Liev Tolstói, autor russo do século XIX, reconhecido tanto pelos acadêmicos como pelo público geral como um dos maiores romancistas da história, ao longo de mais de sessenta anos escreveu um diário paralelamente a sua vasta obra artística. No conjunto de toda a produção escrita do autor, o diário constitui a sua obra mais volumosa, contudo, quase inexplorada em língua portuguesa. O presente trabalho propõe-se aproximar o leitor brasileiro dessa faceta menos conhecida de Tolstói por meio da tradução, direta do russo, dos primeiros sete anos do diário (1847 1854). Observa-se o que há de particular nesse texto de Tolstói, no âmbito do diário como gênero literário e, por fim, questiona-se a possibilidade de ler o diário de Tolstói como criação artística independente ou se deve ele ser tratado como um coadjuvante na interpretação das obras literárias do autor. / Leo Tolstoy, great Russian writer of the nineteenth century, recognized as one of the leading novelists in the history of the genre, both by scholars and the general public, spent over sixty years writing a diary. Throughout the vast production written by the author, this diary is his most voluminous work, yet still unexplored and almost unknown in Portuguese. This work presents a translation directly from Russian of the first seven years of the diary (1847 - 1854) and also makes a first reflection on the nature of the text which encompasses the characteristics of Tolstoy\'s diary related to the genre. Then it analyzes whether Tolstoys diary can be treated as an artistic creation or as supporting text in the interpretation of literary works of the author.

