Esta Dissertação cuja elaboração está focada em uma perspectiva histórico-dialética tem por objetivo analisar o processo de consagração do Patrimônio Cultural da Humanidade [UNESCO] e o Programa Monumenta [Municípios / Governo Federal / BID] a fim de identificar, em Diamantina cidade histórica do sertão mineiro através de uma análise crítica, como o par dialético preservação / mercantilização produz o espaço urbano em tela e como transforma a realidade e o imaginário do residente. Denominamos essa contradição como dialética da construção destrutiva, que envolve os bens culturais do mundo, na contemporaneidade. Esta dialética estabelece-se no próprio percurso de consagração do Patrimônio Mundial, quando temos, por um lado, a UNESCO, que luta pela preservação inconteste dos bens culturais e naturais do mundo, em contraposição à tendência contemporânea de mercantilização, banalização e destruição dos espaços da história, da memória, da cultura, da natureza e da vida, quando da implantação de um turismo negligente com a sociedade e com o lugar. Dialética da construção destrutiva que rebate sobre o espaço urbano, a cidade histórica viva enquanto totalidade, ao ser reconhecida, simultaneamente, como símbolo de cultura e de mercadoria. Assumimos uma postura crítica frente a simultaneidade da preservação e da mercantilização do patrimônio um processo contraditório dada a preponderância do caráter estético, fetichista, classista e de cenarização na apropriação das cidades históricas e na refuncionalização dos bens culturais, em detrimento ao seu valor de uso civilizatório. Analisamos esta realidade que se evidencia, incipientemente, em Diamantina (Patrimônio Mundial e mercadoria global), sobretudo, com a conquista da chancela da UNESCO e com a implantação do polêmico Programa Monumenta. Veremos que a cidade histórica, ao ser tomada pela indústria cultural por via de um turismo descompromissado com a sociedade e com o lugar, é destituída de sua particularidade no fortalecimento do sentimento de pertencimento ao lugar e na edificação da cidadania. Ante ao frénésie pela Lista do Patrimônio Mundial, que esboça a lógica mercantil que envolve os bens culturais, na atualidade, urge a implementação da gestão participativa dos lugares do patrimônio e o enfoque no planejamento da cidade histórica enquanto totalidade, não focado nos limites do núcleo tombado. Por fim, é no contexto da dialética entre o uso e a troca que se dá na apropriação do espaço urbano, e entre a preservação e a mercantilização do patrimônio cultural que direcionamos esta pesquisa, que identifica a fragmentação articulada propiciada pela dialética da construção destrutiva que impactua o território urbano de Diamantina, no sertão de Minas Gerais. / This dissertation - whose production is focused on a historical dialectic perspective - aims to analyze the process of consecration of the Cultural Heritage of Humanity [UNESCO] and Monumenta Program [Municipalities / Government / BID] to identify, in Diamantina historical city in Minas Geraiss backwoods through a critical analysis , as the dialectical pair preservation/ merchandising produces the urban space on screen and how changes the reality and the resident imaginary. We call this contradiction destructive dialectic of construction, which involves the cultural goods of the world, in the contemporary. This dialectic establishes itself in the path of the consecration of World Heritage, when we have, on the one hand, UNESCO, which fights for the preservation of cultural and natural worlds goods, as opposed to the contemporary trend of commercialization, trivialization and destruction of space of history, memory, culture, nature and life, where the deployment of a tourism careless with society and with the place. Dialectic of destructive construction that swings on the urban space, the historic city living as a whole, to be recognized as both the symbol of culture and commodity. We assume a critical posture in face of the simultaneity of the \"preservation\" and the commercialization of heritage - a contentious process - given the preponderance of the aesthetic character, fetishist, class and of giving background on ownership of historic towns and of giving refunction of cultural goods, rather than its value in civilization use. We analised this reality that there is, incipiently, in Diamantina (World Heritage and global commodity), especially with the conquest of the seal of UNESCO and with the deployment of the controversial Monumenta Program. We will see that the historic town, when taken by the \"culture industry\" through a tourism uncompromised with society and the place, is devoid of its particularity in the strengthening of the feeling of belonging to place and the edifying of citizenship. In face of the frénésie by the Worlds Heritage List, that outlines the commercial logic that envelops the cultural goods, in the present, urges the implementation of participatory management on places of the heritage and the approach of planning of the historical city as totality, not focused in the limits of the spot listed center. Finally, it is in the context of the dialectic between the use and exchange that occurs in the ownership of urban space, and between the \"preservation\" and the commercialization of cultural heritage that we directed this research, which identifies the articulated fragmentation provided by the dialectic of destructive construction that impacts the municipal area of Diamantina in the backwoods of Minas Gerais.

