Thesis (M.F.A.)--Boston University

À travers une entrée par l’activité, cette recherche se donne pour objet la compréhension des processus selon lesquels le sujet construit son expérience en réélaborant ses « habitudes d’activités ». L’analyse de l’activité de plusieurs médecins du travail lors de consultations avec les salariés des entreprises dont ils assurent le suivi, nous permet de réaliser l’hypothèse selon laquelle le dialogue qui s’y déroule constitue pour ces acteurs un moyen privilégié de conduire leur action de prévention, mais également d’apprendre au contact d’autrui. En mobilisant la théorie de « l’enquête » de J. Dewey, nous montrons comment ces médecins sont susceptibles de transformer les habitudes qui orientent leur action, lorsqu’ils sont confrontés à une situation insuffisamment déterminée. Nous pensons que ces transformations qui se réalisent dans et par l’action, constituent au fil du temps, une des voies privilégiées du « travail de l’expérience » du sujet en situation professionnelle. / By focusing on the activity, this research aims to understand the process through which the subject constructs his experience by re-developing his “activity habits”. By analyzing the activities of a number of occupational health physicians during their consultations with patients (who are business employees), we may hypothesize that the dialogue which unfolds between the physicians and the patients is a means for physicians to take preventative action and to connect with others. By mobilising J. Dewey’s theory of the “inquiry”, we show how these physicians may transform the habits that orient their action when they are confronted with a situation that is insufficiently determined. We think that these transformations take place in and through actions, constituting

Orientador(a): Carminda Mendes André / Banca: Ricardo Carvalho de Figueiredo / Banca: Samir Signeu Porto Oliveira / Resumo: Nesse trabalho, apresentamos reflexões teóricas e práticas sobre Improvisação Teatral na Educação de Jovens e Adultos. Investigamos aspectos políticos inerentes à educação e ao teatro tendo como fundamento teórico os trabalhos pedagógicos de Paulo Freire (2015a), que estabelecem relação direta entre as intencionalidades políticas e as práticas educativas a serem observadas para que a aprendizagem não seja opressora, mas sim libertadora; os estudos filosóficos de Jacques Rancière (2011), ao apresentar a política como uma interação coletiva em que todos/as se sintam como iguais e possam se manifestar, sendo o reconhecimento da igualdade das inteligência fator determinante para que haja emancipação; e as propostas teatrais de Augusto Boal (2013), que evidenciam que todo teatro é político, a partir das quais ele desenvolve o Teatro do Oprimido, deixando clara a sua atuação criadora em favor de uma ação política transformadora. Desenvolvemos nossa pesquisa em três escolas de Educação de Jovens e Adultos (EJA) da rede municipal pública de São Bernardo do Campo. Exercitamos, com quatro turmas diferentes, vivências de improvisação teatral a fim de observar como experiências teatrais podem contribuir no processo de ensino e aprendizagem dos/as educandos/as, no mesmo sentido daquilo que os autores que estudamos consideram a ação política, ou seja, como fator determinante para a emancipação e libertação. As metodologias que propusemos nas experiências práticas foram: Jogos Teatrais... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: In this dissertation, we present theoretical and practical reflections on Theatrical Improvisation in Youth and Adult Education. We investigate inherent political aspects in education and theater. In this regard, we analyze the pedagogical works of Paulo Freire (2015a), which establish a direct relation between the political intentions and educational practices to be observed so that the learning is not oppressive, but liberating; the philosophical studies of Jacques Rancière (2011), in presenting politics as a collective interaction in which all feel equal and thus can manifest themselves, being the recognition of the equality of intelligences a determinant factor to achieve emancipation; and the theatrical proposals of Augusto Boal (2013), which show that every theater is political and develops the Theater of the Oppressed, making clear its creative activity in favor of a transformative political action. Our practical research was developed in three schools of Youth and Adult Education (EJA), of the public municipal network of São Bernardo do Campo. With four different classes, we performed theatrical improvisation experiences with the purpose of observing how theatrical experiences can contribute to the teaching and learning process of the students, in the same sense that the studied authors understand political action as a determining factor for the emancipation and liberation. The methodologies proposed in the practical experiences were: the Theatrical Games... (Complete abstract click electronic access below) / Mestre