Submitted by William Paiva (williampaiva17@hotmail.com) on 2015-04-07T16:52:16Z No. of bitstreams: 1 Adriana Guimarães Antunes.pdf: 474039 bytes, checksum: aa728a53861e1dad0d703d8ce73b89e9 (MD5) / Approved for entry into archive by Vitor de Carvalho (vitor_carvalho_im@hotmail.com) on 2015-04-10T16:56:51Z (GMT) No. of bitstreams: 1 Adriana Guimarães Antunes.pdf: 474039 bytes, checksum: aa728a53861e1dad0d703d8ce73b89e9 (MD5) / Made available in DSpace on 2015-04-10T16:56:51Z (GMT). No. of bitstreams: 1 Adriana Guimarães Antunes.pdf: 474039 bytes, checksum: aa728a53861e1dad0d703d8ce73b89e9 (MD5) Previous issue date: 2013 / Este trabalho propõe-se a investigar como o linguajear e o emocionar da docência modificam-se no início da carreira. O estudo foi desencadeado pelo desconforto que a metodologia do ensino de Matemática, baseada em sua maioria na apresentação do conteúdo e na realização de exercícios, causava tanto nos estudantes quanto na professora. A situação vivenciada nos primeiros anos da docência indicava a necessidade de estabelecer outro linguajear e emocionar com os estudantes, que favorecesse suas aprendizagens e não mais os negasse enquanto sujeitos aprendentes. Escolhemos a metodologia de Projetos de Aprendizagem como proposta facilitadora da aprendizagem, o que demandou a construção do saber no coletivo. Para conhecermos as transformações no linguajear e no emocionar foi necessário utilizar um instrumento de acompanhamento das atividades docente. Escolhemos o diário de aula como instrumento para o registro da experiência vivida no ensino de Matemática, de junho a dezembro de 2012, com os alunos do sexto e sétimo anos, de uma escola da rede pública de ensino. Analisamos e discutimos a narrativa presente no “Diário de uma professora iniciante” a partir da Investigação Narrativa, que se constitui tanto como fenômeno que se investiga quanto método de investigação. O conversar no diário mostrou uma professora iniciante com muitas inquietações em relação ao seu fazer docente, trazendo indicadores da insatisfação com a metodologia de ensino utilizada e o quanto o trabalho na perspectiva reprodutiva refletia-se na falta de desejo de aprender dos estudantes. Revelou também um emocionar de conflito com as certezas relacionadas aos processos de ensinar e aprender. Na experiência, aprendemos a respeitar os diferentes sujeitos e aceitá-los na sua singularidade, a refletir na ação e a tomar decisões a respeito do que já estava determinado de antemão (sistema escolar, ambiente físico, relações sociais, finalidades e objetivos educativos) que normalmente não questionávamos. Refletir na e sobre a ação permitiu-nos compreender os fundamentos de um fazer que emergiu da constituição docente que, em sua maioria, ocorre pela incorporação de um modo de viver. Estar em constante processo de formação foi o que nos mobilizou e forneceu subsídios para realizarmos a reflexão e, consequentemente, modificarmos as condutas estabelecidas com os estudantes. Problematizar a própria ação e as questões que permeiam a profissão docente possibilitou-nos questionar e compreender as razões pelas quais definimos nosso linguajear e emocionar no espaço de sala de aula e qual cultura de escola queremos gerar com os alunos. Tomamos a reflexão sobre a reflexão na ação como estratégia que nos permitirá fazer a docência na objetividade-entre-parênteses e gerar uma cultura que legitime a ação de todos os sujeitos como protagonistas dos processos de ensinar e aprender, de forma recíproca e igualmente válida. / This study aims to investigate how the language and the emotion of teaching are modified in teacher's early career. The study was triggered by the discomfort that the methodology of teaching Mathematics, based mostly on the presentation of content and exercises, caused both the students and the teacher. The situation experienced in the early years of teaching indicated the need to establish another language and emotion with the students, which may favor their learning and no longer deny them as learners. We chose the Learning Projects methodology as learning facilitator proposal, which required the collective construction of knowledge. To find out the changes in language and emotion, it was necessary to use a monitoring tool for teaching activities. We chose the diary as a tool to record the experience in teaching Mathematics, from June to December 2012, with students of the sixth and seventh years of a public school education. We analyze and discuss the narrative present in "Diary of a beginning teacher" from Narrative Research perspective, which is both a phenomenon that is being investigated and an investigation method. The conversation in the diary showed a beginner teacher with many concerns regarding their teaching. It brings indicators of dissatisfaction with the teaching methodology applied and how the work in reproductive perspective was reflected in the students' lack of learning desire. It also revealed an emotion of conflict about the certainties of the teaching and learning processes. In this experiment, we've learned to respect the different subjects and accept them in their uniqueness; to reflect in the course of action and to make decisions about what was in advance already determined (school system, physical environment, social relationships, educational goals and objectives), which normally there were no questioning about. Reflecting in the course and about the action has allowed us to understand the acting bases, which has emerged from the teacher's constitution, which mostly occurs by the incorporation of a way of living. Being in a constant process of study mobilized us and provided subsidies to accomplish a strong reflection about our practices and, as a result, a modified behavior with the students. Problematizing the action itself and the issues that underlie the teaching profession enabled us to question and understand the reasons why we define our language and emotion in the classroom space and which school culture we want to create with the students. We take the reflection about the reflection in course of action as a strategy that will allow us to make the objectivity- between-parenthesis teaching and to generate a culture that legitimizes the action of all the subjects as protagonists of the processes of teaching and learning, in a reciprocal and equally way.

