Faire une sorte d'état des lieux en ce qui concerne la notion d'identité au XXIe siècle et l'univers des adolescents d'aujourd'hui permet de mesurer à quel point ces derniers sont aux prises avec de multiples problématiques identitaires. En tant qu'enseignante en art dramatique au secondaire, il nous apparaît important de questionner le phénomène dans le but de mieux accompagner le cheminement identitaire de nos élèves. Certaines études démontrent que l'éducation artistique est favorable au développement de la personne. Notre recherche, elle, a pour objectif de relever les traces de la construction identitaire de l'adolescent à partir du processus de création des Cycles Repère et d'observer à quel moment précis cette construction s'opère. Le Cadre d'orientation en construction identitaire mis sur pied par l'ACELF (Association canadienne d'éducation de langue française) sert de cadre théorique à la recherche, car c'est par l'entremise des passerelles d'interaction réfléchir, agir et vouloir que les traces sont relevées. Nous avançons donc l'hypothèse suivante : puisque la création théâtrale est propice au cheminement identitaire et que les Cycles Repère offrent des balises claires aux participants pour structurer leur démarche créatrice, nous pensons qu'il nous sera possible de relever les traces de cette construction. Or, en collaboration avec l'enseignante Martine Ouellette ainsi que celle des élèves de la troisième secondaire de la Polyvalente Sainte-Thérèse, nous nous sommes engagés dans un processus de création théâtrale. Les différentes phases de la démarche ont fait l'objet de captations vidéo tandis que le documentaire Ça va de soi! démontre les résultats obtenus, soit les traces relevées. Cette recherche a permis de parfaire nos stratégies pédagogiques, d'actualiser le savoir en ce qui concerne l'enseignement de l'art dramatique au secondaire et de rendre tangible la construction identitaire de l'adolescent par l'entremise d'un documentaire. Dorénavant, l'enseignante est en mesure de mieux accompagner les élèves dans leur cheminement identitaire, et ce, particulièrement lors des retours réflexifs. Ce mémoire s'accompagne donc du documentaire Ça va de soi! disponible au Centre de Recherches Théâtrales (CERT) de l'École Supérieure de théâtre de l'Université du Québec à Montréal. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Adolescent, Construction identitaire, Cycles Repère, Enseignement de l'art dramatique, Création théâtrale.

Bakalauro darbe analizuojama teatrinio kostiumo raiška, bendri šiuolaikinių spektaklių istorinio žanro tematika kostiumų kūrimo ypatumai, Žano Anujio pjesės „Vyturys“ scenarijus, Žanos d‘Ark įvaizdžiai scenoje, viduramžių epochos kostiumų ypatumai, siekiant suprojektuoti teatrinių drabužių kolekciją spektakliui „Vyturys“. Ši tema mane sužavėjo tuo, kad teatrinių kostiumų pagalba paprastas žmogus tampa herojumi, dažnai kostiumai prabyla į žiūrovus aktorių lūpomis apie pačius žmones ir jų gyvenimus. Pabendravus su spektaklio kūrėjais - Šiaulių universiteto estrados meno specialybės studentais ir jų vadove, susiformavo galutinė drabužių kolekcijos idėja ir tikslas. Teorinės informacijos analizė atskleidė, jog teatriniais kostiumais siekiama perteikti spektaklio atmosferą, atskleisti potekstę, parodyti esminius epochos stiliaus bruožus. Spektaklio „Vyturys“ siužetas atspindi viduramžių epochą, todėl svarbi šio laikmečio aprangos ypatumų analizė. Vizualiniai tiriamosios temos objektai – šiuolaikinių istorinės tematikos spektaklių kostiumai ir pagrindinės Žano Anujio pjesės „Vyturys“ veikėjos Žanos d‘Ark įvaizdžiai scenoje. Šiuolaikiškai interpretuotų spektaklių kostiumuose vyrauja laikmečio bruožus atspindinčios šių dienų kūrėjo stilizuotos, išraiškingos formos, dekoro elementai, naujos medžiagos. Žanos d‘Ark įvaizdžio kūrimas scenoje atskleidžiamas įvairių menininkų darbuose. Kine, teatre Žanos d‘Ark įvaizdis formuojamas kaip kovotojos, kankinės, filosofės. Žanos d‘Ark įvaizdis... [toliau žr. visą tekstą] / In this bachelor thesis the expression of a theatrical costume is analyzed, the overall performances of contemporary historical themes of the genre features in costume design, script of Jean Anouilh play “The Lark”, images of Joan d'Arc on the stage, middle age costume features, with the purpose to design theatrical clothes collection for the performance of “The Lark”. The topic I was fascinated by is the fact that theatrical costumes can help a common man to become a hero; costumes often speak to the audience as if by the actors’ lips of most people and their lives. After talking with the creators of the performance – students of Siauliai University theatre art specialty and their lecturer - the final clothes collection idea and purpose developed. The analysis of theoretical information revealed that theatrical costumes help to convey the atmosphere of the play, reveal the subtext, and show the essential features of the style of the epoch. Performance “The Lark” reflects the medieval era, so it is important to analyze the characteristics of the clothing in this epoch. Visual objects of the research theme – the costumes of modern historical-themed performances and stage images of the main actor Joan d'Arc in Anouilh play “The Lark”. A modern interpretation of the costumes used in performances reflects the features of today designers stylized, expressive forms, decoration elements, new materials. The image of Joan d'Arc is revealed in the works of various artists. In the... [to full text]

