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Cunnama, Daniel. "Galaxy Evolution and Cosmology using Supercomputer Simulations by Daniel Cunnama." University of the Western Cape, 2013. http://hdl.handle.net/11394/4042.
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Philosophiae Doctor - PhDNumerical simulations play a crucial role in testing current cosmological models of the formation and evolution of the cosmic structure observed in the modern Universe. Simulations of the collapse of both baryonic and non-baryonic matter under the influence of gravity have yielded important results in our understanding of the large scale structure of the Universe. In addition to the underlying large scale structure, simulations which include gas dynamics can give us valuable insight into, and allow us to make testable predictions on, the nature and distribution of baryonic matter on a wide range of scales. In this work we give an overview of cosmological simulations and the methods employed in the solution of many body problems. We then present three projects focusing on scales ranging from individual galaxies to the cosmic web connecting clusters of galaxies thereby demonstrating the potential and diversity of numerical simulations in the fields of cosmology and astrophysics. We firstly investigate the environmental dependance of neutral hydrogen in the intergalactic medium by utilising high resolution cosmological hydrodynamic simulations in Chapter 3. We find that the extent of the neutral hydrogen radial profile is dependant on both the environment of the galaxy and its classification within the group ie. whether it is a central or satellite galaxy. We investigate whether this effect could arise from ram pressure forces exerted on the galaxies and find good agreement between galaxies experiencing high ram pressure forces and those with a low neutral hydrogen content. In Chapter 4 we investigate the velocity–shape alignment of clusters in a dark matter only simulation and the effect of such an alignment on measurements of the kinetic Sunyaev–Zeldovich (kSZ) effect. We find an alignment not only exists but can lead to an enhancement in the kSZ signal of up to 60% when the cluster is orientated along the line-of-sight. Finally we attempt to identify shocked gas in clusters and filaments using intermediate resolution cosmological hydrodynamic simulations in Chapter 5 with a view to predicting the synchrotron emission from these areas, something that may be detectable with the Square Kilometer Array.
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Smith, Sue. "Dancing in the dark : described dances and unseen choreographies." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/13358/.
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This thesis enquires how a rethinking of sight as the primary sense for experiencing dance performance can instigate new choreographies that embody the interplay between seen and unseen, described and not described, inside and outside, subject and object. By ‘unseen’ I mean invisible to the eye but potentially available to other senses or imaginative capacities. Choreography is a methodological and critical lens through which to explore relationships between description, translation and sensory perception in a range of performance engagements that invite multi-sensory attention. The research is launched with implications arising from a consideration of audiodescription: the supposed neutrality of the speaker, the potential for cultural mismatches or power tensions in translation and the challenge of making spoken language more fully represent the body in performance. The thesis argues that rethinking ideas of description, from the beginning of a devising process, can lead to the production of choreographic work that does not privilege vision. The research for this thesis has involved choreographic practice combined with writing. In this writing, the on-going narrative of my choreographic studio work has been deliberately interwoven with analysis and contextualisation of this practice. The different elements enacted in the studio and at the writing desk have continually interacted, back and forth, identifying in the process, appropriate objectives for successive phases. For example, the reflections stimulated at each phase of concurrent theoretical research and studio work have deepened my choreographic enquiries, while also identifying other points requiring further exploration. This exploration has been carried out during further practical choreographic experiments in the studio, triggering still further theoretical analysis, and so on. In this way, the dancer writing becomes, and interacts with, the writer dancing. Sensory and kinaesthetic knowledge can build a more integrated and immersive sensual experience of dance as something to be not just observed but also engaged in. The intention is that insights from the research will inform strategies for original choreography expressed in performance.
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Tirsch, Daniela [Verfasser]. "Dark Dunes on Mars : Analyses on origin, morphology, and mineralogical composition of the dark material in Martian craters / Daniela Tirsch." Berlin : Freie Universität Berlin, 2009. http://d-nb.info/102349843X/34.
