Made available in DSpace on 2016-04-29T14:23:38Z (GMT). No. of bitstreams: 1 Tarcisio de Sa Cardoso.pdf: 1957795 bytes, checksum: 2ec735b233e87e46a64f20519835aa98 (MD5) Previous issue date: 2015-09-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Interdisciplinary researches have been found problems using conceptual systems founded on philosophical dichotomies such as subject/object, mind/matter, human/non-human, which are often unable to cope with emergent properties, especially interesting for such studies. In order to contribute to a maturing of the discussion interested at the border more than in the center of the disciplines, this research will study the idea of mediation that the work of Bruno Latour has given rise in its construction of a non-dualistic theory. We believe that the notion of mediation, which appears in several parts his work, is a key concept to promote a non-dualistic thinking as it establishes a mediator ground between the poles built by modern philosophy. In this sense, the present research asks: how the concept of mediation appears in the reticular thinking of Bruno Latour and what it adds to modern thought? / Pesquisas interdisciplinares têm encontrado problemas em usar sistemas conceituais fundados em dicotomias filosóficas como sujeito/objeto, mente/matéria, humano/não humano, muitas vezes incapazes de dar conta das características emergentes, especialmente interessantes para tais estudos. Tendo em vista contribuir para um amadurecimento da discussão interessada mais nas bordas do que nos centros das disciplinas, o presente trabalho vai estudar o que a ideia de mediação ensejada na obra de Bruno Latour tem a acrescentar para a construção de modelos não dualistas. Acredita-se que a noção de mediação, que aparece em diversas obras do autor, seja um conceito-chave para fomentar um pensamento não dualista, pois instaura um fundamento mediador entre os polos construídos pela filosofia moderna. Neste sentido, esta pesquisa pergunta: como o conceito de mediação aparece no pensamento reticular de Bruno Latour e o que ele acrescenta ao pensamento moderno?

Le modèle de programmation à base d'acteurs a été intensivement utilisé pour le développement de grandes applications et systèmes. On citera par exemple la fonction chat de Facebook ou bien encore WhatsApp. Ces systèmes peuvent avoir plusieurs milliers d'utilisateurs connectés simultanément avec des contraintes fortes de performance et d'interactivité. Ces systèmes s"appuient sur des infrastructures informatiques basées sur des processeurs multi-cœurs. Ces infrastructures disposent en général d'un espace mémoire partagé et hiérarchique NUMA (Non-Uniform Memory Access). Notre analyse de l'état de l'art montre que peu d'études ont été menées sur l'adéquation des environnements d'exécution à base d'acteurs avec des plates-formes à mémoire hiérarchique. Ces environnements d'exécution font en général l'hypothèse que l'espace de mémoire est complètement plat, ce qui pose ensuite de sérieux problèmes de performance. Dans cette thèse, nous étudions les défis posés par les plates-formes multi-cœurs à mémoire hiérarchiques pour des environnements à base d'acteurs. Nous étudions plus particulièrement les problèmes de gestion mémoire, d'ordonnancement et d'équilibrage de charge.Dans la première partie de la thèse, nous avons analysé et caractérisé les applications basées sur le modèle d'acteurs. Cela a permis de mettre en évidence le fait que les exécutions des applications et benchmarks faisaient ressortir des structures de communication particulières que les environnements d'exécution se doivent de prendre en compte pour optimiser les performances. La prise en compte du graphe de communication et la mise en œuvre ont été effectuées dans un environnement d'exécution réel, la machine virtuelle (VM) du langage de programmation Erlang. Le langage de programmation Erlang s'appuie sur le modèle d'acteurs avec une syntaxe claire et cohérente pour la gestion des acteurs. Les modifications que nous avons intégrées à la machine virtuelle Erlang permettent d'améliorer significativement les performances grâce à une meilleure prise en compte de l'affinité entre des acteurs qui interagissent beaucoup. L'ordonnancement et la régulation de charge de l'application sont également améliorées grâce à une meilleure connaissance de l'application et de la topologie de la plate-forme. Une des perspectives serait d'intégrer ces contributions à d'autres environnements d'exécution à base d'acteurs, comme par exemple ceux des Kilim et Akka. / The actor model is present in several mission-critical systems, such as those supporting WhatsApp and Facebook Chat. These systems serve thousands of clients simultaneously, therefore demanding substantial computing resources usually provided by multi-processor and multi-core platforms. Non-Uniform Memory Access (NUMA) architectures account for an important share of these platforms. Yet, research on the the suitability of the current actor runtime environments for these machines is very limited. Current runtime environments, in general, assume a flat memory space, thus not performing as well as they could. In this thesis we study the challenges hierarchical shared memory multi-core platforms present to actor runtime environments. In particular, we investigate aspects related to memory management, scheduling, and load-balancing.In this document, we analyze and characterize actor based applications to, in light of the above, propose improvements to actor runtime environments. This analysis highlighted the existence of peculiar communication structures. We argue that the comprehension of these structures and the knowledge about the underlying hardware architecture can be used in tandem to improve application performance. As a proof of concept, we implemented our proposal using a real actor runtime environment, the Erlang Virtual Machine (VM). Concurrency in Erlang is based on the actor model and the language has a consistent syntax for actor handling. Our modifications to the Erlang VM significantly improved the performance of some applications thanks to better informed decisions on scheduling and on load-balancing. As future work we envision the integration of our approach into other actor runtime environments such as Kilim and Akka.

