Made available in DSpace on 2014-07-19T02:02:34Z (GMT). No. of bitstreams: 1 000459334-Texto+Completo-0.pdf: 9076568 bytes, checksum: 9f278385d83138e8df263ba993e12c7b (MD5) Previous issue date: 2014 / In the study that led to the Theory of Multiple Intelligences (MI), Gardner (2001) states that we are endowed with a spectrum composed of several intelligences and the individual development depends on the cultural context. Assuming the principles of MI theory and reflecting on the context of teaching optics activities and educational activities for Polytechnic High School, which was deployed in Rio Grande do Sul in 2012, were developed and evaluated in order to improve students’ learning. The activities planning started from previous students' ideas mapping about the nature of light. This initial mapping showed that students had an immense difficulty in expressing the nature of light or describing its meaning. Activities were developed and applied to a group of students from an urban Polytechnic Public High School, in Rio Grande do Sul, over an academic quarter. The starting points proposed by the Theory of IM were used to stimulate multiple intelligences: Linguistic, Logical-mathematical, spatial, bodily-kinesthetic, naturalist, and Personal. The spectrum of intelligences, in it’s entirely, was not stimulated, although in each activity, but we sought to involve the largest possible number of intelligences. It was found that the activities promoted not only the complexity of previous ideas, but the development of students' autonomy to positining themselves about the nature of light theories and the optical phenomena. Throughout this research, we seek to encourage the greatest possible number of intelligences, presenting different perspectives in Optics, unusual in physics teaching, such as the use of painting, drawing and storytelling activities, allowing students to make use of their skills, building learning together with other colleagues and with the teacher. We concluded that MI theory, practiced in the classroom, can show up as a possible solution to improve students’ academic achievement and self-esteem, as it considers the pluralistic intelligence, not only emphasizing the linguistic and logical-mathematical. / No estudo que deu origem à Teoria das Inteligências Múltiplas (IM), Gardner (2001) afirma que somos dotados de um espectro composto por diversas inteligências e o desenvolvimento individual depende do contexto cultural. Assumindo os pressupostos da teoria das IM e refletindo sobre o contexto do ensino de Óptica, foram desenvolvidas e avaliadas atividades e ações pedagógicas para o Ensino Médio Politécnico, implantado, no Rio Grande do Sul, em 2012, que buscavam ampliar o aprendizado dos alunos. O planejamento das atividades partiu do mapeamento das ideias prévias dos alunos sobre a natureza da luz. Este mapeamento inicial mostrou que os alunos apresentavam dificuldade em expressar a natureza da luz ou descrever o seu significado. Foram desenvolvidas atividades, que foram aplicadas a um grupo de alunos do Ensino Médio Politécnico de uma escola pública estadual urbana, do Rio Grande do Sul, ao longo de um trimestre letivo. Para tanto, foram utilizados os pontos de partida propostos pela Teoria das IM para estimular múltiplas inteligências: Linguística, Lógico-matemática, Espacial, Físico-cinestésica, a Naturalista e Pessoal. O espectro de inteligências, em sua totalidade, não foi estimulado, embora, em cada atividade, se tenha procurado envolver o maior número possível de inteligências. Verificou-se que as atividades promoveram não só a complexificação das ideias prévias, mas o desenvolvimento da autonomia dos alunos para se posicionarem quanto às teorias sobre a natureza da luz e os fenômenos luminosos. Ao longo desta pesquisa, ao buscarmos estimular maior número possível de inteligências, apresentando a Óptica sob diferentes perspectivas, incomuns no ensino de Física, como o uso de atividades de pintura, desenho e contação de histórias, as quais permitiram que os alunos fizessem uso de suas habilidades, construindo o aprendizado em conjunto com os demais colegas e com o professor. Conclui-se que a teoria das IM, praticada na sala de aula, pode se mostrar como uma possível solução para melhorar o rendimento escolar e a autoestima do aluno, uma vez que considera a inteligência pluralista, não enfatizando apenas a linguística e a lógico-matemática.

