Thèse (Ph.D.) - Université du Québec à Trois-Rivières, 2006. / Comprend des réf. bibliogr. : f. 269-306. Également disponible en format microfiche.

The aim of this thesis is to define the audit in general and to define its meaning and essence. Documents obtained from the company demonstrated the method of implementation of internal audit. On the basis of these documents, the internal audit results for the years 2013 and 2014 were evaluated by individual departments and by the overall results. Based on the findings, the company was recommended the establishment of an internal audit of the accounting. Questionnaires were sent to a sample of companies in the South Bohemia. The questionnaire investigated whether the company has established an internal audit, how often they perform it, which person performs an internal audit, on what action the internal audit is focused and whether the employees are motivated to improve their work.

The capture of image of the Emperor Rudolf II., his social surroundings and settlement in a historical science was the aim of the thesis called "Rudolf II. in the image of German-language belles-lettres and drama of 19th and 20th Century". Afterwards this image was compared by historical drama Ein Brudezwist in Habsburg by Franz Grillparzer and by two pieces of belles-lettres literature Der Engel vom westlichen Fenster by Gustav Meyrink and Nachts unter der steinernen Brücke by Leo Perutz. The all above mentioned pieces were used as the basic source of this Thesis, their interpretation is based on methodological concepts of memory. This Thesis is presented as a case study, which could become starting point for systematic research of the second life image of Habsburg monarchs in the future.

Many portraits of Rudolf II were painted and created during his lifetime, forming a significant component of Rudolfine art, however, they have not received a sufficient art historical attention. They document, at times at stylyzed manner, the transformation of Rudolf's appearance. However, their most important task was to demonstrate and make tangeable Rudolf's authentic appearance to the world and to celebrate his magnanimity and personality. Thus, there are many portraits that represent Rudolf as a good emperor or a brilliant commander, although, as we know, they did not correspond to reality. A special chapter of the portrait iconography also create complicated allegories about Rudolf's reign relying on representations of personifications, mythological and animal symbols using Rudolf's personal impresa. Most of the portraits follow former portrait types typical for the 16th century, as bust, standing figure or equestrian monument. However, the peculiarity for Rudolfine portraiture is the allegorical portrait Rudolf as Vertumnus painted by Giuseppe Arcimboldo that combines classical portrait with allegory.

(in English): Only one of many Ancient Roman novels that were written during antiquity has survived to this day. Apuleius' Metamorphoses could have easily been lost too as it was overlooked by the Carolingian renaissance and at one point existed only in a single copy. Luckily it was found and rediscovered for the Italian Renaissance by one of the so called bookhunters in the 14th century. After that it did not cease to inspire many works of art from literature to paintings. The story of Cupid and Psyche that comes from this book was used to decorate many representational rooms from the early Renaissance on, until at least the 19th century. It seems to have been especially popular at the court of Rudolf II and it represents one of the typical mythological themes with a strong erotic potential. We can trace its roots to Italy where the novel was brought back to the literary scene. The most important visual sources, that played at least an equally important role in the dissemination of the motive through Europe as literature, also come from Italy. Especially Rome and Raphael's frescos in villa the Farnesina influenced generations of Italian as well as foreign artists. Bartholomeus Spranger, Joseph Heintz and other future court artists of Rudolf II were no exception. The antique city and antique novel...

KRESTOVÁ, Eva : Professor Rudolf Šťastný: violinist, conductor, pedagogue. [Master´s project] / Eva Krestová - Academy of performing Arts in Prague, Faculty of Music; Consultant : prof. Jindřich Pazdera: Academy of performing Arts in Prague, 2014. This Master´s project is about life and working a signifiant czech violin personality Rudolf Šťastný with a view to his contribution as a violinist, a dirigent and a pedagogue. A constituent of this master´s project is a detailed cross-section of his life, it characterizes his personality, pegagogic methodology and there is also a chapter devoted to memories and expressions his closest people.

