The National Park Service strives to connect the natural and cultural resources located within its national parks to the visitors that experience them. These connections must be on personal, meaningful levels to fulfill the agency mission. Within this thesis, an analytical framework entitled the Mission and Meanings Triad Model (MMTM) is proposed to examine the process of "meaning formulation" in a national park setting. The MMTM takes into account the interdependent nature of three mission-driven factors: the park's resources, interpretation, and the visitor experience. An audience-centered perspective is emphasized within the model to ensure that the end result is the meaningful connection itself, rather than merely an "interpretive opportunity." To illustrate the MMTM, an analysis is undertaken of Crater Lake National Park and its interpretive offerings during the summer 2013 and winter 2014 seasons. Through this field and document analysis, multiple recommendations regarding the improvement of interpretive components are suggested.

Prosodic focus is phonetically realized by increasing duration, F0 and intensity on the focused constituents in a sentence. In some languages, there is a concomitant compression of F0 and intensity after the focused item, referred to as post-focus compression (PFC). Southern Min is a tone language that does not have PFC, while Beijing Mandarin is a tone language that does. Like Mandarin, American English has PFC; unlike Mandarin, American English has lexical stress rather than lexical tone. The current dissertation investigated the phonetic realization of focus in second language Mandarin by Southern Min and English learners and its realization in English by Mandarin learners. Second language experience was also manipulated in each of the investigations. The findings were that younger Southern Min speakers, who used more L2 Mandarin than the mid-age and older speakers, produced substantial PFC in Mandarin. Chinese-heritage American learners, who were exposed to Mandarin earlier than non-Chinese-heritage learners, produced some PFC in Mandarin while non-Chinese-heritage learners did not produce any. Finally, Chinese students in college with longer residencies in the United States produced more PFC in English than those with shorter residencies. American English speakers were also found to have more difficulties producing contour tones compared to the high-level tone on target focused items in L2 Mandarin while Mandarin Chinese speakers had more difficulties in producing unstressed syllables compared to stressed syllables on target focused items in L2 English. Overall, the results support the Speech Learning Model prediction that similarities in L1 and L2 sound system result in difficulty acquiring L2 sounds. This may be especially true for prosody because there are interactions between word- and sentence-level patterns. The results also confirm that age of learning is especially important for native-like acquisition of an L2; however, for early learners, the amount of L2 use and length of residence in the L2-speaking environment also clearly impact the acquisition of L2 prosody. Finally, the results suggest that production of PFC in a language that requires it provides a good index of second language speech proficiency. / 2015-10-17

Background HIV has developed to a global pandemic and millions of people are living with HIV or AIDS today. People living with HIV still face stigmatization and discrimination in their lives. Aim The aim of this study was to describe people´s experiences of living with HIV. Method A method to contribute to evidence-based nursing based on analysis of qualitative research was used in this study to deepen understanding. Ten articles were analysed. Results Three themes were identified: ”Manage a new life situation”, ”An emotionally turbulent living” and ” Not be treated than others” with subthemes. People living with HIV used many different strategies to handle their new life situation, for example church, to tell or not tell about their HIV-status and isolate themselves from others. Their new life situation was turbulent due to many emotions including fear for the death, shame, guilt and loneliness. Lack of knowledge contributed to the fact that health care staff offended people living with HIV by distancing themselves from these persons, using excessive precautions, breach of confidentiality and categorized them with stereotypes linked to HIV. Conclusion People with HIV experience many types of discrimination and stigmatization like denied care and health care staff keeping away from them. This leads to unwillingness among people with HIV to seek care and seems to create double suffering for them. In order to overlook their prejudices and work for good nursing, nurses need to develop their knowledge about HIV and be aware about their prejudices and treat everybody the same regardless of diagnosis.