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Awofodu, Daniel Dare [Verfasser], L. [Akademischer Betreuer] Ganzer, and Mohammed [Akademischer Betreuer] Amro. "Improving reservoir characterization using the adjoint method in history matching / Daniel Dare Awofodu ; L. Ganzer, Mohammed Amro." Clausthal-Zellerfeld : Technische Universität Clausthal, 2020. http://d-nb.info/1231362618/34.
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Lemos, Helena Maria Roennau. "The dark side is the bright side, in Robinson Crusoe : a transdisciplinary reading of Daniel Defoe's novel." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2006. http://hdl.handle.net/10183/7922.
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Este estudo propõe uma leitura do século 21 de Robinson Crusoe, do escritor inglês Daniel Defoe, buscando identificar as razões que fazem a história do náufrago que vive numa ilha deserta por 28 anos permanecer excepcionalmente popular no mundo ocidental por três séculos. A leitura é um exercício prático do pensamento complexo, que constitui um dos três pilares da transdisciplinaridade, definido pelo pensador francês Edgar Morin. Esse enfoque consiste na identificação de padrões e inter-relações entre elementos internos do texto e externos a ele. O pensamento complexo conecta o conhecimento empírico/lógico/racional à sabedoria simbólica/mitológica/mágica. O estudo tem início com um retrospecto da carreira de Robinson Crusoe, considerando os textos fundadores que podem ter influenciado sua criação, e os inúmeros textos imitativos que se seguiram à sua publicação, originando um subgênero literário, das Robinsonadas. Uma síntese da biografia de Defoe ilustra o cenário de um mundo europeu de mudanças científicas, políticas e sociais radicais. O contexto e a fortuna crítica do autor são colocados lado a lado com a contribuição de estudos de filosofia da ciência, psicologia analítica, mitologia, antropologia e religião, na investigação do imaginário inscrito no romance. O capítulo quatro apresenta minha leitura transdisciplinar de Robinson Crusoe, destinada a demonstrar que a popularidade duradoura do romance é devida a seu poder de transmitir significados velados, conectados com elementos constitutivos do imaginário do mundo ocidental.This study proposes a twenty-first-century reading of Robinson Crusoe, by British writer Daniel Defoe, aiming to identify the reasons why the story of the castaway who lives on an uninhabited island for 28 years has remained remarkably popular in the Western world for almost three centuries. The reading is a drill on Complex Thinking, as defined by French epistemologist Edgar Morin, one of the pillars of Transdisciplinarity. This approach consists of the identification of patterns and interrelationships among elements inside the text and elements external to it, in the light of a number of disciplines involved in the study. Complex Thinking connects empirical/logical/rational knowledge to symbolic/mythological/magical wisdom. The study starts with a review of the career of the book, considering the founding texts which might have influenced the creation of Robinson Crusoe, and the myriad of mimetic texts that followed its publication, giving birth to a literary subgenre, the Robinsonade. A glance at the life of Defoe is also offered, so as to illustrate the context of a European world of radical scientific, political and social changes. Contexts and the critical heritage of the work are put together with symbolic data that prove relevant for the research on the imaginary inscribed in the novel. Chapter three acknowledges the aid of a number of studies in the fields of philosophy of science, analytical psychology, mythology, anthropology and religion, which enabled me to interrelate diverse levels of reading. Chapter four offers my transdisciplinary reading of Robinson Crusoe, in which I endeavor to demonstrate that the continued popularity of the novel derives from its capacity to convey concealed meanings connected with elements constitutive of the Imaginary of the Western world.
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Pettersson, Björn. "Brist på själslig insikt? : Utomjordingar och deras forskning kring människan i Dark City." Thesis, Karlstads universitet, Estetisk-filosofiska fakulteten, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-13020.
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The paper examines how human inner properties and the interpretation of the external worldare explained and presented in Dark City (Alex Proyas, 1998). Aspects as the relationship between the body and soul/consciousness, body snatching, memory transferences and dystopian cities are analyzed. The field of study is compared to a general science-fiction film perspective regarding the aspects. Dark City contains an alien race with a common mind, but who lacks soul and individuality. They represent what humanity can become if the scientific development goes too far. They conduct research about the human soul to save their own race. They fail to reach the soul trough scientific experiments, which include memory transferences. The only remaining explanation is that the soul has an immaterial origin. This is against the common materialistic view in the current science-fiction genre; the inner aspects are to a large extent explained from a cognitive/neural perspective. This means that Dark City implicit criticize movies and theories which states that we may be able to understand and create copies of the human consciousness.
