Made available in DSpace on 2016-12-08T16:52:03Z (GMT). No. of bitstreams: 1 123973.pdf: 2284353 bytes, checksum: bb77326a8d3f3be018ec7cd882b3b6ad (MD5) Previous issue date: 2015-06-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O presente trabalho pretende analisar o texto teatral Sete Crianças Judias de Caryl Churchill como um jogo de profanação política. Escrita em 2009, a obra é uma resposta artística e política da autora à operação militar israelense ocorrida em Gaza em 2008/09 e gerou fortes repercussões no mundo todo, inclusive acusações de antissemitismo. O texto é analisado em seu caráter híbrido que transita entre gêneros líricos e épicos, e entre formas dramáticas/melodramáticas e formas não mais dramáticas. Assim, a estrutura formal será abordada a partir da ideia de texto rapsódico, proposta por Sarrazac (2002). A partir do conceito tradicional de jogo conforme Huizinga (2000) e Caillois (1990), e suas correlações com a forma dramática absoluta, a primeira cena é compreendida como a proposição de um jogo melodramático localizado em um passado longínquo. Acordo esse que não será cumprido. Para compreender o jogo proposto pela autora, recorro a três autores principais. 1 - A visão de jogo infinito de Carse (1986) para descrever o dispositivo de abertura temporal e o descumprimento do acordo melodramático. 2- A noção de Gadamer (1999) sobre a capacidade do jogo de mobilizar e transformar indivíduo e sociedade para descrever os dispositivos de deslocamento e mobilizações intra e extraficcionais do texto. 3- A provocação de Agamben (2007), ao eleger como tarefa política do jogo o ato profanador. Nesse trabalho sustento a hipótese de que Sete Crianças Judias profana simbolicamente o uso consagrado do gênero melodramático para a manutenção de uma moralidade instituída, do uso da concepção moderna do imaginário da criança como objeto de justificativa da guerra, e do caráter mítico do discurso histórico oficial israelense.

Communication of the European Parliament with the public takes place within various means and on different levels. This thesis offers an analysis of the European Parliament's communication strategy through the role-play game in the Brussels Parlamentarium. A role- play game simulating the legislative procedure of the European Union is available in all the EU official languages and it is targeted primarily at the youth between 15 and 18 years. The analysis is based on the political communication and political marketing theory, as well as on the concept of the role-play game as an educational tool. The methodological background of the analysis is embedded in the ethnographic research and its constituent methods, especially a participant observation and questionnaires survey, further completed by qualitative analysis of the visual and textual materials of the game. First, the advertising tools of the RPG are presented. Second, the course of the game is described and its transcript analysed. Third, the ways of reception of the activity by the participants are illustrated. The goal of the thesis is to show whether the role- play game is a successful communication tool of the European Parliament with the youth.

This diploma thesis focuses on the issue of human game, from several points of view, namely philosophical, pedagogical and didactic. The work is structured into three parts. The theoretical part deals with the philosophical considerations concerning the game phenomenon, where the game is based mainly on the ontological principle and the game theory, which is analyzed by selected authors. The second part then deals with the game used in the pedagogical processes, or the game as a teaching method in the field of social science and its importance in teaching at primary and secondary schools. The practical part is focused on simulation games implementation within the social science - education.

Taming is an experiment and a written assignment about the development of ProjectMorpheo, which was my degree project at Stockholm University of the Arts. ProjectMorpheo is a participatory experience designed to explore the fragile connections between the content of our dreams and the physical materials that surround us. To give a chance for contemplation the project uses meditation and an experimental form of a contemporary puppetry technique: material animation. Taming Amorphalia is a fictional documentation of the intrapersonal happenings, the experiments and experiences that influenced me during the development of ProjectMorpheo. The aim is to introduce the intuitive process behind the project through the form of a text based RPG.

Over the last decades, film theories with their focus on the mere audiovisual quality of cinema have been questioned by film scholars with a phenomenological interest. According to these critical approaches, the film experience cannot be understood through a mere involvement of the eye (and the ear). In this context, to disregard the significance of a multisensory attachment to the film results in the consideration of relationship between the film and the viewer to be a dominating one. This dissertation examines this multisensory attachment and aims to define the film experience as an embodied relationship between the film and the viewer by means of a formal analysis of the Turkish director Nuri Bilge Ceylan’s early films. Throughout the dissertation, it is argued that Ceylan encourages his viewer in various forms to have a more sensual and immediate experience of his films rather than to compel them to adhere to symbols and abstractions through a kind of intellectual effort – an intellectual effort that would damage the “sensuous” attachment between the film and the viewer.