El presente trabajo propone un análisis de los diarios de Rodolfo Walsh escritos entre 1957 y 1976. Estas anotaciones personales, que lleva a cabo el escritor a lo largo de casi veinte años, se encuentran en el libro Ese hombre y otros papeles personales, editado por Daniel Link. De esta forma, la investigación se centra en estos textos personales que constituyen un verdadero cuaderno de bitácora del autor, ya que además de su diario abarca otras escrituras del yo vecinas y correlativas a éste, como memorias, relatos de infancia y diverso material de cuño autobiográfico. De este modo, el primer capítulo se centra en dos tópicos previos al trabajo específico sobre el corpus. El primero referido a la problemática de los géneros literarios que transita el escritor en su obra. Y en segundo término se analiza la cuestión del diario íntimo en general y, las escrituras del yo en referencia al diarista, como qué tipo de diario construye y las dificultades que presenta su fragmentariedad y heterogeneidad. El segundo y tercer capítulo se centran en el análisis del diario íntimo del escritor propiamente dicho, desde su estancia en Cuba entre 1959 y 1961 hasta su actuación en el caso Padilla en 1972, entre otras circunstancias. En el cuarto capítulo el análisis se basa en el material de cuño autobiográfico del escritor existente en el corpus y los rasgos autofigurativos que emergen del mismo. Finalmente, en el último capítulo el estudio incursiona en la problemática de la violencia revolucionaria para Rodolfo Walsh y cómo se configura ello a partir de los escritos del diarista. El trabajo se propone, en definitiva, una reflexión sobre esa heterogeneidad y heterodoxia del corpus a partir de la emergencia de un sujeto escindido y cómo opera y se configura ello en los propios textos y su vínculo con la escritura pública del autor. / The present dissertation proposes an analysis of Rodolfo Walshs diaries written between 1957 and 1976. These personal notes, which have been made during almost twenty years, are in the book entitled Ese Hombre Y Otros Papeles Personales, organized by Daniel Link. Thus, this research focuses on these personal texts that are a real logbook of the author, considering that beside the diary, the notes include other correlated writings as memories, childhood stories and autobiographical material. The first chapter focuses in two preliminary topics: the first one is about the problems that emerge from the subject of the literary genres related to the author and his work, and the second one analyzes the issue of the diary in general, the scripts referring to the author, what kind of diary was built and the difficulties of its fragmentation and heterogeneity. The second and third chapters are centered on the analyses of the writers diary itself, since his stay in Cuba between 1959 and 1961 until his performance in \"Padilla\" in 1972, among other circumstances. In the fourth chapter the research is based on the autobiographic material of the writer inside the corpus and the personal traits which represent and emerge from it. Finally, in the last chapter the study goes into the problem of revolutionary violence to Rodolfo Walsh and how it is configured from the writings of the author. In summary, the paper proposes a reflection about all this corpus heterogeneity and heterodoxy, from the emergence of a divided subject and the observation of the configuration of it inside the texts and its relation with Walshs public writing.

Didier-Georges Gabily, Jean-Luc Lagarce et Jean-François Peyret ont la particularité d’avoir tenu, entre 1977 et 2008, un journal personnel. S’il s’agit d’explorer ces matériaux, encore peu étudiés dans le champ des études théâtrales, l’enjeu de la réflexion est de mesurer les apports du jeu diaristique à l’exercice théâtral. Les déplacements de l’un à l’autre sont envisagés dans ce que Philippe Lejeune nomme l’« espace autobiographique ». Dans cette perspective, les journaux ne constituent pas de nouvelles clés de lecture pour l’œuvre mais bel et bien des pièces maîtresses d’un jeu identitaire, ouvrant un dialogue sans fin entre fictions théâtrales, romanesques et textes autobiographiques. La première partie de la réflexion propose de cartographier ces journaux d’un genre particulier en observant d’abord comment la vie de l’homme et celle du théâtre y cohabitent. Comme pour de nombreux! autres artistes, le journal incarne l’espace d’un atelier : on tentera alors d’observer l’élaboration de l’écriture dramatique et on se demandera dans quelle mesure le journal peut constituer une mémoire de l’acte théâtral, par essence éphémère. La seconde partie est divisée en chapitres monographiques : pour chacun des trois auteurs, on arpentera le chemin du journal au théâtre sous l’angle d’une perspective unique ; la tentation autobiographique chez Jean-Luc Lagarce, la question lyrique chez Didier-Georges Gabily et celle du rapport à l’Autre chez Jean-François Peyret. / A common feature of Didier-Georges Gabily, Jean-Luc Lagarce and Jean-François Peyret is that they all kept personal diaries between 1977 and 2008. A study of this as of yet unexplored material from the point of view of theatrical studies can help measure the contribution of the diaristic play to theatrical practice. Movements from one to the other are considered in what Philippe Lejeune calls the “autobiographical space”. In this perspective, diaries do not constitute new reading keys for the works, but rather the cornerstones of an identity game that opens an endless dialogue between theatrical fictions, novels and autobiographical texts. The first part of the work attempts to map these distinctive diaries by observing how they account for both the artist’s life and his theatrical life more generally. As for many other artists, the diary embodies the space of a workshop: I will endeavour to observe the elaboration of dramatic writi! ng and speculate as to the extent to which the diary can constitute a memory of the theatrical act, which is essentially ephemeral. The second part is divided into monographic chapters. For each of the three authors, the path from diary to theatre will be viewed from a single perspective: the autobiographical temptation for Jean-Luc Lagarce, the questions of lyricism for Didier-Georges Gabily, and of inter-personal relationship for Jean-François Peyret.

