Made available in DSpace on 2016-04-28T20:37:54Z (GMT). No. of bitstreams: 1 Talita Rocha Baltazar.pdf: 975265 bytes, checksum: 13147feef062e4f6f5d939bdb2fc192f (MD5) Previous issue date: 2011-10-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research is characterized by the qualitative methodological approach and the objective is to develop a reflection about the particularities of the daily work experiences of nannies, in focus of analytical psychology, considering historical and social aspects. The work is a human experience that highlights the intersection of collective and individual nature, which is encouraged throughout the individuation. From the concept of work and the ancestry of the profession in Brazil, which denotes its cultural complex, we construct a reflection approaching the daily work of nannies today and some considerations about their professional persona. We note that the centrality of work is a characteristic of the profession, influencing the lives of workers in how they invest energy and dedication in the personal and family context. This occurs mainly among workers who live in the residence of work, which makes the boundary between public and private spheres almost nonexistent, which may favor the rigidity of the professional persona. The professional role of the nanny is related to parental functions such as care, educate, give affection, attention and love, through a substitutive fraternal relationship, which makes her supporting of familiar life. In this sense, she coordinates archetypal elements of maternal and paternal, of eros and power, in their daily assignments. The coordination of these elements stems from the psychological baggage of professional and express your personal directory about the symmetric and asymmetric relations. This dynamic is manifested in the relationship between the worker, child and parents, setting up a triangulation, in which the nanny must pass, and the more good it does, more integrate will be the experience of his professional persona. Thus, it becomes relevant to the creation of a specialized space, group and/or individual, in which daily experiences can be shared in order to increase consciousness of workers about their professional role, and also to propitiate the development of symbolic language, which can facilitate the individuation / Esta pesquisa caracteriza-se pelo enfoque metodológico qualitativo e tem como objetivo conhecer as particularidades do cotidiano de trabalho das babás, no intuito de elaborar uma reflexão acerca dessas vivências à luz da psicologia analítica, considerando aspectos históricos e sociais. O trabalho é uma experiência humana que evidencia a intersecção entre a sua natureza coletiva e individual, que é dinamizada ao longo do processo de individuação. A partir do conceito de trabalho, e da ancestralidade da profissão no Brasil, que denota o seu complexo cultural, construímos uma reflexão abordando o cotidiano de trabalho das babás na atualidade e algumas considerações sobre sua persona profissional. Observamos que a centralidade do trabalho é uma característica da profissão, que influencia a vida das trabalhadoras no modo como investem energia e dedicação no âmbito pessoal e familiar. Isso acontece, principalmente, entre as trabalhadoras que moram na residência de trabalho, o que torna a fronteira entre os âmbitos público e privado quase inexistente, podendo favorecer a rigidez da persona profissional. O papel profissional da babá está relacionado a funções parentais como cuidar, educar, dar carinho, atenção e amor, por meio de uma relação substitutiva fraternal, que a torna coadjuvante da vida familiar. Nesse sentido, ela coordena elementos arquetípicos maternos e paternos, de eros e poder, em suas atribuições cotidianas. A coordenação desses elementos decorre da bagagem psicológica da profissional e expressa o seu repertório pessoal sobre as relações simétricas e assimétricas. Essa dinâmica é manifestada no relacionamento entre a trabalhadora, a criança e os pais, configurando uma triangulação, na qual a babá precisa transitar e, quanto mais bem ela o fizer, mais integrada será a vivência de sua persona profissional. Assim, torna-se relevante a criação de um espaço especializado, grupal e/ou individual, no qual experiências cotidianas possam ser compartilhadas, a fim de ampliar a consciência das trabalhadoras acerca do seu papel profissional e, também, de propiciar o desenvolvimento da linguagem simbólica, o que pode favorecer o processo de individuação

