This dissertation examines the influence of film on the poetry of H.D., Marianne Moore, and Adrienne Rich. It builds on scholarship by Susan McCabe (2005), Lawrence Goldstein (1994) and others, who have traced the way twentieth-century American poets reacted formally to film culture in their writing. My project responds to the call of the editors of the volume of Close Up 1927-1933: Cinema and Modernism for critics to interrogate how authors harnessed the aesthetic and political possibilities opened up by cinema. This study draws from theories of feminist film phenomenology by Vivian Sobchack and Laura U. Marks to analyze the aims and arguments of the texts. The literary works studied include: H.D.’s Sea Garden, “Projector” series, Trilogy, Helen in Egypt, and film essays; Marianne Moore’s animal poems from the 1930s and early 1940s and film essays; and Adrienne Rich’s The Will to Change. This dissertation argues that the poets drew from film to renovate their poetic vision and forms and ply at questions of power, visuality, and bodies. The poems articulate an awareness of the filmic gaze and how it constructs feminine or animal others. Through careful analysis of the poems, this dissertation locates each poet’s particular rapport with film and how it influenced her literary style and prompted her to challenge dominant patriarchal scripts. This dissertation makes several original contributions to twentieth-century Anglo-American poetry scholarship. It sets these three authors alongside one another to reveal how their engagements with film inspired their poetics and politics at various points throughout the twentieth century. The conclusions herein determine how the poets turned to film to construct their poetic projects. The dissertation offers new readings of the work of H.D., Moore and Rich as queer women poets invested in film culture. / Graduate

Objetivamos no presente artigo delimitar um plano de discussões tendo como fundamento as geograficidades produzidas, apreendidas e disseminadas a partir das imagens cinematográficas. Tendo em vista a articulação entre essas áreas Cinema e Geografia - ,propomos discutir um conceito ainda em construção, denominado consciência geográfica. Com isso, estamos atentando para uma ressensibilização do olhar para que o homem seja visto em sua relação mundana através das imagens. Para tal empreendimento, a leitura do homem-no-mundo e da produção e transformação das paisagens, solicita o domínio de uma linguagem de movimento que as técnicas do Sensoriamento Remoto talvez não forneçam. Acreditamos que a linguagem cinematográfica esteja capacitada para isso. Ao apresentar certo (re)conhecimento das ordenações espaciais, a linguagem cinematográfica permite o desvendamento dos elementos essenciais que influenciam na construção das paisagens. No entanto, ler um filme geograficamente é mais do que procurar elementos comumente abordados por geógrafos. É tentar compreendê-lo como dotado de geografias. É perceber a sua geograficidade e buscar entender seus significados. As imagens cinematográficas, como quaisquer outras possuem uma espacialidade planejada e os elementos perceptíveis da obra, arquitetados pelo diretor e pela equipe de produção dos filmes, devem atingir os significados pretendidos. Dentre seus valores estão o valor representativo e sua relação com a realidade sensível. Eis a importância da relação entre as imagens em movimento e as geografias produzidas pelos sujeitos: elas são capazes de captar a geograficidade dos espaços em consonância com o ser-homem-no-mundo / We aim in this article outline a plan as the basis for discussions with the geographicity produced, seized and disseminated from the cinematic images. Given the linkage between these areas - Cinema and Geography - propose to discuss a concept still under construction, called geographic consciousness. With this, we are paying attention to one resensitization look for a man to be seen in relation mundane through the images. For this project, reading the man - in-the world and the production and transformation of landscapes, requesting the domain of a movement language that the techniques of remote sensing may not provide. We believe that the cinematic language is capable of that. By presenting right (re)cognition of spatial orderings, film language allows the unveiling of the essential elements that influence the construction of landscapes. However, reading a movie is geographically more than seeking elements commonly addressed by geographers. You try to understand it as having geographies. You realize your geographicity and seek to understand their meanings. Cinematographic images, and any other have a planned spatiality and perceptible elements of the work, devised by the director and the production team of the film must reach the intended meanings. Among their values are the representative value and its relationship with the sensible reality. Hence the importance of the relationship between the moving image and geographies produced by the subjects: they are able to capture the geographicity spaces to be in line with the man - in - the-world

