Esta pesquisa aborda a influência de métodos e técnicas da interpretação do ator no contexto do cinema brasileiro moderno, quando o trabalho, o estilo e os métodos de interpretação do Teatro de Arena encontraram seu desdobramento no estilo de interpretação de atores, em filmes precursores e clássicos do Cinema Novo. Para isso vamos identificar quais as influências técnicas desta interpretação, como o sistema de Stanislavski, o método do Actors Studio, o efeito de distanciamento de Bertold Brecht. Na análise de cenas e sequências de filmes focalizo no trabalho dos atores a interação com a estética, a câmera e a montagem, para a compreensão destas influências. Assim analiso o desempenho de Gianfrancesco Guarnieri no filme O Grande Momento de Roberto Santos, 1958; Nélson Xavier no filme Os Fuzis de Ruy Guerra, 1963; Paulo José em O Padre e a Moça de Joaquim Pedro de Andrade, 1965; Othon Bastos no filme Deus e o Diabo na Terra do Sol de Glauber Rocha, 1963, único não-representante do Teatro de Arena, mas que consolidou sua carreira de teatro na Bahia e mais tarde no Grupo de Teatro Oficina em São Paulo. Estes atores fazem parte do florescimento de uma nova abordagem de interpretação teatral, influenciados pelo estudo das técnicas e na ênfase em retratar o homem brasileiro deste momento sociopolítico e cultural. Os cineastas do Cinema Novo, que buscavam estéticas alternativas e novas formas de diálogo com a realidade brasileira, vão encontrar nestes intérpretes as parcerias para a realização de seus filmes. Sendo assim, esta pesquisa busca um aporte original à questão, e parte da experiência do teatro para fazer a análise do trabalho do ator brasileiro no cinema, levando em conta as diferenças de técnica e de condições do trabalho, mas pensando tais diferenças como o lugar de um mútuo aprendizado que evidencia muito bem tudo o quanto há de comum entre o teatro e o cinema. / This study addresses the influence of acting methods and interpretation techniques in the context of modern Brazilian cinema, when the work, style and interpretation methods of the Teatro de Arena were prominent in the styles of actors\' interpretations in the classic Cinema Novo films and their precursors. The technical influences of interpretation will be identified, such as Stanislavksi\'s system, the Actors Studio method, and Bertold Brecht\'s estrangement effect. In the analysis of film scenes and sequences, I focus on the actors and their interaction with the esthetics, the camera, and the set, to better understand these influences. Thus, I analyze the performance of Gianfrancesco Guarnieri in Roberto Santos\' 1958 film The Grand Moment; Nélson Xavier in Ruy Guerra\'s 1963 film The Guns; Paulo José in Joaquim Pedro de Andrade\'s 1965 film The Priest and the Girl; and Othon Bastos in Glauber Rocha\'s 1963 film Black God, White Devil. Othon Bastos, the only actor not representative of the Teatro de Arena, spent his formative theatrical years in the state of Bahia and later in the Grupo de Teatro Oficina in the city of São Paulo. These actors represent the flourishing of a new approach to theatrical interpretation, influenced by the study of techniques and by the emphasis on portraying Brazilians in their social, political and cultural context. The Cinema Novo filmmakers, seeking alternative esthetics and new ways to engage the Brazilian reality, find in these actors the partners they need to make their works. Thus, this study seeks to make an original contribution to the question, analyzing the work of Brazilian actors in cinema based on experience in the theater, taking into account the differences in technique and working conditions, but thinking of these differences as providing space for mutual learning, clearly demonstrating the extent of commonalities between theatre and cinema.

Today, the impact of information technologies on education field is ever more clarified with the integration of new tools and methods to the education. Education has been becoming away from the traditional classroom environment through virtual environment. Besides education of theoretical disciplines, education of practice based disciplines, like design related disciplines are moving toward virtual environments. One of these is Industrial Design (ID) education which also has made the transition to the virtual world. This thesis aims to explore and scrutinize the latest forms of ID education, especially the online distance ID education. In order to comprehend the technological progress of ID education and its possible future, an overview of the origins and an evaluation of the current state of distance online ID education are made. By this study, it is expected to shed light to the design educators and the educational systems&rsquo / developers, for designing these environments. At the end of this research, it is concluded that it is not possible to imagine a future of ID education without technology integration. However, it would be better to apply both technological and traditional methods. In fact, the key people in the development of these educational systems and tools would be the designers themselves.

