El Proyecto desarrollado busca aplicar la Arquitectura como respuesta a la necesidad de la población de Villa el Salvador de manifestar su cultura mediante la Danza, permitiendo que puedan transmitir su historia, valores y costumbres. Dar posibilidad de que tengan sitios especialmente diseñados para tal fin, aspecto que ahora adolecen en dicho distrito. Villa el Salvador es un Distrito que alberga movimientos artísticos de jóvenes que se manifiestan a través de sus danzas y que la mayoría de los casos no tienen ninguna formación profesional. Se busca que puedan tener sostenibilidad en el tiempo. En el proyecto se han conjugado los espacios internos y externos, teniendo como objetivo que no sea un espacio cerrado, sino que pueda ser observado desde el interior y exterior por las personas, buscando una mayor participación e integración. La Arquitectura juega un papel muy importante ya que permite trabajar la relación entorno y ciudad, dándole a los ciudadanos la posibilidad de que puedan tener acceso a los espacios en que se desenvuelven. Este Proyecto también tiene un enfoque social, debido a que el hecho de que se pueda tener un sitio como el planteado mantendrá un interés alto en el arte y cultura de los jóvenes del distrito, neutralizando la alta delincuencia que actualmente se viene presentado, debido, a que se mantendrían ocupados, aprovechando que Villa el Salvador es uno de los distritos reconocidos por el gran interés en el arte a través de la Danza. / The developed project seeks to apply architecture in response to the need of the population of Villa el Salvador, to express their culture through dance, allowing them to transmit their history, values and customs. Also, give the possibility of having sites specially designed for this purpose, an aspect that now suffers in this district. Villa el Salvador is a district that have artistic movements of young people who manifest themselves through their dances and the most of the cases do not have any professional training. It is intended that they can be sustainable over time. In the project, the internal and external spaces have been combined, whit the objective that it is not a closed space, but it can be observed from the inside and outside by people, seeking greater participation and integration. Architecture plays a very important role since it allows working on the relationship between the environment and the city, giving citizens the possibility that they can have access to the spaces in which they operate. This project also has a social focus, because the fact that you can have a site like the on proposed will maintain a high interest in the art and culture of the young of the district, neutralizing the high crime that is currently being presented, due to, they would keep busy, taking advantage of the fact that Villa el Salvador is one of the districts recognized for the great interest in art through dance. / Tesis

Detta är en studie om det går att använda vampyrer som inspirationskälla i undervisningen på högstadiet. Syftet är att besvara följande frågeställningar: Hur kan vampyrtemat motiveras och användas i klassrummet med skräcklitteratur som Dracula (1897) och Om jag kunde drömma (2005), som är första delen i Twilight serien, som utgångspunkt? Vilka modeller inom litteraturundervisning finns att tillämpa för vampyrtemat? För att besvara frågeställningarna har närläsning använts som metod. Resultatet visar att vampyren med all rätt kan användas som inspirationskälla i undervisningssyfte. Studien visar att man måste introducera skräcklitteratur med försiktighet och användandet av olika modeller är viktigt för att nå fram till samtliga elever. I studien presenteras valda modeller för läsundervisning som är applicerbara. Eftersom ämnet bjuder på många infallsvinklar torde man kunna fånga många elevers intresse och entusiasmera till fortsatt läsning. / This is a study on whether you can use vampires as a source of inspiration when teaching at upper secondary school level. Two questions form the basis for the study: How can the vampire theme be used in the classroom with horror literature as Dracula (1897) and Twilight (2005) as a foundation? Which models for teaching literature are available for the vampire theme? In order to answer the questions of the study close reading has been used as method. The result shows that the vampire by all means can be used as a source of inspiration for an   educational purpose. The study shows that you have to be cautious when you introduce   horror literature in class and the use of different models is important due to the fact that you want to reach all students. In the study a few selected models for teaching literature are presented that are applicable. Since the subject invites to a wide range of approaches one should be able to catch most of the student’s interest and inspire with enthusiasm.

