A presente pesquisa tem por objetivo investigar estratégias para a formação do leitor literário a partir da leitura de obras literárias adaptadas em quadrinhos. O enfoque desse estudo está na recepção da Literatura em Quadrinhos por leitores/alunos dos primeiros anos do Ensino Fundamental II, tendo por objeto a leitura da obra Sr. William Shakespeare teatro, de Marcia Williams. Considerando as atuais pesquisas no campo do ensino da língua materna, verifica-se que inúmeros têm sido os desafios e dilemas na formação de leitores proficientes. As práticas sociais de leitura na sociedade contemporânea demandam do leitor habilidades e competências sobre variadas linguagens, códigos e formas de expressão reunidas, muitas vezes, em um único texto, veiculado sob os mais variados suportes e mídias. Em um cenário composto por textos e linguagens híbridas e múltiplas, cabe o questionamento sobre quais são os saberes e competências necessários para que o aluno alcance efetivamente o objetivo da leitura, isto é, a construção de sentidos. Imbricadas na mesma obra, a Literatura, arte da palavra, e a História em Quadrinhos, arte sequencial, formam um texto intersemiótico rico em possibilidades de percursos para o leitor em formação, além de constituírem um campo propício à iniciação estética. Partindo dessas reflexões e hipóteses, este estudo pretende investigar a interação do leitor com a(s)obra e o(s) autor(es) a fim de refletir sobre aspectos sócio e metacognitivos da leitura. Pretende-se contribuir com as discussões sobre formação do leitor literário e a relevância de determinadas obras e linguagens nesse processo. Para tanto, neste estudo de caso, propõe-se a investigação por meio de questionários, diário de leitura e protocolo verbal para subsidiar o conhecimento e a reflexão sobre o processo de leitura da literatura em quadrinhos. / The purpose of this research is to investigate strategies to promote the formation of literary readers through the reading of literary works adapted into Comic Books. This study focus on the readers/students first contact with Literature in Comic Books at the beginning of their secondary school, aiming at reading the book Sr. William Shakespeare teatro, by Marcia Williams. Considering present researches in the field of mother tongue teaching, its been verified that there are many challenges and dilemmas in the formation of proficient readers. Reading social practices in contemporary society demand abilities and competences from the reader on various fields, codes and means of expression all together, many times, in only one text, in the most varied formats and media. In a scenario formed by texts and multiple hybrid means of expression, there is space for the questioning about which knowledge and competences are needed for the student to effectively achieve the aim of reading, in other words, the building of meaning. Interwoven in the same piece of work, the literature, the art of vocabulary usage, and the Comic Books, sequential art, create an inter-semiotic text, rich in possibilities to the developing reader, besides being a propitious field to the esthetic initiation. Starting from these considerations and hypothesis, this study intends to investigate the interaction between the reader, the work and its authors in order to reflect upon socio and meta-cognitive reading aspects. It is intended to contribute to the discussions about the literary reader formation and the relevance of specific works and forms of expression in this process. To do so, this case study has proposed the investigation through the use of questionnaires, reading diaries and verbal protocol to subsidize the knowledge and thought about the Literature in Comic Books reading process.