Purpose: traditional optical design is a numerical process based on ray tracing theory. The traditional method has the limitation of the application of the spectacle lens because of the necessity of initial configurations and the evaluations of the aberrations of the lens. This study is an initial attempt to investigate an analytic lens design method, Lagrange, which has a potential application in modern spectacle lens for eliminating the limitation of the traditional method. Methods: the Lagrange method can derive the differential equations of an optical system in term of its output and input. The generalized Snell???s law in three-dimensional space and the normal of a refracting surface in fundamental differential geometry are applied to complete the derivation. Based on the Lagrange method, the solution of a refracting surface to perfectly image a point at infinity is obtained. Results: a Plano-convex lens and a Bi-convex lens from this solution were designed. In spherical coordinates, the differential equations of the single surface system and its solution were obtained. The optical design software, ZEMAX, was used to simulate the lenses and evaluate their image qualities. The results illustrated that both of the two lenses were aberration free. Conclusions: the Lagrange solves unknown lens surface based on definable inputs and outputs according to customer requirements. The method has the potential applicants of the modern customized lens design. Moreover, the definable outputs make the simultaneous elimination of several aberrations possible.

Orientador: Maria Jose de Azevedo Marcondes / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T01:04:11Z (GMT). No. of bitstreams: 1 Britto_LucianaDultra_M.pdf: 2920139 bytes, checksum: 4e486a79a5b566b3963f631d6ef66624 (MD5) Previous issue date: 2008 / Resumo: Essa dissertação busca compreender o que são os Museus da Cidade e como eles se inserem no contexto urbano; por ter sido um dos pioneiros entre os museus brasileiros dedicados especificamente à cidade, o Museu da Cidade de Campinas tornou-se o foco desse trabalho. Uma vez que os Museus da Cidade são definidos como centros especializados na história e na cultura urbana, um conjunto de reflexões sobre as relações entre museu, cidade e arte orienta os passos dessa pesquisa; ela se baseia em bibliografia acadêmica, publicações impressas e eletrônicas, pesquisas de campo e levantamentos. A pesquisa parte do colecionismo praticado na Europa entre os séculos XII e XVII, estuda o surgimento do museu público, sua diversificação, a criação de um modelo de museu exportado para as Américas no século XVIII e seu desenvolvimento no Brasil até que no início do século XX fossem criados aqui museus de diversas especialidades. No fim do século XX, muitas cidades e patrimônios foram alçados à categoria de bens culturais; "musealização" e "espetacularização" eram, então, formas de preservar o patrimônio urbano e resgatar a idéia mesma de cidade para a população. O que a cidade podia atribuir ou extrair de seu patrimônio, bem como os cuidados que dispensava a ele e ao seu ambiente tornaram-se índices de qualidade de vida e fatores de atração para novos investimentos. Essa dissertação analisa, em seguida, as concepções museológicas e as experiências de criação dos Ecomuseus ou Museus de Território franceses, do Museu Regional brasileiro, do Departamento de Cultura e do Museu da Cidade de São Paulo como elementos de formação dos Museus da Cidade no século XX. No final do século XX, a implantação de novos museus