Submitted by Jaqueline Silva (jtas29@gmail.com) on 2014-12-12T19:41:19Z No. of bitstreams: 2 Dissertação-Dilma Marques Silveira Klen-2013.pdf: 13578004 bytes, checksum: 6a3b09be3dec76e1eaf05a484e34d034 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Jaqueline Silva (jtas29@gmail.com) on 2014-12-16T09:24:48Z (GMT) No. of bitstreams: 2 Dissertação-Dilma Marques Silveira Klen-2013.pdf: 13578004 bytes, checksum: 6a3b09be3dec76e1eaf05a484e34d034 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-12-16T09:24:54Z (GMT). No. of bitstreams: 2 Dissertação-Dilma Marques Silveira Klen-2013.pdf: 13578004 bytes, checksum: 6a3b09be3dec76e1eaf05a484e34d034 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2013-11-18 / The present work is guided by the question in respect of how the digital images have mediated esthetic and cognitive experiences. The context chose for the developing of the research is in the professors and students relationship in the Visual Arts graduation course in the EaD model. The research is made in the course of Graduation in Visual Arts – UAB/Unimontes. An investigative process that propose an analysis doing references to the technological images and your appropriation on the process of teaching-learning, investigating how these images was used by the professors of the specific disciplines in the course and how it was assimilated by the students. It‟s an object that requires study to reveal the relations between these images, possibilities and potentialities as a mediator in your multiples forms of expression. The group of people involved in this research is constituted by two professors of the respective disciplines, three tutors and four students from the course of Lagoa Santa, totalizing a universe of nine people involved directly. The conceptual categories, that are considered epistemological axes, are: visual culture, digital image, TICs, EaD, digital learning environment, esthetic and artistic experience. The approach of these concepts makes the delimitation of the camp where the digital images mediations in the process of the visual poetic happened, articulating theory and practice. The pinnacle of the research allowed some perceptions like: the digital technologies are not absolutes or totalitarians, on the contemporary culture, remaining territory transits between digital and physic space, a hybrid relation between plastic material and visual medias. / O presente trabalho é orientado pela indagação a respeito de como as imagens digitais têm mediado experiências estéticas e cognitivas. O contexto eleito para o desenvolvimento da pesquisa está nas relações entre professores e estudantes no curso de Licenciatura de Artes Visuais na modalidade em EaD. A pesquisa é configurada no curso de Licenciatura de Artes Visuais – UAB/Unimontes. Trata-se de um processo investigativo que propõe uma análise fazendo referências às imagens tecnológicas e sua apropriação no processo ensino e aprendizagem, investigando de que forma elas foram utilizadas pelos professores das disciplinas específicas do curso e como foram assimiladas pelos estudantes. Torna-se objeto de estudo desvelar as relações dessas imagens, possibilidades e potencialidades no seu uso como mediadoras em suas múltiplas formas de expressão O grupo de pessoas envolvidas nesta pesquisa é constituído por dois professores formadores das respectivas disciplinas, três tutoras a distância e quatro alunas do pólo de Lagoa Santa, totalizando um universo de nove envolvidos diretamente. As categorias conceituais, consideradas eixos epistemológicos, são: cultura visual, imagem digital, TICs, EaD, ambiente de aprendizagem digital, experiência estética e artística. A abordagem desses conceitos propiciou o delineamento do campo no qual ocorreram as mediações das imagens digitais no processo da poética visual, articulando teoria e prática. A culminância da pesquisa permitiu algumas percepções como: as tecnologias digitais não são absolutas, ou totalitárias, na cultura contemporânea, prevalecendo trânsitos de territórios entre espaço digital e físico, uma relação híbrida entre materiais plásticos e mídias visuais.

