Made available in DSpace on 2016-04-26T18:16:34Z (GMT). No. of bitstreams: 1 Michiko Okano.pdf: 48166995 bytes, checksum: 40521f630f7432f35e1c555590e1b18d (MD5) Previous issue date: 2007-10-15 / The dissertation investigates a few possibilities to translate the Japanese cultural element known as Ma, which represents an inter-space in which and at what time the process of communication occurs. The study starts from the understanding of Ma as a quasi-sign, which in its turn is a concept from Peircean semiotics, recognizable only through its materialization in this case, the Ma spatialities that we discuss on the basis of examples drawn from architecture and the motion pictures. At the end of a comprehensive bibliographical research on the theme, which included Japanese and Western titles, the study describes and examines the exhibition organized by architect Isozaki Arata in Paris, in 1978, that transformed Ma into a symbol of the Japanese culture exported to the West. Subsequently, it presents readings of Ma spatialities found in traditional Japanese architecture as well as in a few works by architect Ando Tadao (1941 - ). As regards examples from the motion pictures, the study has contemplated feature fi lms by classical Japanese motion-picture director Ozu Yasujiro (1903 - 1963) and by moviemaker and actor Kitano Takeshi (1947 - ). Our main objective is to propose the Ma spatiality as both sign and characteristic mediation process of cognition and perception among the Japanese in such a way as to open new possibilities of communication to deepen the dialogue between Japan and the West, outside the exclusive sphere of stereotyped images that are easily accepted by market paradigms in times of globalization / Esta tese investiga algumas possibilidades de tradução do elemento cultural japonês denominado Ma, que representa um entre-espaço de onde e quando acontece o processo de comunica􀂨ão. O estudo baseia-se na compreensão do Ma como um quase-signo, que é um conceito da semiótica peirceana, reconhecível somente por meio da sua concretização nesse caso, as espacialidades Ma􄎏 aqui discutidas a exemplos da arquitetura e do cinema. Fruto de uma extensa pesquisa bibliográfi ca sobre o tema, que incluiu títulos japoneses e ocidentais, o trabalho descreve e analisa a exposição organizada pelo arquiteto Isozaki Arata em Paris em 1978, que transformou o Ma em um símbolo de exportação da cultura japonesa para o Ocidente. Em seguida, apresenta leituras das espacialidades Ma na arquitetura tradicional japonesa e em algumas obras do arquiteto Ando Tadao (1941 - ). No que concerne ao cinema, foram analisados fi lmes do diretor clássico japonês Ozu Yasujiro (1903 - 1963) e do cineasta e ator Kitano Takeshi (1947 - ). O objetivo principal foi propor a espacialidade Ma como signo e processo de mediação característico da cognição e percepção entre os japoneses, de modo a abrir novas possibilidades de comunicação para aprofundar o diálogo entre o Japão e o Ocidente, fora do âmbito exclusivo das imagens estereotipadas, facilmente aceitas pelos paradigmas de mercado em tempos de mundialização

Este trabalho é uma reflexão acerca da arte-educação e das histórias de tradição oral em suas relações com os conceitos de experiência e aprendizagem. O ponto de partida é a experiência da Escola de Arte Granada, localizada no interior do estado do Rio de Janeiro, na qual o trabalho é realizado a partir da integração de diversas linguagens artísticas com a arte de contar histórias. As questões trazidas pelos autores que tratam da arte-educação propiciam uma reflexão sobre o que compreendemos pelas duas palavras que compõem o termo \'arte-educação\'. A observação da Escola Granada, a partir de entrevistas com as educadoras da escola, revela o uso dos contos de tradição oral como material educativo que continua sempre atual e pode ser usado pelo ser humano em seu processo de desenvolvimento. A reflexão sobre os contos conduz ao estudo da tradição oral e ao conceito de educação na cultura tradicional. Tal concepção é relacionada a certas propostas visionárias sobre as mudanças necessárias na educação para o século XXI. / This work is a reflection about art-education and stories from the oral tradition, in their connection to the concepts of experience and learning. The starting point is the experience of Escola de Arte Granada, located in the countryside of Rio de Janeiro, where the work is developed starting from the integration of various artistic languages with the art of storytelling. The questions brought about by the authors who consider arteducation provide us with a reflection about what we understand by the two words that compose the term \'art-education\'. The observation of Escola Granada, arising from the interviews with the school\'s educators, reveals the usage of traditional tales as an educative material, which is always up-to-date and can be used by the human being in the process of development. The reflection about these tales leads us to the study of oral tradition and the concept of education in traditional cultures. This conception is related to certain visionary proposals regarding the necessary changes for 21st century education.