e sua "espetacularização" passou a ser entendida como forma de produzir locais de sucesso e de projetar a imagem da cidade frente às demais; mais do que conhecimentos, esperava-se dos museus lazer e diversão. Finalmente, essa dissertação enfoca o Museu da Cidade de Campinas inaugurado em 1992; naquela ocasião, esse museu parecia atender em nome, proposta e edificação às recomendações científicas, às tendências econômicas e aos valores culturais dominantes entre os países globalizados. Sua análise revela a deformação do projeto original e o desvio das funções do museu, mas evidencia, também, suas potencialidades. O propósito dessa dissertação é demonstrar que, uma vez especializado na história e na cultura urbana, o Museu da Cidade de Campinas pode ser o mediador ideal do meio artístico local e o promotor de um pólo cultural relativamente autônomo da capital / Abstract: This dissertation aims the understanding of the so called Museums of the City and how they contribute into the urban context; once it was one of the pioneers among the brazilian museums dedicated specifically to the city, the Museum of the City of Campinas became the focus of this work. Once the Museum of the City are defined as specialized centers on urban history and culture, a conjunct of reflections on the relationship between Museum, City and Art guide the steps of this research; based on specialized bibliography, eletronic and press publications and field researches. The search begins at the collectionism practiced in Europe from the XII th to XVII th centuries, studies the emergence of the public museums, their diversification and creation a model of museum exported to Americas at the XVIII th century as well its development in Brazil up to the XX th century when a variety of museums come up. At the end of that century, cities as well urban patrimonies were upgraded to the category of cultural goods; "musealization" and "spetacularization" were the ways of preserving urban patrimonies and promoting to the population the concept of city in it self. All the cities could attribute to or extract from their patrimonies as well the care dispensed to them and to the environment became indexes of life quality and factors of attraction of investments. In sequence, this dissertation analyzes the museological concepts and experiences of creations of the french Ecomuseums or Museums of Territory, the brazilian Regional Museum, the Department of Culture and Museum of City of São Paulo seen as elements of formation the Museums of the City at the XX th century. At the end of the XX th century the implantation of new museums and it's"spetacularization" came to be understood as ways of producing locals of success and projecting the image of the city; more than knowledge, amusement and leisure were expected from the museums. Finally, this dissertation focuses the Museum of City of Campinas inaugurated in 1992; at that time, the museum seemed to correspond in name, proposal and edification the scientific recommendations, economic trends and cultural values then prevailing among the globalized nations. Nevertheless analysis indicated a distortion of the project and deflection of its functions but it also makes evident all its potentialities. The purpose of this dissertation is to demonstrate that once specialized in the urban history and culture the Museum of City of Campinas may become the ideal mediator of the local artistic universe and the promoter of a cultural pole relatively autonomous from São Paulo / Mestrado / Mestre em Artes