Esta pesquisa teve início durante o trabalho de conclusão de curso do bacharelado em modelagem do Centro Universitário Senac, onde foi abordado o tema Freak show - o entretenimento do século XIX. Foi pesquisado o panorama de seu surgimento e suas características nos tempos áureos, e geradas a criação e a confecção de três bustos e três looks para personagens do freak show vitoriano, os gêmeos siameses xifópagos isquiópagos, a mulher de três cabeças e quatro pernas e a menina sereia. A pesquisa atual foi iniciada em 2015 no programa de mestrado na Universidade de São Paulo, investigando a contínua existência da instituição até o século XXI e as transformações que a tornaram possível. Este trabalho traz uma pesquisa sobre a indústria do Freak Show, mapeando-a através dos séculos XIX ao XXI. Mostra como se dá a exposição do corpo extraordinário na indústria do entretenimento e em que locais pode ser observado, além de informações sobre como estes corpos são vestidos. Argumentase que existem intenções e benefícios na sociabilização estabelecida através da exibição voluntária do corpo nas diversas formas midiáticas, desenvolvendo formas de comunicação que introduzem suas personas e personalidades enquanto ressaltam ao público os aspectos de sua morfologia extraordinária / This research began during the final project for conclusion of bachelors degree in pattern making at Centro Universitario Senac, which regarded the Freak Show The Entertainment of The 19th Century. It was researched the context of its beginning and its characteristics when the popularity was high, what developed in the creation and making of three dress forms and three garments made for Victorian freak show performers, the Siamese twins, xifopagus isquiopagus, the three headed and four legged woman and the mermaid girl. The present research started in 2015 at University of Sao Paulo masters degree in Textile and Fashion, investigating the ongoing existence of the industry in the 21st century and the changes that made it possible. The present research introduces a research on the Freak Show Industry, mapping it throughout the centuries 19th to 21st. How does the exhibition of the extraordinary body happens inside entertainment industry and which are the places where they can be seen, in addition to informations about how they are dressed. It s argued that there are intentions and benefits in the social interaction established through the voluntary exhibition of the body in multiple media displays, developing manners of communication that introduces their persona and personality, while enhancing aspects of the extraordinary anatomy to the public

Ce travail se propose d’étudier la représentation du masque et l’influence de ce concept dans l’œuvre d’Amélie Nothomb, notamment pour lever le voile sur la monstruosité supposée de son écriture. Après avoir décrit le champ littéraire belge francophone et les différents courants littéraires dans lesquels semble évoluer la romancière, il s’intéresse tout d’abord aux masques utilisés par ses personnages pour tromper leur entourage et se tromper eux-mêmes, ainsi qu’à la vision du monde conjointement proposée au lecteur. Dans un second temps, il présente le masque comme une constance de la voix nothombienne, qu’elle se manifeste au travers de l’écriture thématique et stylistique de la romancière ou des émissaires constitués par ses personnages littéraires ou son personnage public. Enfin, il examine l’esthétique proprement caricaturale et grotesque des masques nothombiens, apte à faire basculer l’intrigue dans un cycle de type carnavalesque. / This thesis proposes to examine the representation of the mask and the influence of this concept in Amélie Nothomb’s work, in particular to throw light on the unproven monstrousness of her writing. Before the description of the Belgian French languaged literature and the different literary currents in which the novelist seems to belong to, it takes an interest in masks used by her characters to deceive their surroundings or deceive themselves, and in the world vision that is proposed to the reader. Secondly it describes mask as a permanent feature of the Amélie Nothomb’s voice, in the novelist’s thematic and stylistic writing or in her public or literary characters. Then, it examines the caricatural and grotesque aesthetic of the Amélie Nothomb’s masks, which can make the story beginning a carnival cycle.