Esta pesquisa consiste em um estudo da atenção na cena teatral. Para embasar teoricamente a pesquisa foi feito um levantamento das teorias postuladas pela ciência da atenção em toda a sua interdisciplinaridade, em especial dos estudos de Hugo Munsterberg (2004), nos quais pela primeira vez a atenção aparece como conceito operatório para a análise do trabalho do ator em sua relação com o espectador. Partindo deste panorama inicial foi proposta uma revisão dos escritos de Stanislávski (2010), Brecht (1967), Kracauer (2009), Benjamin (1985), Lehmann (2007), Desgranges (2009) e Rancière (2010), demonstrando a importância da atenção em seus escritos e esclarecendo os pontos de vista de cada um destes teóricos sobre o tema. Baseado nesse conhecimento, o terceiro capítulo estuda a atenção na prática das atrizes Isabel Teixeira e Julia Lemmertz nos espetáculos Rainhas: duas atrizes em busca de um coração e Maria Stuart. Intercalando o que foi assistido e os discursos das atrizes sobre a atenção buscou-se mapear os procedimentos utilizados por elas para lidar com a atenção, seja a sua ou a do espectador e, o grau de consciência envolvido nesta operação. Por fim, de posse deste material, realizou-se uma experiência prática pautada pela atenção, do treinamento até a apresentação, tendo em vista aferir a eficácia da atenção como método de criação da cena, submetido a diferentes percepções dos espectadores. / This research consists in a study on the issue of attention at the theatrical scene. The theoretical basis for the research was a survey of the theories postulated by the science of attention, taking its interdiciplinarity into account, especially of Hugo Munsterbergs (2004) studies, in which, for the first time, the attention appears as an operative concept for the analysis of the actor\'s work in its relationship with the audience. From this initial scenario was proposed a review of the writings of Stanislavski (2010), Brecht (1967), Kracauer (2009), Benjamin (1985), Lehmann (2007), Desgranges (2009) and Rancière (2010), demonstrating the importance of the attention in their thought and clarifying their views on the subject. Based on that knowledge the third chapter studies the attention in the practice of the actresses Julia Lemmertz and Isabel Teixeira in the performances Rainhas: duas atrizes em busca de um coração and Maria Stuart. Considering the interweaving of the scenes and the speeches of the actresses, it was made a map of procedures that they had used to deal with the attention and to understand the level of consciousness necessary in this operation. Finally, with all this material in hands, a practical experience guided by attention issue, from the training to the presentation, was carried out. The purpose of this experience was to check the effectiveness of attention as a creative method for the theatre in different conditions of audience.