Made available in DSpace on 2014-06-11T19:24:07Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-02-12Bitstream added on 2014-06-13T20:31:04Z : No. of bitstreams: 1 franco_ek_me_ia.pdf: 6030951 bytes, checksum: 1918be0b070cf62b37433b3e692587a3 (MD5) / Universidade Estadual Paulista (UNESP) / O objetivo desta pesquisa é fundamentar como os Princípios da Eutonia e os Fatores do Movimento de Laban se conectam em um processo criativo da dança contemporânea, não visando a conclusão de uma obra artística, mas proporcionando uma reflexão a respeito do processo criativo e da articulação de duas teorias. A pesquisadora/dançarina investiga os Princípios da Eutonia (pele- tato consciente, espaço interno e volume corporal, ossos - transporte, contato consciente e movimento eutônico) e os Fatores do Movimento (peso, espaço, tempo e fluência) e estabelece suas conexões durante o processo criativo da dança. Utiliza o elemento pedra com o intuito de alcançar a simbiose Pedra/Osso, possibilitando o encontro de novas células de movimentos expressivos que são realizadas com o equilíbrio do tônus e com menos desgaste de energia. Para tanto foi adotado a metodologia do estudo de caso: uma investigação das duas teorias em que a pesquisadora vivencia e interpreta os seus movimentos criativos realizados nos laboratórios de dança, definindo quatro momentos de Captura e posteriormente aplicando-os em três colaboradoras para fidedignar o processo criativo da dança em particular. Dessa maneira a pesquisadora justifica a importância do estudo das duas teorias, Princípios da Eutonia e Fatores do Movimento, e das conexões estabelecidas entre elas, para um processo criativo da dança contemporânea como meio de alcançar o movimento qualitativo e expressivo. / The purpose of this research is to determine how the Principles of Eutonie and the Laban Movement Factor connect to a creative process of contemporary dance. The focus is not on the artistic work but promotes a reflection on the creative process and in the interaction of the two theories. The researcher/dancer investigates the Principles of Eutonie (skin - consciously touch, internal space and corporal volume, bones - transport, consciously contact and Eutonic movement) and stabilizes its connections during the process of creative dancing. The researcher uses the rock element with the aim to achieve the conjunction of Rock/Bones giving the possibility to meet new cells of expressive movements that are realized with balance of tonus and less use of energy. The case study methodology was used to reach these results: an investigation of the two theories in which the researcher experienced and interpreted the creative movements realized during dance labs, defining four capture moments and applying them to three co-workers to sustain the creative dance in particular. In this way, the researcher justifies the importance to study the two theoriesd: the principles of Eutonie and the movement Factor, and the connection between them for a creative process of contemporary dance as a way to reach the expressive and qualitative movement.

Made available in DSpace on 2016-06-07T17:12:17Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-06-26. Added 1 bitstream(s) on 2016-06-07T17:16:54Z : No. of bitstreams: 1 000866069.pdf: 1257882 bytes, checksum: f6c0803287d961fd6b3e2125739798ed (MD5) / A presente pesquisa visa refletir um experimento de criação cênica, o processo criativo da peça Pulsar da Medusa, que foi dirigida por mim. Trata-se de um processo de criação em dançateatro baseado no estudo expressivo do corpo-voz a partir da utilização dos fatores de Rudolf Laban: espaço, tempo, peso e fluência. A abordagem deste experimento cênico ocorre pelo meu ponto de vista enquanto diretora. Aqui eu discorro sobre meu trabalho com o ator-aprendiz e as atrizes-aprendizas da peça. Num tipo de direção que propõe um trabalho preparativo para representação/atuação, através de exercícios corporais e vocais junto à orientação do trabalho criativo. É um trabalho de direçãoorientação. A pesquisa contou com a colaboração de duas aprendizas-atrizes e um aprendiz-ator, que tiveram, junto a mim, a função de criadores da cena. A direção da peça tinha como objetivo principal a questão da formação de atriz e ator, por isso visava mais do que um resultado estético. O processo foi visto principalmente como um meio para aprendizagem no campo da expressividade do corpo-voz e de composição cênica. A própria peça foi elaborada como um exercício de criação, com inspiração no livro Água-viva, de Clarice Lispector. Como anexos, constam questionários respondidos pelo aprendiz-ator e pelas aprendizasatrizes que colaboraram com a pesquisa, esses questionários nos auxiliam a verificar se os exercícios praticados de fato foram importantes para o desenvolvimento expressivo vocalcorporal. Além disso, também constam alguns vídeos em anexo que mostram fragmentos da peça e de ensaios. Como aqui se aborda tanto aspectos do trabalho de diretora-orientadora, como do trabalho de ator/ atriz, esta pesquisa pode contribuir com artistas que exercem diferentes funções dentro de um processo criativo. Além disso, presta-se como referência para professores e pesquisadores no âmbito... / The present research aims to reflect a scenic experiment creation: the creative process of the play Pulsar da Medusa, which was directed by me. It's about an approach of dance theatre based in the expressive study of body vocal, using factors from Rudolph Laban: space, time, weight and fluency. The approach of this scenic experiment occur by my point of view as a director. Here I broach about my labour with the apprentice actor and apprentice actress from the play. This kind of direction purpose a preparative labour for the representation/acting, through body and vocal exercises, with orientation of the creative labour. It's a direction-bearings labour. The research counted with the collaboration from two-apprentice actress and one apprentice actor, who had, with me, the role of scenic creators. The fundamental intention of the direction was the instruction of the actress and actor, for this reason aimed more than aesthetics results. The process was seem especially as a way of learning at the expressivity field of body vocal and scenic composition. The play was elaborate as an exercise of creation, inspired on the book Água-viva, by Clarice Lispector. In addition, is available questionnaires, which was answered by the apprentice actress and the apprentice actor, who collaborated with the research. These questionnaires help us to verify if the exercises were important for the body and vocal development. Beyond this, it contains some videos, which show fragments from the presentation and from the rehearsals. As I approach aspects as my role of director and guiding, as the role of actor/actress, this research may to contribute with artists who play different roles inside of the creative process. Additionally, it serves as a reference to teachers and researchers in the field of theatre and dance creation.