H.P. Lovecraft, em seus ensaios e cartas, nos oferece uma reflexão riquíssima sobre a narrativa de horror e como esta deve se expressar na literatura. O autor cunhou o termo Horror Cósmico para denominar sua teoria estética. Porém, mais do que ser uma teorização sobre o horror na literatura, o Horror Cósmico é uma teorização sobre como deve ser a narrativa que Lovecraft julga ser a ideal para as histórias que deseja contar. Nessa perspectiva, a análise de sua ficção, acompanhado dos conhecimentos adquiridos pela análise pormenorizada de seus ensaios e cartas sobre o tema, permitem ao leitor compreender melhor sua obra, chegando assim a uma interpretação aproximadamente correta de sua ficção. O objetivo deste trabalho, portanto, é compreender como suas teorizações se refletem em seus textos ficcionais. Os contos e respectivas transposições fílmicas selecionadas foram analisados sobre o prisma destas teorizações. Para alcançarmos esse objetivo primeiro analisamos os seus contos comparativamente com os textos não ficcionais, a fim de compreendermos a forma como o autor expressa o conceito de Horror Cósmico em sua prosa ficcional. Após a compreensão dos elementos teóricos de Lovecraft em sua ficção, analisamos as transposições fílmicas selecionadas sob esse mesmo prisma. Pesquisas bibliográficas foram realizadas com o objetivo de construir um referencial teórico para a abordagem proposta. / H.P. Lovecraft, in his essays and letters, offers the reader powerful insights into the subject of horror and how it should be expressed in literature. The author coined the term Cosmic Fear to name his aesthetic theory. However, in addition to being a theory about horror in literature, Cosmic Fear is a theory about how the ideal horror story (as Lovecraft wishes to write it) should be. From this perspective, the analysis of Lovecraft´s fiction, accompanied by the knowledge acquired through a detailed analysis of his essays and letters on the subject, allows the reader to better understand his work, thus reaching an approximately correct interpretation of his fiction. The goal of our research, therefore, is to understand how Lovecraft´s aesthetic theory works in his fiction. The short stories, novels and the filmic transpositions we selected for this research were analyzed under the prism of these theories. To achieve this goal we analyzed his fiction by comparing it first to his non-fiction in order to understand the concept of Cosmic Fear in his fiction. After understanding Cosmic Fear in Lovecraft´s fiction, we analyzed the selected filmic transpositions under the same prism. Bibliographic references were used with the purpose of building a theoretical framework for the proposed approach.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Ciências Humanas, Departamento de Filosofia, Programa de Pós-Graduação em Filosofia, 2013. / Submitted by Larissa Stefane Vieira Rodrigues (larissarodrigues@bce.unb.br) on 2014-10-29T19:24:26Z No. of bitstreams: 1 2013_AndréRobertoTonussiArnaut.pdf: 518506 bytes, checksum: 1dda126d65ee09183793ea2f7c7edac0 (MD5) / Approved for entry into archive by Tania Milca Carvalho Malheiros(tania@bce.unb.br) on 2014-10-30T14:08:27Z (GMT) No. of bitstreams: 1 2013_AndréRobertoTonussiArnaut.pdf: 518506 bytes, checksum: 1dda126d65ee09183793ea2f7c7edac0 (MD5) / Made available in DSpace on 2014-10-30T14:08:27Z (GMT). No. of bitstreams: 1 2013_AndréRobertoTonussiArnaut.pdf: 518506 bytes, checksum: 1dda126d65ee09183793ea2f7c7edac0 (MD5) / Esse trabalho trata de algumas maneiras pelas quais podemos afirmar a primazia do horror sobre a atitude filosófica, entendida como a atitude guiada pelo princípio aporético socrático “só sei que nada sei”. O foco é o horror em Lévinas e em Lovecraft, que é repensado à luz da leitura de Cyclonopedia – complicity with anonymous materials de Reza Negarestani. A discussão toma a forma de uma tentativa de desarticulação da máquina antropológica de Agamben, transita por J. M. Coetzee, Bruno Latour e Quentin Meillassoux e desemboca na ideia de que o amor levinasiano não é um amor a Outrem, mas ao horror, e na ideia de que a filosofia é uma saturação do sistema da affordance que provoca a abertura radical para o horror daquilo que está fora desse sistema. ______________________________________________________________________________ ABSTRACT / This work is about some ways of affirming the primacy of horror over the philosophical attitude, understood as the one guided by the Socratic “the only thing I know is that I don’t know anything”. The focus is the horror in Lévinas and in Lovecraft, which is analised in the light of a reading of Reza Negarestani’s Cyclonopedia – complicity with anonymous materials. The discussion is developed as a struggle to disarticulate Agamben’s anthropological machine, passes through J. M. Coetzee, Bruno Latour and Quentin Meillassoux and arrives at the idea that levinasian love is not a love for the other, but for horror, as well as at the idea that philosophy is a saturation of the system of affordance which engenders a radical openness to the horrifying Outside.