The subject of this diploma thesis is a theater and film production of Ladislav Smoljak. The thesis aims to discover consistent elements in his extensive work and define the poetics of the artist. The attention is focused primarily on his humor. Next goal is to define Smoljak's creative approach in relation to Zdeněk Svěrák; his long-time work partner. His work is mainly examined by textual analysis and analysis of the final productions. Theatrical productions: Vyšetřování ztráty třídní knihy made for Divadlo Járy Cimrmana, Hymna aneb Urfidlovačka, Fantom realistického divadla Zdeňka Nejedlého for Studio Jára (later renamed Studio Láďa) and Malý říjen for Divadlo Na Zábradlí. Movies: Jáchyme, hoď ho do stroje!; Marečku, podejte mi pero!; Na samotě u lesa; Kulový blesk; Vrchní, prchni!; Jára Cimrman ležící, spící; Rozpuštěný a vypuštěný and Nejistá sezóna. The author of the thesis used the findings in order to define Smoljak's understanding of humor as the way how to communicate about issues related to the very nature of humanity.

Traditional Asian theatre genres have fascinated western audiences since the end of the 19th century. In my thesis, I focused on the means by which Jiří Frejka, a leading representative of Czech avant- garde theatre, dealt with that trend. Through Japanese, Chinese and Indian texts, he verifies new possibilities of all elements of theatre production - the stage, music and, primarily, the actor and his voice and movement. Thanks to prompt books, photographs, reviews and other materials from Frejka's estate stored in the National Museum, the archive of the National Theatre and the Moravian Museum in Brno, I assess these individual elements of theatre production in connection with traditional Asian genres and I seek mutual parallels, sources of inspiration and, primarily, the manner in which Frejka adapted them to his own directorial work. The objective of this work is to confirm the previous thesis that, in the case of Jiří Frejka, deeper study of the topic led to a fundamental shift in the manner of bringing these "foreign" sources of inspiration into the Czech environment, which moved away from a merely decorative function toward an internally linked and well-founded method. Key words Czech theatre avant-garde, Asagao, Modern Studio, Lady Precious Stream, Shakuntala, The Post Office

Esta pesquisa aborda a influência de métodos e técnicas da interpretação do ator no contexto do cinema brasileiro moderno, quando o trabalho, o estilo e os métodos de interpretação do Teatro de Arena encontraram seu desdobramento no estilo de interpretação de atores, em filmes precursores e clássicos do Cinema Novo. Para isso vamos identificar quais as influências técnicas desta interpretação, como o sistema de Stanislavski, o método do Actors Studio, o efeito de distanciamento de Bertold Brecht. Na análise de cenas e sequências de filmes focalizo no trabalho dos atores a interação com a estética, a câmera e a montagem, para a compreensão destas influências. Assim analiso o desempenho de Gianfrancesco Guarnieri no filme O Grande Momento de Roberto Santos, 1958; Nélson Xavier no filme Os Fuzis de Ruy Guerra, 1963; Paulo José em O Padre e a Moça de Joaquim Pedro de Andrade, 1965; Othon Bastos no filme Deus e o Diabo na Terra do Sol de Glauber Rocha, 1963, único não-representante do Teatro de Arena, mas que consolidou sua carreira de teatro na Bahia e mais tarde no Grupo de Teatro Oficina em São Paulo. Estes atores fazem parte do florescimento de uma nova abordagem de interpretação teatral, influenciados pelo estudo das técnicas e na ênfase em retratar o homem brasileiro deste momento sociopolítico e cultural. Os cineastas do Cinema Novo, que buscavam estéticas alternativas e novas formas de diálogo com a realidade brasileira, vão encontrar nestes intérpretes as parcerias para a realização de seus filmes. Sendo assim, esta pesquisa busca um aporte original à questão, e parte da experiência do teatro para fazer a análise do trabalho do ator brasileiro no cinema, levando em conta as diferenças de técnica e de condições do trabalho, mas pensando tais diferenças como o lugar de um mútuo aprendizado que evidencia muito bem tudo o quanto há de comum entre o teatro e o cinema. / This study addresses the influence of acting methods and interpretation techniques in the context of modern Brazilian cinema, when the work, style and interpretation methods of the Teatro de Arena were prominent in the styles of actors\' interpretations in the classic Cinema Novo films and their precursors. The technical influences of interpretation will be identified, such as Stanislavksi\'s system, the Actors Studio method, and Bertold Brecht\'s estrangement effect. In the analysis of film scenes and sequences, I focus on the actors and their interaction with the esthetics, the camera, and the set, to better understand these influences. Thus, I analyze the performance of Gianfrancesco Guarnieri in Roberto Santos\' 1958 film The Grand Moment; Nélson Xavier in Ruy Guerra\'s 1963 film The Guns; Paulo José in Joaquim Pedro de Andrade\'s 1965 film The Priest and the Girl; and Othon Bastos in Glauber Rocha\'s 1963 film Black God, White Devil. Othon Bastos, the only actor not representative of the Teatro de Arena, spent his formative theatrical years in the state of Bahia and later in the Grupo de Teatro Oficina in the city of São Paulo. These actors represent the flourishing of a new approach to theatrical interpretation, influenced by the study of techniques and by the emphasis on portraying Brazilians in their social, political and cultural context. The Cinema Novo filmmakers, seeking alternative esthetics and new ways to engage the Brazilian reality, find in these actors the partners they need to make their works. Thus, this study seeks to make an original contribution to the question, analyzing the work of Brazilian actors in cinema based on experience in the theater, taking into account the differences in technique and working conditions, but thinking of these differences as providing space for mutual learning, clearly demonstrating the extent of commonalities between theatre and cinema.