Submitted by CAROLINA GULYAS FIGUEIREDO (cafigg@yahoo.com.br) on 2016-07-18T19:03:03Z No. of bitstreams: 1 Dissertacao_carolina gulyas figueiredo.pdf: 1707452 bytes, checksum: 64ac20498db3ad224c5aa00a09774a97 (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-07-20T13:03:58Z (GMT) No. of bitstreams: 1 figueiredo_cg_me_bauru.pdf: 1707452 bytes, checksum: 64ac20498db3ad224c5aa00a09774a97 (MD5) / Made available in DSpace on 2016-07-20T13:03:58Z (GMT). No. of bitstreams: 1 figueiredo_cg_me_bauru.pdf: 1707452 bytes, checksum: 64ac20498db3ad224c5aa00a09774a97 (MD5) Previous issue date: 2015-07-08 / O presente trabalho visou identificar e analisar características do Ensino de Ciências no âmbito da Pedagogia Waldorf. A Pedagogia Waldorf, criada em 1919, na Alemanha, por Rudolf Steiner, está presente no mundo todo. Baseada na antroposofia, possui uma estratégia pedagógica que inclui o desenvolvimento físico, psicoemocional e espiritual do aluno. Dentre suas características estão o ensino em épocas (ensino concentrado de 4 a 6 semanas), a forte presença das artes e um processo cognitivo descrito por Goethe, que trata da observação de um fenômeno até que se chegue em sua essência. Foram realizadas entrevistas com seis professores, de cinco escolas, observadas aulas de ciências em duas escolas Waldorf, de São Paulo e de um município da região de São Paulo. Foram analisados documentos como periódicos de encontros de formação continuada em Pedagogia Waldorf e compilações curriculares. Os dados obtidos foram organizados em onze eixos e foi utilizada a análise de conteúdo proposta por Bardin. Este estudo traz uma discussão sobre os objetivos de Rudolf Steiner ao pensar a Pedagogia para o Ensino de Ciências. Os resultados obtidos evidenciam que a Pedagogia Waldorf tem como principal base de estruturação para o Ensino de Ciências a fenomenologia goetheanística, principalmente por não desvencilhar os fenômenos naturais de um mundo espiritual e desta forma, através das práticas de observação o aluno, de maneira inconsciente, compreenda a relação entre o mundo material e espiritual. Ainda espera-se que o aluno seja capaz de reconhecer no mundo natural e em sua vida cotidiana a essência dos fenômenos. A Pedagogia Waldorf adota práticas que incentivam ações humanitárias para que surja no jovem e consequentemente no adulto o impulso de intervir e transformar a realidade social e tem como meta final e longínqua uma sociedade baseada na trimembração social, na qual haja liberdade espiritual, igualdade de direitos e fraternidade econômica. Foi observado também que o Ensino Waldorf tem características interdisciplinares e transdisciplinares. Ainda Educação Waldorf também possui como objetivo o desenvolvimento das capacidades do ser humano, nos âmbitos cognitivo, espiritual, emocional e artístico, como também o estimulo da criatividade, iniciativa e autoconfiança. / This study address to identify and analyze the characteristics of Sciences under the Waldorf Pedagogy Scope. Waldorf Education, established in 1919 in Germany by Rudolf Steiner, is present worldwide. Based on anthroposophy, it has a pedagogical strategy that includes physical, psychoemotional and spiritual development of the student. Among its features are seasonal teaching (concentrated teaching between 4 to 6 weeks), the strong presence of the arts and a cognitive process described by Goethe, which deals with the observation of a phenomenon until it arrives at its core. Six interviews with teachers were conduct in five schools, science classes observed in two Waldorf Schools, being from São Paulo and from a municipality in the São Paulo region. Documents such as periodic meetings of continuing education in Waldorf Pedagogy and curriculum builds were analyzed. The captured data was organized in eleven axes and the content analysis proposed by Bardin was used. This study provides a discussion about the Rudolf Steiner goals when applying pedagogy for the Science Teaching. The results show that Waldorf's Pedagogy m ain base of structure for Science Education is the goetheanístic phenomenology, especially for not disentangling the natural phenomena of a spiritual world and thus, through the observation practices, the student unconsciously understand the relationship between the material and spiritual world. It is yet to expect that the student will be able to recognize in the natural world and in his everyday life the essence of phenomena. Waldorf Education adopts practices that encourage humanitarian actions hoping to arise in the young and consequently in the adult an impulse to intervene and transform the social reality, and has as the ultimate and faraway goal a society based on social threefolding, in which there is spiritual freedom, equal rights and economic fraternity. Was also observed that the Waldorf education has interdisciplinary and transdisciplinary characteristics. Waldorf Education also has the objective of developing the capabilities of the human being, in the cognitive, spiritual, emotional and artistic fields, as well as the stimulation of creativity, initiative and self-confidence.

