The title: Suitability of integration of individuals with pervasive developmental disorder The aim: The aim of this thesis is to establish whether it is suitable to integrate individuals with pervasive developmental disorder into a mainstream setting Methods: To elicit the suitability of a possible inclusion of 20 children (boys and girls aged 7 to 15) with pervasive developmental disorder (PDD), two sets of questions and a free interview were used. The sets of questions focused on problematic areas specific to individuals with pervasive developmental disorder, such as difficulties in communication, social interaction and imagination. A free interview supplemented the set of questions aimed at educators. Results: The results of the research showed that our sample group of children with PDD would not be suitable for integration with regard to problems with communication, social interaction and imagination. The inclusion is impossible in cases of 30% of individuals, who suffer from selective mutism. These children do not communicate nor co-operate with their educators during the lessons. However, 70% of individuals with PDD could be possibly integrated. Nevertheless, these pupils do not keep up with their non-disabled peers as for the speech content. Regarding to social interaction, the results are...

This study examined the relationship between the open-endedness of activities and the creativity of young children. Eleven prekindergarten classes were observed and rated twice using a researcher-developed instrument, the Open-endedness of Activities Rating Scale (OARS). Three classes were selected from the 11 based on their cumulative ratings in the first observation (CROBS1): the class with the lowest degree of open-endedness of activities (CLSL), the class with a medium degree of openendedness of activities (CLSM), and the class with the highest degree of open-endedness of activities (CLSH). Fifty-two "atrisk" students in these three classes (24 boys, 28 girls), who had no identified disabilities or delays, were tested utilizing Torrance's (1981) Thinking Creatively in Action and Movement (TCAM). A correlation was then drawn between the three classes' ranks of CROBS1 and their respective ranks of mean TCAM scores: fluency scores (FLUE), originality scores (ORIG), imagination scores (IMAG), and total scores (TTCAM). The 11 classes' CROBS1 was correlated and compared with their cumulative ratings in the second observation CROBS2 in order to examine the reliability of the OARS. The results from the study indicated that: (1) the researcher-developed instrument, the OARS, is reliable for research purposes; (2) the degree of openendedness of activities is significantly positively related to the level of creative thinking ability of the young children engaged in these activities; (3) increasing the open-endedness of activities is most beneficial for a class with a relatively low degree of openendedness, because a moderate increase in its open-endedness can result in a noticeable improvement in the fluency, originality, and total creative thinking ability of its students; and (4) increasing the open-endedness of activities is also beneficial for a class with a relatively medium degree of open-endedness, because a moderate increase in its open-endedness can result in a noticeable improvement in its students' imagination.

Le classicisme hollywoodien permet d’explorer la variété des sens que revêt au cinéma le concept de réalité à partir de fragments de réalité matérielle enregistrés, du réalisme ontologique qui s’y attache, de la réalité diégétique qui constitue l’univers des films, et de la réalité philosophique, qui renvoie le spectateur à son être propre par le partage de l’expérience de personnages auxquels il s’identifie. Par l’instrumentalisation de ces réalités relatives, Hollywood crée une nouvelle forme de récit qu’alimenteront la littérature, les mythes et la psychanalyse, participant à la diffusion d’un fonds culturel commun à tous les Américains. Parce que la réalité cinématographique n’est pas ce que croit le spectateur, elle a naturellement partie liée avec le rêve et le fantasme, justifiant une réflexion sur leurs interrelations et sur la dynamique de transformation de l’art cinématographique qui se joue dans ces interrelations.Les mondes hollywoodiens, soumis à l’ imaginaire et au désir des