Abstract Speed of information, uncertainty and complexity are increasing in the work-life of the knowledge worker. In addition, solving complex and wicked global problems require cooperation skills as well as ability to learn in collaboration across the disciplines, meaning skills in crossing boundaries. These requirements set new challenges for educating knowledge workers in higher education. Metaskills, such as learning by utilising networks, communication and critical thinking, have become as essential as discipline-specific skills. Metaskills combined with discipline-specific skills are called T-shaped skills. Individuals possessing these skills, so-called T-shaped professionals, are exposed to the experience and the knowledge of other disciplines and thus are recognised as carrying the skills for crossing boundaries. This dissertation examines how a Finnish studio-based pedagogical approach to bachelor education, the LAB Studio Model (LSM), contributes to the education of boundary crossing competence. This qualitative dissertation utilises exploratory as well as design research as its research approach and contains four original publications. First, the characteristics of LSM and the utilisation of studio-based practices in higher education are studied by conducting literature reviews. Second, the internal and external boundary crossing activities are studied by performing case studies, where the new knowledge creation and establishment of learning networks are in focus. Empirical data has been collected by conducting web-based surveys, theme-based student and student team interviews, direct observation, and participative observation. The outcome of this dissertation suggests that LSM offers a potential educational model for learning the skills of boundary crossing, resulting in a T-shaped skill base. The results of this dissertation include new findings on how commonly studio-based education is utilised world wide in higher education, how LSM differs from the existing configurations that utilise the studio-based model in higher education, as well as active internal and external boundary crossing among students. This dissertation contributes to the discussion of university-society collaboration by the new learning configurations, and to the interdisciplinary education of knowledge workers. The results of this dissertation can be utilised in the development of studio-based configurations in higher education. / Tiivistelmä Tiedonvälittämisen nopeus, epävarmuus ja monimutkaisuus lisääntyvät tietotyöläisten työssä. Lisäksi yleismaailmallisten ja monimutkaisten ongelmien ratkaisemisen vaatima monialainen yhteistyö, sekä yhdessä oppiminen edellyttävät taitoja erilaisten rajojen ylittämiseen. Nämä vaatimukset asettavat uusia haasteita tietotyöläisten korkeakoulutukselle. Metataidot, kuten vuorovaikutustaidot, verkostojen avulla oppiminen ja kriittinen ajattelu, ovat tulleet yhtä tärkeiksi kuin alakohtaiset taidot. Metataidot yhdistettyinä alakohtaisiin taitoihin muodostavat niin kutsutut T-malliset taidot. T-mallisia taitoja omaavat ammattilaiset ovat altistuneet muiden alojen ammattilaisten kokemuksille ja tietotaidolle, ja siten omaavat taitoja rajojen ylittämiseen monialaisissa työryhmissä. Tämä väitöskirja pyrkii vastaamaan kuinka suomalaisessa korkeakoulussa kehitetty, studiomallinen ja monialainen tietotyöläisten koulutusmalli, LAB-malli, vastaa rajojen ylittämisen taitojen kouluttamisen haasteeseen. Tutkimus toteuttaa laadullista tutkimusstrategiaa käyttäen eksploratiivista ja kehittämistutkimuksen lähestymistapaa tutkimusprosessissaan. Alkuperäiset julkaisut keskittyvät studiomallin hyödyntämisen yleisyyteen korkeakoulutuksessa maailmanlaajuisesti, LAB-mallin ominaisuuksiin studiomallina ja opiskelijoiden rajojen ylittämiseen monialaisen koulutuksen aikana. Ensimmäinen julkaisu keskittyy LAB-mallin ominaisuuksien analyysiin ja toinen studiomallin hyödyntämisen selvittämiseen kirjallisuuskatsauksien avulla. Kolmas julkaisu keskittyy rajojen ylittämiseen koulutuksen sisällä uuden tiedon tuottamisen teorian kautta ja neljäs koulutuksen ulkopuolisten rajojen ylittämiseen oppimisverkostojen muodostamisen kautta. Tutkimus tehtiin keräämällä tietoa kyselyillä, teemapohjaisilla opiskelija- ja tiimihaastatteluilla, sekä suoralla, että osallistuvalla tarkkailemisella. Tämä väitöskirja osoittaa, että LAB-malli tarjoaa koulutusmallin rajojen ylittämisen oppimiseen ja siten T-mallisten taitojen oppimiseen. Tulokset osoittavat, että studiomallin hyödyntäminen on lisääntynyt korkeakoulutuksessa, LAB-malli on omaleimainen verrattuna muihin studiomallia noudattaviin korkeakoulutuksiin ja että koulutuksen aikana opiskelijat ylittävät rajoja aktiivisesti. Tämä väitöskirja osallistuu keskusteluun korkeakoulujen yhteiskunnallisesta yhteistyöstä, sekä monialaisen ja studiomallisen oppimisen mahdollisuuksista tietotyöläisten kouluttamisessa. Tämän väitöskirjan tuloksia voidaan hyödyntää edelleen kehitettäessä studiomallisia korkeakoulujen oppimisympäristöjä.