A pesquisa aqui desenvolvida tem como foco de trabalho a improvisação no contexto do ator performativo, abrangendo sua trajetória desde a criação até a recepção. A fim de explorar esse universo, foi desenhado um percurso baseado na pessoalidade de quem escreve: uma atriz que vive a realidade de ser também uma criadora, e se confronta com questões de ordem prática nessa relação. Portanto, essa pesquisa percorre um caminho em espiral, onde a prática estimula a teorização, e vice-versa. O pensamento desenvolvido discorre sobre o ator performativo, pois falamos de criação no contexto da performatividade, principalmente sob o ponto de vista de Josette Féral. As fontes utilizadas a fim de contextualizar a pesquisa são sempre voltadas à figura do ator, e pensadas através dele. Portanto, todo o material coletado foi horizontalizado nesse sentido, para que fosse possível fazer um recorte diante de tantos conceitos que tentam esmiuçar a realidade do teatro contemporâneo e seus procedimentos criativos. O processo de criação do ator se dá, aqui, pelo viés da recepção. Ao pensar no ator performativo, vislumbra-se então a possibilidade de, de forma subjetiva, introjetar as duas figuras criador e receptor - no mesmo ser, criando assim um ator que contém dentro de si a figura do receptor, que o impele a criar e a refletir sobre sua criação simultaneamente. Esse estado de criação questiona o ator segundo a certa vivacidade necessária ao teatro e uma conscientização diante do seu trabalho e dos seus percursos criativos. Como base da improvisação enquanto ferramenta de criação nesse contexto, a teoria utilizada como parâmetro é a dos viewpoints, desenvolvida por Anne Bogart e Tina Landau, que tem conexão imediata com a pesquisa, já que parte de princípios concretos de variação de determinada estrutura cênica, visando à organicidade dos movimentos e a concentração do criador em algo palpável, físico e dinâmico. Ao trabalho teórico, se mistura uma pesquisa minuciosa em cima dos cadernos de anotações de quatro anos de ensaios com um núcleo estável da Cia. de Teatro em Quadrinhos, dirigida por Beth Lopes, fonte primária das indagações aqui propostas. Essas anotações aparecem inseridas no trabalho como fontes ou fins de muitas questões, e conectam novamente a teoria a uma prática, já que se fala em criação do ator o tempo todo. No sentido de exemplificar mais uma vez essa relação prático-teórica, concluise com uma reflexão acerca da montagem de um espetáculo desse período, (a)tentados (originalmente Attempts on her life, de Martin Crimp), destacando suas congruências com as teorias e questionamentos desenvolvidos ao longo de toda a pesquisa. / The research that is developed here is focused on improvisation in the context of the performative actor, covering its history from creation to reception. In order to explore this universe, it designed a course based on the personality of this writer: an actress who lives the reality of being also a creator, and is confronted with the practical issues in this relationship. Therefore, this research goes a spiral path, where the practice encourages theorizing, and also the reverse. The thought developed discusses the \"performative actor\", because we speak of creation in the context of performativity, particularly from the perspective of Josette Feral. The sources, used in order to contextualize the study, are always focused on the figure of the actor, and they are thought through that figure. Therefore, all the collected material has been horizontalized accordingly to this, so we could make an indentation of so many concepts that attempt to scrutinize the reality of contemporary theater and its creative procedures. The creative process of the actor is given, here, through the reception. When thinking about the performative actor, it is foreseeable then the possibility of, in a subjective way, to introjetct the two figures - the creator and receiver in a the same being, thus creating an actor that contains within itself the figure of the receiver, which drives him to create and to reflect on their creation simultaneously. This \"state\" of creation asks to the actor about certain necessary \"liveliness\" to the theater and also about an awareness of its work and its creative paths. Improvisation is a tool for creating this context, and the theory used is the viewpoints one, developed by Anne Bogart and Tina Landau, who have immediate connection with this research, as soon they part of concrete principles of variation of certain scenic structure, aiming at an organic movement and a concentration of the creator into something tangible, physical and dynamic. In theoretical work, it is blended a detailed research over some notebooks describing four years of rehearsals with a stable core of artists, the Cia. de Teatro em Quadrinhos, directed by Beth Lopes, primary source of the questions proposed here. These notes are included in the work as sources or purposes of many issues, and they connect again the theory to practice, since they come up to creation of the actor all the time. In order to illustrate once again that practical-theoretical relation, this research concludes with a discussion about the creation of a play in that period, (a)tentados (originally Attempts on her Life, by Martin Crimp), highlighting its consistencies with the theories and questions developed throughout the research.