Se presenta una propuesta de diseño de cabina de pilotaje de aviones cuyo objetivo es ayudar la adaptación de los pilotos al pilotaje de los aviones de pasajeros de tipo glass-cockpit. Se acompaña esta propuesta de una descripción de conjunto de la relación piloto-avión tal como evoluciona desde que el piloto aprende a pilotar la primera avioneta de escuela hasta que aborda los aviones de transporte de pasajeros. Esta descripción abarca elementos cognitivos y afectivo-emocionales de la relación persona-máquina.Para realizar esta propuesta se efectúa en primer lugar una búsqueda de información que incluye a la vez fuentes escritas y fuentes orales. Las fuentes de información escritas son estudios del glass-cockpit realizados desde la ergonomía, la psicología cognitiva y la socio-antropología, y textos escritos por un constructor de glass-cockpit y por pilotos. Las fuentes orales son entrevistas a ergónomos que estudian el glass-cockpit, pilotos de glass-cockpit y médicos de pilotos de glass-cockpit.En segundo lugar, se realizan: - entrevistas cualitativas en profundidad a pilotos- acompañamiento y observación de estos pilotos a bordo, durante vuelos- ejercicios de dibujo: se solicita a los pilotos que indiquen, en una reconstitución gráfica de la cabina, en qué partes de la cabina (en qué instrumentos, mandos, zonas...) sienten ruido, vibración, sensación de movimiento, sensación de control, sensación de placer y de tensión.Se realizan estas indagaciones en pilotos situados en distintos momentos de su recorrido profesional (desde el aprendizaje inicial en escuela de pilotaje hasta el trabajo cotidiano en glass-cockpit de compañías aéreas) ya que el glass-cockpit no es el primer avión del piloto: este aparato será pilotado respecto a un 'pasado' hecho de otros aviones, pasado que influirá tanto a nivel cognitivo como emocional. Importa por tanto conocer este pasado para tener una visión más completa de la relación global piloto-avión. Las indagaciones efectuadas permiten saber en qué consiste aprender a pilotar un avión, y la importancia de su control; se obtiene también una visión preliminar del conjunto de las exigencias cognitivas y emocionales relacionadas con el pilotaje. En base a los datos recogidos, se elabora una propuesta de diseño de cabina de pilotaje con propuestas alternativas para todos aquellos elementos del glass-cockpit que han recibido comentarios negativos en las entrevistas y en la literatura. Se presenta esta propuesta a pilotos de glass-cockpit para su evaluación. Es percibida como una herramienta de formación para hacer que el paso entre las avionetas bimotor (de escuela, o de las primeras experiencias profesionales) y los glass-cockpit resulte menos difícil para los pilotos. El diseño propuesto se podría instalar en las avionetas bimotor, o reproducir en simuladores de formación. / A cockpit layout aimed at helping pilots' adaptation to glass-cockpit airliners is presented, as well as a description of the pilot-aircraft relationship as it evolves since the first single-propeller aircraft used at the beginning of flight training, up to glass-cockpits flown in airlines. The description shows cognitive and affective elements of the person-machine relationship.To realize the layout and the description an information search was fulfilled. Its first step involved the gathering of written and oral data. Written data consulted were the ergonomic, psychologic and socio-anthropologic existing analysis of glass-cockpits, as well as texts made by a glass-cockpit builder and by pilots. Oral data was derived from interviews made to ergonomists studying glass-cockpits, glass-cockpit pilots, and physicians of glass-cockpit pilots.The second step of information gathering involved:- qualitative interviews to pilots- accompanying the interviewed pilots on board aircraft- the realization of specific drawings: the pilots were asked to show, in a graphic representation of the cockpit, where (in which instruments, controls, zones...) they felt noise, vibration, the feeling of movement, the feeling of control, pleasure, and stress.These inquiries were made with pilots placed at different moments of a professional career (students flying single-propeller training aircraft, intermediates flying twin propellers, and full professional pilots flying classic jetliners and glass-cockpits). As glass-cockpits are not the first airplanes flown in a career, they will be used under the cognitive and affective influence of a 'past' made of several airplanes. It was thus important to know this past in order to derive a fuller vision of the pilot-aircraft relationship.The information gathered enabled to better describe what implies learning to fly and the importance of controlling an aircraft, both from a cognitive and an affective point of view. A cockpit layout was designed, featuring alternative designs for all those glass-cockpit elements that received negative feedback in the interviews and in the literature. The proposed layout was assessed by glass-cockpit pilots. They saw it as a training tool to lessen the complexity gap that the pilots have to overcome when transitioning, in their careers, from twin propeller aircraft to glass-cockpits. This layout could in the future be fitted to propeller aircraft used for training or could be reproduced in flight training simulators.