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Haaheim, Kip. "Histories I. light and dark potentials II. bones under the weeping willow III. passacaglia." Diss., The University of Arizona, 1999. http://hdl.handle.net/10150/565585.
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Ifter, Mylen. "It's all showbiz." Thesis, Halmstad University, School of Humanities (HUM), 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-1234.
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Syftet med denna uppsats är att undersöka på vilket sätt musik och filmrum interagerar med varandra i filmmusikalerna ”Dancer in the Dark” och ”Chicago”. Detta görs huvudsakligen med utgångspunkt från Richard Dyers teorier kring rumsgestaltning inom filmmusikaler, men också utifrån deras roll som förmedlare av utopiska värden, samt Michel Chions teorier kring ljudets olika effekter på film. Vilka värderingar och budskap filmerna har och hur de kommer fram diskuteras också.
Resultatet av analyserna visar att de två filmernas sätt att arbeta med rum och musik skiljer sig markant, men att de båda för fram ett samhällskritiskt budskap.
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CARVALHO, JULIA MACHADO DE. "DANCER IN THE DARK: TRADITION AND RUPTURE IN THE CINEMA OF LARS VON TRIER." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2010. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=16600@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROA indústria cinematográfica tem na acentuada tipificação da linguagem uma estratégia para a produção e comercialização dos filmes, o que promove numa proliferação de clichês, determinando os lugares das imagens e de suas leituras. Parte de uma cultura de massa presente em escala global, essas representações valem-se das convenções e do ilusionismo dos efeitos técnicos para seduzir o olhar do espectador e manter afastados os aspectos obscuros e misteriosos da existência. Analisamos neste trabalho como o cineasta contemporâneo Lars von Trier realiza uma leitura crítica dos clichês da cultura contemporânea em sua própria cinematografia. No filme Dançando no Escuro (Dancer in the Dark, 2000), von Trier recorre à tradição da tragédia, do melodrama e do musical não apenas como mero efeito estilístico, mas como estratégia para realizar um jogo reflexivo. Promovendo, a cada filme, o movimento duplo de continuidade e ruptura com as convenções, observamos como o cineasta herda a tradição do cinema moderno e apresenta em seu estilo cinematográfico profundas afinidades com o também dinamarquês Carl Th. Dreyer, em sua busca por criar vida na tela.
The movie industry has evolved a standardised visual strategy for film production and marketing, which promotes a proliferation of clichés, determining the use of the known images and their respective readings. Part of a mass culture that is present in a global scale, these representations are attached to the conventions and illusionism of cinema through technical effects to seduce the viewer s gaze and keep out the dark and mysterious aspects of life. We analyze in this work how the contemporary filmmaker Lars von Trier performs his critical reading of the clichés of contemporary culture in his own films. In the film Dancer in the Dark (2000), von Trier uses the tradition of tragedy, melodrama and musical not as a mere stylistic effect, but as a strategy to make a reflexive game. Promoting in each movie the double movement of continuity and breaking of conventions, we notice how von Trier s film style inherits a tradition of modern cinema and how it demonstrates so many affinities with his fellow Dane Carl Dreyer, in his quest to create life on the screen.
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Ehebrecht, Daniel [Verfasser]. "Urbane Mobilität und Informalität in Subsahara-Afrika – Eine Studie zur Marktintegration der Motorrad-Taxis in Dar es Salaam / Daniel Ehebrecht." Berlin : Humboldt-Universität zu Berlin, 2020. http://d-nb.info/1222973316/34.
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Gibson, Alanna Marie. "Salome: Reviving the Dark Lady." University of Dayton / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1398693802.
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Whitely, Ashley Lauren. "Getting To “The Pointe”: Assessing the Light and Dark Dimensions of Leadership attributes in Ballet Culture." Xavier University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=xavier1493216425118529.