H.P. Lovecraft, em seus ensaios e cartas, nos oferece uma reflexão riquíssima sobre a narrativa de horror e como esta deve se expressar na literatura. O autor cunhou o termo Horror Cósmico para denominar sua teoria estética. Porém, mais do que ser uma teorização sobre o horror na literatura, o Horror Cósmico é uma teorização sobre como deve ser a narrativa que Lovecraft julga ser a ideal para as histórias que deseja contar. Nessa perspectiva, a análise de sua ficção, acompanhado dos conhecimentos adquiridos pela análise pormenorizada de seus ensaios e cartas sobre o tema, permitem ao leitor compreender melhor sua obra, chegando assim a uma interpretação aproximadamente correta de sua ficção. O objetivo deste trabalho, portanto, é compreender como suas teorizações se refletem em seus textos ficcionais. Os contos e respectivas transposições fílmicas selecionadas foram analisados sobre o prisma destas teorizações. Para alcançarmos esse objetivo primeiro analisamos os seus contos comparativamente com os textos não ficcionais, a fim de compreendermos a forma como o autor expressa o conceito de Horror Cósmico em sua prosa ficcional. Após a compreensão dos elementos teóricos de Lovecraft em sua ficção, analisamos as transposições fílmicas selecionadas sob esse mesmo prisma. Pesquisas bibliográficas foram realizadas com o objetivo de construir um referencial teórico para a abordagem proposta. / H.P. Lovecraft, in his essays and letters, offers the reader powerful insights into the subject of horror and how it should be expressed in literature. The author coined the term Cosmic Fear to name his aesthetic theory. However, in addition to being a theory about horror in literature, Cosmic Fear is a theory about how the ideal horror story (as Lovecraft wishes to write it) should be. From this perspective, the analysis of Lovecraft´s fiction, accompanied by the knowledge acquired through a detailed analysis of his essays and letters on the subject, allows the reader to better understand his work, thus reaching an approximately correct interpretation of his fiction. The goal of our research, therefore, is to understand how Lovecraft´s aesthetic theory works in his fiction. The short stories, novels and the filmic transpositions we selected for this research were analyzed under the prism of these theories. To achieve this goal we analyzed his fiction by comparing it first to his non-fiction in order to understand the concept of Cosmic Fear in his fiction. After understanding Cosmic Fear in Lovecraft´s fiction, we analyzed the selected filmic transpositions under the same prism. Bibliographic references were used with the purpose of building a theoretical framework for the proposed approach.

Erfarenheter från de senaste årens komplexa konflikter har bidragit till insikten att separata militära insatser ofta är otillräckliga för att skapa fred. Comprehensive Approach ses av många som ett koncept med målsättningen att skapa en integrerad civil-militär ansats för konfliktlösning. Konceptets innebörd är emellertid oklar. Dessutom är det problematiskt att empiriskt belägga att användandet av konceptet leder till framgång, vilket medför svårigheter att granska dess värde. Uppsatsen utnyttjar Michael Howards teori om strategins dimensioner för att analysera Storbritanniens syn på Comprehensive Approach som strategiskt koncept. Som metod används en kvalitativ textanalys av systematiserande typ. Utifrån analysen identifieras styrkor och svagheter med konceptet, vilket medför att huvudfrågan vad Storbritanniens syn på Comprehensive Approach innebär och vilket värde Comprehensive Approach har som strategiskt koncept besvaras. Svaret bidrar till ökad kunskap och förståelse för Comprehensive Approach, vilket är uppsatsens syfte. Resultatet visar att Storbritannien ser Comprehensive Approach som ett strategiskt koncept som kräver integrerade civil-militära strukturer för att fungera på ett bra sätt. Samtliga Howards dimensioner återfinns, och att ingen dimension överfokuseras är utifrån teorin en styrka. Värdet på Comprehensive Approach som strategiskt koncept kan samtidigt ifrågasättas främst på grund av att det mestadels uttrycks vad som bör uppnås, men däremot sällan beskrivs hur det ska genomföras. Uppsatsen påvisar även svårigheterna att samordna och koordinera aktörer mot ett gemensamt mål i en multinationell miljö, när incitament för samordning saknas.