Submitted by Marcio Noveli (marcionoveli@yahoo.com.br) on 2013-03-05T13:50:15Z No. of bitstreams: 1 TESE MARCIO NOVELI 2013.pdf: 5213550 bytes, checksum: ec32da7d5c1562fbeea63c0e73a23045 (MD5) / Approved for entry into archive by Suzinei Teles Garcia Garcia (suzinei.garcia@fgv.br) on 2013-03-05T17:16:39Z (GMT) No. of bitstreams: 1 TESE MARCIO NOVELI 2013.pdf: 5213550 bytes, checksum: ec32da7d5c1562fbeea63c0e73a23045 (MD5) / Made available in DSpace on 2013-03-05T17:31:18Z (GMT). No. of bitstreams: 1 TESE MARCIO NOVELI 2013.pdf: 5213550 bytes, checksum: ec32da7d5c1562fbeea63c0e73a23045 (MD5) Previous issue date: 2013-02-06 / As Tecnologias de Informação e Comunicação (TIC) têm permitido, no contexto organizacional, que processos que dependiam da presença física dos envolvidos, sejam eles indivíduos ou objetos, em um mesmo lugar e ao mesmo tempo, ocorram sem esses limites. A explicação para esse fenômeno tem passado por diversos modelos e teorias, baseados em diferentes áreas e, a partir de vários níveis de análise, acompanhando a evolução das capacidades dessas tecnologias ao longo dos anos, inclusive na área de Sistemas de Informação (SI). Partindo dessa área, especificamente da corrente de estudos que assume que processos tornam-se virtuais quando as TICs usadas para viabiliza-los são adotadas/utilizadas pelos indivíduos envolvidos no processo, essa pesquisa delimitou-se a estudar empiricamente a divergência acerca da adequação dos mundos virtuais, para a virtualização do processo ensino-aprendizagem, partindo de um modelo geral, baseado na Teoria de Virtualização de Processo (TVP), com o objetivo de identificar a relação entre os requisitos de um processo e as capacidades das TICs na virtualização de um processo. Para isso, utilizou a estratégia de estudo de casos múltiplos, que contou com 3 casos e diversas fontes de evidências, permitindo, por meio de técnicas de análise de conteúdo: (1) identificar cinco constructos que se destacaram como requisitos do processo ensino-aprendizagem, inclusive um constructo adicional ao modelo da TVP, duas capacidades dessa tecnologia, três indicadores da virtualização, além de três outros fatores que estiveram presentes nesse processo; (2) descrevê-los quanto a como eram avaliados e (3) mapear como estavam associados, a partir da perspectiva dos participantes do processo. Isso possibilitou identificar um quadro sistematizado de relações entre os fatores identificados e avaliados, o qual aponta que capacidades das TICs estão relacionadas ao preenchimento de requisitos de processo, viabilizando a virtualização, e que outros fatores identificados estão envolvidos na virtualização de um processo. / Information and Communication Technologies (ICT) have allowed that, in the organizational context, processes which depended on the physical presence of those involved, individuals or objects, at the same place and time, occur without these limits. The explanation for this phenomenon has gone through several models and theories, based on different areas and from different levels of analysis, following the evolution of the capabilities of these technologies over the years, including in the area of Information Systems (IS). From this area, specifically from the group of studies which assumes that processes become virtual when the ICT used to enable them are adopted/used by individuals involved in the process, this research was delimited to an empirical study on the divergence about the adequacy of virtual worlds in teaching-learning process virtualization, starting from a general model based on the Process Virtualization Theory (PVT), aiming to identify the relationship between the requirements of a process and the capabilities of ICTs in a process virtualization. Thus, it was used the multiple case studies strategy, which included 3 cases and various sources of evidence, allowing, through techniques of content analysis: (1) identify five constructs which stood out as requirements of the teachinglearning process , including an additional construct to the PVT model, two capabilities of this technology, three indicators of virtualization, plus three other factors that were present in this process, (2) describe them as to how they were evaluated and (3) map how they were associated, from the perspective of the participants in the process. It also identified a systematic framework of relations between the factors identified and evaluated, which indicates that ICT capabilities are related to the filling of the process requirements, enabling virtualization, and other factors identified are involved in process virtualization.