Depuis « l’ère de la mondialisation », le monde occidental s’est vivement engagé dans la découverte de nouvelles cultures du monde dans le domaine des arts visuels. En effet, il est devenu la norme de valoriser la diversité du monde et le relativisme culturel parce que les cultures perçues comme authentiques développeraient des valeurs esthétiques et économiques considérables grâce à leur aspect original, singulier et pittoresque. Même si l’on ne peut pas réellement saisir toutes les nuances de la culture d’un pays éloigné, nous pouvons malgré tout esquisser une image plaisante de ce pays dans notre imagination, notamment grâce aux médias qui dépeignent aujourd’hui les paysages du monde à travers des images « typiques ».Par conséquent, les artistes des pays « périphériques » essaient de valoriser les attentes du monde occidental dans leurs créations, en espérant ainsi pouvoir s’intégrer dans le réseau mondial dominé par quelques pays qui se sont désormais positionnés en « leaders ». Ces artistes conçoivent, en effet, des stratégies de communication afin de favoriser la diffusion de leurs œuvres sur la scène internationale : ils représentent leurs identités culturelles dans leurs propres créations artistiques d’une manière stéréotypée facilement identifiable pour les pays occidentaux. Le pluralisme « postmoderne » influence ainsi considérablement la création des œuvres des artistes issus des pays périphériques, en mettant en scène et en valeur tout ce qui est spécifiquement typique, c’est-à-dire local et original. / Ever since the era of globalization began, the Western world has been strongly engaged in the discovery of new cultures of the world, in the field of the visual arts. Indeed, it has become the norm to value diversity and cultural relativism because cultures perceived as authentic can develop considerable aesthetic and economic value from their unique and picturesque features. Even if we cannot really understand all the cultural characteristics of a far-off country, we are still able to sketch a pleasant and attractive image of this place in our imagination thanks to the mass media, which repeatedly presents these landscapes through "typical" images.As a result, artists from "peripheral" countries are trying to meet the Western world’s expectations in their work, hoping in this way to break into a global system where some countries are positioned as "leaders". These artists devise communication strategies to promote their works on the international art scene; they represent their cultural identity in their artwork in a stereotypical and easily recognizable way to the West. Postmodern pluralism considerably influenced these artists’ work, whilst focusing attention on everything that is typically “local” and “original”.

A thesis submitted to the College of Dental Medicine of Nova Southeastern University of the degree of Master of Science in Dentistry. Objective: This study aimed to determine and compare the esthetic preference of the general public, dentists, orthodontists and prosthodontists in relation to the width of the most anatomically variable tooth in the mouth, the maxillary lateral incisor. Background: The general public today places more importance on facial esthetics than they have in the past and their esthetic preferences are evolving. The smile is a main feature of facial esthetics and its attractiveness is based in part on the size and proportion of the anterior teeth. The lateral incisors are the most variable in size and there is a continuing debate in the literature with conflicting reports about how wide they should be in proportion to their neighboring teeth. Methods: Two sets of seven images of frontal and oblique (three-quarter) smile views were created with Adobe Photoshop Elements 10 by morphing two "Master Smile" images. The seven images within each set had different width proportions of lateral incisors. However, they were identical in every other aspect such as differences in lip thickness or tooth shape to diminish the impact of compounding variables between photographs. A link to an online survey was distributed by email to four groups: laypeople, general dentists, orthodontists and prosthodontists. Subjects taking the survey ranked the seven photographs in each set from the most to the least esthetic based on their personal preference. The results were studied to ascertain whether the general public has an esthetic preference in the width of lateral incisors and, if that preference exists, whether it is different from that of trained dental professionals. Results: In a frontal view of a smile, the global preference for the width of a lateral incisor falls into the range of 62.5-72.5% of the width of the central incisor. The probability that the most preferred choice is 67.5% or greater is 66%. In the frontal view there was no statistically significant difference between professions. Non-Hispanic white respondents preferred slightly more narrow laterals than other ethnicities in the frontal view. Respondents older than forty preferred slightly wider laterals than respondents under forty in the frontal view. In the oblique view, there was a 69% probability that the most preferred choice was the largest option: a lateral incisor 91.5% of the width of the visible width of the central incisor. In the oblique view, the three groups of dental professionals were more likely than the general public to select a wider incisor as the most esthetic option. Conclusion: Preference for smile attractiveness can be significantly influenced by the width of lateral incisors in a frontal and oblique view. Orthodontist, general dentists, and prosthodontists were shown to be in general agreement with the public in preferring a wider lateral incisor viewed from a frontal smile. In an oblique view, their professions had a statistically significant impact on the difference between their choices compared to laypeople in that they preferred a slightly wider lateral incisor. All groups preferred significantly wider laterals than is proscribed by the Golden Proportion.