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McKean, Kathy. "'If you sit in the dark long enough something scary's bound to happen' : the ghosts of Phyllis Nagy." Thesis, Kingston University, 2009. http://eprints.kingston.ac.uk/20267/.
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Weiß, Martin [Verfasser], Jörg [Akademischer Betreuer] Stülke, Jörg [Gutachter] Stülke, Fabian [Gutachter] Commichau, Ralf [Gutachter] Ficner, Stefan [Gutachter] Klumpp, Rolf [Gutachter] Daniel, and Carsten [Gutachter] Lüder. "A protein in search of a function: The c-di-AMP-binding protein DarA of Bacillus subtilis / Martin Weiß ; Gutachter: Jörg Stülke, Fabian Commichau, Ralf Ficner, Stefan Klumpp, Rolf Daniel, Carsten Lüder ; Betreuer: Jörg Stülke." Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2019. http://d-nb.info/1191988953/34.
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Narrias, Villar Daniel Isaac [Verfasser], and Oleg [Akademischer Betreuer] Brandt. "Search for Dark Matter produced in association with a Higgs boson decaying to b¯b using 36 fb−1 of pp collisions at √s = 13 TeV with the ATLAS Detector / Daniel Isaac Narrias Villar ; Betreuer: Oleg Brandt." Heidelberg : Universitätsbibliothek Heidelberg, 2018. http://d-nb.info/1177384507/34.
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Gonçalves, Marilia Gabriela. "Estratégias comunicativas para dar visibilidade à dança: o papel da mídia, as políticas públicas, a criação de um campo de conhecimento." Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/5049.
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Previous issue date: 2008-04-28The creation of a public for contemporary art has been a recurring theme in different forums of debate in Brazil as well as abroad. This has led to discussions related to cultural journalism, to changes in the criteria of curatorship and the production of culture, as well as to the study of new bibliographies to evaluate art, culture and power. The hypothesis of this dissertation for a Master s Degree is that, in this context, there is a fundamental problem of communication. This does not apply exclusively to the relationship between the artist and the public, but involves a complex system of power and the means of transmitting information. To study it and propose strategies for dealing with some of the main difficulties which have been barriers to the development of broad projects, it is necessary to discuss the role of the media, some laws during the last decade to encourage culture, and the action of some public and private institutions in this context. As a case study, we selected dance in Brazil, drawing a diagnosis of the problems of communication that have overrun this field of knowledge since the arrival of ballet in the country, in 1927, and which have continued doing so until today. This is because there are standards that are fixtures. The scenario of theoretical research includes reflections on the bodymedia theory of Christine Greiner e Helena Katz, the studies on translation of Boaventura de Sousa Santos (important to understanding how dance was presented to the public as a mechanism of power), the concept of mimesis developed by Homi Bhabha, the concept of inclusion as a means of exclusion studied by Giorgio Agamben and the discussions on the term Cultural Journalism as raised by Daniel Piza and as yet to be answered for the institutions that work on questions related to cultural media. Through this work, we hope to detect the sounds of communication that exist in this system which aims at forming a public, by showing the path of the relationship between the public, the artist and the accompanying processes (media, politics, power) and, insofar as this is possible, suggesting new strategies to achieve this
A formação de público para arte contemporânea tem sido um tema reincidente em diversos fóruns de debate, no Brasil e no exterior. Implica em discussões relativas ao jornalismo cultural, a mudanças de critério no âmbito curatorial e da produção cultural, assim como no estudo de novas bibliografias para conceituar arte, cultura e poder. A hipótese desta dissertação de mestrado é a de que, neste contexto, há, fundamentalmente, um problema de comunicação. Este não diz respeito exclusivamente à relação entre público e artista, mas envolve um sistema complexo de poder e veiculação de informação. Para estudá-lo e propor estratégias para lidar com algumas das principais dificuldades que têm impedido projetos de amplo escopo, é preciso discutir o papel das mídias, algumas leis de fomento à cultura criadas nos últimos dez anos e a ação de algumas instituições públicas e privadas neste contexto. Selecionamos, como estudo de caso, a dança no Brasil, traçando um diagnóstico dos problemas de comunicação que assolam este campo de conhecimento desde a chegada do balé ao país, em 1927 e que tem se desdobrado até hoje. Isso porque existem padrões que se mantêm. O quadro teórico da pesquisa inclui a reflexão sobre o corpomidia de Christine Greiner e Helena Katz, os estudos sobre tradução de Boaventura Sousa Santos ( importante para se compreender como a dança foi apresentada ao público como um mecanismo de poder), o conceito de mimese trabalhado por Homi Bhabha, a inclusão como modo de exclusão estudada por Giorgio Agamben e as discussões em torno do Jornalismo Cultural termo questionado por Daniel Piza e ainda sem alternativas para as instituições que trabalham questões relativas à mídia cultural. Esperamos com este trabalho, detectar os ruídos de comunicação existentes neste sistema que é a formação de público, mapeando a trajetória da relação entre público, artista e demais processos (mídia, política, poder) e, dentro do possível, sugerir novas estratégias de atuação
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Ferreira, Marcelus Gonçalves. "O grotesco na cena da dança contemporânea: corpo e comunicação." Universidade do Estado do Rio de Janeiro, 2012. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=5223.