Este trabalho busca construir um pensamento contemporâneo sobre voz a partir da investigação do trabalho do ator com a voz e com a palavra na Cia. Club Noir, companhia teatral fundada em 2006 e com sede na cidade de São Paulo (SP). O texto retoma alguns movimentos e ideias que ao longo do século XX fomentaram uma nova concepção de voz, som e silêncio. A partir das relações entre corpo, voz, leitura textual e emissão no trabalho do ator, constrói um pensamento que dialoga com a música e a poesia experimental. A prática da Cia. Club Noir, focada na exploração da palavra e experimentação da linguagem, constitui um rico material para a construção de um pensamento sobre voz nos processos contemporâneos de criação. Este trabalho compreende palavra como som e sentido simultaneamente e mais do que analisar o trabalho da companhia teatral em questão, pretende levantar novas perspectivas para o entendimento da voz. / This paper aims at constructing a contemporary thought on voice, having as its basis the investigation of voice and word use of actors of the Cia. Club Noir, a theater company from São Paulo (SP) founded in 2006. The text looks back at some movements and ideas that have been influential in the creation of new concepts of voice, sound and silence, and, taking into account the relations between body, voice, text reading, and emission, builds up a thought that establishes a dialogue with music and experimental poetry. The praxis of the Cia. Club Noir, which has as its focus on the study of word and language experiments, consists of a rich material for the construction of a thought on the use of voice in the contemporary creation processes. This work considers words to be the combination of sound and sense and intends not only to analyze the work of the theater company, but also to raise new perspectives for the understanding of voice.

A revista EXAME, apesar de constituída por diversos gêneros, concretiza uma formação discursiva única e, como mídia impressa de temática que diz respeito à esfera de negócios, economia e administração, representa um suporte material do discurso jornalístico e é ponto de partida do olhar analítico. Considerando que no texto e no discurso sempre há indícios do ator da enunciação, tomam-se para análise, para depreender o perfil do sujeito enunciador da Revista, textos veiculados nesse meio de comunicação, dados como unidades integrais. Cada um desses textos materializa um gênero e, ao fazê-lo, viabiliza mecanismos que engendram efeitos de sentido que delineiam o modo de presença, o éthos e o estilo do enunciador da totalidade integral: a revista EXAME, éthos este que é a meta analítica ora estabelecida. Por meio do agrupamento dos textos que materializam o mesmo gênero textual e considerados os temas e as figuras recorrentes, procede-se à abstração das invariantes. Os textos constituintes da revista são, portanto, observados na medida em que criam o sentido numa relação de interdependência e de complementaridade com a totalidade integral e legitimam o discurso da revista EXAME. Por meio da constatação de certa homogeneidade discursiva, fundada na heterogeneidade constitutiva, emerge o sujeito, como efeito de identidade. Por conseguinte, será observado como e por quê o enunciador da revista EXAME, sujeito sempre pressuposto ao enunciado, produz o texto para o enunciatário (co-enunciador) e este, por sua vez, como imagem reflexiva daquele, torna-se igualmente construtor do discurso. Enunciador e co-enunciador, ambos sujeitos semióticos participantes do ato comunicativo, são \"incorporados\" na medida em que se instituem por meio de um corpo com voz e tom de voz próprios / EXAME magazine, although formed by distinct genres, materializes a unique discursive formation. As a printed medium engaged in the sphere of business, economy and administration, it represents a material support for the journalistic discourse and is the starting point of the analytical study. By considering that traces of the actor of enunciation are left in the text and in the discourse, EXAME\'s constituent texts, considered as integral units, are dismembered for examination so that the enunciator\'s presence manner can be observed in the totality text: EXAME magazine. Each of these texts materializes a textual genre with particular mechanisms engendering meaning effects to reveal the éthos and style, that is the final projected-image of the EXAME\'s enunciator: main purpose of this work. By means of grouping texts that materialize the same genre and taking into consideration the recurrences of themes and figures are the invariant abstractions captured. The constituent texts are then examined through their inherent peculiarities that engender meaning effects in interdependent and complementary ways that converge to EXAME\'s discursive voice. By means of certain discursive homogeneity founded on the constitutive heterogeneity the enunciator, as an effect of identity, emerges from the discourse. In this way, it is observed how and why the EXAME\'s enunciator, an instance always presupposed in the utterance, produces the text for the enunciatee (co- enunciator). The latter, as a reflexive image of the former, similarly becomes the producer of the discourse. Enunciator and co-enunciator, both semiotic subjects sharing the communicative act, are then \"incorporated\", since they are constituted in a corporeality in which prevails not only their own voice but also a unique tonality voice