This thesis by the name To create oneself: Carl Peter Thunberg’s persona constructed by means of his travel account draws inspiration from recent studies within the history of science regarding the concept of persona. It seeks to expand the notion of persona to examine how it could be constructed and refined by individuals. In doing so, it offers an alternative approach to persona. Not as intellectual standard types but as a joining together of qualities that through the joining creates unique personae to each individual. Furthermore, the essay looks at change, and how it could function as an aspect of a persona. In order to examine this, I will look at how the persona of Carl Peter Thunberg was constructed in his travel account which was published in four parts and covered his travels in Europe, Africa and Asia in the 1770s. Thunberg was one of Carl von Linné’s students and a natural historian and physician in his own right. His travel account was widely anticipated and offered an opportunity for him to introduce himself to a wider audience. This source is exemplary for this kind of analysis as all four parts of the travel account existed within the same genre and was written for the same public, yet changes occurred in how Thunberg was portrayed. Rather than explaining these changes in how Thunberg was portrayed by changes in his personal circumstances, I will argue that they are best understood by considering the aspect of change as a central strategy in constructing Thunberg’s persona as a evolving scientist and natural historian.

Esta pesquisa teve início durante o trabalho de conclusão de curso do bacharelado em modelagem do Centro Universitário Senac, onde foi abordado o tema Freak show - o entretenimento do século XIX. Foi pesquisado o panorama de seu surgimento e suas características nos tempos áureos, e geradas a criação e a confecção de três bustos e três looks para personagens do freak show vitoriano, os gêmeos siameses xifópagos isquiópagos, a mulher de três cabeças e quatro pernas e a menina sereia. A pesquisa atual foi iniciada em 2015 no programa de mestrado na Universidade de São Paulo, investigando a contínua existência da instituição até o século XXI e as transformações que a tornaram possível. Este trabalho traz uma pesquisa sobre a indústria do Freak Show, mapeando-a através dos séculos XIX ao XXI. Mostra como se dá a exposição do corpo extraordinário na indústria do entretenimento e em que locais pode ser observado, além de informações sobre como estes corpos são vestidos. Argumentase que existem intenções e benefícios na sociabilização estabelecida através da exibição voluntária do corpo nas diversas formas midiáticas, desenvolvendo formas de comunicação que introduzem suas personas e personalidades enquanto ressaltam ao público os aspectos de sua morfologia extraordinária / This research began during the final project for conclusion of bachelors degree in pattern making at Centro Universitario Senac, which regarded the Freak Show The Entertainment of The 19th Century. It was researched the context of its beginning and its characteristics when the popularity was high, what developed in the creation and making of three dress forms and three garments made for Victorian freak show performers, the Siamese twins, xifopagus isquiopagus, the three headed and four legged woman and the mermaid girl. The present research started in 2015 at University of Sao Paulo masters degree in Textile and Fashion, investigating the ongoing existence of the industry in the 21st century and the changes that made it possible. The present research introduces a research on the Freak Show Industry, mapping it throughout the centuries 19th to 21st. How does the exhibition of the extraordinary body happens inside entertainment industry and which are the places where they can be seen, in addition to informations about how they are dressed. It s argued that there are intentions and benefits in the social interaction established through the voluntary exhibition of the body in multiple media displays, developing manners of communication that introduces their persona and personality, while enhancing aspects of the extraordinary anatomy to the public

This thesis describes how positional data gathered from a diving device can be visualized in a regular browser on mobile as well as stationary devices utilizing built-in connections to the GPU with OpenGL. In this work a platform and a visualization prototype are designed, implemented and evaluated. The results show that WebGL is available to most platforms but notably not on devices running iOS. The web browser can be used for implementing advanced functionality but the performance on the handheld devices needs to be improved. The thesis discusses and proposes a design for getting more enjoyment out of diving based on the observations of the implementation and suggests an entertaining social platform for adventures. / Detta examensarbete visar hur positionsdata inhämtade med ett dykredskap kan visualiseras i en webbläsare på såväl mobila enheter som på stationära datorer med hjälp av nyttjande av inbyggd koppling till GPU med OpenGL. I detta arbete designas, implementeras och utvärderas en plattform och en visualiseringsprototyp. Resultatet visar att WebGL finns tillgängligt på de flesta plattformarna, men värt att notera inte på enheter som kör iOS. Webläsaren kan användas för att implementera avancerad funktionalitet men prestandan behöver förbättras. Arbetet diskuterar och föreslår en design för att få ut mer glädje av dykupplevelser genom observationer av en implementerad prototyp och föreslår ett engagerande system för socialt samarbete kring äventyrsupplevelser.