cinéastes, n’ont que l’apparence du nôtre, jusqu’aux mondes intérieurs dont les portes nous seront ouvertes par Hollywood à travers la représentation des rêves, créant une hybridité entre réalité, rêve et fantasme. Mais un doute se créera chez le spectateur à qui on aura fait croire au rêve et au fantasme autant qu’à la réalité, et ce doute mettra en péril la « suspension d’incrédulité » qui avait fait le succès d’Hollywood et contribuera à la fin du classicisme, le rêve ayant contaminé la fiction. / Through classical Hollywood cinema, one can explore the broad variety of meanings that the concept of reality has in cinema: fragments of recorded reality material, the ontological realism that is attached to it, the narrative reality that constitutes the universe of films, and the philosophical reality that transports the viewer back to his own self by sharing the experience of characters with whom he identifies. Through the instrumentalisation of these relative realities, Hollywood creates a new form of narrative that nourishes literature, myths and psychoanalysis, and help spread a common cultural background to all Americans. Because cinematographic reality is not what the audience believes it is, it is naturally linked with dream and fantasy, justifying thoughts on their inter-relationships and on the dynamics of the transformation of cinematographic art that is played out in these inter-relationships.Subjects of the imagination and desire of filmmakers, the worlds created by Hollywood merely have the appearance of our world. This even encompasses inner worlds, whose doors will be opened to us through the representation of dreams, creating a hybridity between reality, dream and fantasy. But a doubt will be created in the spectator, who has been made to believe equally in dreams, fantasy and reality, and this doubt will jeopardize the "suspension of disbelief" that has made Hollywood successful, ultimately contributing to the end of classicism; the dream having contaminated fiction.

Notre réflexion consiste à analyser, sur le plan narratologique et énonciatif, la fiction et l'autofiction de Patrick Chamoiseau. Le rôle de l'écrivain y est démultiplié. Il instaure le doute dans la caractérisation générique de son œuvre, résolument digressive et paratextuelle. Il s'efforce de donner à lire un dire narratif créole dans une poétique du compromis- l'oraliture – où l'écrit et l'oral se télescopent, où une esthétique plus personnelle se débat dans une esthétique plus dominante. La mise en scène de la parole des personnages est le lieu d'une négociation scripturaire, littéraire : les énoncés mettent en relief le mariage heuristique de la fiction et de la diction, mais aussi de leur interaction intime avec des implicites énonciatifs – au sens bakhtinien de la théorie énonciative – qui traduisent le propre engagement idéologique de l'auteur. Chamoiseau tente d'extraire de sa narration polyphonique un sujet indemne des affres du présent et de l'Histoire. Il le construit par une parole, anodine et sérieuse, qui use de tout un spectre identitaire, pour se dire et dire la communauté. Les échanges prolifèrent ainsi à l'intérieur du rêve, de l'imaginaire, des histoires ou des mémoires que ses textes engendrent. / Our thinking is to analyze, through narratology utterance, fiction and fictionalized autobiography of the writer Patrick Chamoiseau. Its role is multiplied. He creates doubt in characterization of generic text, a strongly digressive and paratextual text. He tries to give a reading to a narrative creole telling in a poetic compromise – the oralture – where written and oral collide, where a more personal aesthetic struggles in a more dominant one. The staging of the characters ‘speech is the place of a scriptural and literary negotiation: the statements highlight the marriage of heuristic fiction and diction, but also their intimate interaction which implicit enunciation – in a Bakhtinian sense of the theory of enunciation – that reflect the author's specific ideological commitment. In his polyphonic narration, Chamoiseau attempts to retrieve a subject free from horrors of the present and History. He built this subject with a trivial and serious word which uses a spectrum of identity, to say and tell the community. Exchanges proliferate inside the dreams, imagination, stories or memories that his lyrics create.