Submitted by Aline Batista (alinehb.ufpel@gmail.com) on 2016-02-26T22:10:54Z No. of bitstreams: 2 O infográfico conceitual como meio para o desenvolvimento de experiência estética significativa em web arte.pdf: 4775367 bytes, checksum: 0b6f95c0641ba16b8bfaa9527d2d5574 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2016-02-26T22:21:08Z (GMT) No. of bitstreams: 2 O infográfico conceitual como meio para o desenvolvimento de experiência estética significativa em web arte.pdf: 4775367 bytes, checksum: 0b6f95c0641ba16b8bfaa9527d2d5574 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2016-02-26T22:24:42Z (GMT) No. of bitstreams: 2 O infográfico conceitual como meio para o desenvolvimento de experiência estética significativa em web arte.pdf: 4775367 bytes, checksum: 0b6f95c0641ba16b8bfaa9527d2d5574 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2016-02-26T22:25:47Z (GMT). No. of bitstreams: 2 O infográfico conceitual como meio para o desenvolvimento de experiência estética significativa em web arte.pdf: 4775367 bytes, checksum: 0b6f95c0641ba16b8bfaa9527d2d5574 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-03-26 / Sem bolsa / A pesquisa “O infográfico conceitual como meio para o desenvolvimento de experiência estética significativa em web arte”, vinculada ao Programa de Pós-graduação em Artes Visuais do Centro de Artes da UFPel, propõe a construção de um método de Ensino da Arte que explore obras que envolvam tecnologias digitais. A presente investigação visa responder a seguinte questão: como construir uma estratégia teórico-metodológica para o desenvolvimento de “infográficos conceituais” que possibilitem uma experiência estética significativa em web arte? Seu objetivo principal é discutir a possibilidade de desenvolver o método proposto. Distintos modos são adotados para verificar o problema apresentado, observando o meio onde se manifesta a fim de entendê-lo, interpretá-lo e atribuir significados, caracterizando-se, assim, em um método qualitativo. Tal abordagem se justifica uma vez que os dados consultados possuem caráter descritivo e subjetivo e a interpretação dos resultados obtidos nos infográficos conceituais projetados está relacionada ao contexto e aos pressupostos culturais dos envolvidos na sua produção. O referencial teórico contribuiu na reflexão de conceitos como tecnologia e cultura, observando as influências no perfil do jovem contemporâneo, público contemplado. Compreender as teorias sobre educação estética e sensível foi fundamental para compreender as metodologias consolidadas sobre o Ensino da Arte que, também, servem como aporte teórico para a reflexão da prática docente. Questões referentes à teoria da aprendizagem significativa são abordadas para pensar a proposta metodológica. Com isso, a teoria dos mapas conceituais e suas aproximações com projetos de infográficos propiciaram o desenvolvimento de uma prática aqui denominada “infográfico conceitual” por meio do qual o estudante pode traduzir a experiência vivenciada através de obras de web arte, atribuindo conceitos, relacionando-os, ou não, a imagens que transmitam o pensamento. A proposta metodológica, testada em uma turma de Ensino Médio do Instituto Federal Sul-Rio-grandense em Pelotas – RS, permitiu verificar a viabilidade do desenvolvimento de infográficos conceituais como meio para o desenvolvimento de uma experiência estética significativa. / The research "The conceptual infographic as a means for the development of significant aesthetic experience in web art", linked to the Post-graduation Program in Visual Arts of the Arts Center of UFPel, proposes the construction of a method of Art Teaching which explores works involving digital technologies. This investigation aims to answer the following question: how to construct a theoretical-methodological strategy for the development of "conceptual infographics" that allow a significant aesthetic experience in web art? The main objective of this research is to discuss the possibility of developing the proposed method. Taking this as a starting point, different ways to verify the stated problem are taken, observing the environment in which it manifests itself in order to understand it, to interpret it and to assign meanings to it, thus being characterized as a qualitative method. This approach is justified since the queried data have descriptive and subjective character, and the interpretation of the results obtained in the projected conceptual infographics is related to the context and the cultural assumptions of those involved in its production. The theoretical framework contributed to the reflection about concepts such as technology and culture, observing the influences on contemporary youth, the audience intended to be reached. Understanding the theories on aesthetic and sensitive education was crucial to grasp the consolidated methodologies of Art Teaching, which also serve as theoretical basis for the reflection about teaching practice. Issues related to the theory of meaningful learning are addressed in order to help thinking the proposed method. With that, the theory of concept maps and their connections with infographic projects allowed the development of a practice which was named as "conceptual infographic", through which the student can translate the experience lived through works of web art by attributing concepts, relating them – or not – to images that convey his/her thought. The proposed methodology, tested with a group of high school students from Instituto Federal Sul-Rio-grandense in Pelotas, allowed checking the viability of using conceptual infographics as a means for developing a meaningful aesthetic experience.