O presente estudo teve como objetivo verificar o efeito de restrições no comprimento do passo sobre o desempenho da marcha em adultos e idosos, supondo que: (a) quando submetidos a condições de marcha semelhantes, adultos e idosos apresentam desempenhos similares em alguns parâmetros da marcha; (b) as restrições no comprimento do passo interferem sobre a velocidade de deslocamento e sobre a relação de fase entre braço e perna da mesma forma para adultos e idosos; (c) as restrições no comprimento de passo causam maior impacto sobre a variabilidade das relações de fase entre membro superior nos idosos. Para verificar estas hipóteses, nove adultos jovens e oito idosos foram filmados em três tarefas: marcha regular, aumento de passo e diminuição do passo. As comparações foram feitas em função das seguintes variáveis: velocidade de marcha, cadência, razão entre o comprimento do passo e o comprimento do membro, amplitude de variação angular do tornozelo, amplitude de variação angular do membro superior, relação de fase e variabilidade da relação de fase entre os membros superior e inferior direitos. Os resultados encontrados revelaram que o padrão de marcha dos idosos apresentou-se semelhante ao de adultos em muitos aspectos. As restrições no comprimento de passo levaram a modificações significativas da velocidade de deslocamento para adultos e idosos, sugerindo que parte das modificações relacionadas ao padrão de marcha do idoso estão relacionados à diminuição no comprimento do passo. A coordenação de movimentos, analisada através da relação de fase entre membros superior e inferior direito, mostrou ser influenciada pela tarefa, enquanto a estabilidade da coordenação entre braços e pernas não foi afetada pela restrição do passo. Estes achados comprovam a hipótese formulada inicialmente, de similaridade das características adaptativas entre os dois grupos etários. A interpretação destes resultados permite concluir que: (a) em marcha regular, adultos e idosos apresentaram desempenhos semelhantes; (b) a restrição de comprimento de passo exerceu efeito significativo sobre a velocidade de deslocamento, sobre a amplitude de movimentação do membro superior e sobre a relação de fase entre membro superior e inferior igualmente para adultos e idosos e (c) a amplitude de movimentação do tornozelo e a variabilidade da relação de fase não foram alterados em função da restrição na amplitude do passo. / The main purpose of this study was verifying the effect of step length restrictions on gait performance of young and old aged, assuming that: (a) when submitted to similar gait conditions, young and old aged presents analogous performance in some gait parameters; (b) the step length restrictions intervene on gait velocity an phase relation between arm and leg in the same way for young and old aged; (c) the step length restrictions cause a larger impact on phase relations variability between superior and inferior limbs for old aged. In order to verify these hypothesis, nine young adults and eight old-aged was filmed on three tasks: regular gait, increase on step length and decrease on step length. The comparisons was made to the following variables: gait velocity, cadency, step length and leg length rate, amplitude of ankle angular variation, amplitude of arm angular variation, phase relation and phase relation variability between right superior and right inferior limbs. The results revealed that the old-aged gait pattern was similar to the adult pattern in considerably aspects. Step length restrictions carried to significative changes on gait velocity for young and old aged, suggesting that part of modifications on old people gait pattern are related to decrease on step length. The movement coordination, analyzed by phase relation between right superior and right inferior limbs was influenced by task condition but not the stability of coordination between arm and legs. These findings corroborates the initial hypothesis, about the similarity of the adaptative characteristics between both groups. The interpretation of these results allows concluding that: (a) on regular gait, young and old aged had similar performance; (b) the step length alterations exerted significative effect over gait velocity, amplitude of arm angular variation and phase relations between superior and inferior limbs on the same way for young and old aged; (c) the task condition had no influence over the amplitude of ankle movement neither over variability of phase relations.

