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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
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Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 1 to 5 of 5 (0.07 seconds)| 1 |
O Corpomídia como ignicão para ensaios fílmicosFilho, Ernesto 20 October 2016 (has links)
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Previous issue date: 2016-10-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation seeks to organize and complexify a certain dimention of
the body in film making having as a starting point the notion of essay film and the
film of my own "Pas ce soir", finalized and presented for the first time in January
2015. The term essay film began to be used in the 1940s to refer to certain types of
cinematic experiences that were beginning to emerge. Many of these experiments
were related to the emergence of new technologies such as 16mm cameras, which
enabled a single artist to handle the apparatus necessary for the making of a film. Part
of the theoretical work is based on theories that discuss the body and its relationship
with the environment. Among them, “Corpomídia” theory (GREINER and KATZ);
the notion of “embodied meaning” (JOHNSON, Mark) and ideia of “extended mind”
(Clark, Andy). The hypothesis is that the notion of essay film needs to be
problematized because until today it relies on dualistic separations that do not make
sense in bodily terms / Esta dissertação busca organizar e complexificar uma certa dimensão do corpo
no cinema tendo como ponto de partida a noção de ensaio fílmico (film essay) e o
filme de minha autoria “Pas ce soir”, finalizado e apresentado, pela primeira vez, em
janeiro de 2015. O termo ensaio fílmico começou a ser usado na década de 1940 para
se referir a certos tipos de experiências cinematográficas que começavam a surgir.
Grande parte desses experimentos estavam relacionados ao aparecimento de novas
tecnologias como as câmeras 16mm, que possibilitaram que um único artista pudesse
manusear o aparato necessário para a realização de um filme. A fundamentação
teórica se apoia em algumas teorias que discutem o corpo e suas relações com o
ambiente. Entre elas, a teoria Corpomídia (GREINER e KATZ); a noção de
significado corporificado (JOHNSON, Mark) e a ideia de mente estendida (CLARK,
Andy). A hipótese é a de que a noção de ensaio fílmico precisa ser problematizada
pois até hoje apoia-se em separações dualistas que não fazem sentido em termos
corporais
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Metaphors and Models: Paths to Meaning in Music / Paths to Meaning in MusicLinsley, Dennis E. 12 1900 (has links)
xv, 198 p. : music / Music has meaning. But what is the nature and source of meaning, what tools can we use to illuminate meaning in musical analysis, and how can we relate aspects of musical structure to our embodied experience? This dissertation provides some possible answers to these questions by examining the role that metaphors and models play in creating musical meaning. By applying Mark Johnson and Steve Larson's conceptual metaphors for musical motion, Larson's theory of musical forces, perspectives on musical gesture, and a wide variety of models in music analysis, I show how meaning is constructed in selected works by Bach and Schubert.
My approach focuses on our experience of musical motion as a source of expressive meaning. The analysis of two gigue subjects by Bach shows how we create expressive meaning by mapping musical gestures onto physical gestures, and five detailed case studies from Schubert's Winterreise show how the same basic underlying pulse leads to different expressive meanings based on how that pulse maps onto walking motion. One thread that runs through this dissertation is that models play a significant role in creating meaning; this idea is central to my analysis of the prelude from Bach's fourth cello suite.
Questions of meaning are not new to musical discourse; however, claims about meaning often lurk below the surface in many musical analyses. I aim to make the discussion of meaning explicit by laying bare the mechanisms by which meaning is enacted when we engage with music. The view of musical meaning adopted in this study is based on several complementary ideas about meaning in general: meaning is something our minds create, meaning is not fixed, meaning is synonymous with understanding, and meaning emerges from our embodied experience.
Other scholars who address musical meaning (for example, Hatten and Larson) typically adopt a singular approach. Although I do not create a new theory of meaning, I employ numerous converging viewpoints. By using a multi-faceted approach, we are able to choose the best available tools to discuss aspects of our musical experience and relate the expressive meaning of that experience to details of musical structure. / Committee in charge: Stephen Rodgers, Chairperson;
Jack Boss, Member;
Lori Kruckenberg, Member;
Steven Larson, Member;
Mark Johnson, Outside Member
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The Pursuit of Haptic-ness: Exploring the Significance of a Haptic Reflective Practice in Graphic Design EducationBruner, Olivia 16 June 2017 (has links)
No description available.
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When our senses dance : sensory-somatic awareness in contemporary approaches to Odissi dance in IndiaSen, Sabina Sweta January 2016 (has links)
This research investigates sensory-somatic awareness based approaches to the conditioning, training and performance of Odissi dance in India. Through a multidisciplinary and embodied methodology it analyses the practices of three contemporary Odissi dance institutes and a selection of individual dancers in India, who are moving beyond the traditional methodology. Drawing from ethnographic fieldwork in India, this research explores how sensory-somatic approaches incorporated by these dancers generate meaning-making and in what ways this enriches the dancers’ experience of dancing Odissi. As an outcome of the fieldwork, the term sensory-somatic is proposed and analysed in line with the dancers’ embodied experience of dancing Odissi. The analysis entails a paradigm that embraces the corporeal, sentient and socio-cultural bodymind, and the sensory aspects of senses, sensation, perception, sensibility and sensuality. These form two layers: the somatic and sensory which merge together as the sensory-somatic awareness. It takes into consideration the sensory perception and awareness leading to an agentic, enactive and embodied meaning-making and emotional engagement of the dancers. It also examines how the changing socio-cultural situation has been continuously affecting the Odissi dance embodiment. This thesis does not address the religious aspect and the experience of the audience in Odissi performance. The main focus remains the dancers’ individual experience of learning and performing Odissi dance. Moving away from the study of Odissi dance just as a reflection of the state, regional culture and representation of mythologies, this thesis is an investigation of the Odissi dancer’s meaningful, embodied and lived experience of Odissi dancing. It contributes to the debates on body-mind relationship, emotional engagement, place of the ‘self’, the student-oriented learning, psychophysical training and performance, and rasa-bhāva aesthetics. This study reveals that the sensory-somatic awareness is based upon reflexivity, independent enquiry, psychophysical health, bodymind awareness and leads to empowerment, agency, autonomy, plurality, confidence and responsibility, a level of relief from gender biases, and an inclusive approach to learning and performing.
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Reading the Game: Exploring Narratives in Video Games as Literary TextsTurley, Andrew C. 12 1900 (has links)
Indiana University-Purdue University Indianapolis (IUPUI) / Video games are increasingly recognized as powerful tools for learning in classrooms. However, they are widely neglected in the field of English, particularly as objects worthy of literary study. This project argues the place of video games as objects of literary study and criticism, combining the theories of Espen Aarseth, Ian Bogost, Henry Jenkins, and James Paul Gee. The author of this study presents an approach to literary criticism of video games that he names “player-generated narratives.” Through player-generated narratives, players as readers of video games create loci for interpretative strategies that lead to both decoding and critical inspection of game narratives. This project includes a case-study of the video game Undertale taught in multiple college literature classrooms over the course of a year. Results of the study show that a video game introduced as a work of literature to a classroom increases participation, actives disengaged students, and connects literary concepts across media through multimodal learning. The project concludes with a chapter discussing applications of video games as texts in literature classrooms, including addressing the practical concerns of migrating video games into an educational setting.
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