My study is about image forming in preschool. The aim of my study is to find out how pedagogues perceive that they relate to image forming activities in preschool. As a method I have used a qualitative interview method where I have written interviews with five pedagogues. My study is based on Vygotskij and his socio-cultural perspective on learning. The results showed that the pedagogues who participated in my study resembled a picture of how they work with image forming in preschool and emphasize the importance of a variety of material and techniques. The results also showed that the pedagogues believe that their own attitude is important for the influence of the children in their creation. Furthermore the pedagogues explain that they believe that the image forming process is an important part of the children´s learning through the children trying to explore at their own pace, as well as the joy of being together in the process. / Mitt examensarbete handlar om bildskapande i förskolan. Syftet med min studie är att bidra med kunskap om pedagogers beskrivningar på hur de tänker kring bildskapandeaktiviteter i förskolan. Som metod har jag använt mig av en kvalitativ intervjumetod där jag har genomfört skriftliga intervjuer med fem pedagoger. I min studie har jag utgått från Vygotskij och hans sociokulturella perspektiv på lärande.   Resultatet visade att pedagogerna som deltog i min undersökning har liknade bild av hur de arbetar med bildskapande i förskolan där de framhåller vikten av en variation av material och tekniker. Resultatet visade även att pedagogerna anser att deras egen inställning har betydelse för hur barnen påverkas i sitt skapande. Vidare förklarar pedagogerna att de anser att bildskapandeprocessen är en viktig del i barnens lärande genom att barnen får prova på att utforska i sin egen takt, samt glädjen i att vara tillsammans i processen.

This study aimed to evaluate the translucency and value with different combinations of enamel , dentin and body of each composite regarding a standard thickness (1,5mm). Three different resin composites commercially available with a standard shade (A1), IPS Empress Direct, Charisma Diamond and Filtek Z350 XT were evaluated. A stainless steel matrix was used to prepare ninety disc-shaped specimens with 11mm diameter and 1,5mm thickness. The specimens were randomly allocated in 18 groups (n=5) according to different combinations of enamel , dentin and body presented in each resin composite evaluated. After light curing, specimens were stored in deionized water at 37º C for 24h. Three consecutive readings were performed according to the CIE L*a*b* color scale relative to the standard illuminant D65 on reflection spectrophotometer (SP60 - EX-Rite). The optical properties of translucency and value were measured by the parameters translucency (TP) and lightness in white background (L*w) and black background (L*b), respectively. The mean TP, L*w and L*b were analyzed by ANOVA (General Linear Models) and Tukey s post hoc tests (α =0.05). Scatter plots together with Spearman´s correlation coefficient were used to assess the relationship between TP and L*w and TP and L*b values. The groups had statistical significant different values (p=0.000). The resin composite Empress Direct when only a layer of enamel were employed presented the highest TP value, whereas the resin composite Filtek Z350 XT with a single layer of dentin presented the lowest TP value. A negative and strong correlation between TP and L*b and a positive and weak correlation between TP and L*w were observed. Optical properties as translucency and value rely on the material used. In general, there was statistical difference between the groups for TP and L* / Este estudo tem como objetivo analisar o comportamento óptico de diferentes resinas compostas, em distintas combinações de esmalte, dentina e corpo de cada composto em relação à espessura padrão (1,5mm) na percepção da translucidez e valor. Foram analisadas três marcas comerciais de resina composta (IPS Empress Direct, Charisma Diamond, Filtek Z350 XT) na cor A1. Uma matriz metálica foi utilizada para confeccionar noventa espécimes (1,5mm de espessura e 11mm de diâmetro). Os espécimes foram randomizados e divididos em 18 grupos (n=5) conforme as possibilidades de combinações de esmalte, dentina e corpo. Após a fotopolimerização, os espécimes foram armazenados em água deionizada por 24h a 37°C. Três leituras consecutivas foram realizadas por um espectrofotômetro de reflexão (SP 60 EX-Rite) relativo ao iluminante padrão D65 de acordo com o sistema CIE L* a* b*. As propriedades ópticas, translucidez e valor, foram mensuradas pelo parâmetro de translucidez (TP) e pela variável L* sobre fundo preto e branco respectivamente. A média dos valores do TP, L*b e L*p foram analisadas por ANOVA (Modelo Linear Geral) e testes Tukey s post hoc (α=0,05). Gráficos de dispersão juntamente com o coeficiente de correlação de Spearman entre TP e L*p e TP e L*b foram calculados. Os grupos apresentaram diferença estatística (p = 0,000). A resina composta Empress Direct somente de esmalte apresentou o maior valor de TP, enquanto Filtek Z350 XT com uma única camada de dentina apresentou o menor valor de TP. Há uma forte correlação negativa entre TP e L*p e uma fraca correlação positiva entre TP e L*b. Propriedades ópticas de translucidez e valor são dependentes do material utilizado. De maneira geral, houve diferenças entre os grupos estudados quando analisados o TP e L*.