Made available in DSpace on 2016-03-15T19:44:09Z (GMT). No. of bitstreams: 1 Hania Cecilia Pilan.pdf: 15559422 bytes, checksum: eae834aa2a5d0daddc074ad470e524e8 (MD5) Previous issue date: 2012-08-17 / Fundo Mackenzie de Pesquisa / The subject of this thesis is the analysis of the everyday life narratives of Sao Paulo's sidewalk residents and its (Re) meanings that enter the field of aesthetic needs. The human being is complex and at the same time transparent, desiring to be someone significant, uses mechanisms to survive as an individual among the society. And, when excluded from the group to which he belongs, he necessarily must (Re) mean, in order to join a new group. In the case of sidewalk residents, this action is exacerbated, becoming more evident the necessity of expression and the use of archetypes in the battle against invisibility within their social group and if possible, achieving to stand out among his peers. The narratives, conducted through interviews, allowed penetrate into a parallel world where neither time has the same value and setting as we were used to. In order to understand the narratives of this (Re) meaning world daily and achieve the proposed objectives, it was used as a theoretical study of social representations, with the cultural-historical psychology foundations, depth psychology and art contexts and concepts. Supported by these bibliographical sources, documentary, and especially in the participatory field research, it was possible to articulate a discussion of the aesthetic needs of the sidewalk's residents in their socio-historical context and their need to (re) signification. Among the various analyzed, we have chosen four main characters for their sensible aesthetic productions, which demonstrate the social segment in which they belong, to be analysis objects of their (RE) meanings. Among them, we were able to find heroes, faithful man, poets, painters, performers, bricoleurs, who have art as their mainspring of their social development, presenting archetypes to (Re) mean their world. / O objeto de estudo desta tese consiste na análise de narrativas do cotidiano dos moradores de calçada da cidade de São Paulo quanto as suas (Re) significações que adentram o campo das necessidades estéticas. O ser humano, complexo e ao mesmo tempo transparente, no afã de ser alguém significante, usa de mecanismos para sobreviver como indivíduo dentro da sociedade. E, quando excluído do grupo ao qual pertence, tem necessariamente que se (Re) significar, para inserir-se em um novo grupo. No caso dos moradores de calçada, essa ação é exacerbada tornando mais evidente a necessidade de expressão e o uso de arquétipos na batalha contra a invisibilidade dentro de seu grupo social e se possível, conseguindo se destacar entre seus pares. As narrativas, realizadas por meio de entrevistas, possibilitaram adentrar em um mundo paralelo, onde nem o tempo tem a mesma valia e marcação como fomos aculturados. Para compreender as narrativas deste mundo (Re) significado diariamente e atingir os objetivos propostos foi usado como referencial teórico o estudo de representações sociais, com os fundamentos da psicologia histórico-cultural, a psicologia profunda e os contextos e conceitos da arte. Apoiada nessas fontes bibliográficas, documentais, e principalmente na pesquisa participante de campo, foi possível articular uma discussão sobre as necessidades estéticas dos moradores de calçada no seu contexto sócio-histórico e sua necessidade de (Re) significação. Dentre os inúmeros analisados, escolhemos quatro protagonistas pelas suas produções estético sensíveis, que exemplificam o segmento social ao qual pertencem, para serem objeto de análise de suas (Re) significações. Entre eles pudemos encontrar heróis, homens de fé, poetas, pintores, performáticos, bricoleurs, que fazem da arte a mola propulsora da sua projeção social, arquétipos que se apresentam para (Re) significar seu mundo.