The research examines the relationship between the Sublime, the written works of H. P. Lovecraft, and the researcher’s production in the studio arts. It analyses how the Sublime is approached as a subject matter and principal objective within philosophical and artistic discourses, historically and within a contemporary paradigm. It also investigates the applicability of the Sublime to selected themes uncovered in H. P. Lovecraft’s work in general, and At the Mountains of Madness in particular. This is undertaken through an investigation of primary and secondary sources whose explorations and contextualization informs and supports the researcher’s practical visual studies. A reflective and critical analysis of this studio work is performed and included in the main body of the dissertation, from which a conclusion is drawn about the effectiveness of this approach. Specifically, the research explores the relevance of the Sublime both as a critical component of contemporary fine arts and as a fundamental element of the work of H. P. Lovecraft, At the Mountains of Madness in particular. In addition, the research’s practical component consists of a visual exploration of the intersection between the two. Furthermore, it represents an evaluation of this overlap in its effective translation across modes of expression, as interpreted through the medium of the researcher’s creative process.

Poet and professor Sterling A. Brown (1901-1989) played a significant role in the birth of black literary and cultural studies through his literary and academic careers. Brown helped to establish a new wave of black cultural and folklore studies during his time as the “Director of Negro Affairs” for the Federal Writers’ Project. As a professor at Howard University, Brown influenced black literary studies through his literary criticisms and seminars and his role as a mentor to literary figures of the next generations. Through letters to and from Sterling Brown and manuscripts, this thesis argues that Brown’s poetry, publications and folk studies in the nineteen twenties and thirties where the groundwork for his most prolific role of teacher-mentor.

The reorientation of federal state policy on Canada's relation to Indigenous peoples that occurred in the years 1969-1974, although heralded as progressive, inaugurated not so much an age of liberation, restititution, and reconciliation as a bureaucratic and institutional framework for perpetuating settler-colonial processes of dispossession and assimilation. This was a period of intense struggle both within and without Indigenous politics, as activist dissidents to the increasing institutionalization of negotiation with the colonial state were branded as pathological and dangerous "Red Power" militants and phased out from mainstream political discourse. As they lived through the contradictions of these processes, three such militants turned to writing autobiographies that would become foundational influences upon the development of Indigenous literature in Canada: Maria Campbell's Halfbreed, Howard Adams's Prison of Grass, and Lee Maracle's Bobbi Lee: Indian Rebel. These autobiographies, which explicitly spoke to the writers' political and activist experiences and positions, occupy a complicated position in Indigenous literary history. Often relegated to a bygone moment of polemic, bitterness, and resentment, they have been more or less systematically misread or dismissed as works of literature by literary critics. This thesis proposes that considering these works in their formal and narrative specificity, as well as constituting a literary-critical and literary-historical end in itself given the dearth of scholarly attention paid to this period of Indigenous/Canadian history in general and these works in particular, can open up productive theoretical and critical insights into two ongoing disciplinary concerns: dismantling ongoing scholarly investments in colonial premises about and usages of narrative, subjectivity, and history; and envisaging possible relations between Indigenous literature(s) and literary study and anti-colonial political processes, especially processes of activism and movement-building toward decolonization.

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Two major applications of lambda calculi in computer science are functional programming languages and mechanized reasoning systems (or, proof assistants). According to the Curry--Howard correspondence, it is possible, in principle, to design a unified language based on a typed lambda calculus for both logical reasoning and programming. However, the different requirements of programming languages and reasoning systems make it difficult to design such a unified language that provides both. Programming languages usually extend lambda calculi with programming-friendly features (e.g., recursive datatypes, general recursion) for supporting the flexibility to model various computations, while sacrificing logical consistency. Logical reasoning systems usually extend lambda calculi with logic-friendly features (e.g., induction principles, dependent types) for paradox-free inference over fine-grained properties, while being more restrictive in modeling computations. In this dissertation, we design and implement a language called Nax that embraces benefits of both. Nax accepts all recursive datatypes, thus, allowing the same flexibility of defining recursive datatypes as in functional languages. Nax supports a number of Mendler-style recursion schemes that can express various kinds of recursive computations and also guarantee termination. Nax supports term-indexed types to support specifications of fine-grained properties. In addition, Nax supports a conservative extension of Hindley--Milner type inference. The theoretical contributions of this dissertation include theories for Mendler-style recursion schemes and term-indexed types, which we developed to establish strong normalization and logical consistency of Nax.