This thesis, in theoretical part, is focused on art education as part of the esthetic education. Than there are presented problems of Small-Class Schools in relation to art class on primary school and the artwork accompanying the development of the child as a character. In the practical part, there are presented the results of the research, which was carried out on the selected case study Small-Class School. In the final part, thesis summarizes the knowledge on the possibilities and peculiarities of art education as part of the education of the pupils at the primary school in the context of the specific condition of the Small-Class School. Keywords esthetic education, art education, Small-Class School, drawing, personal development, perception, personal and social development, younger school age

L’étude des derniers travaux de Jules Massenet (1842-1912), conçus pendant les cinq dernières années de savie, dans le contexte artistique et philosophique de la Belle-Époque, veut mettre en évidence les traces d'uneévolution du langage musical du compositeur. Dans les trois sections de notre recherche nous proposons uneanalyse dramaturgique et musicale d’un corpus constitué des cinq oeuvres ultimes, dont on considère Bacchus(1909) comme un opéra de transition fondamentale dans le dernier revirement stylistique du compositeur,représenté par les deux diptyques : Don Quichotte/Panurge et Roma/Cléopâtre. En outre, à traversl’observation systématique des langages comique et tragique présents dans ces ouvrages, et une comparaisoncontinue avec la production antécédente du compositeur on propose une définition de cet extrême renouveaude l’écriture de Massenet. Une écriture qui s’avère complexe au moment de l’analyse à cause de sonextraordinaire éclectisme – un heureux équilibre entre érudition et modernité –, bien inséré dans un contextestylistique expressif et en même temps dépouillé. Notre étude – menée à travers l’analyse des manuscritsautographes et des partitions imprimées, ainsi que d’une vaste bibliographie comprenant monographies,dissertations, correspondances, articles, documents de mise en scène – couvrira différents aspects du styledernier du compositeur : conception historique et littéraire, analyse narratologique comparée des livrets,pertinence dramatique du style musical, conception mélodique, emploi des harmonies et des formes musicales,constantes et innovations dans l’orchestration. / The study of the works of Jules Massenet (1842-1912) created in the last five years of his life, during the artisticand philosophical context of the Belle-Époque, wants to highlight the traces of the evolution of musicallanguage of the composer. In the three sections of our research we propose a dramaturgical and musical analysisof a selection including five last works, which are considered Bacchus (1909) as a key transitional work in thelatest stylistic shift the composer, represented by the two diptychs: Don Quichotte/Panurge andRoma/Cléopâtre. Also, through the systematic observation of comic and tragic languages of these works andtheir continuous comparison among the composer’s antecedent production, we propose a definition of thisextreme evolution of Massenet writing. A writing that is complex to analyse because of its extraordinaryeclecticism – an effective balance between tradition and modernity – although inserted into an expressive andessential stylistic context. Our study – carried out through the analysis of original manuscripts and printedscores, as well as an extensive bibliography including monographs, essays, correspondence, articles, stagingdocuments – will cover different aspects of the composer's late style: historical design and literary narratologycomparative analysis of librettos, dramatic appropriateness of musical style, melodic design, use of harmoniesand musical forms, constants and innovations in orchestration.

Percepción; estética; cine; artes visuales; color Perception; esthetic; cinema; visual arts; color / El presente trabajo analiza el uso del color en el cine musical con el fin de describir su función y significado en este tipo de largometrajes. Se realiza este análisis para demostrar la relevancia que tiene el color en las películas teniendo en cuenta que aportan significativamente a la narrativa. Con lo investigado, se puede evidenciar que el color es interpretado de diferentes formas dependiendo de las experiencias y acontecimientos de cada espectador y, a su vez, que la elección de colores no es simple coincidencia sino que aportan a contar algo de los personajes y de la historia de manera indirecta. / The present study analyze the use of colors on the musical cinema with the objective of describing the meaning and function knowing. This analysis is donde to demonstrate the relevance of the color in the movies by contributing to the narrative. With the investigated, it can be shown that the color is considered in different ways depending of the events and experiences of each spectator and ,at the same time, the color choices are not a simple coincident but for instance a contribution to telling something about the characters an the story in an indirect way. / Trabajo de investigación

