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Dissertations / Theses on the topic 'Dramatization'
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Valente, Erica. "Dramatization and its influence on student comprehension and engagement." Thesis, The William Paterson University of New Jersey, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1592301.
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The popularity of visualization as a teaching technique, specifically in higher-grade levels, has decreased in the past decades. Multiple educational theorists such as Vygotsky (1978), Macready (2009), and Dewey (1916), stress the importance of authentic visualization and social interaction in order to increase reading comprehension. Cobb and Kallus (2011) concluded, “all readers must, at every moment in the reading process, construct coherent model of reading for the text they read” (p. 31). Visualization can occur on a personal level, with the student being able to picture the text in her mind, or at a public level, with students acting out texts and otherwise giving life to what is being read in class.
This qualitative study was designed to investigate the influence of dramatization within an 11th grade English classroom. Ultimately, the researcher observed that dramatization led to higher levels of motivation and engagement, as well as increased reading comprehension. Providing struggling readers with varied opportunities to learn is crucial in order to be an effective teacher. After review of existing literature, as well as multiple education theories, it is evident that if a student is removed from the text, she may not feel motivated to read it or give it her full attention. However, if the student is interested and involved, the level of motivation may increase. This engagement and participation that is encouraged by dramatization can ultimately lead to cognitive growth as well as a deeper understanding of the text.
The eight participants involved in the study were exposed to dramatization lessons during their regular school day along with their classmates. This eight-week study took place as the students in the junior English class were reading Othello. During this study, dramatization was used as a venue for participants to discuss characters and setting, as all students in the class were somehow involved during dramatization lessons. Moley, Bandre and George (2011) stressed the importance of authentic conversations and role-playing. Their study showed that active involvement could increase interest. Whether they were actively acting out a role, helping move desks in order to create a stage, or merely acting as spectators, all participants were actively engaged when dramatization occurred. Providing the participants with the opportunity to link text with bodily experiences correlates to studies performed by Glenberg (2011), who stressed that these bodily experiences will then lead to higher levels of comprehension and memory retention. Upon conclusion of the study, it was also evident to the researcher that dramatization was not only influencing engagement, but it was also positively impacting reading comprehension. These conclusions were drawn based on the data collected by the researcher. Throughout the eight-week research period, various data sources were used. Data sources included researcher (teacher) field notes, pre/post surveys, and participant work samples (tests/quizzes).
The success of dramatization could be due to the fact that instead of passively reading the text, dramatization requires active involvement from both actors and spectators, which may not only increase comprehension, but also provide a more memorable lesson for the students. Calfee’s (1984) study concluded that “structure is the key to comprehension – to comprehend a passage is to create a mental structure” (p. 82). Once this mental structure is created, students are more likely to retain the information. Utilizing dramatization could encourage students to take an active role in their learning, thus leading to greater levels of student engagement, and ultimately, increased reading comprehension.
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Smith, Dori Marie. "Lyric Possession: A Dramatization of Italian Tarantism in Song." Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/560813.
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Lyric Possession: A Dramatization of Italian Tarantism in Song is a one-act creative project informed by research exploring the formation and evolution of Mediterranean musical, religious, and cultural identity through the practice of the tarantella. The tarantella is a musical form woven into the very fabric of the Mediterranean cultural landscape, in song, dance and folkloric history. The transformation of scholarly perspectives into dramatic format, recalling traditional Italian folk drama, illuminates the history and cultural relevance of the tarantella through the lives and songs of its practitioners. In the Salentine peninsula where magic and religion collide, the ritualistic healing practice of the tarantella has served as a musical mechanism for dealing with reactions to socio-cultural issues such as repression of sexual identity, disenfranchisement, poverty and powerlessness experienced by Southern Italian women for centuries. Believed to have been a reaction to the venom of the indigenous Italian tarantula or wolf spider, peasant women in the Salentine peninsula exhibited poisoning-like symptoms and possession by spider spirits cured only through the performance of the tarantella and through the intercession of St. Paul, the patron saint of those who perform the tarantella, the tarantists. The purpose of this study is twofold. First, to examine the musical manifestations of the Tarantella as informed by its folkloric history, particularly in consideration of gender marginalization and female power. Second, to create a musical drama that portrays the music of the tarantella in a dramatic context that will reflect its folkloric history, scholarship by the anthropological, ethnomusicological and psychological communities in the form of the ritual itself. The project proposes that the complex, multifaceted history of the tarantella may best be captured and expressed through practice via a recreation of the ritual in the form of a musical drama.