Esta pesquisa trata das relações entre cinema, educação e alteridade, a partir da análise de um curso de cinema brasileiro para estrangeiros. O corpus empírico é constituído pelas produções textuais dos alunos sobre os filmes a que assistiram em aula, além de notas de campo escritas pelo professor-pesquisador. Tal material levanta questões sobre as relações de alunos estrangeiros com o cinema brasileiro, com os enfrentamentos diante do outro e as experiências ético-estéticas ali possíveis, provocadas pelo contato com filmes. Problematizam-se neste trabalho os conceitos de estrangeiro e alteridade. Com base especialmente em Carlos Skliar e Didi-Huberman, defende-se que a posição de ser outro está no olhar e na interação, especificamente aqui, entre os alunos, o professor e o cinema. Além disso, com Alain Badiou, traz-se também a ideia de que o próprio cinema exige a alteridade e coloca-nos em contato com o outro, o diferente, na condição também de uma experimentação filosófica. São relevantes na dissertação as elaborações de Gilles Deleuze sobre “cinema falsificante”, e de Ismail Xavier, sobre o “olhar sem corpo”, para problematizarmos a potência do cinema como desestabilizador do espectador. Tais situações de arrebatamento com o cinema são tratadas como experiências ético-estéticas; com Marilena Chauí, discutimos a possibilidade de relacionar tais situações com uma experiência do olhar, de saída e volta a si. Tais conceitos teóricos contribuíram para decidir sobre o recorte da pesquisa e sobre a criação de três categorias de análise, de modo a pensar que a relação dos alunos estrangeiros com o cinema brasileiro e que seus relatos e análises fílmicas contribuem para uma problematização emergente sobre o contato com o outro e a relevância de tal tema para o campo da educação. / This research deals with the relationship between cinema, education and alterity, from the analysis of a Brazilian cinema course for foreign students. The empirical corpus consists of the students’ writing production about the films watched in class, and field annotations written by the teacher-researcher. This material brings up questions about the relationship between the students and the Brazilian cinema, with the self in confront with the other and the ethical-aesthetic experiences possible therein, brought to light through the contact with films. It is observed and problematized in this research the notions of being a foreign and alterity. Based mainly on Carlos Skliar and Didi-Huberman, it is suggested that the role of being the other is in the eye and in the human interaction, specifically among the students, the teacher and the cinema. Moreover, through Alain Badiou, it is stated that the cinema itself demands alterity and puts us in contact with the other, the different one, also in the context of a philosophical experimentation. The studies of Gilles Deleuze about “falsifying cinema”, as well as those of Ismail Xavier about the “bodiless eye” are relevant to problematize the potential of cinema to make the spectator unstable. These destabilizing situations provoked by the cinema are treated as ethical-aesthetic experiences; through Marilena Chauí, we discuss the possibility of relating such situations with the experience of seeing, of leaving and coming back to itself. These theories have contributed to decide on the research cutouts and on the creation of three categories of analysis, in order to think that the relationship between the students and the Brazilian cinema, and their writing productions about films contribute to an emergent problematizing about the contact with the other and the importance of this topic to the field of education.

abstract: ABSTRACT What does it mean to feel an emotion? The nature of emotional experience has often been described in terms overall conscious experience, termed affect. However, even within affective research there are multiple contradicting theories about the nature and structure of affect. I propose that these contradictions are due to methodological issues in the empirical research examining these underlying dimensions. Furthermore, I propose that subjective emotional experience should be examined separately from overall affect. The current study attempts to address past methodological issues by focusing solely on emotional experiences, developing a comprehensive list of emotion items, and including a broad range of emotional experiences. In Study 1, participants were asked to recall an emotional experience and then report their experience of 76 different emotions during that experience. A factor analysis of the emotion ratings revealed a 5-factor categorical structure with categories of Joy, Anger, Sadness, Fear, and Shame/Jealousy. In Study 2, the 76 emotion words from Study 1 were compared in a semantic space derived from a large collection of text samples in an attempt to compare to the results of Study 1. A semantic space derived from a broad range of texts would reflect relationships of emotional concepts. Study 2 revealed a 1-factor structure, drastically different from the structure in Study 1. The implications from Study 2, however, are limited because of the limited range of literature that was used to create the semantic space in which the words were compared. Overall, the results from these studies suggest that subjective emotional experience should be treated as categorical. / Dissertation/Thesis / Doctoral Dissertation Psychology 2014

abstract: The International Standards Organization (ISO) documentation utilizes Fitts’ law to determine the usability of traditional input devices like mouse and touchscreens for one- or two-dimensional operations. To test the hypothesis that Fitts’ Law can be applied to hand/air gesture based computing inputs, Fitts’ multi-directional target acquisition task is applied to three gesture based input devices that utilize different technologies and two baseline devices, mouse and touchscreen. Three target distances and three target sizes were tested six times in a randomized order with a randomized order of the five input technologies. A total of 81 participants’ data were collected for the within subjects design study. Participants were instructed to perform the task as quickly and accurately as possible according to traditional Fitts’ testing procedures. Movement time, error rate, and throughput for each input technology were calculated. Additionally, no standards exist for equating user experience with Fitts’ measures such as movement time, throughput, and error count. To test the hypothesis that a user’s experience can be predicted using Fitts’ measures of movement time, throughput and error count, an ease of use rating using a 5-point scale for each input type was collected from each participant. The calculated Mean Opinion Scores (MOS) were regressed on Fitts’ measures of movement time, throughput, and error count to understand the extent to which they can predict a user’s subjective rating. / Dissertation/Thesis / Masters Thesis Applied Psychology 2015