El siguiente trabajo presenta un análisis de la narración y estética del rol de los personajes femeninos en la saga de películas de Los Juegos del Hambre. Para conocer la percepción sobre las mujeres que existen en esta franquicia, sus características y cómo es que la narrativa y la estética ayudan a conocer a estos personajes. La información se analizó a través del método cualitativo y el paradigma interpretativo, para lo cual se consideró tres perfiles de muestra: fanáticas del club de fan, público consumidor de largometrajes de ficción y expertos audiovisuales. Asimismo, se realizaron fichas de análisis de las escenas de las cuatro mujeres elegidas para esta investigación las cuales son Katniss Everdeen, Johanna Mason, Effie Trinket y Primrose Everdeen. De esta manera se pretende demostrar que el rol de la mujer se está alejando de los estereotipos y marcando una nueva era para los personajes femeninos en el cine actual de Hollywood. / This paper presents an analysis of the story telling and aesthetics of the role of female characters in the film series The Hunger Games. To know the perception about women that exist in this franchise, their characteristics and how the narrative and the aesthetics help to know these characters. The information was analysed through the qualitative method and the interpretive paradigm, for which three sample profiles were considered: female four women chosen for this investigation, which are Katniss Everdeen, Johanna Mason, Effie Trinket and Primrose Everdeen. In this manner, it is aimed to show that the role of women is moving away from stereotypes and marking a new era for female characters in prevailing Hollywood’s cinema. / Tesis

No description available.

Introduction : L’objectif de cette étude était de vérifier s’il existe une différence entre la perception de l’esthétisme du sourire chez les patients porteurs de fente labiale et/ou palatine (FL/P), qui sont plus à risque de présenter des anomalies dentaires, et celle des patients non porteurs. Méthodes : Une série de photos d’un sourire a été altérée avec Adobe Photoshop© et comprend sept différentes catégories d’asymétrie. Les photos ont été évaluées à l’aide d’une échelle visuelle analogue de 0 à 10 sur un questionnaire en ligne par des patients porteurs de FL/P et des patients non porteurs âgés entre 14 et 21 ans. Les notes attribuées par les deux groupes ont été comparées pour chaque sourire et le seuil de détection de chaque catégorie d’asymétrie pour les deux groupes a été calculé. Résultats : Cinquante-six participants dans chaque groupe (FL/P et contrôle) ont été appariés selon l’âge et le genre et ont été inclus dans l’analyse statistique. Pour la perception de l’esthétisme du sourire, les patients du groupe FL/P étaient plus critiques pour la hauteur du collet gingival des incisives latérales au même niveau que les centrales, mais ils étaient cependant plus tolérants d'une déviation de la ligne médiane. Le seuil de perception de six catégories d'asymétrie a pu être déterminé pour le groupe FL/P. Leurs seuils de perception étaient légèrement plus élevés que ceux des patients du groupe contrôle. Les hommes étaient légèrement plus critiques que les femmes en général de l’esthétisme du sourire. Conclusion : Il existe des différences de perception de l'esthétisme du sourire entre les patients porteurs de FL/P et les patients non porteurs. Les patients porteurs de FL/P ont une moins bonne capacité à détecter de plus petites asymétries dentaires. Les hommes sont plus critiques de l’esthétisme du sourire. / Abstract Introduction: The aim of this study was to determine if there is a difference between the perception of smile esthetics of patients with cleft lip and/or palate (CL/P), who are at higher risk of dental anomalies, and the perception of patients without CL/P. Methods: A series of smile photos were altered with Adobe Photoshop© to create seven different categories of dental asymmetry. Patients with CL/P and patients without CL/P aged between 14 and 21 years old evaluated the smiles on a 10-point visual analogue scale in an online survey. The value attributed by the two groups was compared for each smile and the threshold for acceptance of smile anomalies was calculated. Results: Fifty-six participants in each group (CL/P and control) were matched for gender and age and included in the statistical analysis. Patients with CL/P were more critical of the gingival margin height of the lateral incisors being at the same level as the central incisors, however, they were more tolerant of a deviated midline. The threshold for six dental asymmetries were determined for the CL/P group. Their thresholds were slightly higher than the control group’s thresholds. Men were also more critical than women, in general, for the smile esthetics. Conclusion: The perception of smile esthetics of patients with CL/P is different from the perception of patients without CL/P. The thresholds to detect small dental asymmetries is higher for patients with CL/P. Men are more critical of smile esthetics.