational capabilities and limitations of transformers remains a challenge. This work focuses on relating transformers to deterministic finite automata (DFAs) and empirically investigates the architecture's ability to simulate DFAs of varying complexities. We empirically explore the simulation of DFAs by transformers, specifically focusing on the solvable A4-DFA and the non-solvable A5-DFA. We conduct experiments to evaluate the in-distribution and out-of-distribution accuracy of sub-linear depth transformers with positive results on both accounts. Additionally, we examine the impact of widening the transformer to find even shallower transformers for the  A4-DFA. While no significant improvements are observed compared to the sub-linear depth transformers, further exploration of hyperparameters is needed for more reliable results.