Inledning Studien belyser den dubbla kompetensen som grundlärare med inriktning mot arbete i fritidshem ges i sin utbildning, vilket vidare ger lärarna behörighet att undervisa i ett praktiskestetiskt ämne samt fritidshemmets verksamhet. Tidigare studier har visat att den dubbla kompetensen kan vara ett hjälpmedel i både skolan och fritidshemmet, men det kan också innebära svårigheter eftersom många lärare i fritidshem under skoldagen arbetar som resurs i klass i stället för att undervisa i sitt praktisk-estetiska ämne. Detta bidrar möjligtvis till att den dubbla kompetensen som ges under utbildningen ses som ett komplext uppdrag. Syfte Syftet med studien var att undersöka hur lärare i fritidshem upplever att deras kompetens och behörighet att undervisa i ett praktisk-estetiskt ämne tas tillvara i verksamheterna, samt deras syn på den dubbla kompetensen. Avsikten var även att synliggöra hur den dubbla kompetensen påverkar professionen. Metod I studien användes en kvalitativ metod i form av semistrukturerade intervjuer. Ett strategiskt urval av respondenter intervjuades och studien utfördes i två kommuner i Västra Götaland. Det empiriska materialet analyserades tematiskt genom en samhällsvetenskaplig analys. Det redogörs för hur vi har förhållit oss till trovärdighetskriterierna, de etiska forskningsprinciperna och GDPR (General Data Protection Regulation). Resultat I diskussionen har studiens resultat analyserats med kopplingar till tidigare forskning och teoretiska perspektiv. Studien visar att respondenterna har olika inställning till den dubbla kompetensen och dess användning. Hälften av respondenterna ser den som ett “ont” och föredrar att endast fokusera på en av kompetenserna. De övriga respondenterna har inslag av antingen medskapar-kompetens eller nyskapar-kompetens, där den senare innebär att de använder sin praktisk-estetiska kompetens i fritidshemmets verksamhet och sin fritidspedagogiska kompetens i skolan. Vidare visar studien också på skillnader i arbetsuppgifter och relationen till klasslärare, vilket kan påverka yrkesrollen och dess berättigande inom verksamhetsområdet. Samverkan mellan olika yrkesgrupper kan också påverka professionens status och arbetsuppgifter. Studien visar på behovet av att undersöka hur den dubbla kompetensen kan användas på ett mer effektivt sätt och hur samverkan mellan olika yrkesgrupper kan utvecklas för att stärka professionen. / The study concerns the dual competences that primary school teachers with a focus on working in leisure time centers are given in their education, which further provides teachers with qualifications to teach a practical-esthetic subject as well as the activities of the leisure time centers. Previous studies have shown that the dual competencies can be an aid in both school and leisure-time centers, but it can also pose difficulties because many leisure-time centers during the school day act as resources in the classroom instead of teaching their practical-aesthetic subject. This may contribute to the perception that the dual competencies provided during education are a complex task. The purpose of the study was to investigate how teachers in after-school programs experience the use of their competence and eligibility to teach a practical-aesthetic subject in their work, as well as their views on the dual competence. We also intended to highlight how the dual competence affects the profession. The study employed a qualitative method in the form of semi-structured interviews. A strategic selection of respondents was interviewed and the study was conducted in two municipalities in Västra Götaland. The empirical material was thematically analyzed using a social science analysis. We repost on how we have adhered to the criteria for credibility, ethical research principles, and GDPR (General Data Protection Regulation). In the discussion, the study's results have been analyzed with connections to previous research and theoretical perspectives. The study shows that the respondents have different attitudes towards the dual competence and its use. Half of the respondents see it as a “problem” and prefer to focus on only one of the competences. The other respondents have elements of either cocreating competence or innovative competence, where the latter means that they use their practical-aesthetic competence in the activities of the leisure-time center and their leisuretime educational competence in the school. Furthermore, the study also shows differences in tasks and the relationship with class teachers, which can affect the professional role and its legitimacy within the field of activity. Collaboration between different professional groups can also affect the status and tasks of the profession. The study highlights the need to investigate how the dual competence can be used more effectively and how collaboration between different professional groups can be developed to strengthen the profession.

