Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2015-10-28T11:56:56Z No. of bitstreams: 3 Dissertação - Michelle Nogueira de Resende - 2015 - (1).pdf: 76538 bytes, checksum: acb0b3ade0b9ae8fa1d6394714f88c21 (MD5) Dissertação - Michelle Nogueira de Resende - 2015 - (2).pdf: 7806354 bytes, checksum: 5cc2d80f97d9f75e9914db63578ec4ec (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-10-28T12:01:51Z (GMT) No. of bitstreams: 3 Dissertação - Michelle Nogueira de Resende - 2015 - (1).pdf: 76538 bytes, checksum: acb0b3ade0b9ae8fa1d6394714f88c21 (MD5) Dissertação - Michelle Nogueira de Resende - 2015 - (2).pdf: 7806354 bytes, checksum: 5cc2d80f97d9f75e9914db63578ec4ec (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-10-28T12:01:51Z (GMT). No. of bitstreams: 3 Dissertação - Michelle Nogueira de Resende - 2015 - (1).pdf: 76538 bytes, checksum: acb0b3ade0b9ae8fa1d6394714f88c21 (MD5) Dissertação - Michelle Nogueira de Resende - 2015 - (2).pdf: 7806354 bytes, checksum: 5cc2d80f97d9f75e9914db63578ec4ec (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-12-19 / It is through their pottery dolls that Karajá women (self-named In ) convey the picture their people have of themselves and their identity. By modelling clay, they take on an important role on the legitimation of the “Karajá way of being”, creating and recreating the meanings that support their world perspective, besides cultural and ethnic identity. This paper’s objective is to reflect upon the registration of these pottery dolls as a Brazilian cultural heritage (by the Artistic and Historical Heritage National Institute – IPHAN), having these potter women’s conceptions and practices as a central object in this process. Thus, I bring some thoughts on some agencies and people’s actions in the aforementioned process; on the recognition they have been seeking for as an instrument of dissemination and valuation of the potters’ knowledge and work, on the circulation of the dolls/ritxoko as a possibility for network widening and political strengthening, on the appropriation of the institutional discourse and its re-elaboration from an ethnicpolitical point of view, and on the feminine political protagonism that emerges from these potters’ work and craft. / Através de suas bonecas de cerâmica as mulheres Karajá expressam a imagem que o seu povo (que se autodenominam de In ) tem de si próprio, de seu universo cultural e de sua identidade. Por meio da arte de modelar o barro, elas assumem um papel importante na legitimação do modo de “ser Karajá”, criando e recriando os significados que dão sustentação à sua visão de mundo e à sua identidade étnica e cultural. O objetivo desta pesquisa é refletir sobre o registro das bonecas de cerâmica confeccionadas pelas mulheres Karajá da região do Araguaia, como patrimônio cultural brasileiro (pelo Instituto do Patrimônio Histórico e Artístico Nacional – IPHAN), tomando como objeto central as concepções e práticas das mulheres ceramistas sobre o assunto. Assim, trago algumas reflexões acerca da atuação de agências e pessoas-chave no processo mencionado; do referido reconhecimento como instrumento de divulgação e valorização do saber e do trabalho das ceramistas; da circulação das ritxoko/bonecas como possibilidade de ampliação de redes e de fortalecimento político; da apropriação dos discursos institucionais e reelaboração dos mesmos a partir de um ponto de vista etnopolítico, bem como do protagonismo feminino que emerge através do ofício e do trabalho das ceramistas.

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In the late eighteenth- to early nineteenth-century English domestic interior, games mediated and influenced the experience of age and masculinity. Games embodied, reflected, and shaped culture. Games united education, entertainment, and players’ imaginations inside the formative social environment of the home. The domestic interior was the catalyst that facilitated the agency of games. I explore the representation of age and masculinity in miniature images of boys, youth, and men in games and the agency of games as they interacted with players. I use three intersecting lenses: how people experience miniature objects; social interactions in domestic spaces; and the ability of an ordinary belonging to influence perceptions, ideas, and behaviour. In two case studies, I argue that games were serious cognitive technologies with agency that mediated and shaped players’ understanding of age and masculinity. In case one, I investigate the visuality, materiality, and experience of playing the didactic board game The New Game of Human Life (1790). The game consists of a battle between vice and virtue that males meet throughout the life stages. In case two, I analyze a series of five sets of paper dolls and their books published by Samuel and Joseph Fuller between 1810 and 1816. The male paper doll-book is an intermedial product that encourages players to imagine and act out adventures. In both cases, I argue games were active cognitive technologies that communicated with players. Games were visual and material culture that fashioned masculine identity. Games played in the domestic interior were communicative media designed to shape players’ ideas about masculine identity and their behaviour. / Graduate / 2022-08-10