Submitted by Marilene Donadel (marilene.donadel@unioeste.br) on 2017-09-20T18:50:23Z No. of bitstreams: 1 Caio_C_P_Scholz_2017.pdf: 838225 bytes, checksum: d829a78c43fe94ab0ae57ea76ddf241a (MD5) / Made available in DSpace on 2017-09-20T18:50:23Z (GMT). No. of bitstreams: 1 Caio_C_P_Scholz_2017.pdf: 838225 bytes, checksum: d829a78c43fe94ab0ae57ea76ddf241a (MD5) Previous issue date: 2017-04-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Fundação Araucária de Apoio ao Desenvolvimento Científico e Tecnológico do Estado do Paraná (FA) / The study of Rousseau´s philosophical thought, in a contemporary context, allows an interpretation of his work under two distinct aspects. The first one of them tells about the comprehension of its conceptual display, that substantiate its notorious critic potential, which the target is found in the fields of the ethics and the politics, references to the exercise of the public life, understood as form of spectacle, belonging to the modern social organization. The second one provokes the sensation of its critics and conceptual display, somehow, continue actual and can contribute to the comprehension of the spectacle of the public life, demonstrated in the contemporary society. In front of that scenario, when investigating those two possibilities of interpretation, will be shown that some elements of Rousseau´s work are kept in the contemporaneity, others seem to gain a sort of present time according to that contemporary social context and, lastly, some difficulties seem to be overcome due to specificities belonging only to the contemporary society. To accomplish such assumption, the first two chapters will be dedicated to the detailed study of the work of Rousseau, that will serve as the foundation to, in the third, delimit a contemporary social scenario and investigate it to the light of Rousseau. / O estudo do pensamento filosófico de Rousseau, em um contexto contemporâneo, permite a interpretação da sua obra sob dois aspectos distintos. O primeiro deles diz respeito à compreensão do seu aparato conceitual, que fundamenta seu notório potencial crítico, cujo alvo se encontra nos campos da ética e da política, referências para o exercício da vida pública, compreendida como forma de espetáculo, pertencente à ordem social moderna. O segundo provoca a sensação de que suas críticas e aparato conceitual, de alguma forma, permanecem atuais e podem contribuir para a compreensão do espetáculo da vida pública, manifestada na sociedade contemporânea. Diante desse cenário, ao investigar essas duas possibilidades de interpretação, mostrar-se-á que alguns elementos da obra de Rousseau se conservam na contemporaneidade, outros aparentam ganhar uma espécie de atualidade de acordo com esse novo contexto social contemporâneo e, por fim, algumas dificuldades parecem ser superadas em virtude de especificidades pertencentes apenas à sociedade contemporânea. Para realizar tal pretensão, os dois primeiros capítulos serão dedicados ao estudo minucioso da obra de Rousseau, que servirá de fundamento para, no terceiro, delimitar um cenário social contemporâneo e investigá-lo à luz de Rousseau.

Nas cidades, historicamente, são realizados eventos de diversos portes em praças públicas ou locais alternativos, como vazios urbanos, estacionamentos de automóveis, descampados, campos de futebol, faixas de areia das praias, entre outros. Tais festas são categorizadas genericamente como eventos ao ar livre e muitas vezes atraem uma grande concentração de público, o que gera a necessidade de aporte de uma logística com aparatos de suporte para garantir sua boa realização. Outro suporte importante é o staff, ou seja, a equipe de realização do evento. Esta pesquisa tem por objetivo entender como se dá a relação entre o sítio de realização, a qualidade do evento e os profissionais envolvidos. / Historically, cities have held events of different sizes in squares or alternative places such as vacant terrains parking lots, open fields, sports fields, beaches etc. Those events are generically categorized as open air, and often find a high concentration of public, which creates the need of a logistic apparatus to support the event and ensure its proper execution. Another important aspect is the support staff. This research tries to understand how the professionals involved, location and quality relates to each other in such events.

Este artículo trata sobre los espectáculos televisivos, y se propone esbozar una explicación de los mitos audiovisuales que consumimos y sobre por qué los consumimos de forma ritual. En la primera parte, se ofrece una definición de los espectáculos televisivos; en la segunda parte, se propone una teoría y metodología para el estudio de los mitos y ritos audiovisuales; y, en la tercera parte, se postulan las funciones rituales del consumo de mitos audiovisuales. / This paper is about television spectacles, and it intends to outline an explanation of the audiovisual myths that we consume and why we consume them ritually. In the first part, we offer a definition of television spectacles; in the second part, we propose a theory and methodology for the study of audiovisual myths and rites; and, in the third part, we postulate the ritual functions of the consumption of audiovisual myths.