I denna avhandling fokuseras akademins (o)föränderliga genusmönster för att öka kunskapen om förutsättningarna för långsiktig förändring av rådande genusmönster i akademin. Trots olika jämställdhetsinsatser vid högskolor och universitet är de nämligen fortfarande könssegregerade, vilket är speciellt tydligt på höga positioner. Endast 27 procent av professorerna i akademin är kvinnor (SCB, 2016) och vid Luleå tekniska universitet är motsvarande andel 19 procent (Luleå tekniska universitet, 2017). För att förstå bakgrunden till detta och undersöka vägar till förändring studeras i avhandlingen fem projekt vid Luleå tekniska universitet som genomförts under perioden 2005-2013. Utifrån tidigare forskning om akademins genusmönster analyseras och kategoriseras projektens jämställdhetsinsatser som individorienterade, strukturorienterade och processorienterade insatser. Genom intervjuer, fokusgrupper, observationer, olika interaktiva metoder och workshopar söks svar fyra frågeställningar: Vilka förutsättningar i form av metaforer och diskurser råder i projektens akademiska kontext? Hur kan en individorienterad, strukturorienterad respektive process-orienterad ansats användas för att förstå förutsättningarna för jämställdhetsinsatser i akademin? Hur påverkar kombinationen av genusteori och interaktiva metoder förutsättningarna för jämställdhetsinsatser i akademin? Hur påverkar persona som förändringsmetod förutsättningarna för jämställdhetsinsatser?   I avhandlingen kombineras genusteori med interaktiva metoder, dels för att skapa förståelse för hur genusmönster skapas och återskapas i strukturer, symboler, interaktioner och identiteter (Acker, 1990, 1992, 1999), dels för att minska motståndet mot förändringar genom att involvera aktörer som berörs av forskningen i förändringsprocessen. Trots en tydlig jämställdhetsambition vid Luleå tekniska universitet visar resultaten att den meritokratiska diskursen och diskursen om den jämställda akademin överskuggar jämställdhetsdiskursen, vilket bidrar till att upprätthålla rådande genusmönster. Metaforer som den avsmalnande pyramiden, läckande pipelinen eller svarta hålet kan enligt analysen både främja och hindra förutsättningarna för jämställdhetsinsatser i akademin. Universitetets jämställdhetsinsatser har över tid förändrats från individorienterade med fokus på att stärka enskilda kvinnor, till mer strukturorienterade med inriktning på att förändra missgynnande strukturer för kvinnor och andra missgynnade grupper. På senare tid har även insatser med en processorienterad ansats gjorts som fokuserar på att medvetandegöra och förändra könsskapande processer i akademin. Persona i kombination med andra interaktiva metoder, som värderingsövningar, forumteater och scenarios, visar sig i avhandlingen kunna fungera som förändringsmetod vid jämställdhetsinsatser för att synliggöra och kritiskt reflektera över bristande jämställdhet samt främja förändring.

