Submitted by Pós-Com Pós-Com (pos-com@ufba.br) on 2017-01-10T14:04:16Z No. of bitstreams: 1 Dissertação Final Depósito PDF.pdf: 2679458 bytes, checksum: fca3fc50fa17128a4f917dfb578a1208 (MD5) / Approved for entry into archive by Uillis de Assis Santos (uillis.assis@ufba.br) on 2017-07-12T17:55:52Z (GMT) No. of bitstreams: 1 Dissertação Final Depósito PDF.pdf: 2679458 bytes, checksum: fca3fc50fa17128a4f917dfb578a1208 (MD5) / Made available in DSpace on 2017-07-12T17:55:52Z (GMT). No. of bitstreams: 1 Dissertação Final Depósito PDF.pdf: 2679458 bytes, checksum: fca3fc50fa17128a4f917dfb578a1208 (MD5) / Esta pesquisa aborda as estratégias narrativas e estéticas articuladas no filme Funny Games (1997), do diretor austríaco Michael Haneke, a fim de causar determinadas sensações no espectador. Pretende-se identificar de que forma o estupor causado por este filme, considerado violento e cruel, ao invés de sentenciar o Haneke a um provável ostracismo, abriu as portas do disputado mercado internacional para seus filmes posteriores, com a peculiaridade de ter um remake norte-americano, feito pelo próprio diretor, dez anos depois. No primeiro momento serão analisados os elementos que dão forma ao filme. Para o estudo da narrativa será priorizado o trabalho de Paul Ricoeur. As abordagens de David Bordwell embasarão questões específicas da arte cinematográfica, tanto relacionadas com a narrativa quanto com o estilo. Em seguida, serão apresentados alguns dados sobre a recepção dos filmes de Michael Haneke para contextualizar a reação do espectador de Funny Games no universo fílmico do diretor. Por fim, será feita a análise deste filme, no âmbito de produção dos seus filmes austríacos, com o propósito de mostrar que as emoções convocadas por Funny Games são fruto das estratégias calculadas com precisão para impactar o público através de uma trama que coloca em evidência uma prática perturbadora: a crueldade. Como resultado, pretende-se demonstrar que a elaboração rigorosa de Haneke é a chave para manter e ampliar a visibilidade sobre seus filmes, que persistem nos temas indigestos. / This research addresses the narrative and aesthetic strategies in the film Funny Games (1997), by the Austrian director Michael Haneke, articulated with the purpose of causing certain sensations in the viewer. The aim is to identify how the stupor caused by this film, considered violent and cruel, instead of sentencing Haneke to a probable ostracism, opened the doors of the disputed international market for his later films, with the peculiarity of having an American remake, made by the director himself, ten years later. At first we will consider the elements that form the film. For the analysis of the narrative we will prioritise the work of Paul Ricoeur. The approaches of David Bordwell will support specific issues of the cinematic art, both related to the narrative as to the style. Then we introduce some data on the reception of Michael Haneke’s films, to contextualise the Funny Games viewer's reaction in the filmic universe of the director. Finally, we will analyse the film, in the context of the production of Haneke’s Austrian movies, with the purpose of showing that the emotions convened by Funny Games are the result of strategies precisely calculated to impact the public through a plot that highlights a disturbing practice: cruelty. With that, we intend to demonstrate that Haneke’s rigorous development is the key to maintaining and increasing the visibility of his movies, that persist with hard to digest, disturbing themes.

DEAR LITTLE ME: A RESPONSE TO MY FORMER SELF is a 180-page memoir in which the adult self at age twenty-three responds to the diary entries and writings of the younger version of herself. The original diary entries, which were written from 2001 to 2004, feature the typical troubles of a middle school girl: crushes, cliques, and puberty. However, the diary entries also explore darker events such as September 11, divorce, bullying, and self-image issues. When the adult “me” re-read these diaries, I felt a strong desire to respond to my former self, offering her advice and encouragement, both serious and humorous. DEAR LITTLE ME is unique in form, as it combines diary entries and essay. In the same way that Amy Krouse Rosenthal’s ENCYCLOPEDIA OF AN ORDINARY LIFE adopts the well-known format of the encyclopedia to create familiarity for her readers, DEAR LITTLE ME stays true to the the diary format. Modeling the new prose on the original form and syntax of diary entries is intended to create pathos by appealing to readers’ sense of nostalgia for their own lost childhoods. I intend to help readers remember their challenging pre-teen years and to recognize how many of the challenges of those years are still with us as adults, albeit in different forms.