Made available in DSpace on 2016-04-26T18:13:02Z (GMT). No. of bitstreams: 1 Guilherme Castro Fonseca.pdf: 295664 bytes, checksum: 0491291bfe9712c56adf722aab02f1b1 (MD5) Previous issue date: 2013-06-07 / This research analyses time-memory s route into Alain Resnais cinema, specifically in L anée dernière à Marienbad (1961), once we understand that the French director contrasts from the Nouvelle Vague generation for conceiving in his productions a singular point of view of time and memory, mainly concretized in the semiotic apparatus he uses and the semiotic resources embodied in temporal metaphors, bifurcations, lapses, projections, gaps, grooves and fragmentations of time and memory. We did a descriptive analysis of the path Resnais took from cinematic language to represent the non- successiveness and the non-linearity of time-memory (going against to what the modern thought attempted to fortify), guided through the semiotic resources aforementioned and how they were used so both dimensions, time and memory, could be represented by cinematic language. Starting with the definition and exposure of some time concepts e of cinematic language, we described the manner by which these elements were portrayed e which way the director expects the audience to receive them and the effects (in the audience) the movie longs for attaining. After having clarified the concepts under which Alain Resnais works, we delineated the director s work in a whole, whence we were able to infer other productions that pronounce the Resnais poetic fiction style. We finished the work com a depth and detailed analysis of L anée dernière à Marienbad (1961), work which conferred prestige to the director and focus on exhibiting temporality and memorialism / This research analyses time-memory s route into Alain Resnais cinema, specifically in L anée dernière à Marienbad (1961), once we understand that the French director contrasts from the Nouvelle Vague generation for conceiving in his productions a singular point of view of time and memory, mainly concretized in the semiotic apparatus he uses and the semiotic resources embodied in temporal metaphors, bifurcations, lapses, projections, gaps, grooves and fragmentations of time and memory. We did a descriptive analysis of the path Resnais took from cinematic language to represent the non- successiveness and the non-linearity of time-memory (going against to what the modern thought attempted to fortify), guided through the semiotic resources aforementioned and how they were used so both dimensions, time and memory, could be represented by cinematic language. Starting with the definition and exposure of some time concepts e of cinematic language, we described the manner by which these elements were portrayed e which way the director expects the audience to receive them and the effects (in the audience) the movie longs for attaining. After having clarified the concepts under which Alain Resnais works, we delineated the director s work in a whole, whence we were able to infer other productions that pronounce the Resnais poetic fiction style. We finished the work com a depth and detailed analysis of L anée dernière à Marienbad (1961), work which conferred prestige to the director and focus on exhibiting temporality and memorialism

My research is centred around Silent Era films adapted from nineteenth and early twentieth century Gothic literature with a special emphasis on the figure of the monster and its translation from literary to cinematic form. The corpus I have assembled for the purposes of this analysis comprises sixty-six films made in ten different countries between 1897 and 1929. Many of these films are considered lost and I have endeavored to reconstruct them as much as possible using materials located in film archives. The Introduction lays out the ground covered in the thesis and provides a working definition of ‘monstrosity’ in this context. The first chapter deals with the historical, economic, cultural, social and technological contexts of the films under discussion. The second chapter approaches the eight literary monster figures who form the core of this thesis through the lens of Adaptation Theory. The third chapter examines the elements of cinematic language that were particularly relevant to translating monster characters and Gothic literary narratives into silent film, placing this corpus into the context of silent film history and theory. The fourth chapter reviews a cross-section of intermedial systems of classification that have been applied to monster figures, and proposes a new system that would reflect the multifarious nature of the silent film Gothic literary monster. Chapters Five through Nine offer a theoretical framework for classifying the principal characteristics of the silent film Gothic monster by applying various philosophical and aesthetic concepts. The final chapter summarises the material presented in earlier chapters and offers relevant conclusions demonstrating how these films employ the unique characteristics, conventions, and limitations of the silent film medium in their representations of the Gothic literary monster.