Main topic of this thesis is description of sound post production in advertising and in the film film industry and making case study of company Studio Beep s.r.o. First aim of this thesis is describe as clearly as possible the theory of sound and sound post production in advertising and in film industry and also show specifics accompanying production of sound in each discipline. The theoretical part contains basic overview about history of sound, sound dramaturgy and about general principles of sound post production. Second aim is practical description of this issue on specific advertising and film projects, which were realized in Studio Beep s.r.o. Practical description helps us with understanding whole issue and with complementing the theoretical part.

The thesis deals with the processing and detection of specific objects in the image on the Android mobile platform. The main objective of this work was to design and then implement a mobile application for Android operating system, which allows control of pipetting processes based on images from a mobile device camera. The OpenCV library is used in the application for image processing. The resulting application should serve primarily in laboratories as a tool for complete analysis of the pipetting process. The work is divided into two main chapters, which further consist of sections and smaller subsections. The first chapter is devoted to the theoretical analysis of this work. Here is also describes used technology, Android operating system, OpenCV library and important parts of image processing. The second chapter deals with the proposal and subsequent practical solution of this work. There is a proposal and the following procedure for solving this work, important techniques, methods of processing and analysis of the camera image. The conclusion of the thesis is an evaluation of the results of the solution of this work.

This work describes the latest developments of program Autodesk Inventor Professional 2008, particularly aimed at Inventor Studio. There is the manual created for this program describing individual tools and their utilization in Inventor Studio. Further this paper shows the animation possibilities on simple models from power electrical engineering. Finally a measurement has been taken and a data evaluation of EC motor has been made with an object animation which represents the assembly process of this motor.

The purpose of this study is to introduce the ten documents, written in the Italian language, registered by Riksarkivet, Stockholm. The oldest document being written in 1346 and the last one in 1520, they all belong to the European medieval period. The study provides the texts (sometimes contracted, sometimes partly translated from Latin), the cultural backgrounds to the texts and possible reasons why they are written in Italian. An additional question concerning the existence of people in Medieval Sweden who were able to read and understand Italian texts is discussed. The importance of the extension of the Italian language in the Mediterranean area as well as in the Levant is referred to as an explanation of the use of Italian in the documents. Important motives of the fact that some of the documents are being found in the Swedish archive are the activities of the Swedish Expeditions to the Vatican library as well as the life of Bridget of Sweden, who played an outstanding role in the political, cultural and political life in Europe in the fourteenth century. A short background to the studies at the Studio of Siena of a number of Swedish students is given and also to the foundation of the University of Uppsala. The study is concluded by presenting an evaluation of the ten documents.