Le péronisme reste la première force politique de l’Argentine. Ce mouvement politique, qui se caractérise par l’absence d’une idéologie propre et une faible institutionnalisation, ne peut se comprendre, s’analyser qu’au regard des trajectoires des leaders qui l’ont incarné au cours du temps, chacun le transformant et le personnalisant de telle sorte que chaque courant qui a représenté le Parti justicialiste est aujourd’hui caractérisé par le nom de son leader du moment ; ainsi en est-il du péronisme, du ménémisme, du duhaldisme, du kirchnérisme et dorénavant du cristinisme. L’objectif de ce travail est de dresser un portrait des deux post-péronistes qui se sont succédé depuis la transition à la démocratie en 1983, à travers une comparaison de l’usage de la parole politique par ses principales figures représentatives que sont Carlos Menem (1989-1995) et Néstor Kirchner (2003-2007). Les thématiques clés des discours de ces deux hommes politiques, ainsi que leurs formes spécifiques de mise en discours, doivent être étudiées conjointement, afin de pouvoir comprendre le processus de légitimation énonciative qui leur a permis de se positionner en tant que leader, dans une certaine conjoncture, de la scène politique argentine. Ainsi, l’objet de cette recherche correspond à une analyse des discours de Carlos Menem et de Néstor Kirchner en tant que discours antagonistes en lutte pour la définition d’un même objet, d’une même réalité : la nation argentine. Quelles sont les valeurs de l’argentinité que ces deux figures politiques ont cherché à incarner ? Quels sont les modèles et les projets de société qu’ils ont proposés et tenté de construire discursivement afin de consolider leur légitimité et de fonder une identité, proprement ménémiste ou kirchnériste ? Quelles sont les valeurs qu’ils ont prônées et qu’ils ont réussi à instituer comme garantes et représentatives d’un nouvel ordre politique ? En se basant sur des antagonismes fondateurs, ces deux présidents ont donné naissance à de nouveaux imaginaires qui sont aujourd’hui liés et investis du sens qui leur a été attribué lors de leur émergence dans l’espace discursif post-péroniste et dont les multiples significations ne peuvent être abordées en dehors d’une analyse approfondie de la parole politique de ces deux leaders. Le discours de Carlos Menem et le discours de Néstor Kirchner se présentent donc comme des espaces énonciatifs concurrents, en lutte pour le sens de la réalité et de l’histoire argentines. / The Peronism remains the first political force in Argentina. Characterised by a lack of a proper ideology and a weak institutionalisation, this political movement can only be understood and analysed in the light of the political trajectory of its leaders. Each of its leaders transformed and personalised it in such a way that each mainstream within the Justicialist Party is today characterised by the name of the then-leader: Peronism, Menemism, Duhaldism, Kirchnerisms and henceforth Cristinism. The goal of this work is to produce a clear picture of the two post-peronists, who succeeded since the democratic transition in 1983, by comparing the use of political speech of its main leading figures: Carlos Menem (1989-1995) and Néstor Kirchner (2003-2007). The main themes as well as the specific structure of the speeches of both politicians need to be examined jointly in order to understand the enunciative legitimation process that allowed them to position themselves as leaders on the political scene in Argentina. Therefore, the objective of this research corresponds to a discourse analysis of the speeches of Carlos Menem and Néstor Kirchner as antagonistic ones struggling for a definition of the same object, the same reality: the Argentinian nation. What were the values of the Argentinian nation those two politicians were seeking to incarnate? What are the models and projects of society they proposed and tried to construct through their speeches in order to consolidate their legitimacy and create a menemist or kirchnerist identity? What are the values they praised and they succeeded in establishing as pillars and representatives of a new political order? Starting from the founding antagonisms, those two presidents gave rise to new collective imaginations which are nowadays linked and filled with the sense they were given during their emergence in the post-peronist discursive space. Their multiple meanings can only be addressed in a sound analysis of the political speech of these two leaders. The discourse of Carlos Menem and the one of Néstor Kirchner thus come across as competing enunciative spaces struggling for the sense of reality and of the Argentinian history.

