Made available in DSpace on 2015-08-20T17:10:10Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-04-17. Added 1 bitstream(s) on 2015-08-20T17:25:51Z : No. of bitstreams: 1 000840705_20180417.pdf: 320422 bytes, checksum: b1dc1170ee059867f6cc2c7503d09431 (MD5) Bitstreams deleted on 2018-04-20T12:11:36Z: 000840705_20180417.pdf,. Added 1 bitstream(s) on 2018-04-20T12:12:26Z : No. of bitstreams: 1 000840705.pdf: 3485386 bytes, checksum: 549d6f31b2aa9cad8417f095b1e87798 (MD5) / Tendo em vista que a memória é diretamente afetada por vários fatores, podendo sofrer perdas, desapegos e esquecimentos, a presente pesquisa dedicou-se a conhecer as diferentes manifestações da cultura lúdica (jogo) na infância de octogenários e nonagenários, vivida nas décadas de 20 e 30, por meio de uma investigação dos elementos lúdicos e das particularidades historicamente construídas para a infância da época. Levou-se em consideração que as distintas configurações assumidas pela infância produzem diferentes cenários que podem influenciar a forma e o conteúdo da constituição da cultura lúdica. Procurou-se resgatar a infância rememorada dos idosos participantes da pesquisa a partir dos constructos sociais da memória, considerando que estes últimos são o ancoradouro para a preservação da cultura lúdica, e os anciãos, os depositários desse legado. Assim, 32 guardiões da memória (expressão com que caracterizamos nossos sujeitos) descreveram sua infância, e com base em suas narrativas e sob a lente de uma abordagem qualitativa e do método denominado História Oral, procuramos escavar o substrato do lúdico presente naquele momento histórico / Considering that the memory is directly affected by various factors, may suffer losses, desertion and forgetfulness, this research set out to identify the different manifestations of play culture (game) in childhood octogenarians and nonagenarians, lived in the 20 decades and 30, through an investigation of playful elements and characteristics historically built for children of the age. Carried herself into account the different configurations assumed by childhood produce different scenarios that can influence the form and content of the constitution of the play culture. We sought to rescue the childhood recollected the elderly from social constructs of memory, considering that the latter are the anchor for the preservation of game culture, and the elders, the depositaries of this legacy. Thus, 32 guardians of memory (an expression that characterize our affairs) narrated their childhood, and based on their narratives and under the lens of a qualitative approach and the method called oral history, we try to scooping the playful substrate present at that historic moment

This thesis offers a reassessment of Pieter Bruegel the Elder’s painting Children’s Games (1560, Kunsthistoriches Museum, Vienna). Addressing the lack of historically accurate interpretations of Bruegel’s panel, I use a wide range of sixteenth-century sources to develop fresh insights into how the work might have been understood by its original audience. The Introduction opens with a description of the painting’s iconography, provenance, current condition and conservation history. A review of previous literature relating to the panel sets Children’s Games within the trajectory of scholarship on Bruegel and other related works in his oeuvre and serves to highlight areas of scholarly difficulty and disagreement as well as current methodological trends. Considering the reception, rather than the inception, of Children’s Games, the third part of the Introduction outlines broader cultural developments which shaped habits of looking in the sixteenth century, including encyclopaedic texts, atlases, Wunderkammern and memory systems. Surmising that Bruegel’s viewers would have been adept at searching for arguments within abundant collections of material, I then introduce a number of sixteenth-century sources which detail contemporary attitudes towards game-playing. The Introduction ends with an outline of the structure and methodological approach of the thesis. Chapter 1, 'Artistic Precedents: Illuminated Manuscripts', considers the panel in relation to the iconography of popular games found in the borders of illuminated manuscripts produced in France and the Netherlands in the late fifteenth and early sixteenth century. After highlighting areas of shared iconography, I discuss how Children’s Games differs from illuminated manuscripts, concluding that Bruegel rejected the 'game of the month' tradition found in the calendar borders and instead amalgamated a variety of children’s games and festive customs to create a humanistic encyclopaedia of children’s culture. A second sixteenth-century source which details popular games is François Rabelais’s book Gargantua (1532). Chapter 2 presents my research into why Rabelais’s writing is relevant to Bruegel scholarship, including archival evidence that Rabelais’s books were available in Antwerp and an analysis of the Songes drolatiques de Pantagruel (1565), a collection of woodcuts which combined Rabelais’s name with Bruegelian imagery. I then compare Children's Games with the list of 