The Medium and the Message investigates the incorporation of Afro-Cuban trance techniques in Western theatrical performance. Through art practice and research, I am asking two questions: how do performers, trained in Western theatrical contexts, articulate their experience with Afro-Cuban trance techniques? And how can my research methodologies illuminate the inherent intercultural tensions in ways that are productive for performance practitioners and theorists? To answer these questions, I created four new works of theatrical performance where I developed a method for performers, utilizing Afro-Cuban rituals adapted for non-practitioners. Working toward a phenomenological understanding of what is happening when a performer incorporates a character, I drew on the ritual knowledge of trance possession in Lukumí and Palo Monte in order to examine how ontologies might speak to each other in artistic practice. I also served as advisor for the creation of a fifth work in order to test the method outside of my studio. I constructed a studio practice methodology, called kanga (from the Bantu for tying and untying), using three methods based on aspects of Afro-Cuban ritual, and modified for performance contexts: spell, charm, and trance. This methodology enacts and complicates distinctions between performance and ritual, serving as a contribution to respectful and responsible intercultural performance practices. My research-led practice includes autobiographical writing and auto-ethnography under a phenomenological research methodology that uses three methods for data collection: formal recorded interviews, video footage of the studio work, and regular rehearsal debriefings. The overall methodology, bridging theory and practice, is bricoleur, drawing from ethnography, psychoanalytic theory, and phenomenology. Both research and studio work led to the articulation of a state of consciousness in performance that I call hauntological. This borrows from Derrida (1994: 10) but is redefined to refer to a state of being where reality is co-constituted by the living and the dead, where ancestral spirits are invoked to do the work once reserved for characters. Finally, this led to the construction of a creative artifact called The Ghost Lounge, an art work that evokes a hauntological state of consciousness in the viewer.

Este estudo questiona os modos pelos quais a autora experienciou possibilidades de presença, através da ausência na sua atuação, no espetáculo Cinco Tempos para a Morte, do grupo teatral porto-­‐alegrense Usina do Trabalho do Ator (2010). Articula‐se a noção de ausência com reflexões acerca da produção de presença, desenvolvidas pelo pesquisador alemão Hans Ulrich Gumbrect (2010) e com o pensamento de Walter Benjamin (1993) sobre a experiência. Toma‐se a ideia de experiência como algo que pode ser narrado. Problematiza‐se a ausência relacionando‐a com o jogo cênico de reações sutis, silêncios, pequenos movimentos, imobilidades sustentadas, gestos de proporções reduzidas, ausência de iniciativas, estabelecimento de um vazio interior e retenção de informações que possibilitem leituras interpretativas do espectador. Descreve‐se o processo criativo de cinco figuras criadas pela autora nesse espetáculo e compartilham‐se elementos do processo de criação correspondente a cada uma delas. Relaciona‐se a ausência à imobilidade, à presença, à omissão, ao real e à experiência. A pesquisa se aproxima do pensamento de Jacques Copeau, Corinne Enaudeau, Yoshi Oida, Eugen Herrigel, Étienne Decroux, Eugenio Barba, Georges Banu, Ariane Mnouchkine, Peter Brook, Zeami, Martin Jay, entre outros. Esta investigação observa modos por intermédio dos quais os efeitos de presença, no jogo próximo da ausência, podem ser percebidos com maior ou menor intensidade em relação aos efeitos de sentido impostos pelas interpretações. / This study questions the ways through which its author experienced possibilities of presence, through the absence in her acting, at the play “Cinco Tempos para a Morte ” (Five rounds to death), by the theater company Usina do Trabalho do Ator, 2010, Porto Alegre. The notion of absence is articulated through reflections upon the production of presence, developed by German researcher Hans Ulrich Gumbrecht (2010) as well as the thought of Walter Benjamim (1993) on the experience. The idea of experience is taken as something that can be told. Absence is brought up as it is related to the scene of subtle reactions, silence, small movement, sustained immobility, gestures of minimized proportions, absence of initiative, the setting of an empty inner space and the holding of information that might enable the spectator to build interpretative readings. The creative process of five dramatic figures created by the author is described in this performance and elements belonging to the creation process of each one of them will be shared. Absence is related to mobility, to presence, to omission, to what is real and to the experience. This study comes close to the thoughts of Jacques Copeau, Corinne Enaudeau, Yoshi Oida, Eugen Herrigel, Étienne Decroux, Eugenio Barba, Georges Banu, Ariane Mnouchkine, Peter Brook, Zeami, Martin Jay, among others. Such survey looks into ways through which the effects of presence, in a game close to absence, may be perceived with more or less intensity concerning the meaning effects imposed by interpretation.