Orientador: José Sterza Justo / Banca: Luiz Carlos da Rocha / Banca: Alexandre Benetti Lima / Resumo: Este trabalho consiste em um registro das histórias de pescadores da comunidade de Nova Porto XV - distrito de Bataguassu, Mato Grosso do Sul - atingida pela barragem da Usina Engenheiro Sergio Motta de Porto Primavera. Propomos um mergulho no imaginário dos pescadores principalmente no que se refere à história do povoado, ao trabalho no rio, ao deslocamento obrigatório após a cheia do lago e ao processo de adaptação. Compomos, a partir da linguagem desta gente, um quadro geral capaz de expressar sua compreensão da própria história, das forças políticas que interferiram no seu destino, dos fatos que se abateram sobre ela e tantos outros imprevistos deflagrados pela mudança forçada do lugar onde viviam. As narrativas colhidas no espaço público e nas conversas informais - histórias e casos sobre o passado e o presente - compõem uma crônica do cotidiano, exaltam a materialidade da vida e da ação transformadora do pescador sobre o espaço. Ao narrar, os pescadores devaneiam, concretizam sua apreensão da realidade. Devaneios esses que não atuam como meras abstrações ou fugas do real, pelo contrário são estratégias para agir sobre o mundo, construir a vida e retomar as rédeas do próprio destino. Esta forma particular de registro da memória coletiva propicia o encontro com as formas de organização das práticas e dos costumes na vila desde seu surgimento no início do século XX, passando por todas as suas variações, até uma descrição dos modos de vida atuais. As narrativas colhidas nas conversas informais do cotidiano dos pescadores revelam uma relação complexa e ambígua com o espaço e o tempo. Por um lado, mostra uma exultação provocada pela experiência do conforto e facilidade da nova vida urbana... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This project forms a record of the fishermen tales of the community of Nova Porto XV - district village of Bataguassu, Mato Grosso do Sul - flooded because of the dam of Engenheiro Sérgio Motta Power Plant in Port Primavera. We propose a dive in the imaginary of the fishermen, especially concerning the history of the village, the labor in the river, the mandatory displacement after the flooding of the lake and the adaptation process. We compose, from the language of those people, a general picture capable of expressing the comprehension of their own history, of the polical forces that interfered in their fate, of the facts that hit them and so many other unpredicted events triggered by the forced moving from the place where they lived in. The narratives, taken in public areas and informal conversations - histories and affairs about the past and the present - compose a chronicle of the daily routine, and exalt the materiality of life and the transforming action of the fishermen over the space. Those daydreams are not more abstractions or escapes from reality, on the contrary, they are strategies to act in the world, build life and take over the reins of their own destiny. This particular form of registraction of the collective memory merely provides the encounter with the forms of organization of the practices and the customs in the village from its start in the beginning of the 20th century, going over all its variations, up to a description of the current way of life. The narratives registered in informal conversations of the daily routine of the fishermen reveal a complex and ambiguous relationship with space and time... (Complete abstract click electronic access below) / Mestre

This work aims to explore the phenomenon of play in detail and classify its relationship to artistic activity and education. As its starting point it uses the paradigm of general and developmental psychology with an emphasis on the formal and functional definition of the term play. This theoretical background will then be widened by- and confronted with the viewpoint of the depth psychology. The theories of the depth psychology will explain the connotations between the play, personality, imagination, and creativity more in depth. The main sources of this work will then be the works of the main representatives of the object relations theory. Due to their focus on early personality development they will help with uncovering where, when and which phenomena connected to artistic activity take place and their influence on human mentality. In this work's conclusion, based on the theories of the general and depth psychology, the foundations for didactic strategies of art education and art psychologists will be proposed, which arise from these theories. These foundations will, finally, be confronted with specialist literature about current approaches to arts education.