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Clay, Andrew Michael. "The dramatization of professional crime in British film 1946-1965." Thesis, De Montfort University, 2003. http://hdl.handle.net/2086/4076.
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Liu, Wen. "Representation of women and dramatization of ideology in modern Chinese literature /." view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3102175.
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Thesis (Ph. D.)--University of Oregon, 2003.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 192-198). Also available for download via the World Wide Web; free to University of Oregon users.
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Barokass-Emanuel, Noga. "Ethics in translation : an exploration through art, dramatization, literary and political texts." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ59352.pdf.
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Van, den Berg Celia. "Dramatization of poetry as strategy in an anger management programme for adolescent girls." Thesis, University of Pretoria, 2013. http://hdl.handle.net/2263/43268.
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Adolescence is a turbulent time and a critical transformational phase during which
major physical, emotional, cognitive and social shifts occur. The objective of this
study is to explore ways in which female adolescents can acquire anger
management skills. The study proposes that emotional competency is cultivated as a
result of the neurological plasticity of the brain and by applying learning material
based on the work of scholars in the fields of neuroscience and Applied Drama.
Adolescence is an opportune time for girls to learn emotional competency skills as
the incomplete development of the prefrontal area of the brain makes them more
inclined to risk taking and less aware of logical thinking processes. The study
indicates that anger floods the body with secretions like cortisol and adrenaline,
blocking logical thinking. Angry incidences can have destructive consequences for
relationships. The empirical study includes discussions of training levels for anger
management, such as the identification of anger-related emotions and anger styles,
understanding anger, and curbing angry expressions through assertive
communication.
As anger management is a practical aptitude, the empirical study applied selected
Process Drama conventions (as modes of Applied Drama), specifically role play,
tableaux, Mantle of the Expert and dramatized poetry. The benefit of these
conventions lies in the facility with which they can alternate between dual modes of
engagement and learning content. Process Drama launches the workshops’
participants into a make-believe world in which they can identify with a situation from
the inside out while simultaneously observing the situation from the outside in, a
phenomenon called metaxis. The female adolescent, while protective of her social
relationships, can safely enter a fictitious world and face the problems raised by
anger without jeopardizing her privacy or dealing with real-life emotions. The
convention of dramatized poetry enabled creative expression as the participants
wrote their own poems to personalize their insight into their need for anger
management. While the methodology was being practised, it was also assessed. As
the outcomes of the learning objectives were the participants’ responsibility, I could assess during the activities if they accommodated learning objectives in their
biography. In this study the participants were, for example, not able to fully utilize the
skill of assertive communication.
The integrity of the methodology of Process Drama for girls was affirmed when it was
successfully combined with the principles of brain-based learning. The literature
review and the outcomes of the empirical study confirmed that Process Drama
adheres to the principles of brain-based learning which is, inter alia, physiological,
social and emotional, and occurs in tandem with the developmental phase of the
participant. The research study is the culmination of various disciplines and an
endeavour to present a multimodal anger management programme that incorporates
the adolescent female on a cognitive, emotional and physical level, and in a sound
collaborative environment.Thesis (DPhil)--University of Pretoria, 2013.
lk2014
Drama
DPhil
Unrestricted
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Unwin, Charles. "Dramatization and philosophy of history in Orange Book explication of a site-responsive work and its research." Master's thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/10876.
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Includes bibliographical references.The explication presents Orange Book as a piece of site-responsive public space performance, showing how similar patterns of thought and feeling emerging in both research and artwork led to elaborating the notion of an art methodology for the work. The explication further considers a process of research into drama and history in relation to contemporary performance: where narrative dramatic forms,whether organic or fragmented, show history as a fait accompli, an aesthetic orientation around open structures and non-narrative performance modes allows for a constructive, ethically directed, philosophical engagement with historical process. The explication thus demonstrates implications of biography, philosophy, history and dramatization in my search for a distinctive performance idiom.
