Submitted by Programa de Pós-Graduação em Mídia e Cotidiano (ppgmc@vm.uff.br) on 2017-05-02T19:37:53Z No. of bitstreams: 1 DISSERTACAO_TATIANE0911.pdf: 2863924 bytes, checksum: 9ee997acbc3cf3b0be61b5a0bf63ab54 (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-06-19T14:42:25Z (GMT) No. of bitstreams: 1 DISSERTACAO_TATIANE0911.pdf: 2863924 bytes, checksum: 9ee997acbc3cf3b0be61b5a0bf63ab54 (MD5) / Made available in DSpace on 2017-06-19T14:42:25Z (GMT). No. of bitstreams: 1 DISSERTACAO_TATIANE0911.pdf: 2863924 bytes, checksum: 9ee997acbc3cf3b0be61b5a0bf63ab54 (MD5) / Capes / O presente trabalho se propõe a analisar as experiências dialógicas entre cinema e educação a partir do projeto Cinema para Todos, de oficinas de audiovisual no Estado do Rio de Janeiro. Partindo das relações entre Mídia e Cotidiano, refletirá sobre o cinema como estratégia comunicacional que vai do ambiente escolar até a experiência do espaço urbano como forma de compartilhamentos sensíveis e estímulo às invenções coletivas - essenciais à formação do ser. Tal análise tem lugar num momento da atualidade1 onde sujeito e sociedade sofrem importantes mudanças, a escola como meio de reprodução de práticas sociais passa por uma crise sem precedentes e parece haver uma transformação do político na sociedade atual em detrimento de um fortalecimento cada vez maior das mídias no cotidiano. Deste modo busca-se compreender em que medida a experiência sensível com o cinema pode gerar vinculações sociais dos alunos em relação a seus pares e às suas comunidades. Ao longo da pesquisa foi delineado um caminho cujos eixos centrais se sustentam no método de pesquisa de campo, pesquisa qualitativa com entrevistas em profundidade, pesquisa quantitativa com entrevistas fechadas e revisão bibliográfica para pensar o papel do audiovisual na intervenção do cotidiano e na mediação com a sociedade através dos conceitos de cinema (BENJAMIN, 2012; BERGALA, 2008), vinculação social (SODRÉ, 2010), educação (SODRÉ, 2012; SIBILIA, 2012), héxis educativa (SODRÉ, 2010) e experiência sensível (MAFFESOLI, 1998) / This paper is intended to analyze the dialogue between cinema and education from the Cinema for All project, audiovisual workshops in public schools of the State of Rio de Janeiro. Based on the relationship between Media and Everyday Life, reflect on the cinema as communication strategy in the school environment as a way to share sensitive experiences and stimulate collective inventions - essential to the formation of the. This analysis takes place at a time where the current subject and society suffer major changes, the school as a means of reproduction of social practices goes through an unprecedented crisis and there seems to be a political emptying in today's society rather than a strengthening of growing media in everyday life. We seek to understand the extent to which sensory experience with cinema can generate social ties of students in relation to their peers and their communities. During the research was outlined a path whose central axes are supported in the field of research method, qualitative research with in-depth interviews, quantitative research with closed interviews and literature review to consider the role of audiovisual in everyday intervention and mediation with society through the film concepts (BENJAMIN, 2012; Bergala, 2008), social connection (SODRÉ, 2010), education (SODRÉ, 2012; SIBILIA, 2012), educational héxis (SODRÉ, 2010) and sensory experience (MAFFESOLI, 1998)

Fundação de Amparo a Pesquisa no Estado do Rio Grande do Sul / We come upon critical about to dance and doing dance through techniques or "nontechnical" based in the repetition and copying movements, studies that warn us to the necessity of theoretical insights to legitimize dance and to dance as an expression and communication. Thinking about Wheelchair Dance (DCR) as a manifestation of increasing dance in search of spaces beyond the standardization of movements and gestures, we traced as the central objective of this study was to establish relationships between the Theory of "Self - Move Human" with the DCR teaching. To do this, we long constitute theorists deepening about the Dance that originated notes on aspects inherent the theme, as expressiveness, sensitivity, perception, body and creativity. From this we outline of intervention possibilities for DCR teaching. We understand that they ought not to study, research, write about Dance, one consisting phenomenon of imperceptible variables, by following a predefined method, based on certain assumptions. We commit to develop a theoretical research, a reflection on Dance, incited to argue and write about this phenomenon, enabling new syntheses go to meet the sense and meaning from our study, of our work. We find, in the dialogic relationship movement, possibilities for "doing dance" of expressive and communicative way, taking into account the senses and meanings intertwined in the movement of the subject danceable. / Deparamo-nos com as críticas acerca do dançar e do fazer dança por meio de técnicas ou não técnicas embasadas na repetição e cópia de movimentos, estudos que nos alertam à necessidade de aprofundamentos teóricos para legitimar a Dança e o dançar enquanto expressão e comunicação. Pensando na Dança em Cadeira de Rodas (DCR) enquanto uma manifestação de Dança crescente em busca de espaços para além da padronização de movimentos e gestos, traçamos como objetivo central deste estudo estabelecer relações entre a Teoria do Se-Movimentar Humano com o ensino da DCR. Para isso, ansiamos constituir aprofundamentos teóricos sobre a Dança que originaram apontamentos sobre aspectos inerentes ao tema, como expressividade, sensibilidade, percepção, corpo e criatividade. A partir disso, delineamos possibilidades de intervenção para o ensino da DCR. Compreendemos que não convém estudar, pesquisar, escrever sobre a Dança, um fenômeno constituído de variáveis imperceptíveis, seguindo um método predefinido, alicerçado em pressupostos determinados. Comprometemo-nos a desenvolver uma pesquisa teórica, uma reflexão sobre a Dança, incitados a argumentar e a escrever sobre esse fenômeno, possibilitando às novas sínteses ir ao encontro do sentido e do significado do nosso estudo, do nosso trabalho. Encontramos, na relação dialógica de movimento, possibilidades para um fazer dança de forma expressiva e comunicativa, levando-se em consideração os sentidos e os significados imbricados no movimento do sujeito dançante.