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The advent of interactive and humanistic sex robots signifies a shift in the sex technology industry. Where objects such as sex dolls require an imagined personality, sex robots operate through artificial intelligence systems, allowing the user to communicate with the robot and shape its personality more directly. Even as stigmatization and fear revolve around the emergence of sex robots, the technology has implications for social robots and companion technologies. Discourse surrounding sex robots manifests across institutions with stakeholders attempting to guide the industry toward their vision of the future. The sex robot industry remains niche and its cultural impact is unclear; yet, social and legal regulations may have farther-reaching implications. This political-economic study examines how corporate (RealDoll), advocacy (Campaign Against Porn Robots and Prostasia Foundation), and government (local, state, national, and international) stakeholders envision the current and future standing of sex robots and their place in society. The analysis demonstrates the ways stakeholders draw on moral, capitalist, and androcentric language to celebrate or condemn the sex robot industry. This study’s data includes a critical discourse analysis of business and marketing materials, press releases and interviews, ownership details, and government legislation, a total of 442 artifacts. Through this examination, I argue that moralism and absolutism dominate the discourse, while the robots’ sexual functions obfuscate the ramifications of robotic artificial intelligence. Contextualized by broader discourses on technology and feminist inquiry, I additionally argue that sex robots are utilized as a focal point to debate broader issues of child abuse, rape and objectification, sexual privacy, and loneliness. Through ownership and lobbying facets, data reveals interconnections between stakeholder segments, indicating power and influence outside of the sex industry. In particular, Realbotix, the technological avenue of RealDoll, is attempting to expand its bespoke social robot offerings, the Campaign Against Porn Robots and Prostasia continue to lobby U.S. legislators to ban and reduce restrictions respectively, all while U.S. states implement restrictions on childlike sex robots without any regulatory advice on the AI privacy risks. I conclude the study with policy recommendations to clarify Supreme Court precedent and fortify consumer data protections. / Media & Communication

The thesis devotes to innovative approaches at the elementary school level and is focused on an education method designed to counter prejudice Persona Dolls. The thesis describes theoretical foundations of the above mentioned method and its contribution to the developmentof students'key competences focused on the communicative competence.The theoretical part of the thesis futher discusses the possible uses of the method Persona Dolls in achieving education goals according to the Framework curriculum, especially focusing on cross-sectional topics. The research part is devoted to investigation of teachers'experience with this method. The author finds out how often and in what ways a particular teacher involves the method of Persona Dolls in his teaching. Primarily, the research investigates the rate of interconnection between the content of cross-sectional topics and topics of this method lessons with relation to ways of planning Persona Dolls lesson by individual teachers. A partial research objective is to evaluate the development of students'communicative competence while using Persona Dolls method. KEYWORDS: Innovation, method Persona Dolls, Framework curriculum for elementary education, key competences, student, deliberate work with prejudice

This diploma thesis deals with the Persona Dolls method, which consciously works with prejudices. The theoretical part is focused on the mapping of the changes in the current education that has been practiced in Czech education since 1989. The curriculum documents, which regulate education, have been developed. The second chapter concerns the area of values for which school can be the stimulating environment in which they can evolve. The central part of the theoretical part is the chapter dealing with the Persona Dolls method. It focuses on the theoretical starting points of the method, the goals, the method of working with the method, presents the conditions for realization, then the pitfalls that can prevent the effectiveness of working with the method. The last chapters of the theoretical part are devoted to linking the Persona Dolls and Framework Educational Programs, especially in the area of key competencies. It then deals with the context of the method and values of society. The research part of this diploma thesis is verified by the qualitative action research according to the Korthagen cycle ALACT, whether the method is suitably treated in practice and if the principles of working with the doll are fulfilled, whether the key competencies, attitudes and values are being developed. It also...