According to Cohn (2015), by the year 2065 about one-in-three Americans would be an immigrant or have immigrant parents projecting that incoming immigrants, and their children will steer majority of the United States (U.S.) population growth in the next 50 years. According to the projections for 2065, 78 million will be immigrants and 81 million will be individuals born in the U.S. to immigrant parents (see Figure 1). After immigrants from Mexico and China, the third largest immigrant group residing in the U.S. is from Asian-Indian origin. The percentage of Asian-Indian immigrants compared to all other immigrants in the U.S. has consistently proliferated. Considering this pattern of incoming Asian-Indian immigrants, research on parental involvement among Asian-Indians raising children who are U.S. citizens and future Americans is sparse. According to a national level study on paternal involvement with young children, “virtually no research has examined fatherhood among immigrants. Eighteen percent of current births are to mothers born outside of the U.S.; if the fathers also are foreign-born, this is a major gap in existing knowledge” (U.S. Department of Education, 2001, p. 22). The current study aimed to understand Asian-Indian immigrant couples’ factors influencing fathers’ involvement with school-aged children (6-10 years). Specifically, the study focused on the marital adjustment, parenting self-efficacy and gender-role beliefs about parenting. Parenting is believed to be codependent and nested within a family and cultural structure. While parenting research consistently demonstrates more maternal involvement with children, often fathers’ involvement gets little or no attention. One of the major limitations of fathering research is single source data, often comprising of only mothers’ reports. The purpose of this study was to address this research gap by examining the nested nature of human development using family systems theory. Actor-partner interdependence model (APIM), a type of dyadic data analysis, was used to examine the actor (spillover) and partner (crossover) effects of parents’ independent variables on their as well as their partners’ reports of paternal involvement. Self-report surveys were collected from 127 Asian-Indian immigrant parents. All the measurement scales had high reliabilities. Results for fathers revealed significant spillover effects of marital adjustment, parenting self-efficacy, and parenting gender role beliefs on fathers’ involvement, and for mothers, only marital adjustment effect on their reports of father involvement. These findings indicate that father involvement is enhanced when both fathers’ and mothers’ are adjusted in their marriage, when fathers’ feel competent in their parenting role and they have egalitarian gender beliefs about parenting. Partner or crossover effects were found from mothers’ marital adjustment onto fathers’ reports of involvement and, fathers’ parenting self-efficacy onto mothers’ reports of fathers’ involvement. These partner effects reveal that fathers’ involvement depend on how adjusted mothers are in their marriage and, mothers’ reports of fathers’ involvement depend on how efficient fathers are in their parenting role. In summary, the current study strongly supported family systems theory and demonstrated how the current immigrant parents, and the future families of America, adapt to succeed and re-structure lives in their ‘new home’.

El testimonio de los actores, presente en autobiografías y memorias, en biografías de las que fueron partícipes, en entrevistas, espacios audiovisuales y otro tipo de documentos, constituye un instrumento de gran valor para conocer de primera mano cómo desempeñaron su oficio y otras cuestiones de interés relacionadas con la historia teatral y la historia cinematográfica de la España contemporánea. Esta tesis doctoral se ha centrado en el desarrollo del oficio actoral a partir de los argumentos de veinte intérpretes que sobresalieron en la profesión a partir de 1939, alcanzando los más en activo el fin de la dictadura franquista, continuando muchos de ellos su labor durante el último cuarto del siglo XX e incluso unos cuantos persistiendo en ella en los comienzos del XXI y hasta nuestros días.

The contents of this thesis will detail the entire process I took in making the first episode of Unintentional Community. I have broken up my process into six parts. Part One will discuss the inspirations for the show as well as how it came about. Part Two will cover all of the pre-production work that my team and I went through. Part Three discusses the entire process of my shooting experience as a director and actor. Part Four details the long post-production process. Part Five talks about the show’s bible. Finally, Part Six lays out our entire plan for how we intend to shop Unintentional Community.

This dissertation examines African American students’ perspectives of African American agency during the Civil War. It also seeks to understand where their knowledge of African Americans during the Civil War comes from. The topic fits within the Critical Race Theory framework and utilized a mixed methods approach to understand the study findings. The methodology included an online survey completed by forty-two participants at a Historically Black university and 3 semi-structured interviews using the interview protocol. Descriptive statistical demographic data, open-ended responses and interview transcripts were analyzed using the agency rubric developed by the researcher. The themes that emerged from the study included the limited agency of African Americans during the Civil War, silenced voices of African American women, students’ limited knowledge of ancestors’ emancipation and emancipation narratives, and little specific knowledge of African Americans involvement in the Civil War