The schooling of twins can be daunting and challenging for twins, parents and educators. Separation or non-separation during the foundation phase cannot be left to chance. The process of deciding whether it is in both twins’ best interest to school them together or separately relies on various factors, which includes premature birth, individuality, dominance, relationship type and friendship-forming patterns. Parties involved in making the decision must consider each twin’s emotional, cognitive, behavioural, and social development. Premature separation of twins can lead to internal as well as external behaviour problems, while non-separation of mature twins may be detrimental to each twin’s individual progress and development. The study aimed to identify the determining factors when deciding upon schooling twins together or separately when they enter into the foundation phase. Existing school policies regarding classroom allocation of twins were considered. Three sets of twins, including teachers, parents, twins and other significant individuals involved in the process of separation or non-separation, were interviewed. Based on the findings, recommendations were made to assist parents and educators in making informed decisions about the schooling of twins. / Psychology of Education / M. Ed. (Guidance and Counselling)

Dans les pièces de William Shakespeare, les personnages sont souvent désignés par un nom commun, qui peut indiquer leur statut social (« Le Gentilhomme »), leur métier (« Le Jardinier »), leur origine géographique (« L’Égyptien ») ou encore leurs liens relationnels (« Le Père »). Ces désignations anonymes, c’est-à-dire qui n’attribuent pas de nom propre aux personnages, montrent que Shakespeare favorise une inscription de ces rôles dans une société hiérarchisée et étendue, à l’image du public qui assiste aux spectacles, lui-même composé d’un large spectre social. L’étude de leur identité formelle, à partir de tous les signes identificatoires qui permettent la fabrique des personnages — didascalies, costumes, accessoires, corps et parole —, confirme une conception des personnages anonymes ancrée dans l’identité sociale, au détriment de leur identité personnelle. La généricité du personnage anonyme lui permet alors le plus souvent de se mettre au service des héros nommés ou du groupe social auquel il appartient, suivant le principe de self-effacement, « effacement de soi », pour reprendre les termes de Molly Mahood et de Florence Yoon. Toutefois, le mouvement poétique de Shakespeare le conduit parfois à développer ces rôles qui semblent au premier abord mineurs, en travaillant une tension entre fonctionnalisation et individualisation. Leur rapport à l’altérité leur confère alors une identité interactive, socialement et théâtralement, qui façonne leur raison d’être sur la scène de théâtre. D’un anonymat générique, les personnages peuvent alors s’élever vers la sphère de l’universalité. / In William Shakespeare’s plays, characters are often called by common nouns, which can indicate social status (“Gentleman”), occupation (“Gardener”), geographic origin (“Egyptian”) or relationship (“Father”). This anonymous way of naming, which does not assign personal names to the characters, shows that Shakespeare stresses these parts’ affiliation to a ranked and extensive society, mirroring the audience attending the performance, which itself forms a large social spectrum. The study of their identification, based on all the signs which shape the characters — speech headings, costume, props, body, speech —, reasserts a conception of anonymous characters which highlights their social identity to the detriment of their personal identity. Thus, the genericity of the anonymous characters mainly allow them to support named heroes or their social group, according to the self-effacement principle, as Molly Mahood and Florence Yoon define it. However, Shakespeare’s poetical process leads him to develop parts, that may seem minor at first, by working the tension between their function and their individuality. Their relation to otherness gives them an interactive identity, socially and theatrically, which shapes their raison d’être. From generical anonymity, characters can thus rise up to the realm of universality.