Cette thèse se penche sur les parcours et les pratiques d’artistes numériques naviguant au sein des secteurs multimédias de Montréal. L’étude des parcours de onze artistes numériques montréalais nous a permis de constater que leurs pratiques de production en arts numériques ne sont pas réductibles aux logiques de production propres à un seul lieu, que ce soit une entreprise privée, un centre d’art numérique ou encore l’université. La question du maintien de ces pratiques amène à prêter attention aux pluralités des éléments qui informent leurs [re]constitutions perpétuelles, ce qui appelle de nouveaux modes de théorisation des parcours d’artistes numériques et de leurs pratiques. Nous proposons une nouvelle manière de penser ces parcours - en tant que trajectoires - pour mettre en valeur la pluralité des modes d’articulation de ces pratiques. Elles sont ainsi considérées du point de vue de leurs médiations coconstitutives avec différents éléments. Nous avons isolé trois ensembles d’éléments pour rendre compte du maintien des pratiques en arts numériques et au travers desquels ces dernières déploient leurs multiples effectivités. Le premier ensemble recouvre les technologies intervenant dans la pratique en arts numériques. Le deuxième ensemble a trait au milieu des arts numériques et aux modes de l’organisé afférents. Enfin, le troisième ensemble traite du rapport entre les mondes de l’entreprise et la pratique en arts numériques. Ces trois ensembles d’éléments participent de diverses manières à la constitution, au maintien et à la singularisation de pratiques en arts numériques qui déploient leurs effectivités largement au-delà d’un espace social circonscrit ou spécialisé. / This thesis examines the paths and practice of digital artists navigating within the multimedia sector of Montreal. Through the study of the paths of eleven digital artists based in Montreal we found that their production practices in digital arts can not be reduced to the logic of production specific to a single place, whether a private company, a digital arts center or university. The issue of maintaining these practices leads one to pay attention to the plurality of elements that inform their perpetual [re]constitutions. This requires new ways of theorizing digital artists’ paths and practices. We propose a new way of thinking these paths - as trajectories - to highlight the plurality of ways the digital art practices are articulated. They are thus considered in terms of their co-constitutive mediations with different elements. We have identified three sets of elements to account for the maintenance of the practices in digital arts and through which these unfold their multiple effectivities. The first set covers the technologies intervening in digital art practices. The second set relates to the digital arts community and the organizational modes proper to those locales. Finally, the third set deals with the relationship between the worlds of business and practice in digital arts. These three sets of elements are involved in various ways to the establishment, maintenance and singularity of digital arts practices that deploy their effectivities far beyond a circumscribed or specialized social space.