Dans une situation d’important développement économique porté par les efforts de plusieurs générations au cours des années qui ont suivi la politique de la réforme et de l’ouverture en Chine, l’éducation esthétique s’inscrit à nouveau dans la politique éducative chinoise, après avoir été supprimée par Mao en 1958. De ce fait, l’éducation artistique, que la conception chinoise distingue de l’éducation artistique proprement dite, a connu également un développement d’ampleur. De nos jours, l’éducation artistique retient de plus en plus l’attention du gouvernement chinois, en raison de ses effets dans le processus de l’édificationet de la modernisation socialiste, ainsi que dans le renforcement de l’influence de la Chine dans le monde. A travers les analyses des politiques éducatives et des textes officiels, notre recherche consiste à dégager les rôles et les fonctions de l’éducation artistique dans la Chine contemporaine et à chercher à comprendre les raisons pour lesquelles le gouvernementchinois met l’accent sur ce type d’éducation. Ce travail nous conduit à dégager et à analyser les principaux facteurs qui influencent et expliquent son développement en Chine. / In a situation of important economic development carried by the efforts of several generations during the years which followed the reform policy and the opening in China, the esthetic education joins again in the Chinese education policy, having been eliminated by Mao in 1958. Therefore, the arts education, which the Chinese conception distinguishes from the esthetic education itself, also knew a development of scale. Nowadays, the arts education holds more and more the attention of the Chinese government, because of its effects in the process of the construction and the socialist modernization, as well as in the strengthening of the influence of China in the world. Through the analyses of education policies and official texts, our search consists in clearing the roles and the functions of the arts education in contemporary China and in trying to understand reasons why the Chinese government puts the accent on this educational type. This work leads us to clear and to analyze the main factors which influence and explain its development in China.

Este trabalho é uma reflexão acerca da arte-educação e das histórias de tradição oral em suas relações com os conceitos de experiência e aprendizagem. O ponto de partida é a experiência da Escola de Arte Granada, localizada no interior do estado do Rio de Janeiro, na qual o trabalho é realizado a partir da integração de diversas linguagens artísticas com a arte de contar histórias. As questões trazidas pelos autores que tratam da arte-educação propiciam uma reflexão sobre o que compreendemos pelas duas palavras que compõem o termo \'arte-educação\'. A observação da Escola Granada, a partir de entrevistas com as educadoras da escola, revela o uso dos contos de tradição oral como material educativo que continua sempre atual e pode ser usado pelo ser humano em seu processo de desenvolvimento. A reflexão sobre os contos conduz ao estudo da tradição oral e ao conceito de educação na cultura tradicional. Tal concepção é relacionada a certas propostas visionárias sobre as mudanças necessárias na educação para o século XXI. / This work is a reflection about art-education and stories from the oral tradition, in their connection to the concepts of experience and learning. The starting point is the experience of Escola de Arte Granada, located in the countryside of Rio de Janeiro, where the work is developed starting from the integration of various artistic languages with the art of storytelling. The questions brought about by the authors who consider arteducation provide us with a reflection about what we understand by the two words that compose the term \'art-education\'. The observation of Escola Granada, arising from the interviews with the school\'s educators, reveals the usage of traditional tales as an educative material, which is always up-to-date and can be used by the human being in the process of development. The reflection about these tales leads us to the study of oral tradition and the concept of education in traditional cultures. This conception is related to certain visionary proposals regarding the necessary changes for 21st century education.