A presente pesquisa visa disponibilizar a organização de um processo criativo teóricoprático situado na interação da experimentação dos princípios atorais desenvolvidos pelo ator russo Michael Chekhov e na apropriação das teorias e estética simbolistas propostas por Maurice Maeterlinck, adotando como base principal o conceito de \"trágico cotidiano\". Propõe-se uma análise-associação, enquanto proposição criativa, para a elaboração de cena teatral configurada a partir da individualidade criativa do ator e da procura de uma teoria como provocação dramatúrgica por meio de um processo com fins artístico-pedagógicos. Essa possibilidade busca ser, na arte da atuação, uma ferramenta de aprofundamento na qual o ator é quem descobre e desenvolve sua própria linguagem cênica, resultando, finalmente, numa experiência prática de criação cênica autoral do ator, que abre um possível caminho de reflexão em torno da formação e do trabalho do ator como artista criador. / This research aims to provide the organization of a theorical-practical creative process, based on the interaction of the experiment of the actor\'s principles developed by the Russian actor Michael Chekhov, and on the appropriation of the symbolist theories and esthetic proposed by Maurice Maeterlinck, adopting as main base the concept of \"tragic daily life\". It is proposed an association analysis, as a creative approach to making theater scene set from of the actor\'s creative individuality and finding a theory as dramaturgical provocation through a process with artistic-pedagogical goals. This possibility intends to be a tool for deepening the art of acting in which the actor is who discovers and develops his/her own scenic language, resulting, in the end, in a practical experience of authorial scenic creation of the actor, which opens a possible way of thinking on the training and work of the actor as creative artist.

Made available in DSpace on 2016-04-28T20:37:31Z (GMT). No. of bitstreams: 1 Rodrigo de Azevedo Noronha.pdf: 393593 bytes, checksum: c79b506e893fc8f9cf4638ff2f36c6e0 (MD5) Previous issue date: 2010-05-14 / This study discusses the participation of the body in the cognitive process in a regular school, more specifically about classes for children of seven and eight year old, age group that the author has specialized with its entitled Body Classes. The text contrasts the content contained in the Brazilian National Curriculum Standards offered by the Ministry of Culture and Education to the content involved in this Body Classes. Then it discusses the multiplicity of meanings that involve the word body and how they can be interwoven with education in the formatting of a student to serve the dominant interests. The study goes on to ask questions and suggest new possibilities of ideas about the body in class, stressing the importance of emotions and feelings in the cognitive process. It is based on recent neurobiological findings, specifically with Humberto Maturana and Antonio Damásio, who put the live - body in the genesis of thought. These studies question the extent of rationality of the Cartesian thinking when they suggest not a separation (substance dualism), but an inevitable interaction between mind and body. This study is also in the thoughts of Edgar Morin and his pedagogy for the future that contrasts the Complex to the Cartesian thought and also discusses the pedagogical function of formatting of the student in schools that invest in a mentalist and competitive education. Finally, the study presents its own fragility / O presente estudo pretende discorrer sobre a participação do corpo no processo cognitivo em uma escola regular, mais especificamente sobre aulas para crianças de sete e oito anos, faixa etária que o autor tem se especializado com a sua intitulada Aula do Corpo. O texto contrapõe os conteúdos contidos nos Parâmetros Curriculares Nacionais oferecidos pelo Ministério da Cultura e Educação aos conteúdos envolvidos nesta Aula do Corpo. Discorre sobre a multiplicidade de significados que envolvem a palavra corpo e de como estas podem estar entrelaçadas com a educação na formatação de um corpo para servir aos interesses dominantes. O estudo passa então a questionar e sugerir novas possibilidades de olhares sobre o corpo, realçando a importância das emoções e sentimentos no processo cognitivo. Fundamenta-se em recentes descobertas neurobiológicas, mais especificamente com Humberto Maturana e Antonio Damásio, que colocam o corpo - vivo na gênese do pensamento. Estas pesquisas questionam o alcance da racionalidade do pensamento cartesiano quando sugerem não uma separação (dualismo de substância), mas uma interação inexorável entre mente e corpo. Este estudo fundamenta-se também nos pensamentos de Edgard Morin e sua pedagogia para o futuro que contrapõe o pensamento complexo ao pensamento cartesiano e que também problematiza a função pedagógica de formatação do indivíduo nas escolas que privilegiam uma educação mentalista e competitiva. Para finalizar, o estudo expõe sua própria fragilidade

No description available.