Neste trabalho, situo a festa na estrutura ritual do candomblé, abordando preferencialmente a dimensão espetacular de sua liturgia. Privilegio, na descrição etnográfica, os elementos relacionados à construção do espetáculo religioso: a estética, o simbolismo das cores, a interatividade entre os atores rituais e o público, o aparato, a linguagem gestual, os aspectos dramáticos e lúdicos. Defendo que a dimensão espetacular das festas públicas do candomblé constituiu um dos principais fatores responsáveis pelo aumento da visibilidade social alcançada por essa religião no espaço público. Uma presença em parte justificada pelo poder de atração das linguagens expressivas que integram sua estrutura ritual. Um dos aspectos mais importantes da inserção social do candomblé foi a preservação da dimensão espetacular de sua ritualística, independente de todo sincretismo que esteve na base do seu processo de institucionalização. Esta religião não só conservou os elementos do espetáculo como os potencializou, tornando o caráter espetacular das cerimônias públicas um dos seus principais sinais diacríticos no universo religioso brasileiro. A presença de símbolos e práticas religiosas do candomblé em outros circuitos festivos, a exemplo do que acontece na Festa do Bonfim e na Festa de Iemanjá em Salvador, bem como o seu uso comercial e político por parte do Estado através dos seus órgãos de turismo, representam a contraface dessa inserção do candomblé no espaço público. / In this work I place the \"festa\" in the ritual structure of candomble, dealing preferably with the spectacular dimension of its liturgy. I privilege, in the ethnographic description, the elements related to the construction of the religious spectacle: the esthetics, the symbolism of colour, the interaction between ritual actors and the audience, the gestural language, the dramatic and the ludic aspects. I argue that the spectacular dimension of candomble public \"festas\" has been one of the major factors accountable for the rise in social visibility attained by this religion in the public sphere. This presence is partially due to the power of attraction exerted by the expressive languages that are part of its ritual structure. One of the main aspects of its social insertion was the preservation of the spectacular dimension of its ritual, independently of all the syncretism that has been in the basis of its institucionalization process. This religion not only has preserved spectacle elements but has actually strengthened them, making the spectacular character of the public ceremonies one of its main diacritic signs in the Brazilian religious universe. The presence of symbols and religious practices of candomble in other festive events, as is the case with the \"Festa do Bonfim\" and the \"Festa de Iemanjá\", in Salvador, as well as its commercial and political use by the State through its tourism offices, represent another facet of this insertion of candomble in the public sphere.

Focusing on classic Hollywood, I contend that overly narrow concepts of both “sport” and “sport(s) film” have contributed to the scholarly neglect of key texts and characters from this period. Just as a wider analysis of the history of women’s athletic participation has expanded definitions of “sport,” scholars need to consider examples that complicate conventional understandings of sport films. This dissertation focuses on the female athletic performances during the studio era that -- precisely because they deviate from traditional conceptions of sport -- open up space for a range of meanings and identities around issues of gender and sexuality. I look specifically at Olympic skater Sonja Henie’s nine skating musicals with 20th Century-Fox, Esther Williams’s sixteen MGM swimming vehicles, and the 1944 filmic adaptation of Enid Bagnold’s novel National Velvet starring Elizabeth Taylor. This project is in conversation with longstanding debates, particularly in film studies, about the fraught visibility granted to women’s bodies on screen, issues of embodiment and disembodiment, and questions about identification and alienation of real and imagined spectators. The physicality of these studio era protagonists raises issues about the materiality of bodies and embodied subjectivity, even when a corporeal realism that focuses closely on bodily exertion, and the potential consequences of intense physical activity including pain and injury, is denied. This project, then, identifies the specific threats -- as stars and characters – that these women’s active bodies posed and describes how the studios defused and obscured their corporeal and ideological transgressive potential. And yet, in acknowledging and analyzing how and why these studio era female stars are “not there as themselves,” and in foregrounding the consistent disavowal of female strength and athleticism, I suggest that there are critical moments where that power is dramatically and corporeally present, and aesthetically critical.

Using spectacle to alienate people from each other and life, President Snow's Panem from Collins' Hunger Games trilogy is Guy Debord's Society of Spectacle. As Debord predicts, the spectacle of the Annual Hunger Games causes a degradation of life for citizens in the Districts and the Capitol, leading to a society where nobody truly lives and citizens accept the narrative that President Snow and his regime promote about the Games. Using Luis Althusser to understand how President Snow links his power to that of the Games, we understand how the dictator brainwashed his citizens into compliance through his narrative, and also, how this narrative is constantly delivered through the various ISAs and SAs in Panem to degrade life into false unity and false consciousness, socially coercing citizens to fall in line with the narrative around spectacle. Katniss Everdeen is unique as she is too authentic to use her celebrity status in promotion of the Games; instead, she accidentally performs Debord's true critiques, sparking a rebellion through love. Katniss' acts of love translate into true critiques of the spectacle that is Panem and the Games, and because Snow has spent decades brainwashing his populace into a blind acceptance of celebrity and social similarities, Katniss is successful as the Mockingjay through rebellious love. Through Katniss, we see how spectacle can be as self-defeating as it is self-perpetuating.