À la même époque, les Contes et Nouvelles en vers de La Fontaine suscitent des réactions antagonistes, allant du rejet à l’émulation – ce qui constitue une singularité dans l’œuvre du poète. La Fontaine ne cache pas qu’il prend des libertés par rapport à la morale et aux exigences de l’écriture poétique ; mais ses licences relèvent moins d’une transgression que d’une dérogation consentie par les lecteurs mondains.Tout d’abord, il s’agit de déterminer la place de la licence dans le jeu normatif de l’esthétique classique. Comprise comme un écart toléré, la licence ne se limite pas à la poésie : elle s’applique potentiellement à toute norme de l’esthétique classique, selon les critères retenus pour juger l’œuvre. Notre étude analyse la part qu’occupe la licence dans la disposition d’esprit des lecteurs mondains des Contes.En examinant également d’autres conteurs contemporains de La Fontaine qui le considèrent comme un modèle, cette étude montre comment le texte construit sa légitimité en détournant des formes d’écriture ou de pensée qui sont habituelles dans le champ de la mondanité afin de mieux s’y insérer. La Fontaine cherche en effet à instaurer une connivence avec le lecteur. Celle-ci passe par l’appropriation de genres appréciés par la mondanité, par des jeux subtils sur la langue et la versification, et surtout par une scénographie faisant du lecteur un complice de l’entreprise immorale. Le conteur détourne également l’une des composantes essentielles du mode de vie de son lectorat : le loisir. Il livre une version érotique de l’otium dont l’analyse nous permettra de découvrir quel est l’apport des Contes dans l’anthropologie de La Fontaine. / At the same time, La Fontaine’s Contes provoke antagonistic reactions, from rejection to emulation - which is a singularity in the poet’s work. La Fontaine doesn’t hide that he takes liberties with moral standards and versification’s rules, but his licences don’t fall within the transgression : they are derogations granted by aristocratic readers.Firstly, we determine the place of the licence in the normative set of classical esthetic. As a tolerated deviation, the licence isn’t limited to poetry : it potentially applies to any norm of classical esthetic, according to the criteria used to judge the text. Our study analyzes the part occupied by the licence in the state of mind of aristocratic readers of Contes.Also examining other tale’s writers contemporaries of La Fontaine who consider him a model, this study shows how the text built its legitimacy by diverting forms of writing or thinking that are usual to the aristocratic public. La Fontaine seeks to establish connivance with the reader. He appropriates genres appreciated by the aristocratic public and invents a scenography making the reader an accomplice of immoral text. La Fontaine diverts also the lifestyle of its readers : leisure. He gives an erotic version of otium. Within this analysis, we will discover what is the contribution of Contes in La Fontaine’s anthropology.

Although previous studies have suggested a certain degree of right hemisphere dominance for the response of extrastriate body area (EBA) during body perception, recent evidence suggests that this functional lateralization may differ between men and women. It is unknown, however, whether and how gender differences in body perception affect appreciating the beauty of the body of conspecifics. Here, we applied five 10-Hz repetitive transcranial magnetic stimulation (rTMS) pulses over left and right EBA and over the vertex to investigate the contribution of visual body representations in the two hemispheres on esthetic body perception. Female and male healthy volunteers were requested to judge how much they liked opposite- and same-gender virtual model bodies or to judge their weight, thus allowing us to compare the effects of right- and left-EBA rTMS on esthetic (liking) and perceptual (weight) judgments of human bodies. The analysis of the esthetic judgments provided by women revealed that right-EBA rTMS increased the liking judgments of opposite- but not same-gender models, as compared to both vertex and left EBA stimulation. Conversely, in men the liking judgments of opposite-gender models decreased after virtual disruption of both right and left EBA as compared to vertex stimulation. Crucially, no significant effect was found for the perceptual task, showing that left- and right-EBA rTMS did not affect weight perception. Our results provide evidence of gender difference in the hemispheric asymmetry of EBA in the esthetic processing of human bodies, with women showing stronger right hemisphere dominance in comparison with men.