Made available in DSpace on 2015-09-17T15:26:29Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-05-28. Added 1 bitstream(s) on 2015-09-17T15:45:34Z : No. of bitstreams: 1 000846709.pdf: 1378680 bytes, checksum: 37bad6fce3c0157227ab5f84bb71fee7 (MD5) / O campo de pesquisa no qual este trabalho se insere é o das intricadas relações entre literatura e cinema, e seu objeto de estudo é Guerra conjugal (1975), adaptação cinematográfica de Joaquim Pedro de Andrade, um dos expoentes do Cinema Novo, para alguns contos de Dalton Trevisan, um dos mais importantes escritores em língua portuguesa. Tomando-se o esforço adaptativo por tradução crítica e, portanto, nada afeito à exigência de fidelidade à obra original, o objetivo deste trabalho consiste em demonstrar, mediante análise do seguimento narrativo fílmico dedicado à decadente figura vampírica de Nelsinho, a orientação antropofágica que (1), em sentido positivo, norteia o método criativo do cineasta, cuja obra mantém estreito e fértil diálogo com a literatura nacional, mas sem a ela se submeter; e (2), agora em chave negativa, permeia as batalhas amorosas registradas em Guerra conjugal, em sua declarada intenção de dominar, impor-se, enfim, devorar o outro através do sexo, em tratamento que alinha o filme a ao menos duas grandes tendências do cinema de então: o sexo como bandeira política e o retrato da decadência via crônica da vida privada. Para a consecução de tal objetivo, procurar-se-á identificar os contos-base de Dalton Trevisan utilizados para a composição da trajetória de Nelsinho no longa-metragem, bem como os principais expedientes da literatura do escritor curitibano, sem deixar de considerar o contexto de explosão do gênero conto no Brasil entre as décadas de 1960-1970. Em seguida, analisarse- á pormenorizadamente a narrativa do filme-resultado, procurando-se evidenciar o modo como Joaquim Pedro traduziu os contos, ao reelaborar a literatura de Trevisan no interior de um gênero cinematográfico de amplo apelo popular, a pornochanchada, a cujos traços mais recorrentes o cineasta adere, em princípio, apenas para subvertê-los na sequência / The research field in which this work can be inserted in is that of the intricate relations between literature and cinema, and its subject matter is Guerra conjugal (1975), a film adaptation by one of the exponents of Cinema Novo in Brazil, Joaquim Pedro de Andrade, for some short-stories by Dalton Trevisan, one of the most important writers in Portuguese. Taking the adaptive effort as a critical translation and not at all accustomed, therefore, to the requirement of fidelity to the original work, the objective of this research is to demonstrate, by the analysis of the filmic narrative sequence dedicated to the decadent vampire figure of Nelsinho, the anthropophagic orientation that (1), in a positive sense, guides the creative method of the filmmaker Joaquim Pedro, whose work holds closely and fruitful dialogue with the Brazilian literature, but without undergoing the books; and (2), now in a negative way, permeates the loving battles of Guerra conjugal, which characters' intentions are to dominate, to impose, finally, to eat each other through the sexual experience, in a choice that lines up the film to at least two major inclinations of the cinema from that decade: sex as a political banner and the picture of decay through the chronic of private life. To achieve this goal, efforts will be made to identify the short-stories by Dalton Trevisan used for the composition of Nelsinho's path along the film as well as the main literary expedients of the writer from Curitiba, while considering the context of growth of the short-story in Brazil between the decades 1960-1970. Then it will be tried to analyze in details the narrative of the film adaptation, in a way to highlight how Joaquim Pedro translated the short-stories to the screen, rewriting Trevisan's literature in a filmic genre of a broad popular appeal, the pornochanchada, to which recurring features the filmmaker adheres in principle just to subvert them after