Cette thèse présente l’expérience de l’Extrême-Orient que Claudel a vécue et a écrite dans ses œuvres poétiques pendant trois périodes successives: la période chinoise (1895-1909), la période japonaise (1921-1927), et la période post-japonaise (1927-1955). En tant que « poète catholique », Claudel prête plus attention que les autres écrivains-voyageurs français à toutes sortes de formes spirituelles manifestées dans l'univers chinois ou japonais. Cependant, sa quête du spirituel ne se borne pas à une réflexion métaphysique pure, mais se superpose toujours à une perception « physique », mobilisée lorsqu'il se promène dans le monde réel ou artistique de l’Extrême-Orient. Le « corps » y joue un rôle important et se présente comme un mode de connaissance privilégié, permettant à Claudel d’accéder à un monde d’altérité jusqu’alors inconnu pour lui. Étant donné les riches dimensions du «corps » qui constituent l’« expérience sensible » de Claudel en Extrême-Orient, nous divisons notre thèse en deux parties, selon deux volets principaux (le paysage et l’écriture) qui témoignent par excellence de la relation étroite mais complexe entre le corps et l’âme, entre le sensible et le spirituel chez cet explorateur de l’Asie. Dans la première partie consacrée à son expérience du paysage, notre attention est non seulement prêtée au cadre réel, aux multiples excursions que Claudel effectue dans les régions naturelles des deux pays, mais aussi au cadre littéraire et artistique, afin de révéler les inspirations qu’apporte la représentation extrême-orientale du paysage à sa création des nouvelles formes poétiques. Dans la deuxième partie, centrée sur son expérience de l’écriture,nous étudions respectivement sa perception de l’idéogramme chinois, sa pratique de la calligraphie orientale et son adaptation des petits poèmes chinois et japonais. Sous une perspective transculturelle et comparatiste, nous essayons de dégager les références chinoises et japonaises qui associent aussi étroitement l’expérience sensible à la compréhension du spirituel, afin de dévoiler dans quelle mesure Claudel s’éloigne ou s’inspire de ces sources de l’Autre et comment celles-ci l’amènent à enrichir son expression poétique et à réaliser sa vocation religieuse dans une création littéraire absolument originale. / This thesis presents the experience of the Far East that Claudel lived and wrote in his poetic works during three successive periods: the Chinese period (1895-1909), the Japanese period (1921-1927), and the post-Japaneseperiod (1927-1955). As a "Catholic poet", Claudel pays more attention than other French traveler-writers to allkinds of spiritual forms manifested in the Chinese or Japanese universe. However, his search for the spiritual is not limited to a pure metaphysical reflection, but is always superimposed on a "physical" perception, mobilized when he walks in the real or artistic world of the Far East. The "body" plays an important role and presents itself as a privileged way of knowing, allowing Claudel to enter into a world hither to unknown to him. Given the rich dimensions of the "body" that make up Claudel's "sensible experience" in the Far East, we divide our thesis into two parts, according to two main aspects (landscape and writing) which demonstrate par excellence the close but very complex relationship between the body and the spirit, between the sensible and the spiritual in this explorer of Asia. In the first part focused on his experience of the landscape, our attention is not onlygiven to the real framework, to the multiple excursions that Claudel completes in the natural regions of the two countries, but also to the literary and artistic framework, in order to reveal the inspirations that the oriental representation of landscape brings to its invention of new poetic forms. In the second part, centered on his experience of writing, we study respectively his perception of the Chinese ideogram, his practice of oriental calligraphy and his adaptation of short Chinese and Japanese poems. From a cross-cultural and comparative perspective, we try to point out some Chinese and Japanese references that also closely associate the sensible experience to the understanding of the spiritual, in order to reveal to what extent Claudel diverges from or is inspired by these sources from the Other, and how the latter lead him to enrich his poetic expression and to accomplish his religious vocation in a literary creation absolutely original.