Yip Siu Ka. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2002-2003, design report." / Includes bibliographical references (p. 223). / Synopsis --- p.5 / Chapter I. --- Prelude - a search for the start --- p.11 / "Thesis, to me," / Memory floating / Starting Issues --- p.17 / Chapter II. --- Window- behind the iconic meaning --- p.19 / History of Window / What is a window? / Alternative definition of window --- p.45 / Redefinition of a hole to a window / Chapter III. --- Human individuality in Architecture - Are we identical to architecture? --- p.51 / Research Intention / A space with different individual experience / ACONFESSION SPACE / Study Model 1 - a space open for redefinition --- p.65 / Design & Conclusion / Study Model 2 - Individual Memory-Architecture - Time --- p.75 / "(Refer to Vedio CD, track 1-P01)" / Design Methodology and Attitude --- p.91 / Chapter IV. --- Selection of site - Cheung Chau --- p.93 / About Cheung Chau / Contradiction between Chinese ethical system & Western Individualism / "Definition of ""tradition""" --- p.115 / Inheritance & human individuality --- p.117 / Function of Ancestral Hall in the pass / Chapter V. --- Selection of target Group - Tanka People --- p.123 / History of Tanka / Rhythms of Living / Annual Rhythms - Festivals of Tanka / Cultures & Religion / Tanka & Cheung Chau / Identity of Tanka people --- p.143 / Chapter VI. --- Design Proposal ´Ø A search for Identity --- p.145 / Social need / Strategy / Program --- p.153 / "Role of the clannish sanctorum in 3 levels: Individual, Clannish, Public" --- p.155 / Chapter VII. --- "Spatial Sequence - ( Refer to Vedio CD, track 2- P03)" --- p.171 / 弟一環The 1st layer: --- p.173 / from sea / from land - a sense of hovering / 第二環The 2nd layer: --- p.175 / from sea to air - a sense of elevation / 第三環 The 3rd layer: --- p.177 / spiral plan - a sense of centrality / 第四環The 4th layer: --- p.177 / Confined space - a sense of origin / 第五環The 5th layer: --- p.179 / from human to sky - a sense of in-between / Section A / Section B / Chapter VIII. --- "Details - Facade, Partitions, Furniture" --- p.185 / Cultivation of Human Individuality / Tradition - Architecture - Human Individuality --- p.189 / Furniture and individual space / Chapter IX. --- Structure - Reinterpretation of Traditional wood structural quality --- p.197 / Material & Structural Logic --- p.199 / Foundation / Details / Chapter X. --- Environmental Strategies --- p.207 / Natural Lighting / Natural Ventilation / HVAC System / Natural Energy / Appendices --- p.221 / Bibliography / Acknowledgement

Face adaptation techniques have been used extensively to investigate how faces are processed. It has even been suggested that face adaptation is functional in calibrating the visual system to the diet of faces to which an observer is exposed. Yet most adaptation studies to date have used unfamiliar faces: few have used faces with real world familiarity. Familiar faces have more abstractive representations than unfamiliar faces. The experiments in this thesis therefore examined face adaptation for familiar faces. Chapters 2 and 3 explored the role of explicit recognition of familiar faces in producing face identity after-effects (FIAEs). Chapter 2 used composite faces (the top half of a celebrity's face paired with the bottom half of an unfamiliar face) as adaptors and showed that only recognised composites produced significant adaptation. In Chapter 3 the adaptors were cryptic faces (unfamiliar faces subtly transformed towards a celebrity's face) and faces of celebrity's siblings. Unrecognised cryptic and sibling faces produced FIAEs for their related celebrity, but only when adapting and testing on the same viewpoint. Adaptation only transferred across viewpoint when a face was explicitly recognised. Chapter 4 demonstrated that face adaptation could occur for ecologically valid, personally familiar stimuli, a necessary pre-requisite if adaptation is functional in calibrating face processing mechanisms. A video of a lecturer's face produced FIAEs equivalent to that produced by static images. Chapters 5 and 6 used a different type of after-effect, the face distortion after-effect (FDAE), to explore the stability of our representations for personally familiar faces, and showed that even representations of highly familiar faces can be affected by exposure to distorted faces. The work presented here shows that it is important to take facial familiarity into account when investigating face adaptation effects, as well as increasing our understanding of how familiarity affects the representations of faces.