217 popular games played by Gargantua and discuss how these fictional lists related to the factual compilations of the period. Gargantua’s game-list occurs in the context of his humanist education, a context which is also relevant to Bruegel’s panel. During the sixteenth century a wealth of material on children’s play and deportment emerged in the form of humanist school colloquies and treatises. A number of these were closely related to the education system in Antwerp and were penned by members of Bruegel’s circle of associates. These have never been brought to bear on Children’s Games, and are used in chapter 3 to develop a new, historically-accurate reading of the painting. The pedagogical texts suggest that during the sixteenth century children’s play was viewed positively and was closely bound to education, and so challenge the canonical view arising chiefly from c.17th emblem books and paintings that Children’s Games makes moral points about adult behaviour. Appendix 1 - Enumerates Bruegel’s games and records comparable depictions found in manuscripts, printed images and paintings from the fifteenth, sixteenth and seventeenth centuries. Appendix 2 - Presents versions of Gargantua’s game-list from original editions of Rabelais’s text alongside standard translations and modern critical editions.

A presente tese, que tem como título: “O Brincar das Crianças em Espaços Públicos” é resultado de uma investigação realizada no Programa de Doutorado Diversidade e Mudança em Educação: Políticas e Práticas do Departamento de Organização Educativa (DOE) da Universidade de Barcelona (UB) na Faculdade de Pedagogia. O estudo teve, como proposta geral compreender a afetividade da criança com o lugar onde brinca e como acontece a apropriação dos espaços públicos planejados ou não para o lazer infantil. O presente trabalho é qualitativo e exploratório cuja estratégia metodológica eleita foi o estudo de caso do tipo descritivo-interpretativo e realizou-se na cidade de Barcelona. Dentre as praças escolhidas para a investigação, duas se caracterizam como espaços planejados para o lazer infantil (Praça 1- Jardines de Can Brasó e Praça 2 – Josep Pallach) e a terceira, não projetada para este fim, assim mesmo apresentava um considerável fluxo de usuários e de atividades infantis espontâneas (Praça 3 – Joan Cornudella). No total foram realizadas 80 visitas às praças mencionadas anteriormente, sendo as estas distribuídas igualmente ao longo das estações do ano (vinte visitas para a cada estação), em diferentes horários e momentos, durante um ano (2008-2009). Cada visita tinha uma duração de 3 horas de observação. A investigação utilizou os seguintes instrumentos de coleta das informações: observação não participante (escala de intensidade e qualidade lúdica) e três questionários: i) mapas afetivos; ii) um sobre o brincar das crianças, e; iii) um sobre preferência da praça. Participaram da investigação crianças de 8 a 12 anos do sexo masculino e feminino. Aplicaram-se 41 questionários sobre o mapa afetivo; 42 questionários sobre o brincar das crianças; 42 questionários sobre a preferência da praça e 16 escalas de trajetória e intensidade lúdica nos sujeitos do estudo. Além dos instrumentos citados, foram utilizados outros registros como: método de amostragem temporal, gravações em áudio, fotografias, gravações em vídeo e informações secundárias através de depoimentos dos moradores e documentos existentes dos moradores sobre as praças públicas. Depois da análise dos dados recolhidos, emergiram os seguintes resultados mais relevantes: A praça Jardins de Can Brasó é a praça preferida para jogar com 78% de aprovação dos entrevistados; Os mapas afetivos demonstram que as crianças têm uma estima positiva pelas praças onde jogam; Os resultados confirmam que a estima positiva é gerada pelas imagens encontradas nos mapas afetivos de pertencimento e agradabilidade. Os resultados do estudo demonstram que as imagens de pertencimento e agradabilidade é o principal motivo da apropriação das crianças nas três praças; Descobrimos, também, nesta investigação que os espaços mais amplos das praças são os favoritos para jogar; As dimensões motivação intrínseca e controle interno tiveram um nível muito elevado de frequência e a suspensão da realidade, um nível não representativo na intensidade da qualidade lúdica das crianças que jogam nas três praças. Palavras Chaves: Brincar. Criança. Espaço Público. Mapa Afetivo. Intensidade e Qualidade Lúdica. / This thesis, which is entitled: The Play of Children in Public Spaces. The study presented here is the result of an investigation in the Doctoral Program Diversity and Change in Education: Policies and Practices of the Organization Department of Education (DOE) at the University of Barcelona (UB) at the Faculty of Education. The study aimed to understand the affection of children with the place they play and the appropriation of public spaces planned or not for them to play at. This study is qualitative and exploratory whose methodological strategy chosen was the descriptive-interpretative study case, and was held in Barcelona. Among the squares chosen for the research, two are characterized