<p>Doktorska disertacija naslovljena &ldquo;Srpski<br />roman za decu na početku 21. veka u svetlu<br />književnih nagrada (2001-2010)&rdquo; bavi se<br />analizom romana za decu na srpskom jeziku<br />nagrađenih jednom od tri relevantne nagrade:<br />Nagradom &ldquo;Neven&rdquo;, Nagradom &ldquo;Politikinog<br />Zabavnika&rdquo; i Nagradom &ldquo;Rade Obrenović&rdquo; .<br />Osnovni predmet rada jeste sagledavanje<br />tipolo&scaron;kih odrednica i žanrovskih usmerenja<br />romana za decu u prvoj deceniji 21. veka,<br />njihovih estetskih vrednosti i(li)<br />reprezentativnosti, te utvrđivanje dominantne<br />slike sveta i detinjstva prezentovanih u ovim<br />delima, kao i razmatranje njihove razvojne<br />relevantnosti. Romani su analizirani<br />pojedinačno i u okviru tipolo&scaron;kih odrednica<br />kojima, po na&scaron;em mi&scaron;ljenju pripadaju, ali su,<br />takođe, sagledavani u &scaron;irem kulturolo&scaron;kom<br />kontekstu . Razmatran je odnos nagrađenih<br />romana prema aktuelnim događajima, kao i<br />ukupna uklopljivost u koncept megastrukture<br />modernizma, referencijalnost, prisutnost u<br />medijima, te mogućnost da budu baza za<br />najsavremeniji koncept kulture namenjene deci<br />koji implicira njihovo uključivanje u obrazovni<br />sistem, odnosno kanonizaciju. Sa obzirom da je<br />reč o delima koja nastaju u periodu tranzicije,<br />važan deo istraživanja je bio i odnos ovih<br />romana prema &scaron;irem kontekstu srpskog romana za decu, sa naglaskom na periodu osamdesetih i devedesetih godina. Zaključak koji izvodimo</p><p>nakon istraživanja jeste da je u naznačenom<br />periodu napisano i nagrađeno niz romana koji<br />po estetskoj izuzetnosti odgovaraju najvi&scaron;im<br />zahtevima bogate tradicije srpske književnosti<br />za decu. Takođe, primećena je i potreba za<br />promenama i inovacijama, koja je uslovila da<br />povremeno razlog za nagrađivanje bude<br />reprezentativnost dela i njegov komunikativni<br />potencijal, umesto izuzetnosti. Tri (tada) mlada<br />pisca (Jasminka Petrović, Igor Kolarov, Uro&scaron;<br />Petrović) su sredinom decenije u potpunosti<br />posvetili svoj umetnički i dru&scaron;tveni angažman<br />stvarala&scaron;tvu za decu, te svojim autentičnim<br />autorskim potpisima dragoceno obogatili<br />savremenu dečju književnost. Dakle, umetnička<br />dela nastala u prvoj dekadi 21. veka imaju<br />veliki potencijal da postanu deo budućeg<br />kanona, ali je prethodno neophodna ozbiljna<br />stručna i institucionalna rasprava</p> / <p>The Doctoral Dissertation entitled &ldquo;Serbian<br />Novel for Children at the Beginning of the 21st<br />Century in the Light of Literary Prizes (2001 &ndash;<br />2010)&rdquo; is based on analysis of novels for<br />children in Serbian language that were awarded<br />one of the three relevant prizes: &ldquo;Neven&ldquo;,<br />&rdquo;Politikin zabavnik&rdquo; and &ldquo;Rade Obrenović&rdquo;.