As in physics, one faces a three-body problem in film studies. Similarly, neither logic has a general solution. There are bodies on screen as representation, bodies before the screen as audiences, and supposedly film’s body as a quasi-subject that perceives and expresses through the screen. However, no scholarship has addressed the central question of the body’s medium specificity in determining how the story on screen is told in a socio-historical context. Using phenomenology and media studies, Corporeal Modernism: Transnational Body Cinema Since 1968 fills the gap by articulating how the body’s metaphysical and physical conditions are the foundation of narrative cinema. I showcase how the medium specificity of the body is deployed to flesh out social and political conflicts from European political modernism through Asian New Waves to the latest Hollywood digital blockbusters. Corporeal Modernism considers the body as a medium—not as mere representation in cinema—to examine the relationship between the bodies on screen and before the screen. Using phenomenology and media studies, my research illustrates how the body on screen, without manifesting its corporeal qualities, operates as vehicle to deliver a character in narrative. Only when the body of a character is hurt or incapacitated, the audience is made aware of how the body is a formal issue as well. My research demonstrates how cinema presents the body and the world on screen. Corporeal modernism is the technical awareness of the body-image located in the history of cinema.

We all have a body : our own body and just one body. Through it, we move, we interact with the world and other persons, we perceive, basically we live. It's a unique essential object. If it is true that we have only one physical body, we also have many representations of it in the brain. There is little agreement about the exact number of body representations in the brain, but not on the fact that we have more than one. The multi-componential models of body representation are based on the notion, supported by scientific evidence that different activities demand and rely on specifically adapted representations. In my thesis, I studied one particular body representation that is used and involved in action planning and execution, i.e. the Body Schema. I have been able to describe and measure the plasticity of the Body Schema and its level of specificity in healthy individuals. In particular, using a tool-use paradigm, I showed that the Body Schema is quickly and efficiently updated once a change in the body configuration occurs. With a series of kinematic studies, I contributed unveiling the ingredients that rule the plasticity of the BS and the sensory information that is used to this purpose. As a result of my thesis, I suggest that a clearer definition and operational description of the Body Schema, as an action-devoted repertoire of effectors representations, is possible, particularly thanks to its plastic features

Abstract    Cinematic time is the most complex of all: it is composed of public time (clock), personal time (experienced) and in addition, it can run backwards, be contingent, stored and (re)created. The present study examines some aspects of cinematic time, with special reference to the instant, the moment and the present. The strictly defined instant or moment does not exist. It is a passage between the past and the future and it is impossible to record on film or a photograph. One example is the moment of death, which is an abstraction with zero duration. The present must consequently contain the past and/or the future. Roland Barthes describes these complex multidimensional time relations in a photograph. André Bazin emphasizes that the image and the duration are ”mummified”. According to Gilles Deleuze , before the Second World War, the movement-image dominated and time was subordinated. With the long take of uncut time and deep focus, the cinema creates an increased experience of presence. After the war the time-image dominated. According to Deleuze it can represent time itself in the ”pure state”. Several images, simultaneously present, represent the crystal-image. Such an experience of time, a non-chronological present (durée), is founded in the philosophy of Henri Bergson. For the film director Andrei Tarkovsky, time and rhythm in the shot, was the essence of the cinema. His work is flooded with time-images, and it is possible to experience a time and space beyond the frame, in a multidimensional present. The digital technique has made cinematic time even more complex due to the possibility to create a continuous, synthetic present.