Cette thèse retrace la formation de deux mondes professionnels de la danse hip hop française, du soutien à sa reconnaissance artistique par des institutions et des politiques publiques au milieu des années 1980 à sa dualisation au sein de deux réseaux de production distincts observés au début des années 2000. Cette étude s’appuie sur l’analyse des carrières de plusieurs représentants des deux premières générations de danseurs hip hop français. Elle repose sur le recueil de documents d’archives, d’interviews de professionnels de la danse hip hop, sur l’analyse d’un corpus d’évènements diffusés en région parisienne de 2007 à 2012, sur des séances d’observations menées au cours de ces représentations et sur l’examen des chaînes de coopérations contribuant à leur réalisation. Ces données mettent en évidence les processus conduisant à la formation de deux modèles de professionnalisation et de reconnaissance du genre, défendant des conceptions différentes de la discipline : l’une fondée sur une danse hip hop de création bénéficiant d’une reconnaissance artistique institutionnelle, l’autre se référant à une danse hip hop de compétition se développant en marge des mondes de l’art et de toute reconnaissance officielle. Ces deux mondes se caractérisent dans leur capacité à incarner des voies d’insertion professionnelle pour les artistes et pour l’ensemble des individus dédiant leur activité à la production du genre. / This thesis explores the development of two professional worlds of French hip hop dance, from its initial public support and artistic recognition in the 1980s to its split into two distinct production networks in the 2000s. This study focuses on the analysis of the careers of the first two generations French hip hop dancers in order to understand how these two dance types were established. It is also based on a collection of archives and interviews of various hip hop professionals. Finally, this thesis also analyzes the development of various hip hop events in the Parisian region between 2007 and 2012, the collaboration required to produce them and several observations during these performances. The information thus acquired shows the processes leading to the formation of two models of professional French hip hop dance genres, and their recognition by distinct networks. These two types of French hip hop dance differ mainly in the aspect of the genre that they primarily based on: the first is a creative type of hip hop dance, recognized by the artistic community; the second is a competitive type of hip hop dance, developing behind the scenes of the art world, without any official recognition. These two worlds of French hip hop dance can therefore coexist, and provide professional opportunities for various artists and others who are active in the dance community.

Que ce soit au niveau des musées, du marché de l’art et des collections privées, Paris se défini aujourd’hui comme une place centrale de l’activité du monde des arts d’Afrique Noire. Outre l’actualité muséographique des arts d’Afrique Noire, avec l’inauguration en avril 2000 de la salle du pavillon des Sessions au musée du Louvre, puis l’ouverture du musée du quai Branly en juin 2006 ; Paris doit aussi sa place de capitale du monde des arts d’Afrique Noire par la centralisation des activités du marché de l’art de cette spécialité en son sein.D’ailleurs, nos travaux montrent que le rôle joué par la sphère privée des marchands et des collectionneurs est primordial dans l’homologation esthétique et la définition de la hiérarchie des valeurs esthétiques aujourd’hui admises dans la spécialité des arts d’Afrique Noire.Cette thèse de doctorat est aussi l’occasion de rappeler pourquoi le monde des arts d’Afrique Noire est une invention des pays de culture occidentale et permet d’appréhender avec plus d’objectivité l’appropriation occidentale du patrimoine artistique ancien et traditionnel issu de l’Afrique Subsaharienne / Whether it’s at the level of museums, the art market, or private collections, Paris is defined today as a central place of world activity, for ‘Black African’ arts. Beyond the reality, museographically speaking of Black African arts, with the inauguration of the Pavillion Hall of Sessions at the Louvre Museum in April 2000, and then the opening of the Quai Branly Museum in June 2006 ; Paris also credits it’s positions as the world’s capital of Black African arts by the centralisation of the art market’s activities of this speciality in it’s heart.Elsewhere, our works show that the role played by the private sphere of traders and of collectors is primordial in the aesthetic homologation and the definition of the hierarchy of aesthetic values today admitted in the speciality of ‘Black African’ arts.This doctorate thesis is also the occasion to recall why the world of ‘Black African’ arts is an invention of countries of western character, and allows to apprehend with more objectivity to western adapatation of ancient artistic heritage and traditional descent from the Sub-Saharan Africa.