<br />The basic focus of the dissertation is analysis of<br />typological characteristics and genre<br />orientations of the novels for children in the first<br />decade of the 21st century, their esthetic values<br />and/or representativity, and determination of a<br />dominant vision of the world and childhood<br />presented in these novels, as well as evaluation<br />of their developmental relevance. The novels<br />have been analyzed individually as well as<br />within typological characteristics to which, in<br />our opinion, they belong, and also they have<br />been seen in a wider culturological context. We<br />have analyzed the relation between the novels<br />that received awards and current events, their<br />potential to fit in the megastructural modernism<br />concept, their reference values, presence in the<br />media and a possibility to be a basis for the<br />most modern culture concept dedicated to<br />children, which implies their inclusion in the<br />educational system, that is, the canonization.<br />Bearing in mind that we speak about works that<br />have come into being in the transition period, an<br />important part of our investigation was oriented towards the relation of these novels with a wider</p><p>context of the Serbian novel for children, with<br />an emphasis on the period of the eighties and<br />ninetieth. The conclusion that we made after the<br />research is that many novels have been written<br />and awarded a prize in the stated period which,<br />judged by esthetic uniqueness, correspond to the<br />highest requirements of the rich tradition of the<br />Serbian literature for children. Also, a need for<br />changes and innovations has been noticed;<br />certain works were awarded prizes because of<br />their representative character and their<br />communicational potential, not because of their<br />uniqueness. In the middle of the decade three<br />(then) young authors (Jasminka Petrović, Igor<br />Kolarov, Uro&scaron; Petrović), dedicated their entire<br />artistic and social engagement to creating books<br />for children, so that they, by their authentic<br />signatures as authors, enriched the modern<br />literature for children.<br />Thus, the works of art created in the first decade<br />of the 21st century have a great potential to<br />become a part of the future canon; however,<br />before it happens, it is necessary to expose them<br />to a serious and institutional discussion.</p>

The intention of my thesis Hopscotch by Cortázar - a game in many games was to analyze the novel in its ludic dimension. I tried to see the game as a multiplicative element and, at the same time, as an element that provides unit to the work. Therefore, I use as an interpretative instrument the semantic gesture of Jan Mukařovský. However, I do not intend to utilize this term in his whole meaning, I wanted to study the multiplicity and unit of the game, exploring some of the aspects of the semantic gesture. Despite the game has dynamic features, it also has two concrete forms in the novel. Hopscotch is many games, but especially is two: esthetic and moral game. When I speak about the esthetic game, I refer to the formal aspects of the novel. I tried to study the esthetic game in its multiplicative dimension, as well as an element that creates unit in the dynamics of the novel. Therefore, I my research went through the formal aspects of the work. I observed the problem of the name, genre, structure and the relations between characters, readers and the author. On one hand, the novel is presented, thanks to the game, as an open, infinite book. The ludic element also provides to the author an instrument to play with the structure of the novel, creating infinite possibilities of lecture. At the third...