Submitted by Lafaiete Santos Santiago (lafaiete.santiago@ucsal.br) on 2016-11-14T14:40:36Z No. of bitstreams: 1 FERREIRA SA 2014.pdf: 1184053 bytes, checksum: 640e2a69c6cfee48a9bfac369151de86 (MD5) / Approved for entry into archive by Rosemary Magalhães (rosemary.magalhaes@ucsal.br) on 2017-01-13T14:06:55Z (GMT) No. of bitstreams: 1 FERREIRA SA 2014.pdf: 1184053 bytes, checksum: 640e2a69c6cfee48a9bfac369151de86 (MD5) / Made available in DSpace on 2017-01-13T14:06:55Z (GMT). No. of bitstreams: 1 FERREIRA SA 2014.pdf: 1184053 bytes, checksum: 640e2a69c6cfee48a9bfac369151de86 (MD5) Previous issue date: 2014-02-19 / A presente dissertação analisa o dever do Estado em promover a igualdade de gênero. Assim, são considerados os direitos fundamentais à isonomia, intimidade, dignidade da pessoa e livre determinação sexual. Nesse contexto, a liberdade sexual está inserida como viés dos direitos humanos. Também são enfocados no trabalho os aspectos relevantes que permitem a efetivação desses direitos, especialmente no que concerne à livre determinação sexual. O cerne da pesquisa, entretanto, não é a garantia em abstrato prevista na Constituição Federal, mas sim, a maneira de implementação de tais direitos fundamentais por parte do Estado, com enfoque na concretização, seja pelas políticas públicas, pelas soluções judiciais, ou até mesmo pelos diversos instrumentos normativos que venham a tornar a lei fundamental indene de dúvidas e ratificar um ambiente favorável à sedimentação desses direitos. No Estado Constitucional Democrático brasileiro, encontram-se, em contínua relação, os direitos humanos fundamentais, a democracia e a jurisdição constitucional, impulsionando a força normativa dos direitos individuais (e os sociais), assim como a cidadania participativa e reivindicatória. Destarte as singularidades do direito fundamental à igualdade de gênero, com várias garantias dele decorrentes, deveres estatais prestacionais reconhecidos e progressivos conferem-lhe plena eficácia, exigibilidade e preferência nas colisões principiológicas. Precedentes do Supremo Tribunal Federal e Superior Tribunal de Justiça são analisados, evidenciando-se a ponderação utilizada para concretizar a isonomia. Com efeito, também, são estudados a contribuição do Poder Judiciário na pacificação de conflitos, bem como o papel do Poder Executivo através da implementação de políticas públicas, que impulsionam o processo de efetivação da igualdade de gênero, pois, ainda que restem situações, as quais efetivamente demandem uma solução legislativa mais enérgica e incisiva, sempre em busca da força normativa crescente no texto magno e perspectivas futuras de maximização, cumpre ao Estado promover a concretização constitucional. / This dissertation examines the state's duty to promote gender equality. So, are considered fundamental rights to equality, privacy, dignity and free sex determination. In this context, sexual freedom is inserted as bias of human rights. Are also focused on work relevant aspects that enable the realization of these rights, especially with regard to sexual self-determination. The focus of the research, however, is not guaranteed in the abstract provided in the Constitution, but the manner of implementation of these fundamental rights by the State , with a focus on achievement, either by public policy, the judicial remedies, or even by various normative instruments that may become law harmless from doubts and ratify an environment conducive to settling these rights. In the Brazilian democratic constitutional state, are in continuous relationship fundamental human rights, democracy and constitutional jurisdiction, boosting the normative force of individual rights (and social), as well as participatory citizenship and vindicatory. The singularities of the fundamental right to gender equality, with various warranties hereunder, state duties provided, recognized and progressiveness give it full effect, enforceability and preference in collisions of principles. Precedents of the Supreme Court and Superior Court are analyzed, revealing the weights used to achieve the right to equality. So, are studied the contribution of the Judiciary in the pacification of conflicts and the role of the executive branch through the implementation of public policies that drive the process of realization of gender equality, because even though there are still situations, which effectively demanding a legislative solution more forceful and incisive, always in search of normative force growing in the text magnum and future prospects of maximizing fulfills the State Constitutional promote achievement .