Made available in DSpace on 2016-04-28T20:38:09Z (GMT). No. of bitstreams: 1 Sandro Jose da Silva Leite.pdf: 7689725 bytes, checksum: 2cb9035e981240b3591e2e8f5eb91dad (MD5) Previous issue date: 2012-05-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / An expressive technique developed by the author of the research was applied, having analytical psychology as background and highlighting the creative aspect evoked by the use of expressive resources. It is a research focused on the qualitative aspect of a pilot study which aimed at demonstrating the functioning of the technique, baptized Psychic Landscape, and perform a symbolic reading from the associations made by the subjects of the research. The technique was inspired by the method of active imagination by C. G. Jung. Regarding the specificity of the technique, which produces abstract configurations, the theme has been tackled from the point of view of art and analytical psychology. The conclusion that abstraction is a genuine mode of expression was reached. Two participants could experience the technique during consecutive days and from the data collected it was possible to map the psychic transformations that occurred. Symbols and themes of individual and collective character appeared, and it was possible to observe common aspects between the processes of both participants. The specificity of the expressive technique pointed at the polarity of dynamics, in special the fluidity of water and solidity of plaster, to the correlation between the surface image, closer to the dynamics of consciousness, and the one at the bottom, closer to the unconscious, and to the connection between the preparatory phase of the technique (the way of pouring the water, depositing and mixing the plaster) and the final configuration. The study demonstrated the effectiveness of the technique as the transmutation effect of an inner reality that reveals itself by means of creative actions that give rise to plastic images / Foi aplicada uma técnica expressiva desenvolvida pelo autor da pesquisa com fundamento da psicologia analítica e destaque ao aspecto criativo despertado ao se utilizar recursos expressivos. Trata-se de uma pesquisa de enfoque qualitativo em estudo piloto, cujo objetivo foi demonstrar o funcionamento da técnica, batizada de Paisagem Psíquica , e realizar uma leitura simbólica a partir das associações feitas pelos participantes da pesquisa. A técnica foi inspirada no método de imaginação ativa de C. G. Jung. Em função da especificidade da técnica, que tem como fruto configurações abstratas, abordou-se o tema a partir da arte e da psicologia analítica e concluiu-se que a abstração é um modo genuíno de expressão. Dois participantes puderam experienciar a técnica em dias consecutivos e, a partir dos dados coletados, foi possível fazer um mapeamento das transformações psíquicas ocorridas. Apareceram símbolos e temas de caráter individual e coletivo, e foi possível observar alguns aspectos comuns entre os processos dos participantes. A especificidade da técnica expressiva apontou para a dinâmica das polaridades, em especial à fluidez da água e à concretude do gesso, para a correlação entre a imagem da superfície, mais próxima à dinâmica da consciência, e a do fundo, mais próxima do inconsciente, e para a conexão entre a fase preparatória da técnica (modo de se despejar a água, depositar e mexer o gesso) e a configuração final. O estudo demonstrou a efetividade da técnica enquanto efeito de transmutação de uma realidade interior que se revela por meio das ações criativas que dão origem a imagens plásticas

A elaboração de narrativas históricas ficcionais pelos alunos da educação básica foi o objeto de estudo desta dissertação. Pretendi analisar como é possível construir conceitos históricos, como racismo e identidade, reconhecer e desenvolver posicionamentos ético-políticos através das narrativas. Além disso, a proposta também foi explorar as possibilidades do “e se?”. A pesquisa foi realizada em duas turmas de segundo ano do ensino médio da Escola Estadual de Ensino Médio Presidente Costa e Silva, na cidade de Porto Alegre, durante os meses de agosto a outubro de 2017. O objetivo foi oportunizar aos estudantes, com o uso da imaginação e da escrita criativa, pensar outras possibilidades para a história, fazendo da sala de aula espaço de percepção das múltiplas narrativas históricas e de como estas constroem-se. Isso a partir da seguinte provocação: “Escreva uma narrativa histórica ficcional pensando como seria o Brasil se os africanos tivessem vindo para cá em outra condição que não a de cativos ou, e se jamais tivessem vindo?”