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Stalnaker, Whitney Lewis. "Good at Heart: The Dramatization of "The Diary of Anne Frank" and Its Influence on American Cultural Perceptions." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461327854.
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Kirk, Elizabeth W. "Dictation and dramatization of children's own stories : the effects on frequency of children's writing activity and development of children's print awareness." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1137577.
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The first purpose of the present study was to determine whether the duration of preschool children's drawing and writing activity could be increased by introducing the process of dictation and dramatization of children's own stories. The second purpose of this study was to determine whether taking dictation from preschool children and facilitating the dramatization of children's dictations had an impact on print awareness. Samples of convenience were selected from a child care center in a small midwestern city. Results were based on the participation of 16 3- to 5-year-old children in the intervention group and 21 3- to 5-year-old children in the control group.Each participant's print awareness level was measured at the beginning and end of the study using the Print Awareness Test (Huba & Kontos, 1986). Videorecordings were made of the activity that occurred at a designated writing table. The duration of each child's writing and drawing activity was recorded (in seconds). For three hours a week during the eight weeks of the treatment period, children in the treatment group were encouraged to dictate their own individual stories to an adult who wrote their stories and read the stories back to the children. During the last four weeks of the treatment period, children in the treatment group also were encouraged to dramatize their own stories.The findings of the study were:1. A significant difference in children's print awareness was found in both the treatment and control groups (p<.05). There was no difference in print awareness change scores between the treatment and control groups.2. There was a moderate positive correlation (.471) between the number of stories dictated during the first four weeks of intervention and changes in print awareness scores within the treatment group.3. There was no significant difference between the control and treatment groups in the duration of writing and drawing at the end of the study. However, within the treatment group, during the time children were dictating and dramatizing their own stories, the duration of writing and drawing was significantly greater than either before or after intervention.Department of Elementary Education
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Allen, Gerard Peter. "'This is my mind, I will have it so' : the developing imperative of sixteenth-century individualism and its dramatization in the plays of Christoper Marlowe." Thesis, Queen Mary, University of London, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.262559.
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Björkman, Linnea, and Linn Söder. "Identifying the fundamentals of improvisation in the service encounter." Thesis, Karlstads universitet, Handelshögskolan, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-47934.
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The aim of this thesis is to bring understanding of what constitutes improvisation in the service encounter. The study adopts a qualitative approach using hidden observations to categorize different types of improvisation in the service encounter. The improvisation themes discovered within the service encounter were experience, impulsiveness, theatrical, personality and emotionality. All of these are factors that influence improvisation. This study offers original contributions by explaining the fundamentals of improvisation in the service encounter. These fundamentals establish a framework and gives a clearer definition of what the concept improvisation implies.
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Göthberg, Renée. "NAVET's Boxes - an Evaluation of the Post-Visit Loan Service at a Science Centre in Borås." Thesis, Högskolan Dalarna, Vetenskapskommunikation, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:du-1171.
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Many pedagogues believe science centres to be a good complement to the more formal school teaching. For a visit to a science centre to be as educational as possible, there is a need for pre-visit information of some sort, a guided visit, and post-visit work. Many science centres offer loan services of different kinds. At Navet, a science centre in Borås, teachers can borrow boxes with experiments connected to the different themes they provide. The experiments are supposed to be a continuation of the visit and help settle the knowledge gained during the visit. This thesis is an evaluation of how the boxes function in the schools, and what the teachers think of them. The study was conducted through questionnaires and interviews with both teachers and the staff at Navet. The results of the study are very positive. Many teachers have been involved with Navet from the very beginning and they see a visit to Navet as an integrated part of their teaching. Some boxes work better than others and some might need clearer information, but overall the teachers see the boxes as timesavers, as a way to vary their teaching more easily, and as a help for teachers not specialized in mathematics and science.
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Pinheiro, Francisco Pablo Huascar AragÃo. ""A Arte e a Brincadeira e suas Interfaces com a DramatizaÃÃo em Psicologia ComunitÃria: Um Estudo de Processos de MediaÃÃo SimbÃlica"." Universidade Federal do CearÃ, 2008. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=2330.