O presente trabalho procurou conciliar a reflexão teórica sobre o fenômeno da \"apropriação\" de textos literários para o palco, tomando como ponto de partida a leitura cênica dos seguintes textos da literatura brasileira: Um Sopro de Vida (1978) de Clarice Lispector e A Fúria do Corpo (1980) de João Gilberto Noll, ambos conduzidos à ribalta pelas encenadoras Nadja Turenko e Celina Sodré, respectivamente. Dentro da proposição teórico-prática, buscamos aprofundar, suplementar e, quando possível, substituir o conceito de \"adaptação\", terminologia que consideramos inadequada aos fenômenos teatrais aqui abordados. Fez parte do nosso propósito, desde o início da pesquisa, realizar a análise crítico-descritiva dos índices de teatralidade contida nos universo literário dos autores, bem como refletir acerca do posicionamento das leitoras-encenadoras frente às suas opções, escolhas e recortes diante dos extratos literários. Procuramos ainda, contribuir, a partir dos estudos sobre essas experiências para um melhor e mais abrangente conceito de \"dramaturgia\", assim como refletir sobre os limites e as fronteiras entre a linguagem literária e a linguagem cênica sem separá-las de antemão, mas percebendo-as em seus territórios verbal e visual, fusão altamente presente nos processos que partem dessa via, premissa e procedimento. / The present work seeks to conciliate the theoric thought about the \"appropriation\" phenomenon of literary texts to the stage, starting with the scene reading of the following Brazilian literature texts: Um Sopro de Vida (1978) by Clarice Lispector and A Fúria do Corpo (1980), by João Gilberto Noll , both conducted to the performance by the play directors Nadja Turenko and Celina Sodré, respectivelly. In the practical-theoric proposition, we search to deepen, to suplement and whenever possible, to substitute the concept of \"adaptation\", term that we consider unsuitable to the theatre phenomena aproached here. It is part of our goal, since the begining of the research, to make a critical descriptive analysis of the theatrecality indicators contained in the authors\' literary universe, as well as to ponder about the posture of the directors as readers in relation to their options and related to the literary extract. We also aim to contribute, from the studies about these experiences, to a better and broader concept of \"dramaturgy\", as well as to ponder on the limits and boundaries between the literary language and the scenical language without separating them at first place, but perceiving them in their verbal and visual territories, fusion highly present in the process that arises from this path, premise and procedure.

Das Anliegen der Arbeit besteht darin, zu zeigen, dass der französische Dichter René Char (1907-1988) ausgehend von den ästhetischen Konzepten, die in der Schrift von Friedrich Nietzsche „Die Geburt der Tragödie aus dem Geiste der Musik“ formuliert sind, ein künstlerisches Selbstverständnis begründet, das auf einer tragischen Ästhetik ruht, und dass diese Ästhetik Chars Dichtung in hohem Maße prägt. In einem ersten Schritt wird das Konzept der tragischen Ästhetik entfaltet. Diese ist als Verschränkung der Prinzipien des Apollinischen und des Dionysischen zu verstehen. Das Konzept eines Zusammenspiels zweier gegensätzlicher Prinzipien,- des Apollinischen und des Dionysischen-, die nach Nietzsche das Phänomen der Kunst überhaupt möglich machen, ist der Höhepunkt einer langen europäischen Tradition ästhetischer Reflexion, welche die Ästhetik im Sinne einer doppelten Ästhetik denkt, als Zusammenspiel zwischen dem Schönen und dem Erhabenen. In einem zweiten Schritt wird untersucht, inwieweit diese doppelte Ästhetik als Tiefenstruktur die Lyrik Chars durchzieht. Es wird zunächst das apollinische Prinzip in der Lyrik Chars herausgearbeitet, z.B. die Bedeutung des Traums in seinen Gedichten und die daraus folgende Nähe Chars zu dem Surrealismus. In einem dritten Schritt wird das ästhetische Zusammenspiel zwischen Apollinischem und Dionysischem in Chars Dichtung analysiert. Dieses Zusammenspiel ist als dichterische Transfiguration der Negativität zu denken. Transfiguration der Negativität bedeutet in diesem Zusammenhang vor allem die poetische Umsetzung derjenigen Negativität, die vom Nationalsozialismus ausging, und die Char als Widerstandskämpfer erfahren hat. Bei der Untersuchung stellte sich heraus, dass Chars Lyrik eine ethische Dimension enthält, die in einer tragischen Ästhetik wurzelt, sodass man von einer im Ästhetischen begründeten Ethik sprechen kann, deren Kern die Gerechtigkeit ist. / The purpose of this work is to show that the french poet René Char (1907-1988) develops his esthetic comprehension of poetry through the concepts of Nietzsches early work „The birth of tragedy“ and that Chars poetry is essentially tragic. I first analyse the concept of tragic esthetic. Tragic esthetic consists in two principles, the apollinian and the dionysian. These principles constitute the dynamic of tragic esthetic. These principles are other forms of what the european esthetic tradition calls the beautiful and the sublime, and Nietzsches concepts result from this tradition. In a second step I analyse how these principles constitute the basics of Chars poetry. First I analyse the apollinian dimension of his poems, particularly the importance of dream and the surrealistic aspect of Chars poems. Then I analyse deeper the working of the dynamic of these two principles. This esthetic dynamic has to be understood as a transformation of negativity. Transformation of negativity means in Chars poetry first of all a poetic transformation of the nationalsocialist negativity, against which Char fought. By analysing this context, it appeared that Chars poetry contains an ethical dimension, which result from the tragic esthetic. And the heart of this ethical tragic esthetic is justice.

