Made available in DSpace on 2016-12-08T16:19:05Z (GMT). No. of bitstreams: 1 anaemilia.pdf: 11726982 bytes, checksum: d0cb6288e1da54b67001097c7c67229b (MD5) Previous issue date: 2009-10-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In the Polaroids series photographer Robert Frank creates performed situations and manipulates the two-dimensional surface in a post-production condition, building images with uncertain borders where emptiness, words, pictorial gestures, appropriations and acts are highlighted. Emerging through mounting resources, these procedures question certain intrinsic references in the field of photography and image, allowing the recognition of a territory where both manufacture and operatory notions that state poetical basis are implied and contrasted, interrogate and disturb in relation to the look field. In the interlocution of art history and theory with psychoanalysis and philosophy, we find the possibility of troubling the procedures of this work in order to elaborate questions that resonate from it, without reducing its terms. In the first chapter, we investigate the potential of the foreigner language as a condition of the image, which is identified in both the photography and image fields, as extinguisher of borders and promoter of new proposition parameters. The unquiet Freudian strangeness articulated with infinite possibilities of artistic language opens a field to think the Polaroids series as image-happening. In the second chapter, we analyze the relation between the visible and what can be said from renitent aspects of the mounting operation along the series, such as the figural logic in dreams and reticulations, the relation between image and word, the repetition as difference and the gesture that re-signifies the instant of looking. In the third chapter, we study the projection of these plastic procedures in the visual field. From the process of determining the view of the artistic object, we reach the notion of irrepresentability as an encounter with the Real, and we conclude with the structure of the scopic field, which was formulated by Jacques Lacan and has its orientation in art theory developed by Georges Didi-Huberman, in which the look accomplishes the function of causing the subject in its desire / Na série Polaroids, o fotógrafo Robert Frank cria situações encenadas e manipula a superfície bidimensional em condição de pós-produção, construindo imagens com fronteiras imprecisas onde se destacam vazios, palavras, gestos pictóricos, apropriações e encenações. Emergindo por recursos de montagem, tais procedimentos colocam em questão certas referências intrínsecas ao campo da fotografia e da imagem permitindo reconhecer um território onde tanto a fatura como as noções operatórias que se afirmam como fundamento poético se implicam e se rebatem, interrogam e perturbam em relação ao campo do olhar. Na interlocução da história e teoria da arte com a psicanálise e a filosofia, encontramos a possibilidade de problematizar os procedimentos deste trabalho a fim de elaborar as questões que dele ressoam sem, entretanto, reduzir seus termos. No primeiro capítulo, investigamos o potencial de linguagem do estrangeiro como uma condição da imagem, que se identifica, tanto no campo fotográfico como imagético, como anulador de fronteiras e instaurador de novos parâmetros propositivos. A inquietante estranheza freudiana articulada com as infinitas possibilidades da linguagem artística abre campo para pensar a série Polaroids como imagem-acontecimento. No segundo capítulo, analisamos a relação entre o visível e o dizível a partir dos aspectos renitentes da operação de montagem ao longo da série, entre os quais, a lógica figural nos sonhos e na retícula, a relação entre imagem e palavra, a repetição como diferença e o gesto que re-significa o instante de ver. No terceiro capítulo, analisamos o rebatimento destes procedimentos plásticos no campo do visual. Do processo de instauração da visualidade do objeto artístico, alcançamos a noção de irrepresentável como encontro com o Real, e concluímos com a estrutura do campo escópico formulada por Jacques Lacan, e cuja orientação na teoria da arte é desenvolvida por Georges Didi- Huberman, onde o olhar cumpre a função de causar o sujeito em seu desejo

Changes in the process of teaching and learning can be both useful and nonuseful to enhance students learning. This work tried to show that current teaching methods not always meet the needs efficiently when it comes to improve students skills. For that, it relied on experiments with Language Programming subject matter s students. It did so because such a subject matter poses questions whose answers can be answered freely because its codes can be written in many ways , while its assessment is dichotomic. Teacher s didactic procedures, methodology applied in classes, programming language, and the time taken to develop the work proposed were the categories considered in the research. In an experimental group of students, Robert Mager s theory was applied to compare their learning. In such theory, instructional aims are supposed to provide a statement on the information students will get and on their understanding and ability to use them after the course ends. Conclusion is that students skills and performance were improved, that is to say, that there was an increase of knowledge, which can be measured and presented graphically by Rasch model. / Mudanças no processo de ensino e aprendizagem podem ser tanto benéficas quanto ineficazes para o aprendizado do aluno. Este trabalho buscou mostrar que métodos de ensino atuais não suprem com eficiência a necessidade de melhorar as habilidades discentes. Para tanto, recorreram-se a experimentos com alunos da disciplina Linguagem de Programação porque esta apresenta questões cujas respostas são livres ou seja, porque os códigos podem ser feitos de diversas maneiras , enquanto a avaliação é dicotômica. Avaliaram-se os procedimentos didáticos do professor, a metodologia usada nas aulas, a linguagem de programação e o tempo usado para desenvolver o exercício proposto. Em uma das turmas experimentais, a teoria de Robert Mager foi aplicada para comparar o aprendizado dos alunos. Nessa teoria, os objetivos instrucionais preveem a declaração sobre o que o aluno vai receber de informação e se as compreendeu para ser capaz de usá-las após o término do curso. Concluiu-se que houve melhoria na habilidade e no desempenho dos alunos, isto é, aumento no conhecimento mensurável e demonstrável graficamente pelo modelo de Rasch. / Doutor em Ciências