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FundaÃÃo de Amparo à Pesquisa do Estado do CearÃnÃo hÃ
Este trabalho intenta investigar como se dÃo os processos de mediaÃÃo simbÃlica atravÃs do uso de tÃcnicas de dramatizaÃÃo em intervenÃÃes de Psicologia ComunitÃria, tendo em vista compreender e articular teoricamente a tÃcnica de dramatizaÃÃo com questÃes relativas à arte e à brincadeira. As bases teÃricas se fundamentam na teoria histÃrico-cultural para a compreensÃo do funcionamento psÃquico e dos processos psicolÃgicos mediados. O estudo empÃrico foi realizado no contexto de uma situaÃÃo de intervenÃÃo em Psicologia ComunitÃria com um grupo de jovens de uma ONG em Fortaleza, sendo analisado apenas um encontro em que se trabalhou com a tÃcnica de dramatizaÃÃo, no qual o tema do debate era a âadolescÃnciaâ. Foi feito o registro em vÃdeo da situaÃÃo de intervenÃÃo escolhida para anÃlise, especificamente a atividade dramatizada, compreendendo esta em suas diferentes etapas, a fase de debate inicial (aquecimento), a dramatizaÃÃo propriamente dita e o momento de reflexÃo posterior gerado a partir da mesma. O procedimento de anÃlise foi tomado como construtivo-interpretativo, de modo que se realizou uma anÃlise de conteÃdo com a intenÃÃo de produzir indÃcios que permitissem traÃar nexos de inteligibilidade diante dos fenÃmenos estudados. Tendo em vista que no encontro analisado estava em questÃo o modo como os participantes do grupo concebiam e qualificavam caracterÃsticas e papÃis tomados como pertinentes à âadolescÃnciaâ, elegeu-se duas categorias de anÃlise, a saber: âconhecimento socialâ e âjulgamento moralâ. Os resultados da anÃlise apontam para as construÃÃes possibilitadas a partir da dramatizaÃÃo e sÃo considerados nas articulaÃÃes possÃveis entre a arte, a brincadeira e o funcionamento psÃquico. Neste sentido, a situaÃÃo de dramatizaÃÃo pode se constituir um processo mediado, na medida em que traduz e objetifica nÃo somente uma experiÃncia individual, mas tambÃm diz de uma vivÃncia perpassada pela histÃria do lugar e pelas interaÃÃes sociais estabelecidas, bem como abre espaÃo para reelaboraÃÃo da experiÃncia como ato criador. Ao mesmo tempo, a dramatizaÃÃo pode ser compreendida como ato de imaginaÃÃo, assim como à concebida a brincadeira numa visÃo histÃrico-cultural, ou seja, esta nÃo à concebida como uma aÃÃo simbÃlica isolada, mas està vinculada à imaginaÃÃo, que tal como as demais funÃÃes psicolÃgicas superiores, à oriunda da aÃÃo. A imaginaÃÃo, portanto, à tomada como o brinquedo sem aÃÃo e compÃe o cenÃrio da dramatizaÃÃo.
This work has the purpose of investigate how occur the process of symbolic mediation through the use of dramatization techniques in Community Psichologyâs interventions, having the will to comprehend and theoretically articulate the dramatization technique with related questions to art and play. The theoric bases are found in the Cultural-Historical theory for the comprehension of the psychical unctioning and the psychological mediated process. The empiric study was fulfilled in the context of a Community Psichologyâs intervention situation with a group of teenagers from a NGO at Fortaleza, being analyzed only one meeting in which the dramatization technique has been worked with and the topic of the debate was âadolescenceâ. The intervention situation choosed for analysis was registered in video, specifically the dramatized activity, acknowledging that in itâs different stages, the initial debate phase (warming), the dramatization itself and the later moment of reflexion generated by the dramatization. The analysis proceeding was handed as interpretative-construtive, in a way that was realized a contend analysis with the intent to produce clues that allowed to trace links of of intelligibility on the studied phenomena. Observing that the question in the analyzed meeting was the way how the teenagers of the group conceived and qualified the characteristics and papers captured as relevant to âteenagerâ, two analysis categories were elected: âSocial Knowledgeâ and âMoral Judgmentâ. The analysis results point to the constructions allowed by the dramatization and are considered in the possible articulations between the art, the play, and the psychical functioning. In this sense, the dramatization situation can constitute a mediated process, in so far as translate and objectifies not only an individual experience, but also says about a living per passed by the history of the place and the social interactions made, and also opens space for the re-elaboration of the experience as creator act. In the same time, the dramatization can be comprehended as an imagination act, so as it is conceived the play in a cultural-historical vision, meaning that it isnât conceived as an isolated symbolic act, but it is linked to the imagination, that, just as the others psychical functions, is originated by the action. Therefore, the imagination is captured as the toy without action and composes the scenery of dramatization.
