Mode of access: World Wide Web. / Thesis (Ph. D.)--University of Hawaii at Manoa, 2004. / Includes bibliographical references (leaves 324-334). / Electronic reproduction. / Also available by subscription via World Wide Web / xii, 334 leaves, bound 29 cm

This dissertation considers the rhetorical use of the term “spontaneity” and action affiliated with it from the perspective of ethnomethodology, as a dynamic social practice emergent from concrete interactions among people. I first consider a variety of existing operationalizations of “spontaneity” in academic research from the perspective of what is ethnomethodologically accomplished by these operationalizations, i.e., what questions do they answer or attempt to answer? I then turn to a detailed rhetorical analysis of the term “spontaneity” as an ideograph in improvisational theatre, a social practice in which enactment of spontaneity is treated as criterial to identity and recognition of the practice. In this ideographic analysis, I consider both a set of popular improv method texts and a collection of interviews with improviers who relate narratives about their experiences or observations of spontaneity. I assess the rhetorical practices in these artifacts both through the operationalization framework I identify and from a critical perspective, asking how practices of spontaneity in improv relate to social structures and practices of privilege, oppression and power.

A matéria de que trata esta tese é a discussão do espetáculo Teatro-Esporte (tradução artística do método de improvisação teatral criado por Keith Johnstone) e suas contribuições para o trabalho do ator e para a formação de e do público de teatro. Este trabalho (desenvolvido por meio da discussão de situações reais, vivenciadas em treinamentos e apresentações do espetáculo) examina questões pertinentes ao processo de criação teatral, vistas sob a ótica dos fundamentos do referido método de improvisação, e como estes se materializam no espetáculo e em sua relação com o público. A partir desta análise, torna-se possível considerar a aplicação das ideias de Keith Johnstone como um caminho, tanto para o trabalho do ator na criação de cenas, personagens e narrativas, quanto para a construção do espetáculo, uma experiência teatral viva, na qual a imaginação e a espontaneidade ocupam lugar de destaque, enquanto uma pedagogia do espectador. / The subject matter of this thesis is the discussion of spectacle Theatresports (artistic rendering of the method of theatrical improvisation created by Keith Johnstone) and their contributions to the actors work as well as the formation to and of a theater audience. This work (developed through discussion of real situations that are experienced in training and presentations of the show) examines the issues that are pertinent to the process of theatrical creation, from the perspective of the grounds of the above mentioned method of improvisation and how they materialize in the show and their relationship to the audience. From this analysis, it becomes possible to consider the application of Keith Johnstones ideas as a way to both the work of the actor in creating scenes, characters and narratives as well as a construction of a spectacle, a lively theatrical experience in which imagination and spontaneity occupy a prominent position as a spectators pedagogy.

No description available.

A matéria de que trata esta tese é a discussão do espetáculo Teatro-Esporte (tradução artística do método de improvisação teatral criado por Keith Johnstone) e suas contribuições para o trabalho do ator e para a formação de e do público de teatro. Este trabalho (desenvolvido por meio da discussão de situações reais, vivenciadas em treinamentos e apresentações do espetáculo) examina questões pertinentes ao processo de criação teatral, vistas sob a ótica dos fundamentos do referido método de improvisação, e como estes se materializam no espetáculo e em sua relação com o público. A partir desta análise, torna-se possível considerar a aplicação das ideias de Keith Johnstone como um caminho, tanto para o trabalho do ator na criação de cenas, personagens e narrativas, quanto para a construção do espetáculo, uma experiência teatral viva, na qual a imaginação e a espontaneidade ocupam lugar de destaque, enquanto uma pedagogia do espectador. / The subject matter of this thesis is the discussion of spectacle Theatresports (artistic rendering of the method of theatrical improvisation created by Keith Johnstone) and their contributions to the actors work as well as the formation to and of a theater audience. This work (developed through discussion of real situations that are experienced in training and presentations of the show) examines the issues that are pertinent to the process of theatrical creation, from the perspective of the grounds of the above mentioned method of improvisation and how they materialize in the show and their relationship to the audience. From this analysis, it becomes possible to consider the application of Keith Johnstones ideas as a way to both the work of the actor in creating scenes, characters and narratives as well as a construction of a spectacle, a lively theatrical experience in which imagination and spontaneity occupy a prominent position as a spectators pedagogy.

What is an emotion, and what does an emotional reaction signify? In this thesis I critically defend Aaron Ben-Ze’ev’s theory of emotion as a mode of social engagement. Building on the idea that an emotional reaction is the opposite of indifference, emotions express one’s concerns. They are most intense with regard to the shifting dynamics of personal relationships and social status. Thus, in order to think well about social and personal issues, attention to emotional views of the world is paramount. The social concern of emotion opens what may seem private about our reactions to an interpersonal reading. Emotions are contrasted with an intellectual form of engagement, the latter being characterized by deliberative thinking, which focuses on generalities and stable patterns. Emotions, on the other hand, are more closely aligned with action tendencies and tend to disrupt detached styles of thinking by narrowing one’s focus to the emotion’s target. Because emotions express one’s concerns, Ben-Ze’ev argues that they tend to sincerely express our “profound values,” a view which I argue against. Building on Diane Meyers’s conception of the five-dimensional self, I argue that emotions are a source of deeply held convictions, but avoid conflating this with notions of sincerity. Instead, emotional concerns can be integrated into the cultivation of personal autonomy, in terms of self-definition and self-discovery. I apply this conception of emotion to the popular concept of emotional intelligence, and argue that emotional intelligence involves a capacity to handle with skill the emerging and chaotic urgency of emotional reactions.