as spaces planned for the play area (Square 1 - Jardines de Can Brasó and Square 2 - Josep Pallach) and the third was not designed for this purpose, but also have a considerable flow of users and spontaneous children's activities (Square 3 - Joan Cornudella). In total, 80 visits were made to the squares mentioned earlier, the visits are distributed evenly throughout the seasons (twenty visits to each station), at different times and moments during one year (2008-2009). Each visit had the duration of 3 hours of observation. The research used the following instruments to collect information: non-participant observation, with an intensity scale and quality play, three questionnaires: i) affective maps, ii) one on the play of children, and iii) a preference on the square. Boys and girls from 8 -12 years old participated in the investigation. 41 questionnaires were applied on the emotional map, 42 questionnaires on the play of children, 42 questionnaires on which space they preferred and 16 of the square path and intensity scales play in the study subjects. In addition to the instruments above, other records were used, for example sampling time, audio recordings, photographs, video recordings and background information through interviews of residents and residents of existing documents on the public squares. After analyzing the data collected, the following results are the most relevant: The Square Jardines de Can Brasó is the children´s favorite with 78% of approval of the interviewees; affective maps show that children have an esteem for the squares where they play; The results confirm that the esteem is generated by the images on the maps of belonging and emotional pleasantness; The study results show that the images of belonging and friendliness are the main reason for the appropriation of the children in the three squares; It was also found in this investigation that the wider spaces are the favorites to play; The intrinsic motivation and internal control dimensions had a very high level of frequency and the suspension of reality intensity level is not representative of the quality play of children playing in the three squares. / La presente tesis, que tiene como título: “El Jugar de los Niños en Espacios Públicos” es resultado de una investigación realizada en el Programa de Doctorado Diversidad y Cambio en Educación: Políticas y Prácticas del Departamento de Organización Educativa (DOE) de la Universidad de Barcelona (UB) en la Facultad de Pedagogía. El estudio tuvo como propuesta comprender la afectividad del niño con el lugar donde juega y como acontece la apropiación de los espacios públicos planeados o no para el ocio infantil. La investigación fue realizada en la ciudad de Barcelona. Estudio es cualitativo y exploratorio cuya estrategia metodológica escogida fue el estudio de caso del tipo descriptivo-interpretativo. De entre las plazas escogidas para la investigación, dos se caracterizan como espacios planeados para el ocio infantil (Plaza 1- Jardines de Can Brasó y Plaza 2 – Josep Pallach), mientras que la tercera, no proyectada para este fín, aun así presenta un considerable flujo de usuarios y actividades infantiles espontáneas (Plaza 3 – Joan Cornudella). Fueron hechas en las plazas visitas en días, horarios y estaciones del año (verano, otoño, invierno y primavera) en diferentes momentos. El total de visitas fueron 80 (20 para cada estación del año). Cada visita tenía una duración de 3 horas de observación. Las observaciones tuvieron una duración de un año. Fueron utilizadas las siguientes técnicas de investigación: observación no participante (escala de intensidad y calidad lúdica), mapas afectivos, aplicación de cuestionario sobre el jugar con los niños y el cuestionario de preferencia de la plaza. Participaron de la investigación niños de 8 a 12 años del sexo masculino y femenino. Fueron aplicados 41 cuestionarios: mapa afectivo; 42 cuestionarios: sobre el jugar y el niño; 42 cuestionarios: preferencia de la plaza y 16 Escalas: trayectoria e intensidad lúdica en los sujetos del estudio. Además de los instrumentos citados, fueron utilizadas otras técnicas cómo: método de muestreo temporal, entrevistas grabadas en audio, fotografías, grabaciones en vídeo e informaciones secundarias a través de informes y documentos existentes sobre las plazas públicas. Algunos resultados del estudio: Jardines de Can Brasó es la plaza preferida con 78%; Con los mapas afectivos quedó evidenciado que los niños tienen una estima positiva por las plazas donde juegan; Los resultados confirman que la estima positiva fue generada por las imágenes encontradas en los mapas afectivos de: pertenecer y agradabilidad; El estudio validó que las imágenes de pertenencia y agradabilidad es el principal motivo de la apropiación de los niños en las tres plazas; Descubrimos en esta investigación que los espacios más amplios de las plazas son los favoritos para jugar; Las dimensiones motivación intrínseca y control interno tuvieron un nivel bastante elevado de frecuencia y la suspensión de la realidad, un nivel no representativo en la intensidad de la calidad lúdica de los niños que juegan en las tres plazas.