Influenced by an ever-growing sense of alienation with my homeland, I have been determined to discover through my art practice an ability to challenge conventional notions of home, identity, communication and miscommunication. Exploring these themes, I became increasingly aware of the parallels between everyday life and art practice. By creatively connecting with a diverse amount of local people and their communities, I fulfilled desires to discover a sense of belonging and generated opportunities for others to break through traditional social boundaries and roles.

Cette étude s’organise autour d’une articulation : celle entre un médium (la photographie), une ville (Beyrouth), et les événements qui ont marqué son passé récent. Le thème des rapports entre la photographie et l’histoire, avec la pluralité de sens qui le décrit, vient, en arrière-fond de ces questions, délimiter l’horizon de cette étude ; le lien entre voir et savoir, antiquement aux sources de la connaissance historique (Hartog, Loraux), en représente la ligne de fuite. En premier plan, la relation photographique et historienne à l’événement constitue l’objet de cette recherche dont le propos est d’identifier dans la photographie une référence à l’histoire considérée en tant qu’écriture. Concrètement, cet argument se déplie sur deux mouvements. Il exige, dans un premier temps, une série d’analyses théoriques visant à étudier le potentiel de connaissance et le caractère formel de la photographie en qualité de représentation événementielle. En partant des expérimentations des avant-gardes (Lugon, Baqué), jusqu’au jumelage entre la photographie et la presse, il s’agira de montrer la part de lisibilité qui appartient aux narrations photographiques (Barthes, Lavoie). Ensuite, on prendra en considération le travail opéré par l’historien lors de l’opération historiographique visant à produire, autour de l’événement, une représentation historique (de Certeau, Ricœur, Ginzburg). Outre faire ressortir le caractère de visibilité qui appartient à l’écriture historienne, ce passage sera aussi l’occasion de produire une étude comparée de la photographie et de l’histoire (Kracauer) autour de notions ponctuelles, comme celles d’empreinte, d’indice et de témoignage. Le moteur de ce premier mouvement est la notion d’événement. Abordée d’un point de vue phénoménologique (Zarader, Marion, Dastur, Diano), elle nous permettra d’observer la photographie et l’histoire d’après la génétique de leur construction. Finalement, Beyrouth et son histoire façonnées par les images constituent le cadre à l’intérieur duquel s’organise le deuxième mouvement. Les analyses des œuvres de Sophie Ristelhueber (Beyrouth photographies, 1984), Robert Frank (Come again, 1991) et Lamia Joreige (Beyrouth, autopsie d’une ville, 2010) sont conçues comme autant d’espaces dialogiques entre la photographie, l’épistémologie de l’histoire et les événements historiques qu’elles représentent. Le propos est de faire ressortir le basculement qu’elles mettent en scène : de la chronique vers l’écriture d’histoire. / This study focuses on the connection between a medium (photography), a city (Beyrouth), and the events that have marked its recent past. The theme of the relationship between photography and history, with the plurality of meanings that describes it, defines the scope of this study. The link between seeing and knowing, which in Antiquity was the root of historical knowledge (Hartog, Loraux), represents its vanishing point. The photographic and historical relationship with the event constitutes the purpose of this research, the aim of which is to identify in photography a reference to history considered as writing. The argument of this dissertation unfolds in two stages. The first stage requires a series of theoretical analyses, which aim at studying the knowledge potential and the formal nature of photography as a factual representation. Starting with the experimentation of the avant-gardes (Lugon, Braqué), and exploring the twinning of photography and the press, our goal will be to demonstrate the part of readability that belongs to the photographic narratives (Barthes, Lavoie). We will then take into consideration the work accomplished by the historian during the historiographic process, aiming at producing an historical representation of the event (de Certeau, Ricoeur, Ginzburg). In addition to emphasizing the characteristic of visibility, which belongs to historical writing, this will also provide the occasion to produce a comparative study of photography and history through particular notions such as imprint, sign, and evidence. The driving force behind this first part is the notion of event. Broached from the point of view of phenomenology (Zarader, Marion, Dastur, Diano), it will enable us to analyze photography and history according to the genetics of their construction. Beyrouth and its history, shaped by images, are the context in which the second stage is organized. The analysis of the works of Sophie Ristelhueber (Beyrouth photographies, 1984), Robert Frank (Come again, 1991), and Lamia Joreige (Beyrouth, autopsie d’une ville, 2010) are conceived as dialogical spaces between photography, the epistemology of history and the historical events that they represent. The aim is to emphasize the shift they present in moving from chronicle to the writing of history.