Made available in DSpace on 2014-06-11T19:29:04Z (GMT). No. of bitstreams: 0 Previous issue date: 2006-12-20Bitstream added on 2014-06-13T20:59:03Z : No. of bitstreams: 1 afonso_rc_me_assis.pdf: 397273 bytes, checksum: 22d95678ddb710bf28431e82c7c5a4e6 (MD5) / Esta pesquisa teve como objetivo principal investigar as concepções que professoras de Educação Infantil têm sobre o lúdico, e verificar quais são os aspectos da história de vida dessas professoras que influenciaram suas concepções sobre o brincar. Para realizar esse estudo partimos do pressuposto que o desenvolvimento pessoal, social e intelectual do indivíduo, ocorre a partir da apropriação de conhecimentos e dos processos de ensino-aprendizagem, inseridos num contexto sócio-cultural. Por isso, para nosso estudo, privilegiamos o referencial teórico constituído pelas contribuições de Gilles Brougère, Lev Vygotsky e Antonio Nóvoa. Investimos em uma pesquisa de caráter qualitativo e qual a metodologia utilizada para a coleta de dados foi orientada pela busca da história de vida das participantes. O trabalho de campo incluiu entrevistas, semi-estruturadas com sete professoras da Educação Infantil, de duas cidades do interior do Estado do Paraná. Os dados foram organizados a partir das categorias infância vivida, opção pela profissão, percursos da carreira e atividades lúdicas com as crianças. Seguindo essas mesmas categorias, analisamos os dados e evidenciamos as concepções das professoras sobre o brincar em distintos aspectos. Acreditamos que as marcas deixadas pela infância influenciaram na concepção lúdica e na decisão profissional da maioria das professoras entrevistadas; bem como nas atividades lúdicas que aplicam com as crianças no contexto educacional. Para algumas professoras o brincar aparece como recurso pedagógico e significa mais do que uma simples diversão, sob o argumento de que, na brincadeira, a criança pode expressar-se, desenvolver-se, interagir e aprender. / The most important objectives of this research were investigating the teacher conceptions about the play in Primary Education and verify the features of the teachers` life history that had influenced their conceptions about the play. In order to fulfill this paper, we believe that the human being personal, social and intellectual development happens from the person`s knowledge and from the learning-teaching process inserted in a social and cultural context. Because of that, in our paper, we had privileged the theorical reference given by Gilles Brougère, Lev Vygotsky and Antonio Nóvoa. We had made a research in a quantitative feature, in which the utilized methodology to collect the datos was orientated by searching the participants` history of life. The campus work included an interview with seven teachers from Primary School from two cities in Paraná`s countryside. The datos were organized from childhood history, jobþs choise and course, and fanny activities with the children. Following these cathegories, we analysed the datos and the teachers` conceptions about the play in different aspects. We believe that the childhood marks had influenced the funny conception, and the job`s choise from the majority of the teachers who were interviewed, and it had influenced as well the funny activities that these teachers use with the children. For some teachers the play is a pedagogical research and means more than a simple entertainment moment because they believe that the child can express, develop, interact and learn when he/she is playing. Other teachers think that the play can be considered as a secondary function in the educational context, they consider that the play is only for pleasure and rest.