The main aim of this thesis is concerned with dream as an inspirational source and as specific state of mind. Theoretical part describes dream from psychological point of view but also dream ramifications on the art in the first half of the 20th century. The thesis describes not only an introduction of surrealism as a new art style in French and Czech countries, but also birth of new art techniques. The work also maps dream reports of Jindřich Štyrský and their depictions as an author's primary source of imagination. Didactic part includes a survey aimed at sixth grader's dreams and didactic project consists of four painting tasks. Each task thematically follows specific parts of theoretical chapter. Practical part naturally results from dream-theme's ideas and is composed of two objects based on inspirations from dream. KEYWORDS Dream, dream diary, surrealism, Frottage, college, Jindřich Štyrský

The purpose of this paper is to document the results of the research required to conscientiously prepare a performance of The Diary of One Who Vanished, by Leos Janacek. Too often, vocalists and instrumentalists alike find themselves in a performance not knowing the bare essentials needed to produce an acceptable performance. Research is necessary in the following areas: life history of the composer as well as historical and political conditions of his surroundings, compositional style of the composer and specific tools which he used in the composition of the music to be performed and, if the composition is vocal, a thorough investigation of the text. Only after a complete study in these areas can a performance of any music be intelligently given.

This master thesis deals with the development of the web application to support athletes and their training management. The application will be useful both for athletes and their trainings evidence and indicators calculation and for the couches and the trainings planning. The evaluation of the existing tools for the training management and evidence is made as a part of the thesis. Based on this, the consultations with the athletic couches, athletes and the author's experience, the functionality requirements are determined. The use cases of all the potencial users and the class diagram of the application are defined following the requirements. Latest web technologies such as Grails and Groovy were used during the application programming. The result is publicly available and running at www.goodathlete.cz.

La thèse est consacrée à l’Écriture diaristique, poétique et dramatique de Jean-Luc Lagarce et à l’hybridité générique qui la régit. Elle tente d’apporter un éclairage original sur les écritures variées du Journal et de certaines pièces de théâtre du dramaturge. L’écrivain met, en effet, en évidence dans son travail une esthétique de l’échec. Il tente le pari d’une poétique du décousu. En naviguant entre les genres, le journal personnel fait écho aux pièces tandis que les œuvres dramatiques puisent, de leur côté, leur essence dans une actualité personnelle et historique. Écrivain de son temps, le dramaturge représente des personnages dans leur milieu quotidien, précipitant le lecteur au cœur de l’intime et tressant, dans une écriture lyrique toutefois dénuée de pathos, des liens entre le particulier et l’universel, l’intime et le collectif. Le tragique qu’il insuffle à son écriture est lié à une tragédie du quotidien, ensemble de blessures vives véhiculées par un passé houleux et un présent tissé de souffrances et d’incompréhension. L’absurdité de l’existence conditionne une « action-état », presque passive, comme si les personnages enduraient une véritable « passion », qui freine l’action dramatique. Dès lors, le mouvement constant de la parole se substitue à l’action. Voix, images, mouvements, l’écriture lagarcienne se révèle alors à la fois poétique et dramatique, mettant l’hybridité au cœur de l’esthétique. Théâtre psychologique, psychanalytique et sociologique de la parole, il est aussi tragédie et poésie précaire du quotidien. Il est, finalement, tout ce qui constitue l’individu même : complexité, pluralité et sensibilité de l’être-au monde / The thesis is devoted to the diaristic, poetic and dramatic writing of Jean-Luc Lagarce and to its generic hybridity. It tries to bring an original light on the playwright various writings of the Journal and some other plays.The writer puts in evidence in his work an aesthetics of failure. He tries to bet on a poetics of desultory. Navigating between genres, the diary echoes the pieces while dramatic works draw their essence in personal and historical actuality.Writer of his time, the playwright represents characters in their daily environment driving the reader into the heart of the intimate. In a lyrical writing, he braided links between the particular and the universal, the intimate and the collective.The tragedy he infuses into his writing is linked to a tragedy of everyday life, a set of vivid injuries conveyed by a stormy past and a present made of pain and misunderstanding.The absurdity of existence determines an “action-state”, almost passive, as if the characters endured a real "passion", which slows down the dramatic action. From then on, the constant movement of speech replaces action. Voice, images, movements, the Lagarcian writing is then both poetic and dramatic, putting hybridity at the heart of aesthetics.Psychological, psychoanalytical and sociological theater of speech, it also represents tragedy and precarious poetry of everyday life.It is, ultimately, all that constitutes the individual itself: complexity, plurality and sensitivity of being-to the world.