The aim of this thesis is to find out the benefits of Persona Dolls method in connection with prejudices. The first chapter of its theoretical part deals with changes in the field of education after year 1989 and with the process of creating pivotal curricular documents (so called General Educational Programme) which have been used in Czech school system since then. The second chapter describes particular parts of General Educational Programme for pre-primary and primary education as well as the conception of curricular documents related to Persona Dolls method. The most important chapter of the theoretical part is defining the Persona Dolls method itself. This chapter outlines the theoretical basis, principles and prospective benefits of this method, and gives instructions how to use the method in a class. Moreover, certain pitfalls associated with using this method are mentioned as well. The last chapter of the theoretical part contains detailed description of the coherence of Persona Dolls method and curricular documents. The empirical part presents qualitative research focused on eliciting the role of the teacher, teacher's strategy, the interaction of pupils and the doll, working with feelings and the development of pupils' key competencies in relation with using Persona Dolls method in...

Persona through persona – to interest non-inducted for film history is a thesis in information design with a focus on spatial design. The work has been done in collaboration with the Bergmancenter at Fårö, which wanted a design proposal for the renewal of its basic exhibition about Ingmar Bergman and Fårö. The current base exhibition is based on the perspectives of Fårö inhabitants, which makes it difficult for other target groups to find the red thread. The theme of the exhibition is unclear. The exhibition shows large amounts of text and photographs. Movie clips appear on TV-screens. Other ways of disseminating information are lacking, which limits the target group for the exhibition. Bergmancenter wants to reach a broader target group, that Ingmar Bergman is highlighted as a person and artist, that Bergman's films recorded on Fårö come out more clearly while preserving Bergman's connection to Fårö and the Fårö inhabitants. The wishes of the client were among other things to get suggestions for designs that highlight the interesting stories that do not appear in today's exhibition. The work has focused on one of these stories, behind the camera on the filming of the movie Persona. The purpose of this thesis is to develop information design solutions that can be used in spatial design of stories in small-scale exhibition environments. This to create interest in people without knowledge of a subject and to stimulate memorable experiences. The persona method was used to create an image of the intended target group. By using affordance in the creation of spatial storytelling, a design proposal was created for part of the basic exhibition. The result was a design proposal created in the form of a spatial story containing several small stories, which highlights the film Persona, innovative film technology, Bergman as a person and the Fårö inhabitant’s participation in the film. / Persona genom persona – att intressera oinsatta för filmhistoria är ett examensarbete inom informationsdesign med inriktning mot rumslig gestaltning. Arbetet har skett i samverkan med Bergmancenter på Fårö som önskade ett gestaltningsförslag för förnyelse av sin basutställning om Ingmar Bergman och Fårö. Nuvarande basutställning utgår från Fåröbornas perspektiv, vilket gör det svårt för andra målgrupper att finna den röda tråden. Tematiken i utställningen är otydlig. I utställningen visas stora mängder text och fotografier. Filmklipp visas på tv-skärmar. Andra sätt att förmedla information saknas, vilket gör att målgruppen för utställningen begränsas. Bergmancenter vill nå en bredare målgrupp, att Ingmar Bergman lyfts fram som person och konstnär, att Bergmans filmer inspelade på Fårö kommer fram mer tydligt samtidigt som Bergmans koppling till Fårö och fåröborna bevaras. Önskemål från uppdragsgivaren var bl.a. att få förslag på gestaltning som lyfter de intressanta berättelser som inte kommer fram i dagens utställning. Arbetet har fokuserat på en av dessa berättelser, bakom kameran på inspelningen av filmen Persona. Syftet med arbetet har varit att finna informationsdesignslösningar som lämpar sig vid spatial gestaltning av berättelser i småskaliga utställningsmiljöer. Detta för att skapa intresse hos människor utan förkunskap om ett ämne samt för att stimulera till minnesvärda upplevelser. Metoden persona användes för att skapa en bild av den tilltänkta målgruppen. Genom användning av affordance i skapandet av spatial storytelling skapades ett gestaltningsförslag för en del av basutställningen. Resultatet blev ett gestaltningsförslag skapat i form av en spatial berättelse innehållande flera små berättelser, som lyfter filmen Persona, innovativ filmteknik, Bergman som person och Fåröbornas medverkan i filmen.