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Lester, Carole N. 1946. "Tinstar and Redcoat: A Comparative Study of History, Literature and Motion Pictures Through the Dramatization of Violence in the Settlement of the Western Frontier Regions of the United States and Canada." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc278931/.
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The Western settlement era is only one part of United States national history, but for many Americans it remains the most significant cultural influence. Conversely, the settlement of Canada's western territory is generally treated as a significant phase of national development, but not the defining phase. Because both nations view the frontier experience differently, they also have distinct perceptions of the role violence played in the settlement process, distinctions reflected in the historical record, literature, and films of each country. This study will look at the historical evidence and works of the imagination for both the American and Canadian frontier experience, focusing on the years between 1870 and 1930, and will examine the part that violence played in the development of each national character. The discussion will also illustrate the difference between the historical reality and the mythic version portrayed in popular literature and films by demonstrating the effects of the depiction of violence on the perception of American and Canadian history.
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Le, Jean Savreux Dominique. "Mise en scène du point de vente et comportement du consommateur : une approche expérientielle par l'imagerie mentale." Thesis, Paris Est, 2009. http://www.theses.fr/2009PEST3005.
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L'objet de notre recherche est de clarifier les thèmes du réenchantement, de la théâtralisation et de l'expérience dans la distribution : ils correspondent à une réalité managériale diversifiée et répondent à l’impératif économique de se différencier dans un univers de plus en plus concurrentiel. Une étude menée auprès de professionnels de la distribution et de consommateurs de deux enseignes du secteur du jouet présentant des positionnements différents (expérientiel versus fonctionnel) nous permet de définir le concept de mise en scène d'un point de vente : création globale qui s'articuleautour des constituants suivants : décor ,scénario, acteurs, action, rebondissements et coup de théâtre. Cette vision holiste englobe la diversité des pratiques et dépasse l'équation théâtralisation = décor. Nous avons également établi que le consommateur vit une expérience spécifique lors de sa confrontation avec la mise en scène du point de vente. L'apport principal de cette thèse est de proposer le concept d’expérience de visite qui décrit l’interaction entre le consommateur et la mise en scène du point de vente. L’échelle de mesure développée comprend 5 dimensions : exploration, convivialité, exception, surprise et enchantement. Le prisme de l’expérience de visite représente graphiquement les scores atteints dans les 5 dimensions par une enseigne. Il permet ainsi de déterminer son degré de réenchantement et de procéder à des comparaisons avec ses concurrents. Nous avons eu recours au concept d'imagerie mentale, fondamentale dans la perspective expérientielle parmi les modalités sensorielles qui agissent dans la réception de l’expérience par le consommateur ; ce dernier interprétant la mise en scène grâce à la production d'images mentales. Une étude quantitative menée auprès des consommateurs des deux enseignes confirme :- qu'il existe des différences significatives entre enseignes pour chacune des dimensions de l’expérience ainsi que dans les caractéristiques des images mentales produites par le consommateur : nombre d’images, d’images congruentes suscitées par des techniques projectives, caractère agréable ;- que chacune des dimensions de l’expérience influence ces caractéristiques des images mentales ;- que chacune des dimensions de l’expérience influence le comportement d’achat : nombre d’articles achetés et nombre d’articles achetés non programmés.En effet, conscients de l’importance du critère de rentabilité des entreprises de distribution, nous avons mesuré l’impact de la production d’expérience sur le comportement d’achat. Le recueil des données dans les rayons s'est avéré d'une grande richesse et confirme la faisabilité technique pour les distributeurs de tester leur mise en scène in situ.Nos résultats montrent que l’expérience de visite est favorisée par la mise en scène du point de vente et exerce une influence sur le comportement d’achat. La mise en scène s’avère un levier stratégique que le distributeur doit s'appliquer à maîtriser et à rentabiliser afin d'améliorer ses résultats globauxThe purpose of our research is to clarify the themes of reenchantment, dramatization and experience in retailing. They correspond to a diversified managerial reality and reveal the economic necessity to differentiate from competitors in ever increasing number. We have interviewed retailing specialists and consumers of two Toy