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A presente dissertação se dedica a refletir sobre o corpo e o grotesco na arte e na comunicação contemporâneas. O objetivo do estudo foi investigar o grotesco na cena da dança contemporânea com o intuito de compreender como se dá a relação entre o modo de apreensão do grotesco na atualidade e o modo como ele se apresenta cenicamente. Assim, procurou-se investigar que representações da cultura contemporânea podem estar associadas às manifestações do fenômeno grotesco; como a mídia e o consumo de massa participam na disseminação desta estética; e como o corpo cênico na dança se aproxima/reflete estas representações presentes no cotidiano. O fenômeno grotesco, objeto de estudo desta pesquisa, foi investigado em duas companhias de dança: a Lia Rodrigues Companhia de Danças (RJ) e o Grupo Cena 11 de Dança (SC), onde foram observados o tratamento artístico e os dispositivos utilizados para construção do efeito corpo-grotesco nos espetáculos e o posicionamento dos artistas com o uso da estética grotesca nas obras. O embasamento teórico do estudo investiu na compreensão do fenômeno grotesco nos âmbitos histórico, estético/artístico e social e sua contextualização na contemporaneidade. Partiu-se do entendimento de que o corpo é mídia primária, "espaço" de comunicação e de linguagem e a dança cênica é um fenômeno urbano, que espelha as transformações representacionais do início deste século XXI. As abordagens teóricas de Mikhail Bakhtin sobre o realismo grotesco; de Wolfgang Kayser, sobre o grotesco romântico e os estudos de Muniz Sodré e Raquel Paiva, sobre o grotesco na comunicação contemporânea fundamentaram as discussões. Foi relevante refletir sobre as mudanças de paradigmas sociais que vêm se desenhando na atualidade, sobretudo com a influência do desenvolvimento tecnológico e midiático sobre as corporeidades e os processos de subjetivação. As qualidades fluidas e polifônicas associadas à contemporaneidade nortearam o entendimento desses novos paradigmas estéticos do corpo - atribuídos como corporeidades móveis contemporâneas - e, serviram para denominar/compreender como "grotesco líquido" a presença múltipla e volátil dos fenômenos grotescos na atualidade.This dissertation is dedicated to reflecting on the body and the grotesque in the contemporary art and communication. The aim of this study was to investigate the grotesque in contemporary dance scene in order to understand the relationship between the way of apprehension of the grotesque nowadays and how it is presented scenically. This way, we sought to investigate representations of contemporary culture that may be associated with manifestations of the grotesque phenomenon; how the media and mass consumption take part in the dissemination of this aesthetic; and how, in the dance, the scenic body approaches/reflects these representations present in everyday life. The grotesque phenomenon, object of this research, was investigated in two dance companies: Lia Rodrigues Companhia de Danças (RJ) and Grupo Cena11 de Dança (SC), where we observed the artistic treatment and equipment used for the construction effect on body-grotesque during the performances and the point of view of the artists using the grotesque aesthetic in their works. The theoretical grounds of this study invested in understanding the grotesque phenomenon in historical fields, aesthetic/artistic and social and its contextualization in contemporaneity. This started from the understanding that the body is primary media, "space" of communication and language, and the scenic dance is an urban phenomenon that mirrors the representational transformations from the beginning of the 21st century. The theoretical approaches of Mikhail Bakhtin on the grotesque realism; Wolfgang Kayser, on the romantic grotesque and the studies of Muniz Sodré and Raquel Paiva, on the grotesque in contemporary communication grounded the discussions. It was important to reflect on the changing of social paradigms that have been molding themselves nowadays, especially with the influence of technological development and media on corporeality and subjectivity processes. The fluid and polyphonic qualities associated with contemporaneity, guided the understanding of these new aesthetic paradigms of the body - assigned as contemporary mobile corporealities - and served to denominate/understand as "liquid grotesque" the multiple and volatile presence of the grotesque phenomena today.