This thesis looks to explore the musical Cabaret through a critical, historical and political lens, with particular focus on Sally Bowles, questioning the creation and agency of this character in contrast with the political and societal values of various productions. Using a socio-political analysis, this thesis discusses the important relationship between politics and theater, using the pro-choice abortion movements of the 1960's as a way to understand Sally Bowles as a complex device for political and social commentary.

Exercise Induced Bronchoconstriction (EIB) is common amongst elite athletes. Short-acting β2-agonists represent the first-line treatment of EIB, however; limited data currently exists examining the ergogenic and pharmacokinetic impact of chronic short-acting β2-agonist administration. Furthermore, the ergogenic impact of acute and chronic administration of short-acting β2-agonists in asthmatic individuals is unknown. Whilst the short-acting β2-agonist salbutamol is permitted in and out of competition due to a known pharmacokinetic response, no urinary threshold has been established for the use of the alternative short-acting β2-agonist terbutaline. The purpose of study 1 was to investigate the ergogenic potential of the WADA upper daily limit of 1600 μg·day-1 salbutamol every day for 6 weeks versus placebo, alongside combined resistance and endurance training. Findings highlighted improvements in; 1 repetition maximum (1RM) bench press (Baseline: 65.6 ± 5.4 kg vs. 64.3 ± 4.9 kg – 6 weeks: 70.3 ± 4.9 vs. 72.5 ± 5.4 kg) and leg press (Baseline: 250 ± 26.9 vs. 217.9 ± 19 kg – 6 weeks: 282.5 ± 22.5 vs. 282.8 ± 18.3 kg); vertical jump test (Baseline: 53.5 ± 4.1 vs. 50.4 ± 2.1 cm – 6 weeks: 55 ± 3.5 vs. 52.4 ± 1.7 cm); 3 km running time-trial performance (Baseline: 988.7 ± 68.7 vs. 1040.5 ± 66.3 s – 6 weeks: 947.5 ± 54.9 vs. 1004.3 ± 70.5 s); isokinetic dynamometry (Baseline: 196.1 ± 47.3 vs. 184.6 ± 35.0 n.m. – 6 weeks: 179.5 ± 48.9 vs. 195.2 ± 28.9 n.m.); and body composition (Baseline: 32.1 ± 13.9 vs. 34.9 ± 10.4 mm – 6 weeks: 32.4 ± 14.5 vs. 34.5 ± 10 mm) for both the salbutamol group and the placebo group, respectively, over the 6 week period, with no difference observed between groups, indicating long-term therapeutic use of salbutamol at the WADA upper daily limit has no ergogenic effect. Of note, one participant exceeded the urinary threshold, presenting with an adverse 3 | P a g e analytical finding (AAF) showing that the upper daily limit can lead to AAF’s in susceptible individuals. Athletes who respond poorly to salbutamol treatment are able to apply for the use of the short-acting β2-agonist terbutaline via a therapeutic use exemption (TUE) certificate. Urinary upper limits are unknown for terbutaline and as such it is prohibited at all times without the presentation of a TUE. The purpose of study 2 was to investigate the urinary excretion of terbutaline following single and repeated use of inhaled or oral terbutaline. The aim of the study was to establish a differential distinction between routes of administration which could assist the WADA with regard to anti-doping policy and procedure. Results demonstrated a significant difference in urine concentration of terbutaline between inhaled and oral administration for female Caucasian (670.1 ± 128.3 vs. 361.8 ± 43.8 ng·ml-1; P=0.019; 680.8 ± 91 vs. 369.9 ± 41.9 ng·ml-1; P=0.006), male Afro-Caribbean (343.18 ± 45 vs. 231.3 ± 32.95 ng·ml-1; P=0.044; 389.73 ± 67.4 vs. 212.4 ± 50.3 ng·ml-1; P=0.008) and male Asian (266.4 ± 23.7 vs. 143.3 ± 22 ng·ml-1; P=0.004; 379.5 ± 50.4 vs. 197.5 ± 38.6 ng·ml-1; P=0.000) groups for single (5 mg oral vs. 2 mg inhaled) and repeated (4 x 5 mg oral vs. 8 x 1 mg inhaled) administration trials, respectively. No difference was observed in male Caucasians. High intra- and inter-individual variability between samples meant that a clear distinction between routes of administration could not be established. The study