Under senare tid har allt fler företag börjat utöva verksamhet där mark nyttjas för olika aktiviteter med stöd av allemansrätten. HD har bedömt att sådant nyttjande; kanalisering, är tillåtet med stöd av allemansrätten, men uttalade i NJA 1996 s. 495 (”Forsränningsmålet”) samtidigt att nyttjandet bara är tillåtet så länge marken inte skadas. Eftersom skadeståndsfrågan aldrig har prövats i samband med allemansrätten har föremålet för denna uppsats varit att utreda möjligheterna att utfå ersättning för skador via allmänna skadeståndsrättsliga regler, skadestånds- och avhjälpandeansvaret i miljöbalken samt för intrång i äganderätten via expropriationslagen och möjligheten att få ersättning ur en försäkring. Expropriationsalternativet kan inte användas idag, eftersom marknyttjande med stöd av allemansrätten är ett icke ersättningsgillt intrång i äganderätten. Möjligheterna till att betrakta en skada på marken som en sakskada är stora. Det finns emellertid omständigheter som skapar komplikationer för båda skadeståndsansvarsformerna. En allmän skadeståndstalan kräver att culpa hos skadevållaren kan bevisas, vilket kan vara svårt när många människor vistas på en plats samtidigt. Kanalisatören kan betraktas som culpös enligt principerna om kumulativ eller anonym culpa, enligt vilka en principal blir ansvarig, trots att de individer han ansvarar för inte, var och en för sig, varit culpösa. Det miljörättsliga skadeståndsansvaret bygger på ersättning för störningar som inte är orts- eller allmänvanliga. När det gäller allemansrättsligt nyttjande torde många störningar betraktas som just orts- eller allmänvanliga. Avhjälpandeansvaret i miljöbalken bygger på ersättning för miljöfarlig verksamhet, och det är tveksamt om det kan tillämpas på kanalisatörens verksamhet. Expropriationsersättning på grund av allemansrättsligt nyttjande tillerkänns inte markägaren enligt gällande rätt, vilket kan tyckas märkligt eftersom många nyttjandeformer som påminner om allemansrätten, t.ex. servitut, medför sådan ersättningsrätt. Det finns vissa möjligheter att ersätta markskador ur försäkringar. Dock är de flesta skador följden av invasionsproblematik, som är mycket svårt försäkra. Samtliga ersättningsformer har visat sig otillräckliga för att ersätta skador som är estetiska och ideella, eftersom sådana skador inte kan beräknas i pengar. Beroende på hur marknyttjande med stöd av allemansrätten betraktas har man olika åsikt om i vad mån kanalisatören borde ersätta markägaren för skador på marken. Om nyttjandet uppfattas som någonting som finns vid sidan av markäganderätten är endast konkreta skador ersättningsgilla. Om man anser att nyttjandet är ett intrång i äganderätten och en förmögenhetsöverföring från markägaren till kanalisatören bör emellertid redan rätten att nyttja marken föranleda ersättning. Den ersättningsform som bäst tillgodoser markägarens intresse av att få skador på marken åtgärdade och få ersättning för ekonomisk förlust är avhjälpandeansvaret. Endast det ansvaret reparerar till fullo skador på miljön. Det krävs emellertid ett domstolsavgörande för att slutligen klargöra avhjälpandeansvarets tillämplighet. / Recently, more and more companies have come to exercise activities under the right of public access on land that belongs to whomever. The High Court has assessed that such use of land; channeling, is permitted, but in NJA 1996 s. 495 (“The Rafting Case”) also announced that this use is only allowed as long as the land remains unharmed. Since the question of damages in the context of the right of public access has not yet been treated in jurisprudence, the object of this thesis has been to investigate the possibilities to obtain restitution for damages via tort law, liability under the environment act as well as for proprietary intrusions under the expropriation act and restitution via insurance. Expropriation, however, cannot currently be made use of, since the right of public access is an intrusion which does not entail restitution. There are extensive possibilities for considering damage to the land as damage to property. However, there are ramifications for both the legal options for damages: the tort law and the environmental act. The tort law requires tortuous behaviour from the tortfeasor to be established, which is difficult when several persons stay at one place simultaneously. The canalizer may be considered tortuous under the principle of vicarious liability and cumulative or anonymous tort. According to these principles, the canalizer is responsible for the actions of certain individuals, even though they have not, individually, been negligent. The environmental liability for damage is based on restitution for disturbances that are not common to the place nor to the general public. This fact is difficult to establish in the context of the right of public access. The remedial responsibility of the environmental act is constructed for operations that are harmful to the environment, which is why it is dubious whether the responsibility is applicable to the canalizer’s activities. Currently, compensation for expropriation cannot result of use of land under the right of public access. This is peculiar, since many usufructs reminiscent of the right of public access, i.e. the easement, result in such compensation. Some forms of damage to the land can be insured. Although, most damage in this context arise from invasion, a cause of damage which is nearly impossible to insure. All forms of restitution have proven insufficient for compensating damage that is esthetic or otherwise non-pecuniary. Depending on if the right of public access is regarded as proprietary intrusion or something that exists alongside the right to property, one comes to different conclusions about the extent of compensation for damage. In the former case, only substantial damage is compensable. In the latter case, even the right to use the land occasions compensation. The liability which best meets the needs of the proprietor: compensation and restoration of damage to his property, is the remedial responsibility of the environmental code. This responsibility alone fully restores harm to the environment. However, the applicability of the remedial responsibility needs to be established in jurisprudence.