retailers who have adopted opposite positioning : experiential versus functional. We have specified the French concept of dramatization : it is a global creation combining decor, scenario, actors, action, developments and coup de théâtre. This holistic view enables to include the variety of practices and to go beyond the equation dramatization = decor. We have highlighted that the consumer has a specific experience during the confrontation with the store dramatization. The main contribution of this design is to propose a new concept : the experience of visit, which describes the interaction between the consumer and the store dramatization. We have conceived a scale of measurement including five dimensions : exploration, conviviality,exception, surprise and enchantment. A prism shows graphically the scores reached by each of the five dimensions : for a retailer, it enables to measure his reenchantment level and to make comparison with competitors. The concept of mental imagery has been of great benefit for us. It is fundamental in the experiential perspective : among the sensorial modalities that act in the reception of experience, the consumer interprets the dramatization by the means of mental imagery.A quantitative study with consumers confirms that :- there exist significant differences between retailers for each dimension of the experience of visit, and for the characteristics of mental images produced by the consumer : number, number of congruent images and pleasantness ;- each dimension of the experience of visit has an influence on these characteristics of mental images ;- each dimension of the experience of visit has an influence on purchasing behavior : number ofpurchases and non planned purchases.Conscious that the return on investment is a main criterion for the managers, we have indeed measured the impact of experience production on purchasing behavior. Gathering the data in the store has revealed great interest and gives considerable support to the technical feasibility to test the store dramatization in situ. The results indicate that the experience of visit is favored by the store dramatization and has an influence on purchasing behavior. Managers should consider dramatization as a strategic means and try to control it and make it profitable
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Tamas, Jennifer. "Dire de ne pas dire : du silence éloquent à l'énonciation tragique des déclarations d'amour chez Racine." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040268.
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Nous formons l’hypothèse que Racine met en scène une lutte contre l’indicible. Dans chaque pièce, il s’agit de révéler quelque chose d’inacceptable et d’impossible à dire. Comment dire ce qu’on ne peut pas dire ? Et surtout, comment ne pas provoquer l’effroi de celui qui écoute ? Le silence, qu’il représente une pure absence de mots ou un bruissement de voix permettant de ne pas répondre, se trouve ainsi au coeur de l’échange dialogique. La déclaration d’amour relève de cet indicible et suscite une tension permanente entre « dire » et « taire ». Cette étude s’articule donc autour du paradoxe suivant : parler est impossible, mais la réticence à dire, une fois surmontée, produit l’irrémédiable. La déclaration d’amour est l’emblème de ce procédé. Elle représente l’énoncé tragique par excellence, puisqu’elle engendre la fatalité. Révéler l’amour, c’est condamner l’autre. L’oracle fatal s’exprime par la bouche des personnages amoureux. Racine donne ainsi naissance à un nouveau théâtre de l’amour dans lequel la déclaration correspond à une crise existentielle. Le personnage racinien affirme son être-au-monde par l’expression de son amour qui fait violence à l’autreI argue that Racine represents the fight against the unspoken. Each play reveals something that is unacceptable and impossible to articulate. How does one state all that cannot be stated? Above all, how to avoid stirring the terror of the listener? Silence, whether it represents a pure absence of words or a murmuring of voices that inhibit an answer, finds itself at the core of the discursive exchange. The declaration of love emerges from the unsaid and brings about a permanent tension between « the spoken word » and « silence. » This study is based on the following paradox: speech is impossible, but the reticence to speak, once overcome, induces an irreversible process. The declaration of love is the symbol of this process. Its utterance represents the ultimate tragic enunciation as it engenders Fate. To show one’s love is to condemn the other.The fatal oracle expresses itself through the words of characters in love.Racine inaugurates a new theater of love in which the declaration corresponds to a deep existential crisis. The Racinian character asserts his subjectivity by expressing his love, though it violates the other
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SELIGARDI, Beatrice. "Shaping the University Imaginary. Configurations and Refigurations in British Fiction." Doctoral thesis, Università degli studi di Bergamo, 2014. http://hdl.handle.net/10446/30772.