Orientador: Antônio Carlos Mazzeo / Banca: José Geraldo Alberto Bertoncini Poker / Banca: Andreas Hofbauer / Resumo: Esta dissertação teve o propósito de analisar uma modalidade comportamental particular, construída durante as três últimas décadas do século XX e, que pode ser apreendida através do movimento Nova Era. A essa modalidade pode-se observar a construção subjetiva de mecanismos de respostas e de interpretação da realidade que resultam em atitudes e/ou numa ética comportamental capaz de traduzir os novos desafios que a realidade atual - denominada por alguns teóricos como sendo uma realidade "pós-moderna" - coloca para o indivíduo. Todavia, pode-se constatar que tais mecanismos de respostas, quando confrontados com o processo de alienação humana, tornam-se uma modalidade de resposta individual cujo potencial crítico fica ao nível superficial, reforçando um processo de privatização do indivíduo. / Abstract: This dissertation had as the purpose of analyzing a modality peculiar comportamental, built during the last three decades of the century XX and that it can be apprehended through the movement "New Era". For this modality it could be observed the subjective construction of mechanisms of answers and of interpretation of the reality that resulted in attitudes and or in an ethics comportamental capable to translate the new challenges that the current reality - denominated by some theoreticals as being a post-modern reality - it puts for the individual. Though, it can be verified that such mechanisms of answers, when confronted with the process of human alienation, they become a modality of individual answer which the critical potential is at the superficial level, reinforcing a process of the individualþs privatizations. / Mestre

A presente pesquisa visa disponibilizar a organização de um processo criativo teóricoprático situado na interação da experimentação dos princípios atorais desenvolvidos pelo ator russo Michael Chekhov e na apropriação das teorias e estética simbolistas propostas por Maurice Maeterlinck, adotando como base principal o conceito de \"trágico cotidiano\". Propõe-se uma análise-associação, enquanto proposição criativa, para a elaboração de cena teatral configurada a partir da individualidade criativa do ator e da procura de uma teoria como provocação dramatúrgica por meio de um processo com fins artístico-pedagógicos. Essa possibilidade busca ser, na arte da atuação, uma ferramenta de aprofundamento na qual o ator é quem descobre e desenvolve sua própria linguagem cênica, resultando, finalmente, numa experiência prática de criação cênica autoral do ator, que abre um possível caminho de reflexão em torno da formação e do trabalho do ator como artista criador. / This research aims to provide the organization of a theorical-practical creative process, based on the interaction of the experiment of the actor\'s principles developed by the Russian actor Michael Chekhov, and on the appropriation of the symbolist theories and esthetic proposed by Maurice Maeterlinck, adopting as main base the concept of \"tragic daily life\". It is proposed an association analysis, as a creative approach to making theater scene set from of the actor\'s creative individuality and finding a theory as dramaturgical provocation through a process with artistic-pedagogical goals. This possibility intends to be a tool for deepening the art of acting in which the actor is who discovers and develops his/her own scenic language, resulting, in the end, in a practical experience of authorial scenic creation of the actor, which opens a possible way of thinking on the training and work of the actor as creative artist.

Book Summary: What does a path to become a faculty member look like? What are the merits? What are the roadblocks? How do I balance personal and professional aspirations? Looking for answers to these questions can be overwhelming and discouraging. This book offers inspiration and support to female faculty members in higher education who are at various stages of their professional development. Twenty-four educators share both their intuitive voices and practical knowledge on the topics of career development, balancing personal and professional life, cultural and individual identity, and spirituality. This collective sharing will help readers become free from an impasse, take a leap of faith, and see roadblocks from a slightly different perspective.