. Foi com base nesse enunciado que os alunos escreveram suas narrativas ficcionais. Assim, é por meio deste assunto específico que este trabalho volta-se para uma proposta de educação antirracista, tomando como norte para tal, os princípios da Educação das Relações Étnico-Raciais. Do mesmo modo, utilizei como referenciais teóricos, os conceitos de imaginação histórica, sob o prisma do historiador estadunidense Hayden White e de narrativa histórica e narrativa histórica ficcional sob a ótica do filósofo francês Paul Ricoeur. As análises das narrativas constataram que os alunos buscam explicações para o racismo no passado escravista do país e na falta de conhecimento das pessoas. Muitas das concepções sobre o racismo estão baseadas em discursos construídos pela mídia, através da produção de materiais didáticos de história e pelas próprias aulas desta disciplina, onde se fundamentam ideias negativas a respeito do continente africano, principalmente, aqueles relacionados à pobreza. Quando se trata das populações negras, estas estão vinculadas à escravidão, ao trabalho e ao sofrimento. Localizam-se em uma posição de sujeição e desprovidas de subjetividade. No entanto, os alunos tendem a positivar a presença africana no Brasil, tendo sua cultura e costumes como elementos essenciais da construção da identidade brasileira. Posicionam-se firmemente contra o racismo e acreditam nos fundamentos da democracia e na educação como capazes de transformar o panorama das relações étnico-raciais no país. / The elaboration of fictional historical narratives by students of basic education was the object of study of this dissertation. I wanted to analyze how it is possible to construct historical concepts, in this case, racism, identity, recognize and develop ethical-political positions through narratives. In addition, the proposal is to explore the possibilities of "what if?". The research was carried out in two classes of second year of high school in the State School of Higher Education in the city of Porto Alegre, during the months of August to October of 2017. The objective was to provide students with the use of imagination, and creative writing, to think of other possibilities for history, making the classroom space of perception of the multiple historical narratives and how they are constructed. This from the following provocation: "Write a fictional historical narrative thinking how Brazil would have been if the Africans had come here in a condition other than that of captives, or if they had never come?" It was on the basis of this statement that the students wrote their fictional narratives. Thus, it is through this specific subject that this work turns to a proposal of antiracist education, taking as the north for such, the principles of the Education of the Ethnic-Racial Relations In the same way, I used as theoretical references the concepts of historical imagination, under the prism of the American historian Hayden White and of historical narrative and fictional historical narrative from the perspective of the French philosopher Paul Ricoeur. The analysis of the narratives found that the students seek explanations for racism in the slave-owning past of the country and the lack of knowledge of the people. Many of the conceptions about racism are based on discourses constructed by the media, through the production of didactic materials of history and by the classes of this discipline, where negative ideas are based on the African continent, especially those related to poverty. When it comes to black populations, these are linked to slavery, to work and to suffering. They are located in a position of subjection and devoid of subjectivity. However, students tend to positivize the African presence in Brazil, having their culture and customs as essential elements of the construction of the Brazilian identity. They stand firmly against racism and believe in the foundations of democracy and education as capable of transforming the landscape of ethnic-racial relations in the country.

This thesis is an autoethnography based on a two week Trans-Siberian railway journey from Moscow to Vladivostok in October 2011. It explores the role of memory in our spatial surroundings, the effect remembering has on the way we move through and interpret the present and ourselves. In the chapters about community, rhythms, memory/imagination, and landscape the journey becomes a backbone for the personal narratives and the stories of others, which intertwining unveil the complex relationship between the self and the world, the present and the absent, and the imagined. Thesis explores the inevitable mobility of the mind, which sees us losing the ability to stay fastened to physical spaces, images and our own being, and opening the possibility to travel in time, space and memory. The physical landscape, landscape of Siberia gradually becomes almost invisible, disappears and re-emerges as a series of personal images and stories, feelings and dreams, suggesting that even moving through the vastest landscapes in the world we are always travelling inward, towards an understanding of ourselves and the world around us.