Made available in DSpace on 2016-04-04T18:21:58Z (GMT). No. of bitstreams: 1 Larissa de Souza Pereira.pdf: 3341363 bytes, checksum: fd834709f42cdb17b257c0b966023047 (MD5) Previous issue date: 2011-02-18 / The cultural, social, and architectonic importance of the city of Ouro Preto is very much explored, but aspects as its rich sensory information spaces and also its recollection value are not so emphasized. This factor shows the difficulty in understanding the urban organism as an esthetic object . Therefore, it is intended to discuss the poetics , a chosen concept to approach the sensible qualities which make up the impression of place produced by the temporal, historical, cultural, and emotional factors. For that reason, an analysis was made about the configuration of the city of Ouro Preto, situated in the state of Minas Gerais, featuring aspects of the creation of the urban fabric, and above all, the apprehensible esthetic aspects of its public spaces, monuments, perspectives and framing, which are the result of a constitution and the fact of being in a social community. Thereby, the diversity of facets in the establishment of this urban organism is evident and resulted in a monumental combination replete of meaning. The debates and analysis about the sensible apprehension in this city can be conducted by the mythic figure of a labyrithine space , which is also able to express how the spontaneous process of urbanization, although not necessarily deprived of intention, differs a lot from the planned urban space, and is intimately related to the basic activity carried out on the ground where it is settled. Presenting the mutual tranformation of the physical and social relations. / A cidade de Ouro Preto tem sua import?ncia cultural, social e arquitet?nica bastante explorada, mas aspectos como o espa?o rico em informa??es sensoriais e como arcabou?o da mem?ria geralmente s?o pouco destacados. Esse fator remete ? problem?tica da dificuldade de se compreender o organismo urbano como objeto est?tico . Assim, pretende-se discutir a po?tica , conceito adotado para abordar as qualidades sens?veis que criam o sentido de lugar gerado por fatores temporais, hist?ricos, culturais e afetivos. Para isso, foi realizada a an?lise da configura??o da cidade de Ouro Preto, em Minas Gerais, destacando os aspectos da forma??o do tecido urbano e, sobretudo, os aspectos est?ticos apreens?veis a partir de seus espa?os p?blicos, monumentos, perspectivas e enquadramentos, resultantes de uma constitui??o e de uma viv?ncia comunit?ria e social. Assim, torna-se evidente a diversidade de aspectos no processo de estabelecimento deste organismo urbano que resultou em um conjunto monumental repleto de significado. Os questionamentos e as an?lises sobre a apreens?o sens?vel nesta cidade podem ser conduzidos por meio da figura m?tica do espa?o labir?ntico , que tamb?m ? capaz de expressar como o processo de urbaniza??o espont?neo, por?m n?o destitu?dos de inten??o, difere-se profundamente do espa?o urbano planificado e est? relacionado de forma ?ntima ? atividade b?sica exercida no ch?o sobre o qual se estabelece, apresentando a rela??o rec?proca de transforma??o f?sica e social

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.