<!--[if !mso]> <object classid="clsid:38481807-CA0E-42D2-BF39-B33AF135CC4D" id=ieooui></object><mce:style><! st1\:*{behavior:url(#ieooui) } --> Traditional education have for long been remaining without major changes made to the actual system. Up until very recently, there has been reluctance towards making fundamental and dramatic changes to the system, but as societies change and develop by mirroring on past experiences, new minds and new ways of thinking emerge suggesting changes and new developments. Consequently, new educational approaches such as e-learning and virtual learning have emerged. Lately, technology has been transforming and developing than ever before and the demand for modifying accordingly to new technology has become a prerequisite for all industries and institutions. Already with e-learning, a derived concept is worthy of notice. Authenticity, meaning validity and accuracy, has been imposed as one major issue when it comes to e-learning, and also v-learning. The main goal of this thesis is to present answers and suggestions to the following research questions: Ø  What value does a virtual education method create for the students? Ø  What implications are there for an education through Second Life and what is the significance of such an environment? Ø  What are the main auxiliary instruments or tools that enhance authenticity and the achievement of high presence in a virtual environment? This research adopted an inductive approach using a qualitative research. The characterizations of knowledge used were descriptive knowledge, normative knowledge, explanatory research and evaluating research for the respective research questions. As a result of collaborating with Kalmar University, Sweden’s first Second Life course “Oral Production” was observed and to intensify the results, an interview was held with the course’s lecturer. The results were thereon analyzed and scrutinized based on the Empirical Findings, Theoretical Framework – consisting of mainly pedagogical theories and of articles concerning virtual learning environments. The conclusion of this research entails the answers for the research questions. An education via a virtual environment is a development of e-learning, which is an enhancement of a traditional physical education. All students are persuaded to be active and participate in learning, which also promotes interconnectedness between students and teacher. Students can do role-playing and do presentations without feeling embarrassed about their “real” identities being represented. Main auxiliary instruments include virtual presentation boards, audio to communicate with each other and the avatar to direct the speech. Additionally, to enhance high presence in a virtual environment, involving all students with creative exercises seems to be another means in achieving high presence in a virtual environment.

Denna uppsats undersöker vad spelare vill uppleva i sitt karaktärsskapande iolika spel. Syftet med arbetet har varit att få bättre förståelse för vad enanvändare vill ha ut av sin karaktär och sitt karaktärskapande.Frågeställningen i arbetet löd: ”Vad är för en designer viktigast att tänka pånär man designar en karaktärsskapande del i ett spel?” Förhoppningen varatt få en djupare förståelse för karaktärsskapandets karaktär för att bättrekunna designa den karaktärsskapande delen i ett spel. Undersökningengenomfördes med en kvalitativ metod för att belysa frågorna djupare. Förstskapades en kvalitativ intervju, och efter intervjuerna skapades tre nyafrågor som lades ut på två internetforum med inriktning mot MMORPGs.De spelare som verkade vara mest intresserade av karaktärsskapande ochprocessen kring karaktärsskapandet, var de spelare som ibland ägnade sig åtrollspelande. De spelare som delvis eller helt ägnade sig åt Player versusPlayer verkade ha svårt att se någon mening med att skapa en identitet ellerett unikt utseende överhuvudtaget. Det viktigaste som framkom iundersökningen var att man måste känna sin publik. Som designer behöverman veta för vilka spelstilar man designar spelet. De faktorer som varviktiga för spelarna, för att kunna fördjupa sig i sina karaktärer, var att deraskaraktärer hade möjligheten att bli unika. / This paper is focused on a better understanding of what computer gameplayers want to get out of their character and the character creation. Thequestion addressed in the paper was: "What is most important for a designerto consider when designing a character-creation part of a game?" The aimwas to gain a deeper understanding of the nature of the character creationprocess in order to better design the character creation part of future games.The study has been conducted with a qualitative method to illuminate thequestions in more depth. First, a qualitative interview was made, and afterthe interviews, three new questions were created, which were then postedon two Internet forums focusing on MMORPGs. The players who were themost interested in character creation and the process of this, were theplayers who sometimes engaged in role play. The players who partially orfully engaged in Player versus Player combat, had difficulties seeing anypoint in creating an identity or a unique look at all. The most importantthing that emerged from the investigation was that the designer needs toknow his audience. As a designer, you need to take into account whatplaying styles you design the game for. The important factors for theplayers to immerse themselves in their characters, was that their characterscould be made unique.