Research has shown that exercise has the potential to improve couple relationships. This study contributes to current literature by examining the associations between exercise, its duration, and its intensity and daily clinical couple interactions. Participants were 22 married couples in a treatment-as-usual setting who completed daily diaries about daily behaviors and marital interactions. Multilevel models were run, and results showed that wives who exercised were more likely to report a negative interaction with their husband that day. When wives exercised longer, both they and their husbands were more likely to report positive interactions that day. Interestingly, if husbands exercised longer on a given day, their wives were less likely to report positive interactions and there was no association between husbands' perception of interactions and their own exercise duration. Finally, we found that when wives exercised more intensely, both she and her husband were less likely to report positive marital interactions. These results have implications for clinicians working with couples in therapy.

La justice globale du groupe fait référence aux perceptions du traitement juste ou injuste reçu de la part des membres du groupe de travail ou des collègues de travail. Les perceptions de justice organisationnelle ont longtemps été considérées comme stables dans le temps, qui ne pouvaient changer que sur le niveau interindividuel. Cependant, il a été démontré empiriquement que les perceptions de justice varient dans le temps sur les deux niveaux inter et intra-individuels que ce soit d’une période à une autre, d’une semaine à une autre, d’un jour à un autre et même au cours d’une seule et même journée. La justice organisationnelle est connue pour avoir une influence significative sur un certain nombre de comportements et attitudes au travail tels que la performance, la satisfaction, l’intention de départ, l’engagement ou encore l’implication au travail. Récemment, il a été révélé que les perceptions de justice avaient également une influence sur le sentiment de bien-être au travail des individus. Ainsi, la présente recherche examine l’effet des perceptions de justice globale du groupe sur le bien-être au travail en adoptant une approche dynamique appelée la méthode du journal personnel ou la Diary Study. Cette recherche étudie également les mécanismes explicatifs de cette relation. / Overall team justice refers to the perceived treatments received by team members or coworkers at work. Organizational justice has been long considered as a stable variable over time changing from one individual to another. However, empirical studies have shown that justice perceptions vary over time at both the between and the within-individual level across periods of time, from one week to another, form one day to another, and even over the course of one single day. Organizational justice has been shown to have a significant influence on different individual’s attitudes and behaviors at work such as performance, satisfaction, turnover intention, engagement and implication at work. Recently, studies have revealed that justice perceptions have also an influence on individual’s wellbeing at work. Thus, the present research examines the effect of overall team justice perceptions on wellbeing at work by using a dynamic approach, namely, the Diary Study. This research also examines the underlying mechanisms of this relationship.