was able to identify an upper urinary threshold following inhaled administration of 1284.3 ng·ml-1 and an upper urinary threshold following oral use of 2376.3 ng·ml-1 which may inform the process of distinguishing between inhaled and oral use. Athletes are permitted to use inhaled terbutaline therapeutically through the TUE process. The purpose of study 3 was to investigate the ergogenic effect of terbutaline at high (2 mg and 4 mg) therapeutic inhaled doses on 3 km running time-trial performance in males and females. The 4 | P a g e study found that inhaled terbutaline, when used at the highest therapeutic dose, has no impact upon 3 km time-trial performance in males (956.3 s vs. 982 s) and females (1249 s vs. 1214.7 s) for placebo vs. 4 mg inhaled terbutaline, respectively. The majority of studies investigating the ergogenic potential of salbutamol have been in healthy individuals. It is not yet understood whether the exercise response differs in asthmatic individuals. The purpose of study 4 was to investigate the use of inhaled salbutamol (400 μg) during a 3 km running time-trial in eucapnic voluntary hyperpnoea positive (EVH+ve) and negative (EVH-ve) individuals, in a low humidity environment. Results demonstrated increased FEV1 in both groups following salbutamol inhalation, which did not translate to improved performance. No performance differences were found between salbutamol and placebo (Sal: 1012.7 ± 50 vs. 962.1 ± 37.5 s – Pla: 1002.4 ± 46.5 vs. 962 ± 28.8 s) in the EVH+ve group vs. the EVH-ve group, respectively. This thesis is the first to investigate the effects of long-term use of salbutamol at the WADA upper daily limit on exercise performance. It is also the first study to establish upper urinary thresholds for terbutaline use, and the effects of therapeutic inhaled terbutaline on exercise performance. The effect of salbutamol on exercise performance at low humidity in asthmatic individuals has also never previously been investigated. Overall, the findings from this thesis support previous research that inhaled β2-agonist use does not provide any ergogenic potential. With β2-agonists being an essential therapy for the treatment of EIB their current position on the WADA List of Prohibited Substances and Methods is appropriate. Further research is warranted to fully elucidate the upper urinary threshold for terbutaline to inform WADA and support the re-introduction of terbutaline as a therapeutic tool in the treatment of EIB in athletes.

Made available in DSpace on 2014-06-11T19:22:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-06-22Bitstream added on 2014-06-13T20:07:38Z : No. of bitstreams: 1 castilho_pl_me_ia.pdf: 1011777 bytes, checksum: 0826b5cd2a5a9b6a012fed90feeb1396 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Universidade Estadual Paulista (UNESP) / A proposta desse trabalho é promover uma reflexão acerca do encenador japonês Tadashi Suzuki (Japão, 1939-) no que diz respeito a sua contribuição para a arte do teatro e, mais especificamente, à questão da expressividade do ator. Suzuki parte da ideia da atuação como a expressão da consciência do ator numa investigação constante acerca da própria condição humana. Este trabalho pretende averiguar o papel do ator e a sua articulação com os demais elementos da poética cênica daquele que é considerado um dos maiores pensadores do teatro e da atuação na contemporaneidade / The purpose of this work is to promote a reflection on the Japanese director Tadashi Suzuki (Japan, 1939-) as regards his contribution to the art of theatre and, more specifically, the issue of actor’s expressiveness. Suzuki starts from the idea of performance as the expression of the actor’s consciousness in a constant research about the human condition. This work intends to investigate the role of the actor and his relationship with other elements of poetic scenic of a man who is considered one of the greatest thinkers of theatre and performance in contemporary times