Orientador: Mário Sérgio Vasconcelos / Banca: Elizabeth Piemonte Constantino / Banca: Raimunda Abou Gebran / Resumo: Esta pesquisa teve como objetivo principal investigar as concepções que professoras de Educação Infantil têm sobre o lúdico, e verificar quais são os aspectos da história de vida dessas professoras que influenciaram suas concepções sobre o brincar. Para realizar esse estudo partimos do pressuposto que o desenvolvimento pessoal, social e intelectual do indivíduo, ocorre a partir da apropriação de conhecimentos e dos processos de ensino-aprendizagem, inseridos num contexto sócio-cultural. Por isso, para nosso estudo, privilegiamos o referencial teórico constituído pelas contribuições de Gilles Brougère, Lev Vygotsky e Antonio Nóvoa. Investimos em uma pesquisa de caráter qualitativo e qual a metodologia utilizada para a coleta de dados foi orientada pela busca da história de vida das participantes. O trabalho de campo incluiu entrevistas, semi-estruturadas com sete professoras da Educação Infantil, de duas cidades do interior do Estado do Paraná. Os dados foram organizados a partir das categorias infância vivida, opção pela profissão, percursos da carreira e atividades lúdicas com as crianças. Seguindo essas mesmas categorias, analisamos os dados e evidenciamos as concepções das professoras sobre o brincar em distintos aspectos. Acreditamos que as marcas deixadas pela infância influenciaram na concepção lúdica e na decisão profissional da maioria das professoras entrevistadas; bem como nas atividades lúdicas que aplicam com as crianças no contexto educacional. Para algumas professoras o brincar aparece como recurso pedagógico e significa mais do que uma simples diversão, sob o argumento de que, na brincadeira, a criança pode expressar-se, desenvolver-se, interagir e aprender. / Abstract: The most important objectives of this research were investigating the teacher conceptions about the play in Primary Education and verify the features of the teachers' life history that had influenced their conceptions about the play. In order to fulfill this paper, we believe that the human being personal, social and intellectual development happens from the person's knowledge and from the learning-teaching process inserted in a social and cultural context. Because of that, in our paper, we had privileged the theorical reference given by Gilles Brougère, Lev Vygotsky and Antonio Nóvoa. We had made a research in a quantitative feature, in which the utilized methodology to collect the datos was orientated by searching the participants' history of life. The campus work included an interview with seven teachers from Primary School from two cities in Paraná's countryside. The datos were organized from childhood history, jobþs choise and course, and fanny activities with the children. Following these cathegories, we analysed the datos and the teachers' conceptions about the play in different aspects. We believe that the childhood marks had influenced the funny conception, and the job's choise from the majority of the teachers who were interviewed, and it had influenced as well the funny activities that these teachers use with the children. For some teachers the play is a pedagogical research and means more than a simple entertainment moment because they believe that the child can express, develop, interact and learn when he/she is playing. Other teachers think that the play can be considered as a secondary function in the educational context, they consider that the play is only for pleasure and rest. / Mestre

This study explores constructions and representations of boyhood in selected historical and recent boys’ school stories through the discourses they represent, propagate and, at times, subvert. Foucault’s views on discourse form the basis of the theoretical approach adopted in this study. A literature review on the ideas distinguishing Foucault’s perceptions of discourse from those of other theorists is therefore included. Raymond Williams’s differentiation between dominant, emergent and residual discourses is also demonstrated to be helpful in understanding and describing the relationships between discourses. The principles of critical discourse analysis, in particular, facilitated the discussion of dominant and alternative discourses in the context of the fictional school. A comparison of the dominant discourses implicit in historical and recent publications makes it possible to assess ways in which fictional constructions of boyhood have changed or remained the same over time. The acknowledged benchmark of traditional boys’ school stories, Thomas Hughes’s Tom Brown’s Schooldays (1857), and selected school stories by authors such as Talbot Baines Reed, John Finnemore, Rudyard Kipling, Harold Avery and Frank Richards show that the effect of dominant discourses on the representation of the protagonists in historical texts of this kind generally culminate in a replication of an archetypal ideal British schoolboy. This type of boy is constructed as being characterised by his admirable physical and moral courage, outstanding athletic prowess, honesty and strict, though cheerful, adherence to a rigid code of honour that scorns backing down from a fight, discourages the outward display of emotions and rejects any form of snitching. A range of additional related texts confirms this tradition and archetype, albeit often in a more critical portrayal of the British school system of the late nineteenth and early twentieth century. The contemporary works selected for detailed discussion are texts published after 1990 which arguably fall within the ambit of boys’ school stories. The focus falls on the Harry Potter series (1997-2007) by J.K. Rowling, The War of Jenkins’ Ear (1993) by Michael Morpurgo, and John van de Ruit’s debut novel, Spud: A Wickedly Funny Novel (2005) and its sequel, Spud – The Madness Continues (2007). The findings show that although the recent boys’ school stories by Rowling, Morpurgo and Van de Ruit frequently include motifs and formulaic elements which are typical of traditional boys’ school stories within the texts (notably the motifs of corporal punishment, the fagging system, honesty, courage and the importance of sporting matches), they do not adhere strictly to the underlying discursive framework implicit in their historical counterparts. Thus, the study suggests that the discursive predictability apparent in traditional boys’ school stories is no longer present in contemporary examples of this genre. Instead, the findings of this study indicate that contemporary constructions of boyhood in the context of school are to some extent liberated from the dictates of convention, and that they have become essentially indeterminate and variable. / Thesis (DLitt)--University of Pretoria, 2009. / English / Unrestricted