This thesis intends to answers these questions: What did “curiosity” mean in the nineteenth century, and how do Charlotte Brontë's four major works represent such curiosity? How were women looked at, formulated, and situated under the nineteenth-century curious gaze? In order to answer these questions, this thesis examines Brontë's works by juxtaposing them with nineteenth-century exhibitions. Four chapters are thus dedicated to this study: in each a type of exhibition is contemplated, and in each the definition of “curiosity” is defined through the discussions of boundary-breaking. The first chapter discusses the metaphors of “cabinets of curiosities” throughout Brontë's texts. The most intimate and enclosed spaces occupied by women and / or their objects—attics, desks, drawers, lockets—are searched in order to reveal the secret relationship between Brontë's heroines and the objects they have hidden away, especially the souvenirs. From cabinets of curiosities the thesis moves to another space in which the mechanism of curiosity and display takes place—the garden. The second chapter thus discusses the supposed antithesis between the innocent and the experienced, between the Power of Nature and the Power of Man, by reading the garden imagery in Brontë's works along with nineteenth-century pleasure gardens and the Wardian case. The imagery of Eve is also taken into consideration to discuss the concept of innocence. In the third chapter, metaphors of waxworks and the Pygmalion myth are applied to discuss the image of women's bodies in Brontë's texts, and the boundary between the living body and the non-living statue is seen as blurred. In the final chapter, dolls' houses and their metaphors in Brontë's works are examined in order to explicate Brontë's concept of “home,” and the dolls' house thus poses a question on the relationships between the interior and the exterior, the gigantic and the miniature, and the domestic and the public spaces.

This diploma thesis focuses on the matters of children interrogation -specifically persons younger than 15 years being in position of victims or witnesses of crime. Even though I narrowed down the topic of the thesis, it is certainly very broad and complicated one which can be discussed more in depth. Children interrogation usually requires extensive efforts of the interrogating person - patience and empathy above all. Also, previous experience and the understanding that each case is individual and each child has to be apporached in a different way, are crucial. The interrogating's objective is to find out the relevant information and prevent secondary victimisation of the child at the same time. Diploma thesis contains two parts - theoretical and practical. Theoretical part is focused on Czech legal regulations related to these matters, specifics of child personality (ontogenesis, temperament and child character) and methods of interrogation (analyses single stages of the interrogation, deposition, documentation, persons taking part in the interrogation and possible mistakes which can be made). Special emphasis is put on suitable interrogating environment, approach to the children and prevention of secondary victimisation. The thesis also considers specific problems related to the interrogation, for...

Made available in DSpace on 2014-12-17T14:00:16Z (GMT). No. of bitstreams: 1 GustavoHLF_DISSERT.pdf: 3924018 bytes, checksum: bc74d5a5eaa0af5f13f6540a971871f3 (MD5) Previous issue date: 2013-03-06 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / This work aims to investigate the relationship between the Bunraku theater and the film Dolls (2002), by the Japanese director Takeshi Kitano. To do so, it was initially done a theoretical study of this theater, detailing its key elements, and thus allowing a direct analysis of the film to be made. The main objective here was to reveal the film‟s connections with the Bunraku. The Sangyo refers to the simultaneous presence of three arts in the Bunraku theater: the narrative, the music and the manipulation of puppets. In Dolls, the director Takeshi Kitano presents a narrative through three different stories, all built with references to the Bunraku. As in the theater the three distinct arts harmonize on stage, in Dolls three separate stories will perform in harmony within the film. By confronting the Bunraku Theater with the film Dolls, the intention is to establish the connections between the scenic language of the Bunraku, the dramaturgy of Chikamatsu and also the cinema of Kitano. These connections allow to the understanding of how characteristics of a secular art, governed by strong rules and conventions, can be presented again through another language: the cinematic language and its particular set of codes and conventions / Este trabalho tem por finalidade investigar as rela??es existentes entre o Teatro Bunraku e o filme Dolls (2002) do diretor japon?s Takeshi Kitano. Para isso, foi feito inicialmente um estudo te?rico desse teatro, elencando seus principais elementos, permitindo ent?o, uma an?lise direta do filme, buscando revelar suas conex?es com o Bunraku. O sangyo faz refer?ncia ? presen?a simult?nea de tr?s artes no teatro Bunraku: a narrativa, a m?sica e a manipula??o de bonecos. Em Dolls, o diretor Takeshi Kitano apresenta uma narrativa por meio de tr?s hist?rias distintas, todas elas constru?das com refer?ncias ao Bunraku. Assim como nesse teatro tr?s artes distintas se harmonizam no palco, em Dolls tr?s hist?rias independentes v?o se apresentar em harmonia no filme. Ao confrontar os dados do teatro Bunraku com os dados do filme Dolls, o objetivo ? estabelecer as conex?es entre a linguagem c?nica do Bunraku, a dramaturgia de Monzaemon Chikamatsu e o cinema de Takeshi Kitano. Estas conex?es permitem compreender como caracter?sticas de uma arte secular, regida por fortes regras e conven??es, podem ser reapresentadas atrav?s de outra linguagem, no caso a linguagem cinematogr?fica