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The present dissertation stems from the attempt to deal with the literary representations of the university imaginary by focusing on mimesis. My purpose is to analyze the ways in which the university and its images have been addressed and represented in literature. Literary representations of academia find their expression through the configuration of a number of literary forms which I here propose to classify as ‘university fiction’. In the first part of my dissertation I investigate the forms taken by University Fiction in the British context from the 19th century until the second half of the 20th, a period when the genre achieved specific and stable connotations that have been respectively classified as “varsity novel” and “campus novel”. The second part deals with what happens when the university imaginary and its representation go beyond the boundaries of university fiction as a genre. The case study that I propose is constituted by the works of A.S. Byatt. This case study allows me to analyze a different way in which the university imaginary has been configured, a way that is, of course, related to literary genres, but which also goes beyond the typical boundaries of genres as literary constructs. This re-figuration has been explained by resorting to a concept that originally came from theatre and adaptation studies, but which proves to be productive when applied to narrative texts: the concept of ‘dramatization’.
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Nakagawa, Machiko. "La stratégie langagière de la fiction dans l'oeuvre de Georges Bataille. Entre genèse et établissement du texte." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030080.
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Les écrits de Georges Bataille gravitent autour de l’expérience « intérieure » — expérience vécue là où s’effondre le discours. Cette mise en question du langage donne lieu au paradoxe puisque « dire l’indicible » demeure dans le langage. Face à un tel écueil, il fallait à l’écrivain une stratégie particulière où nous identifions deux méthodes : la dramatisation et le mot glissant. En explorant ces pistes, notre étude se propose de clarifier la stratégie langagière bataillienne (ou écriture « mineure ») pour dégager dans l’œuvre « l’expérience du langage » composée de deux mouvements opposés, à savoir l’émergence du langage et le retour à l’indicible. Pour cela, notre corpus se constitue à partir de textes encore peu connus : La Maison brûlée, Le Petit, Le Mort et La Tombe de Louis XXX. En premier lieu, la dramatisation signifie la procédure de la méditation et le genre dramatique, la fiction opérant dans les deux cas. L’avant-texte de La Maison brûlée, scénario d’un film jamais tourné, présente ainsi dans sa genèse les techniques de la monstration qui dramatisent le mouvement descendant de la chute et de la matière basse. Ensuite, le mot glissant est illustré par le terme « silence », prononcé pour annoncer sa propre mort. Ce mouvement de glissement s’observe dans Le Petit, à travers le style fragmentaire ou les signes de ponctuation. D’ailleurs, pour finir, ce glissement, dont nous interrogeons la consistance, se révèle intrinsèque au présent linguistique en jeu dans Le Mort et La Tombe de Louis XXX. Car l’écriture de Bataille met en scène l’instant présent, cristallisant le passage du discours à l’indicibleGeorges Bataille’s writing gravitates towards, what he calls, the ‘inner’ experience, an experience in which discourse breaks down. Thus, the language, generally denounced, leads to a paradox as long as it remains the language used to ‘speak the unspeakable’. This aporia compels Bataille to devise original writing strategies that are embodied in two methods—dramatization and the ‘slippery word’ (le mot glissant). Considering this, our study clarifies his linguistic strategies (or ‘minor’ writing) to reach his ‘experience of language’, which consists of two opposite movements: the emergence of language and the return to the unspeakable. To this end, our corpus is based on La Maison brûlée, Le Petit, Le Mort and La Tombe de Louis XXX, texts which are still little-known. In Bataille’s work, the term ‘dramatization’ refers to a specific procedure of contemplation and to the drama; fiction participates in both. In particular, the avant-texte of La Maison brûlée, an abandoned movie script, includes techniques for the onscreen projection of images of falling that use both characters and ‘base material’ (matière basse). The second method, the slippery word, is exemplified by the term ‘silence’, which is pronounced only to announce its own death. This movement of the slippery word can be observed in Le Petit, with its fragmentary style or punctuation marks. Moreover, as analysed, the slipping motion turns out to be intrinsic to the present tense, as observed in Le Mort et La Tombe de Louis XXX. Bataille’s writings depict the present moment, crystallizing the passage from the discourse to the unspeakable
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Fernandez, Laure. "Cadre et écarts : un théâtre hors du théâtre (de la théâtralité dans les arts visuels) : 1960-2010." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030136.