No description available.

A presente pesquisa descreve, analisa e discute a exequibilidade de efetiva comunicação oral entre aprendizes em nível inicial de aprendizagem de FLE. Fundamentando-nos em Kerbrat-Orecchioni (1990; 1996) e Marcuschi (2003; 2008) descrevemos o funcionamento da interação verbal, explicitando seus fatores internos bem como as condutas que determinam esta prática. Apoiando-nos ainda em obras que defendem um ensino pautado na interação e na espontaneidade, como, por exemplo, Kramsch (1984), Schiffler (1991) e Massaro (2008) expomos suas contribuições para a área da didática do francês língua estrangeira. Analisando efetivas interações entre aprendizes inscritos em um Curso Experimental que oferecemos junto ao Serviço de Cultura e Extensão da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo, detectamos procedimentos de validação interlocutória (de caráter verbal, paraverbal e não verbal) utilizados para assegurar o sucesso da troca comunicativa espontânea na execução de tarefas linguageiras. A análise dos turnos de fala dos aprendizes evidenciou que a interação espontânea conduz naturalmente à colaboração na solução de problemas. Recorrendo frequentemente a reguladores e captadores, os aprendizes asseguram o pacto com o interlocutor, demonstrando assim seu engajamento discursivo na troca interacional em curso, ainda que pautado por restrições linguísticas características do nível inicial de aprendizagem de língua estrangeira. / The present research describes analyses and discusses the feasibility of effective oral communication of FFL (French as a Foreign Language) learners at an early stage. It is based upon Kerbrat-Orecchioni (1990; 1996) and Marcuschi (2003; 2008) and it describes how verbal interaction works, evincing its internal factors as well as the conducts that determine this practice. It also relies on books that defend the teaching grounded on interaction and spontaneity, as, for instance, Kramsch (1984), Schiffler (1991) and Massaro (2008) and it exposes their contribution to the teaching area of French as a foreign language. Analyzing effective interactions between learners enrolled in an Experimental Course offered in the Center of Culture and Extension of the Philosophy, Languages and Human Sciences College of the University of São Paulo, it has been noticed procedures of interlocutory validation (of verbal, paraverbal and non-verbal character) used to reassure the success of the spontaneous communication exchange in the execution of language tasks. The appraisal of the speaking turns of the apprentices has evidenced that the spontaneous interaction results in the collaboration of problem solving. Frequently recurring to regulators and receivers, learners ensure the agreement with the interlocutor, demonstrating, thus, their discoursive engagement in the interactional exchange in progress, despite its being based on linguistic restrictions, which are characteristic of the early stage of foreign language learning.

Chor-yung Cheung. / Bibliography: leaves 97-101 / Thesis (M.Ph.)--Chinese University of Hong Kong, 1986

Made available in DSpace on 2016-04-27T17:26:58Z (GMT). No. of bitstreams: 1 Claudia Regina Locoselli de Almeida.pdf: 572929 bytes, checksum: 75b7ac94bbcbc44c8c2ab22b6a88c3ef (MD5) Previous issue date: 2011-10-18 / The main focus of this research is to investigate the concept of Firstness, which principal feature on Peirce s phenomenology plan is drowned on the interiority of feelings. It is this category that defines the typical poet s experience, namely, which Peirce defines as `looking to the world as it appears itself in its Firstness, without mediations', diving the senses in the diversity of emerging qualities. Firstness suggests variety, spontaneity, rupture with continuum time, providing us with an aesthetic experience as something that would happens in a phenomenological environment highly marked by the possibilities to create new signs: the artist moves himself inside this freedom what is, in its essence, basically heuristic / O foco principal desta pesquisa é investigar o conceito de Primeiridade, cuja característica principal no plano da fenomenologia de Peirce desenha-se na interioridade dos sentimentos. É esta categoria que define a experiência típica do poeta, a saber, aquela que Peirce define como olhar para o mundo como ele se apresenta em sua presentidade, sem mediações , mergulhando os sentidos na diversidade de qualidades que surgem. A Primeiridade nos sugere variedade, espontaneidade, ruptura com o continuum temporal, nos proporcionando uma experiência estética como algo que se dá num ambiente fenomenológico altamente marcado pelas possibilidades de criação de signos novos: o artista movimenta-se dentro desta liberdade que é, em sua essência, fundamentalmente heurística