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work presents an approach of game-based learning using a serious game called Software Testing Team Game. It is a three-dimensional multiplayer game developed in the virtual world OpenSim. This game simulates the software testing division of a software development company. It aims to provide knowledge related to software testing strategies, motivate students, and encourage skills such as communication and problem solving. The main difference between this game and others is its integration with the Learning Management System Moodle, which allows teacher to edit game challenges throughout each of the levels, using the Questionnaire tool, so that the game adapts to different undergraduate computing curricula. The game also enables students to export test cases created by them in the game to the test management tool TestLink, in order that they are given the opportunity to interact with a tool used by professionals and also to directly apply the knowledge acquired. The assessment of the game was performed in a class of Computer Engineering undergraduate students in the Software Engineering Discipline. This assessment showed positive results, considering that learners succeed to achieve learning objectives. Students enjoyed playing the game more than learning in a traditional way, which in this study corresponds to a list of exercises. So, we conclude that the use of the game can collaborate on software testing education. These positive results got in the assessment motivate other experiments. / Este trabalho apresenta uma abordagem de aprendizagem baseada em jogos utilizando o jogo sério denominado Jogo da Equipe de Teste de Software (JETS), que é um jogo em três dimensões, multiplayer e foi desenvolvido no mundo virtual OpenSim. Esse jogo simula o setor de Teste de Software de uma empresa de desenvolvimento de sistemas e visa a proporcionar conhecimentos relacionados com Estratégias de Teste de Software, motivar os estudantes e estimular habilidades como comunicação e resolução de problemas. O principal diferencial do JETS é sua integração com o Ambiente Virtual de Ensino-Aprendizagem (AVEA) Moodle, que permite ao professor editar os desafios das fases por meio da ferramenta questionário, de modo que o jogo se adapte aos diferentes currículos dos cursos de graduação em computação. O JETS também permite a exportação dos casos de teste criados no jogo para a ferramenta de gerenciamento de Teste de Software TestLink, proporcionando aos estudantes o contato com uma ferramenta utilizada por profissionais e a aplicação direta dos conhecimentos adquiridos. A avaliação do JETS foi realizada em uma turma do curso de Engenharia da Computação na disciplina de Engenharia de Software. Essa avaliação teve resultados qualitativos muito positivos, pois, segundo os próprios estudantes, os objetivos de aprendizagem foram atingidos. Além disso, os estudantes relataram, em sua maioria, gostar de jogar o JETS e disseram, ainda, preferir esse tipo de atividade (jogo sério) à tradicional neste trabalho, representada por uma lista de exercícios. Portanto, foi possível perceber que a utilização do JETS pode ser uma alternativa promissora no processo de ensino-aprendizagem do conteúdo de Teste de Software. De modo que os resultados positivos obtidos na avaliação do JETS incentivam a realização de outros experimentos.

IVETA PASTYŘÍKOVÁ: ORDER, PROGRESS, AND IDEAL GOVERNMENT IN CLAUDIAN'S EPIC DE RAPTU PROSERPINAE ABSTRACT The aim of the diploma thesis is to show how late Ancient poet Claudius Claudianus deals with the problem of ideal government in the mythological epic De Raptu Proserpinae, by which strategies he exhorts his reader to evaluate Jupiter's rule in the world of the poem and to compare it with the situation in the real world. The chosen method is the theory of fictional worlds. Firstly, the thesis outlines the relation between the fictional world of the epic and the real world, then, the attention is paid to the essential question of this fictional world, ideal government. The thesis presents the prefaces of the epic as entrances into the fictional world foreshadowing topics elaborated in the world of the poem, where the ruler Jupiter has a difficult task ahead of him: to harmonize progress with protection against chaos. The last chapter summarizes the author's strategies and compares the epic with Claudian's other poems.

(in English): Our thesis is titled The Open Work? Swann in love and it's film adaptation. Our primary aim is not only to summarize the most famous theories about the openness of the work but also to apply these theories directly to the book Swann in love and subsequent comparison of the literary and film adaptation of the story. We have divided the thesis into three chapters. The first one is methodological overview. In our thesis we will deal with several phenomena from the field of literary science. We will be interested mainly in the character of the reader and the author and the different roles attributed to them by different theories. We will look closely at the differences between the empiric and model reader and the author, deal with the openness of the work, the difference between the subjects of the author, the narrator and the main characters, and we will also look into the theory of fictional worlds. We chose the work of Umberto Eco as a theoretical basis, but we also draw some ideas from the work of other literary theorists. In the second chapter, these theories will be applied to the specific passages of the book Swann in love. Let's get into the fictional world of Swan's love and watch the surroundings. We will try to conclude what the reader of this work should be, what mistaken...