Made available in DSpace on 2014-06-11T19:24:20Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-08-25Bitstream added on 2014-06-13T20:12:28Z : No. of bitstreams: 1 silva_fl_me_rcla.pdf: 1550120 bytes, checksum: ce34f47d26c72bf57822a2bc4dafb579 (MD5) / Experiência Audiovisual e Infância: em busca do que escapa ao primeiro olhar se apresenta como uma possibilidade de ampliar a compreensão das relações existentes entre a infância e a experiência audiovisual, para além da dimensão constitutiva dos processos de produção de subjetividades em nossa cultura. Dessa forma, passamos a considerar aquilo que escapa aos ‘efeitos’ que as mídias podem provocar nas crianças, olhando para as potencialidades que a infância/criança possui de encontrar espaços para reelaborar tal experiência. Diante disso, esse trabalho de pesquisa se propôs a refletir acerca dos modos de modulação e dos processos de produção de subjetividades inerentes à experiência audiovisual. Em nossa pesquisa, procuramos entender como, a partir desse contexto, as crianças buscam/encontram linhas de fuga para ‘escapar’, criar, recriar, inventar, reinventar outros e novos sentidos, profanar os sentidos considerados sagrados, mas que são dados/postos/definidos – modulados. Para tanto, partimos do projeto de pesquisa denominado Ação, Câmera, Luz: Entre imagens e olhares – Experiência de infâncias e montagens, que buscava pensar a experiência audiovisual desprovida das amarras da roteirização constitutiva da consagrada frase do cinema Luz, Câmera, Ação! - por meio da livre manipulação de filmadoras e câmeras fotográficas pelas crianças, privilegiando-se a ação. Dessa forma, o presente estudo preocupou-se com dois dos campos de ação previstos por este projeto de pesquisa, as sessões de filmes e os encontros destinados à produção imagética no espaço do SESI da cidade de Rio Claro/SP. Nessa direção, concebemos a pesquisa como experiência, na medida em que procuramos focar no que surge e emerge no decorrer da pesquisa, enfatizando o que faz sentido para as crianças, e não os indicativos que deram origem às nossas hipóteses iniciais / Audiovisual Experience and Childhood: in search of what escapes from the first sight shows itself as a possibility of broadening the comprehension of the existing links between childhood and the audiovisual experience, beyond the constitutive dimension of processes of subjectivity production of our culture. This way, we then considered what escapes from the ‘effects’ media may provoke on children, looking at the potentials that childhood/child has for finding spaces to rework on such experience. Given this, the present research work proposes reflecting on modulation modes and processes of subjectivity production inherent to the audiovisual experience. In our research, we sought understanding how, from that context, children seek/find lines of flight to ‘escape’, create, recreate, invent, reinvent other and new meanings, desecrate meanings considered sacred, but that are given/put/defined – modulated. To this end, we left from the research project called Action, Camera, Lights: Among images and looks – Experiences of childhoods and assemblies, which sought thinking about the audiovisual experience deprived of shackles of constitutive routing of the time-honored cinema phrase Lights, Camera, Action! – by means of freely handling camcorders and still cameras by children, thus privileging action. This way, the present study concerned about two fields of action foreseen by the research project: the film sessions and the meetings reserved for imagery production at Rio Claro/SP’s SESI. In this direction, we conceived the research as experience, to the extent that we tried to focus on what arises and emerges during the research, emphasizing what makes sense for children, and not the indicative that led to our initial hypotheses