Doctor of Philosophy / Curriculum and Instruction Programs / Jana R. Fallin / This qualitative study sought to inquire into, identify and examine elements of musical expression as exemplified in jazz performance from a phenomenological approach. The purpose was to identify the various elements utilized by expert performers and listeners in perceiving musical expression, to determine whether or not these elements are held in common between performer and listener, and to explore the relation of personal experiences of the phenomenon with aesthetic philosophy and educational practice. Aesthetic concepts were drawn from the writings of Stephen Davies and Peter Kivy while jazz principles and foundations were drawn from Ted Gioia and Gunther Schuller. Ten subjects, five world-class jazz artists and five nationally recognized jazz critics, were selected based upon reputation and professional standing and interviewed in naturalistic settings of their own choosing (home, office, studio). Each subject listened to six recordings of the jazz standard My Funny Valentine as recorded by established jazz icons: Miles Davis, Paul Desmond, Gerry Mulligan, Bill Evans with Jim Hall, Sarah Vaughan, and Keith Jarrett. All were encouraged to comment in a stream-of-consciousness manner while listening to the examples. Additionally, fifteen statements drawn from the literature were read for subjects to rate on a five-point Lykert scale ranging from “totally agree” to “totally disagree”. Interviews were transcribed and coded into themes. Lykert responses were analyzed within group using means and ranges and between groups utilizing difference of means. Results, as interpreted by this researcher, reflect seven themes identified by performers (Sound, Individuality, Virtuosity and Intellect, Communication, Specific Musical Elements, Mood or Character, and Originality and Innovation) and six themes enumerated by critics Individuality, Virtuosity and Intellect, Communication, Specific Musical Elements, Mood or Character, and Originality and Innovation). No attempt was made at stratification of themes, as this was exploratory research. While both groups used the concept of sound, context placed it under the concept of individuality for critics while performers used it more specifically towards the establishment of mood. Lykert responses confirmed strong similarity of thought between the two groups.

Si d'aucuns pensent que la tragédie est morte, le tragique quant à lui reste une catégorie théâtrale toujours actuelle. Chez Eugène Ionesco, dramaturge de la deuxième moitié du XXe siècle, nous retrouvons le sens du tragique dans ses oeuvres même si celui-ci diffère de l'époque antique. Le tragique ionescien s'inspire sur une vision du monde fondamentalement absurde. Ainsi, à l'instar de ses contemporains comme Samuel Beckett par exemple, Eugène Ionesco propose un tragique humble (cf. Jeux de massacre : tragique = absence d'issue), un tragique politique à la mesure des bouleversements du siècle (cf. Rhinocéros, Le Roi se meurt, Macbett, etc.). A la place des héros combattants, on a chez Ionesco des fantoches qui gesticulent, des objets qui prolifèrent (cf. Les Chaises) ; un langage humain qui est mis en cause (cf. La Cantatrice chauve « tragédie du langage »). Le théâtre d'Eugène Ionesco naît plutôt de la crise de l'humanisme. / If some people think that the tragedy died, the tragic as for him rest an always current theatrical category. At Eugène Ionesco, playwright of the second half of the XXth century, we find the sense (direction) of the tragic in its works even if this one differs from the antique time (period).The ionescien tragic is inspired on a vision of the world fundamentally absurd. So, following the example of his contemporaries as Samuel Beckett for example, Eugène Ionesco proposes a tragic humble (cf. Games (sets) of massacre: tragic = absence of outcome (exit)), a tragic political in the measure of the upheavals of the century (cf. Rhinoceros, King is dying, Macbett, etc.). On the place (square) of the heroes fighters, we have at Ionesco the marionettes which gesture, objects which proliferate (cf. Chairs); a human language which is questioned (implicated) (cf. The bald Opera singer "tragedy of the language"). The theater of Eugène Ionesco arises rather from the crisis of the humanism.

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Die Problematik der Darstellung eines Serienmörders in der Fiktion, liegt darin, daß es bereits bei der Konstruktion eines realen Serienmörders insofern Schwierigkeiten gibt, als daß er selbst sich als jemand der Realität übergeordnet betrachtet. Damit gestaltet sich die Porträtierung des fiktiven Gegenstückes anders herum und reflektiert die Identität des wahren Mörders. Dieses wird aufgezeigt anhand der fiktiven Figuren Hans Beckert aus Fritz Langs M – Eine Stadt sucht einen Mörder (1931), Jean-Baptiste Grenouille aus Patrick Süskinds Das Parfüm (1985) und Peter und Paul aus Michael Hanekes Film Funny Games (1997). Jeder dieser vier Mörder zeichnet sich dadurch aus willens zu sein sowohl körperliche als auch realitätseinschränkende Grenzen zu überschreiten. Das Morden steht dabei im Zentrum, dem wiederum eine Selbstkonstruktion zu Grunde liegt. Untermalt wird dies durch der Fiktion allein möglichen Ausstattung der Täter mit besonderen Fähigkeiten der Imagination die Realität zu entziehen.

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