Made available in DSpace on 2015-09-25T12:19:40Z (GMT). No. of bitstreams: 1 Wertse dos Santos Vieira.PDF: 1624913 bytes, checksum: 47ece83fb2266e8795a5ef48b1b73336 (MD5) Previous issue date: 2010-10-14 / The teaching of physics is of fundamental importance in advancing scientific and technological knowledge in our society. Currently the teaching of science in a crisis, and reflects the training of students both in the initial levels as the higher. In most cases, students develop an aversion to physics classes, which did not receive consistently formal explanations of their concepts, as well as the mathematical tools that shape them. This research aims to formally introduce the main concepts of Newtonian Mechanics Kinematics in addition to model them with an adequate mathematical apparatus for their representation. In this work, the Clifford algebra was chosen as the mathematical language appropriate to the physicalmathematical approach, while the operationalization of the teaching content was guided by David Ausubel's meaningful learning because it allows exploring the learner's cognitive structure, and mechanisms to manipulate their retention of the hierarchical concepts of physics substantially. / O ensino de física é de fundamental importância no avanço do conhecimento científico e tecnológico na nossa sociedade. Atualmente o ensino desta ciência passa por uma crise, e reflete na formação dos estudantes tanto nos níveis iniciais quanto nos superiores. Na maioria das vezes, os alunos desenvolvem aversão as aulas de Física, por não receberem de forma coerente as explicações formais de seus conceitos, bem como, o ferramental matemático que os modelam. Esta pesquisa tem como objetivo introduzir formalmente os principais conceitos da Cinemática em Mecânica Newtoniana além de modelá-los com um aparato matemático adequado a sua representação. Neste trabalho, a álgebra de Clifford foi escolhida como a linguagem matemática apropriada à abordagem físico-matemática, enquanto a operacionalização didática dos conteúdos foi norteada pela aprendizagem significativa de David Ausubel, pois permite explorar a estrutura cognitiva do educando, além de manipular seus mecanismos para a retenção dos conceitos hierárquicos da Física de forma substancial.

Objetivamos no presente artigo delimitar um plano de discussões tendo como fundamento as geograficidades produzidas, apreendidas e disseminadas a partir das imagens cinematográficas. Tendo em vista a articulação entre essas áreas Cinema e Geografia - ,propomos discutir um conceito ainda em construção, denominado consciência geográfica. Com isso, estamos atentando para uma ressensibilização do olhar para que o homem seja visto em sua relação mundana através das imagens. Para tal empreendimento, a leitura do homem-no-mundo e da produção e transformação das paisagens, solicita o domínio de uma linguagem de movimento que as técnicas do Sensoriamento Remoto talvez não forneçam. Acreditamos que a linguagem cinematográfica esteja capacitada para isso. Ao apresentar certo (re)conhecimento das ordenações espaciais, a linguagem cinematográfica permite o desvendamento dos elementos essenciais que influenciam na construção das paisagens. No entanto, ler um filme geograficamente é mais do que procurar elementos comumente abordados por geógrafos. É tentar compreendê-lo como dotado de geografias. É perceber a sua geograficidade e buscar entender seus significados. As imagens cinematográficas, como quaisquer outras possuem uma espacialidade planejada e os elementos perceptíveis da obra, arquitetados pelo diretor e pela equipe de produção dos filmes, devem atingir os significados pretendidos. Dentre seus valores estão o valor representativo e sua relação com a realidade sensível. Eis a importância da relação entre as imagens em movimento e as geografias produzidas pelos sujeitos: elas são capazes de captar a geograficidade dos espaços em consonância com o ser-homem-no-mundo / We aim in this article outline a plan as the basis for discussions with the geographicity produced, seized and disseminated from the cinematic images. Given the linkage between these areas - Cinema and Geography - propose to discuss a concept still under construction, called geographic consciousness. With this, we are paying attention to one resensitization look for a man to be seen in relation mundane through the images. For this project, reading the man - in-the world and the production and transformation of landscapes, requesting the domain of a movement language that the techniques of remote sensing may not provide. We believe that the cinematic language is capable of that. By presenting right (re)cognition of spatial orderings, film language allows the unveiling of the essential elements that influence the construction of landscapes. However, reading a movie is geographically more than seeking elements commonly addressed by geographers. You try to understand it as having geographies. You realize your geographicity and seek to understand their meanings. Cinematographic images, and any other have a planned spatiality and perceptible elements of the work, devised by the director and the production team of the film must reach the intended meanings. Among their values are the representative value and its relationship with the sensible reality. Hence the importance of the relationship between the moving image and geographies produced by the subjects: they are able to capture the geographicity spaces to be in line with the man - in - the-world