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Lin, Tsen-Chang, and 林岑璋. "Plot–Dancer in The Dark." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/50661696791295261480.
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碩士國立屏東教育大學
視覺藝術學系
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This paper''s theme is "Plot ─ dancer in the dark." Criminology is find out why the causes of crime, to provide a method to reduce the impact of crime on society. Article attempts to construct society by crime. "Sin" as the driving force, Interpreted the world in new ways, Acknowledge the uncertainty of things, acknowledge life not perfect. Must be a way forward thinking society as a whole. So the face of God and nature. Become a great criminal act. So, will this idea become a technological: Unified the language,the unity of material and spiritual; Made between the fuzzy form of dialectical, walk in freedom and destiny of the ambiguous,like to dance in the shadow of God and Nature. The Plot means:1 Complicity with the crime,dancing in the dark. 2 Walking in the shadows, make God can not do the trial and the Natural. 3 Using of communism sin, and freed from sin. In the discussion of the "sin", "social" links between the arts, and works to achieve crime. Such as "Art was elected ─ elected before": for political objects, the default behavior of the people through the game, the environment, triggering its self-conscious social power, became the ruler of the people. Such as "Crime notes ─ the sin of law": the law as an object, proposed a law (the sin of law), and through like puzzles, puzzle way to make sense of the law in re-convention. Another example is " Plot ─dancer in the dark ": the perfect crime to starting work, to do the visual elements of process and presentation. The discussion is divided into five chapters: Chapter I, Introduction: the "want" as the starting point of the totality of human existence, its performance is sin. Chapter II, Dancer in The Dark: the religious and the scientific point of view, the past sins defined in the fate of the irreversible. Chapter III, Plot: analyzing "sin" to redefine and development possible. Chapter IV, Crime in practice: This chapter discusses how the crime, and "crime" to work in practice. Chapter V, Tragedy and Comedy, through the "communism sin", and freed from Sin.
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DeWolfe, Stacey. "The affective correspondence of sado-masochism and sound in Lars von Trier's Breaking the Waves and Dancer in the Dark." Thesis, 2008. http://spectrum.library.concordia.ca/975601/1/MR40975.pdf.
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Much has been written on the work of Danish director Lars von Trier, though the majority of these texts have limited scope, focusing primarily on matters of aesthetic and auteurist interest. What is lacking in these investigations is any detailed discussion of the films' sonic properties, sado-masochistic structures, and affective potentialities. Centering on two of his recent films, Breaking the Waves and Dancer in the Dark, this thesis seeks a greater understanding of these facets of von Trier's work, as well as a deeper appreciation of the receptive body as a sensing body --experiencing the cinema on a level beyond cognition. Turning away from traditional film-theoretical approaches such as the psychoanalytic and hermeneutic, this thesis moves into more philosophical terrain, locating the roots of its methodology in the work of French philosopher Gilles Deleuze. Building on Deleuze's conceptualization of the cinema as an intertextual body comprised of two complementary semiotics--the movement-image and the time-image --this thesis looks at the films through the prism of a new theoretical construct, one that imagines the cinema as composed of two parallel texts: the first sadistic, the other, masochistic. The site of our affective experience is located in the interval that exists between these space-times, an interval felt most profoundly, perhaps, in the realm of sound. This project submits a new model for understanding the films of Lars von Trier, but more importantly, offers a new approach to thinking cinema that moves beyond more traditional ocular-centric and formalist practices
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Ditzian, Tamar. "Playing with our emotions: genre, realism and reflexivity in the films of Lars von Trier." 2008. http://hdl.handle.net/1993/3075.