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A dissertação objetiva registrar e analisar as experiências e singularidades vividas por seis mulheres capoeiristas, com foco analítico no potencial educativo da Capoeira Angola na vida das mesmas. Coloca-se no contexto do tempo presente, tendo como recorte temporal a iniciação dessas mulheres na Capoeira, entre 1986 e 2016, destacando suas passagens em práticas da arte na espacialidade da cidade de Porto Alegre. Trata da Capoeira Angola enquanto campo formativo e educacional, interseccionando aspectos dessa prática cultural com questões de gênero e de pertencimento étnico racial. A pesquisa está inserida no campo da História da Educação e traz uma abordagem qualitativa amparada pela metodologia da História Oral, através do uso da entrevista compreensiva. A escrita destaca como as seis mulheres pensam e vivem a presença feminina no espaço da Capoeira Angola, evidenciando a experiência de cada uma e a compreensão da diferença que se produz no tornar-se mulher praticando e ensinando a arte da Capoeira. Compreende a Capoeira Angola como espaço de múltiplas aprendizagens, tensões e resistências, destacando temas como: tornar-se mulher, reconhecer ancestralidades, ética, equidade nas relações étnico-raciais e de gênero, vínculos com a religiosidade e solidariedade. Utiliza autoras (es) como ARAÚJO (2016) LOURO (1997), PERROT (1998), CHAUI (2011) CERTEAU (2012), SCOTT (1992; 2015) ERRANTE (2000) OLIVEIRA (2012), LAROSSA (2002; 2016). Analisa-se as mudanças ocorridas na vida das capoeiristas, com base em suas experiências vividas na Capoeira, utilizando-se a metáfora - da “pequena” para a “grande roda” (ARAÚJO, 2015) – a roda da vida. / The dissertation aims to record and analyze the experiences and singularities experienced by six women capoeiristas, with an analytical focus on the educational potential of Capoeira Angola in their lives. It is placed in the context of the present time, taking as a temporal cut the initiation of these women in Capoeira, between 1986 and 2016, highlighting their passages in art practices in the city of Porto Alegre. It treats Capoeira Angola as a formative and educational field, intersecting aspects of this cultural practice with issues of gender and ethnicity. The research is inserted in the field of History of Education and brings a qualitative approach supported by Oral History methodology through the use of comprehensive interview. The writing emphasizes how the six women think and live the feminine presence in the space of Capoeira Angola, evidencing the experience of each one and the understanding of the difference that occurs in becoming a woman practicing and teaching the art of Capoeira. Understanding Capoeira Angola as a space of multiple learning, tensions and resistance, highlighting themes such as: becoming a woman, recognizing ancestry, ethics, equity in ethnic-racial relations and gender, ties to religiosity and solidarity. It uses authors such as ARAÚJO (2016) LOURO (1997), PERROT (1998), CHAUI (2011) CERTEAU (2012), SCOTT (1992; 2015) ERRANTE (2000) OLIVEIRA (2012), LAROSSA (2002; 2016) . We analyze the changes in the life of capoeiristas, based on their experiences in Capoeira, using the metaphor - from "small" to "big wheel" (ARAÚJO, 2015) - the wheel of life.

Esta pesquisa trata das relações entre cinema, educação e alteridade, a partir da análise de um curso de cinema brasileiro para estrangeiros. O corpus empírico é constituído pelas produções textuais dos alunos sobre os filmes a que assistiram em aula, além de notas de campo escritas pelo professor-pesquisador. Tal material levanta questões sobre as relações de alunos estrangeiros com o cinema brasileiro, com os enfrentamentos diante do outro e as experiências ético-estéticas ali possíveis, provocadas pelo contato com filmes. Problematizam-se neste trabalho os conceitos de estrangeiro e alteridade. Com base especialmente em Carlos Skliar e Didi-Huberman, defende-se que a posição de ser outro está no olhar e na interação, especificamente aqui, entre os alunos, o professor e o cinema. Além disso, com Alain Badiou, traz-se também a ideia de que o próprio cinema exige a alteridade e coloca-nos em contato com o outro, o diferente, na condição também de uma experimentação filosófica. São relevantes na dissertação as elaborações de Gilles Deleuze sobre “cinema falsificante”, e de Ismail Xavier, sobre o “olhar sem corpo”, para problematizarmos a potência do cinema como desestabilizador do espectador. Tais situações de arrebatamento com o cinema são tratadas como experiências ético-estéticas; com Marilena Chauí, discutimos a possibilidade de relacionar tais situações com uma experiência do olhar, de saída e volta a si. Tais conceitos teóricos contribuíram para decidir sobre o recorte da pesquisa e sobre a criação de três categorias de análise, de modo a pensar que a relação dos alunos estrangeiros com o cinema brasileiro e que seus relatos e análises fílmicas contribuem para uma problematização emergente sobre o contato com o outro e a relevância de tal tema para o campo da educação. / This research deals with the relationship between cinema, education and alterity, from the analysis of a Brazilian cinema course for foreign students. The empirical corpus consists of the students’ writing production about the films watched in class, and field annotations written by the teacher-researcher. This material brings up questions about the relationship between the students and the Brazilian cinema, with the self in confront with the other and the ethical-aesthetic experiences possible therein, brought to light through the contact with films. It is observed and problematized in this research the notions of being a foreign and alterity. Based mainly on Carlos Skliar and Didi-Huberman, it is suggested that the role of being the other is in the eye and in the human interaction, specifically among the students, the teacher and the cinema. Moreover, through Alain Badiou, it is stated that the cinema itself demands alterity and puts us in contact with the other, the different one, also in the context of a philosophical experimentation. The studies of Gilles Deleuze about “falsifying cinema”, as well as those of Ismail Xavier about the “bodiless eye” are relevant to problematize the potential of cinema to make the spectator unstable. These destabilizing situations provoked by the cinema are treated as ethical-aesthetic experiences; through Marilena Chauí, we discuss the possibility of relating such situations with the experience of seeing, of leaving and coming back to itself. These theories have contributed to decide on the research cutouts and on the creation of three categories of analysis, in order to think that the relationship between the students and the Brazilian cinema, and their writing productions about films contribute to an emergent problematizing about the contact with the other and the importance of this topic to the field of education.