Orientador: João Batista Freire da Silva / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação Fisica / Made available in DSpace on 2018-07-25T00:09:36Z (GMT). No. of bitstreams: 1 Scarpato_MartaThiago_M.pdf: 2200859 bytes, checksum: eed81ddd66773490e50bf7dd6d64b6db (MD5) Previous issue date: 1999 / Resumo: Neste trabalho escrevi sobre a influência, na minha formação como professora e bailarina, de dois grandes pensadores: Rudolf von Laban e Célestin Freinet. Proponho a dança na escola como um recurso metodológico para o trabalho do professor. Um recurso importante para a formação integral do aluno que vive um final de século, que o espaço físico e contato com a natureza tornam-se raros. As preocupações da escola vão pouco além de manter o aluno imóvel por horas, sentado em sua carteira, ouvindo o professor falar, copiando lições da lousa. Apresento reflexões sobre que corpo a escola quer formar: um corpo submisso ou um corpo com autonomia para agir. Aponto as convergências de idéias entre Laban e Freinet que podem vir a formar uma proposta de movimento dançante para o professor usar em sala de aula com seus alunos / Abstract: In this paper I write about the influence the great thinkers Rudolf Laban and Célestin Freinet exercised on my development as a teacher and dancer. I propose dance at school as a methodological aid for the teachers' work. Dance is an essential support for the complete development of students who live at the end of the century when space and contact with nature are becoming rare. The concerns of the school hardly go beyond the intention of keeping students quiet for hours, sitting at their desks, listening to the teachers, and copying lessons from the black-board. I present considerations about what body the school needs to form - either a submissive body or one who is free to act. I point to the convergences of Laban's and Freinet's ideas which can conceive a proposal for a dancing movement to be used by the teachers in the c1assroom / Mestrado / Educação Motora / Mestre em Educação Física