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According to reviewers, bloggers, and scholars, Lars von Trier’s films, particularly Dancer in the Dark (2000) and Dogville (2003) tend to evoke multiple intense, often contradictory, emotional responses from viewers. The films’ dialectical effects can perhaps be explained by the fact that they broadcast their artifice, which results in a seeming break in the audience’s emotional immersion. The question that this thesis seeks to explore is how the films can simultaneously distance and engage viewers. Generic theories, as well as theories on emotion and film reception, are useful in exposing von Trier’s emotive strategies. In the end, it might be that von Trier endeavours to evoke emotions in viewers while also making us aware of his manipulations in order to suggest that as spectators we must constantly question the film and its creator. More troublingly, he implies that there might be something fundamentally perverse about our desire to watch films.October 2008
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Resendes, Carina Cabral. "Intervenção psicomotora em saúde mental : inserida em projeto comunitário no grupo de Intervenção e Reabilitação Ativa (GIRA)." Master's thesis, 2019. http://hdl.handle.net/10400.5/19788.
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No âmbito do Ramo de Aprofundamento de Competências Profissionais do Mestrado em Reabilitação Psicomotora, da Faculdade de Motricidade Humana da Universidade de Lisboa, este relatório tem como intuito descrever todas as atividades realizadas ao longo do estágio, realizado no Fórum Socio-Ocupacional de Alfama (FSO), pertencente ao Grupo de Intervenção e Reabilitação Ativa (GIRA), uma Instituição Particular de Solidariedade Social, na área da Saúde Mental.
Inicialmente será apresentado o enquadramento da prática profissional, onde se encontra a componente teórica que serviu de suporte a toda a intervenção, sendo descritos conteúdos relacionados com a área da Saúde Mental, terapias expressivas e intervenção psicomotora.
Seguidamente, serão descritas todas as atividades desenvolvidas no FSO, o Projeto “Troca a Dar”, as sessões de grupo de Psicomotricidade e as sessões de Dança e Movimento Expressivo, finalizando com a apresentação do estudo de caso e com a descrição das atividades complementares ao estágio.
Por fim, será realizada uma reflexão crítica a todo o trabalho e resultados obtidos ao longo da intervenção, bem como resultados obtidos no Projeto “Troca a Dar”, concluindo que a intervenção psicomotora e as terapias expressivas são uma mais valia para as pessoas com experiência em doença mental, bem como a realização de projetos que envolvam estas com a comunidade, promovendo benefícios ao nível das relações socias, afetos, pertença à comunidade e satisfação com o suporte social.Within the the Professional Skills Development Branch under the Master's Degree in Psychomotor Rehabilitation, from Faculdade de Motricidade Humana, Universidade de Lisboa, this report aims at all describing the activities done throughout the internship, held at the Fórum Sócio Ocupacional Retiro de Alfama (FSO), belonging to the Grupo de Intervenção e Reabilitação Ativa (GIRA), a Private Institution of Social Solidarity, in the area of Mental Health. Initially, the framework of the professional practice, will be presented, namely the theoretical background that supported the intervention, related to Mental Health, expressive therapies and psychomotor intervention. Following, the activities developed in the FSO, the "Troca a Dar" Project, Psychomotricity and Dance and Expressive Movement sessions will be presented, as well as a case study and the description of the complementary internship activities. Finally, a review will be carried out on all the work and results throughout the intervention, as well as results obtained in the project "Troca a Dar", concluding that the psychomotor and expressive therapies are an asset for people with experience in mental illness, in addition to the development of projects that involve the community, promoting benefits in terms of social relations; emotions; belonging to the community and satisfaction with social support.