Le monde aéronautique a connu un essor significatif durant les premières décennies du XXe siècle. Propulsé par des avancées technologiques sans précédents, l’aéronautique fut rapidement omniprésente dans tous les secteurs de la vie et de la culture européennes. De la figure du pilote d’aéroplane émergea subtilement, puis avec force, l’image d’un homme robuste et valeureux qui personnifiait son pays. Trouvant un réceptacle favorable dans les héros nés de la Grande Guerre, les gouvernements totalitaires qui émergèrent façonnèrent le pilote comme l’avatar d’un homme idéal. L’imaginaire européen du premier tiers du XXe siècle vit alors naitre « l’homme volant », une facette de « l’homme nouveau », incarnant la grandeur de sa nation. / Aeronautics underwent a significant development during the first decades of the 20th century. Helped by new technological advancements aeronautics quickly became omnipresent in all sectors of the European life and culture. From the figure of the airplane’s pilot emerged subtly, then with strength, the image of a strong and brave man personifying his country. Finding a favorable receptacle in the Great War’s heroes, the totalitarian governments shaped the pilot as the avatar of an ideal man. The European imagination of the first third of the 20th century gave birth to the "flying man", a facet of the “new man”, embodying the greatness of its nation.

<p>Savezna Republika Nemačka predstavlja optimalan primer za proučavanje turističke rekreacije u kojima se sve razvojne faze mogu posmatrati sa aspekta pozitivnih i negativnih faktora koji to uslovljavaju. Visoko razvijena država, visok životni standard i izgrađena svest o značaju rekreacije uz maksimalnu za&scaron;titu prirodne sredine su i glavni motiv za izradu ove doktorske teze. Nemačka predstavlja i zemlju emitivnog i imitivnih turističkih kretanja. Doktorska disertacija predstavljena je kroz &scaron;est tematskih poglavlja da bi se metodom komparacije i sinteze do&scaron;lo do navedenih zaključaka. Tematska poglavlja imala su za cilj da prikažu i analiziraju sve validne prirodne i antropogene elemente koji sačinjavaju osnov proučavanja turističke rekreacije. Turističko-geografski prikaz Srbije i Crne Gore dat je u najkraćim crtama i služio je samo kao osnov identifikovanja mogućnosti nemačkih iskustava mogu realno biti primenjeni. Na osnovu &scaron;est komplementarnih delova metodom sinteze i komparacije izvedeni su navedeni zaključci.</p> / <p>Federal Republic of Germany is an optimal example for study of tourist recreation because its all developing phases can be observed from the aspect of positive and negative factors, influencing the above stated phases. This highly developed country with high level of living standard and awateness concerning significance of recreation with maximum protection of the environment are main motive for preparation of this doctor&#39;s thesis. German is a country of emitive and imitive tourist mevements. The doctor&#39;s thesis has been presented through six thematic chapters, reaching the conclusion by methods of comparations and syntesis. Thematic chapters were aiming at showing and analyzing of all valid natural and anthropoid lements which are a base for study of tourist recreation. Tourist-geographical survey of Serbia and Montenegro has been give briefly and saved only as a base for kind of identification with German expiriences that can be really implemented. According to the all six complementary parts, the conclusions have been reached by method of syntesis and comparations.</p>