Ce mémoire décrit une approche interdisciplinaire transposée à la composition musicale, s’appuyant sur le texte et les arts visuels, en passant par des principes humanistes. L’interdisciplinarité artistique est élaborée dans trois sections : premièrement, les arts visuels comme guide sonore explore les liens théoriques, esthétiques et philosophiques entre la musique et les arts visuels. Deuxièmement, la textualité à l’œuvre musicale élabore l’importance des mots et du langage comme guides aidant le compositeur et l’auditeur dans l’expérience musicale. Troisièmement, musique inclusive examine la musique folklorique et d’autres techniques de composition musicale avec l’intention de communiquer et de transmettre un message précis à l’auditeur. Ces trois idées sont ensuite appliquées dans une analyse détaillée de mes compositions musicales écrites dans le cadre de la maîtrise sous la supervision de Denis Gougeon. / This memoire describes an interdisciplinary approach to musical composition using text and visual arts based on the principles of humanism. Artistic interdisciplinarity is elaborated in three sections: Firstly, Visual Arts as a Sonic Guide explores the theoretical, esthetic, and philosophical connections between music and visual arts. Secondly, The Textuality of the Musical Work elaborates the importance of words and language to lead the composer and the listener within the musical experience. Thirdly, Inclusive Music examines folkloric music and other compositional techniques that possess the intention of communicating and transmitting a specific message to the listener. These three ideas are then applied in a detailed analysis of my musical compositions written during the frame of my master’s under the supervision of Denis Gougeon.

[pt] No ano de 1965, o cineasta Jorge Prelorán deu início a uma vasta série documental, intitulada Relevamiento Cinematográfico de Expresiones Folklóricas Argentinas, direcionada à pesquisa e ao registro audiovisual de regiões interioranas do país. O projeto, que contou com o patrocínio de instituições como a Universidad Nacional de Tucumán e o Fondo Nacional de las Artes, foi desenvolvido em meio a um pulsante contexto intelectual e artístico, marcado tanto pela emergência das mais diversas propostas de renovação da linguagem cinematográfica, como pelo amplo fenômeno conhecido como boom do movimento folclórico, ocorrido nos anos 1960, na Argentina. Nesse sentido, o objetivo desta tese foi o de investigar de que maneira Jorge Prelorán teria reelaborado, nas películas por ele realizadas para o Relevamiento (1965-1975), um conjunto de temas, tópicas, metodologias, recursos narrativos e procedimentos discursivos provenientes de três amplos domínios, com os quais o diretor manteve os mais estreitos contatos: a larga tradição de ensaios de interpretação da Argentina, dedicada, ao longo do tempo, à tarefa de figuração da nação; os campos do folclore e da antropologia vigorantes no país, em suas múltiplas vertentes; e as correntes do cinema etnográfico com as quais o diretor chegou a estabelecer longevos vínculos. Os diálogos travados entre a obra de Prelorán e as tradições intelectuais e artísticas mencionadas – diálogos esses que estiveram quase sempre pautados nas estratégias de descrição da natureza, nos diferentes modos de figuração do tempo e do espaço e nos modelos de representação da arte e da cultura manejados pelo documentarista – foram concebidos, ao longo da pesquisa, como variações em torno de quatro grandes temas: a cartografia, a viagem, o compêndio e a metodologia empática de filmagem. / [en] In 1965, the filmmaker Jorge Prelorán began to develop a vast documentary series, entitled Relevamiento Cinematográfico de Expresiones Folklóricas Argentinas, dedicated to the study and filming of inlands regions of the country. The project, which was sponsored by Universidad Nacional de Tucumán and Fondo Nacional de las Artes, took place in the midst of an intellectual and artistic context marked both by the emergence of diverse proposals for the renewal of cinematographic language, and by the cultural phenomenon known as boom of the folk movement, which occurred in the 1960s in Argentina. Therefore, the purpose of this thesis was to investigate how Jorge Prelorán reformulated, in the films he made for the project between 1965 and 1975, a set of themes, topics, methodologies, narrative resources and discursive procedures originated from three broad domains, with which the director maintained close contacts: the long tradition of Argentine essays, dedicated to the interpretation of the nation; the fields of folklore and anthropology prevailing in the country, in its multiple phases; and the modalities of ethnographic cinema with which the director related in those years. The dialogues that were established between Prelorán s work and the intellectual and artistic traditions mentioned previously – dialogues that were almost always based on the strategies of describing nature, on the different modes of representing time and space and on the models of depicting art and culture used by the filmaker – were conceived throughout this research as variations around four major themes: cartography, travel, compendium and empathic filming methodology.