Colonialism in Africa had an impact on the indigenous peoples of Africa and this is shown in some of their games. The purpose of this study is to gain deeper insight into Basotho children's games and to demonstrate that the Western ideas of music and games are not necessarily the same as Basotho folk children's conceptions. The literature on Basotho children's games is reviewed though not much has been contributed by early and present Basotho writers who have generally approached it from the angle of literature without transcribing the songs. The Sesotho word for games (lipapali) embraces entertainment but a further investigation of it shows that aspects of learning of which the children were aware in some cases and in others they were not aware, are present. These are supported by musical examples and texts. The definition of play versus games is treated (with regard to infants and children) and these two concepts are still receiving constant attention and investigation by scholars and researchers as the words are synonymous and can be misleading. Infants' play is unorganised and spontaneous while games are organised structures. Furthermore, play and games are important in child development education. In this study, they are given attention in order to lay the foundation for the understanding and interpretation of games used in both cultures. It is a misconception that African children's games are accompanied with music in the Western sense. Hence, the word `music' in Sesotho children's games takes on a different connotation from those in the West. Music' in Sesotho children's games embraces not only tunes that are sung, but game verses chanted in a rhythmic manner as opposed to spoken verse. Yet, mino (music) exists in Sesotho and is equivalent to the Western idea. These chanted rhythms and games are analysed against the backdrop of specific cultural dimensions for children depending on the function of the game played. The results of this study indicated that though the idea of music in children's games is not the same, games are an educational in character building and learning. Recommendations are made for educationists and music educators. / ART HIST, VIS ARTS & MUSIC / DLITT ET PHIL (MUSICOLOGY)

Colonialism in Africa had an impact on the indigenous peoples of Africa and this is shown in some of their games. The purpose of this study is to gain deeper insight into Basotho children's games and to demonstrate that the Western ideas of music and games are not necessarily the same as Basotho folk children's conceptions. The literature on Basotho children's games is reviewed though not much has been contributed by early and present Basotho writers who have generally approached it from the angle of literature without transcribing the songs. The Sesotho word for games (lipapali) embraces entertainment but a further investigation of it shows that aspects of learning of which the children were aware in some cases and in others they were not aware, are present. These are supported by musical examples and texts. The definition of play versus games is treated (with regard to infants and children) and these two concepts are still receiving constant attention and investigation by scholars and researchers as the words are synonymous and can be misleading. Infants' play is unorganised and spontaneous while games are organised structures. Furthermore, play and games are important in child development education. In this study, they are given attention in order to lay the foundation for the understanding and interpretation of games used in both cultures. It is a misconception that African children's games are accompanied with music in the Western sense. Hence, the word `music' in Sesotho children's games takes on a different connotation from those in the West. Music' in Sesotho children's games embraces not only tunes that are sung, but game verses chanted in a rhythmic manner as opposed to spoken verse. Yet, mino (music) exists in Sesotho and is equivalent to the Western idea. These chanted rhythms and games are analysed against the backdrop of specific cultural dimensions for children depending on the function of the game played. The results of this study indicated that though the idea of music in children's games is not the same, games are an educational in character building and learning. Recommendations are made for educationists and music educators. / ART HIST, VIS ARTS and MUSIC / DLITT ET PHIL (MUSICOLOGY)