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La théâtralité, idée apparue avec les avant-gardes théâtrales au début du XXe siècle puis théorisée dans les années 1960, connaît un net regain d'intérêt chez nombre d'artistes contemporains : si la notion naît chez les praticiens et théoriciens du théâtre pour distinguer celui-ci de la littérature ou du cinéma et le fonder comme un art autonome, c'est dans le champ des arts visuels que sa vitalité est aujourd'hui la plus remarquable, qu'elle soit utilisée comme une référence positive au théâtre ou dans une optique "théâtrophobique". Thématiques ou structurels, ces emprunts montrent que la théâtralité ne peut plus être pensée à l'intérieur du strict champ du théâtre comme elle l'était à ses origines. Traçant tant un historique des emplois de la notion chez les théoriciens et critiques qu'un panorama de ses manifestations dans des créations actuelles, le présent travail entend examiner la façon dont une partie de l'art contemporain, c'est-à-dire des pratiques non théâtrales au sens strict, est devenue une autre scène pour le théâtre - comme si les artistes trouvaient en ce "non-art" archaïque et tout à fait particulier un paradigme ou un anti-paradigme permettant de repenser à la fois leur propre médium, les modes de représentation et la place du spectateur. Nous souhaiterions aller ainsi à l'encontre des discours proclamant la fin des spécificités artistiques et la mort (incessante) du théâtre en montrant la pérennité manifeste de celui-ci dans d'autres champs, non pas nécessairement en tant que forme pure mais parce qu'il fournit un schème solide - cette théâtralité, aussi labile qu'essentielle, qui fonderait aujourd'hui, par un intéressant jeu de va-et-vient entre les pratiques qui l'engagent, un axe fort pour penser la contemporanéité du théâtreThe idea of theatricality appeared in the context of avant-garde theater at the beginning of the XXth century, was theorised in the 1960s, and has recently been a subject of renewed interest for numerous contemporary artists. The notion was originally created by theater practitioners and theorists to distinguish it as an autonomous art form, different from literature or film. Currently, it is in the field of visual art that theatricality is most vital, explored either as a positive reference to theater or a more negative "theatrophobic" stance. These allusions, whether thematic or structural, illustrate that theatricality can no longer be strictly confined to the field of theater. Taking into account the notion's historical applications and elaborating a panorama of its manifestations, this study examines how several non-theatrical contemporary art practices have become another stage for the theater. It is as if certain artists found in this archaic and unique "non-art" a paradigm or an anti-paradigm, stimulating new approaches vis à vis their own mediums, representational modalities and the spectator's position. This study challenges discourses that ignore each art's defining characteristics and that claim the (incessant) death of theater by illustrating the continual appearance of the later in other artistic domains. Pure theatrical form is not necessarily questioned in these works; however, theater provides a solid model. This "famous" theatricality is as mutational as it is fundamental and establishes - through an interesting play between the different practices that engage it - a key field for reflecting the contemporaneity of theater
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Guimarães, Leandro Bernardo. "A poesia polimorfa de Francisco Alvim." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7619.
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Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG
Poetry, centered on the expression of the first person of discourse, crystallized in the collective imaginary as the enunciative space of "lyrical self." Associated, at first, with the revelation of the emotional layers of the empirical poet, this concept become fragile, above all, from the literary Modernity, when the idealistic values are questioned in favor of a materialist view. This paradigmatic change will imply in the understanding of the human being as a subject fragmented by the incongruities of the historical process, which will result, in the lyric, in the configuration of subjectivities increasingly dissociated from the vision of a subject centered and intact, as thought from the seventeenth century . In the panorama of contemporary Brazilian poetry, in relation to the work around the construction of the lyrical subject, the work of Francisco Alvim stands out. From the publication of his first book, the blind men's Sun (1968), that constituent line of the lyrical gender has been a subject that the restless. Starting from a subjective configuration centered on the experiential experience of a "self", characteristic of his initial phase, it gains strength in his diction, mainly from his second work, Pastime (1964), poems in which there is the predominance of decentralization and the depersonalization of subjective speech. This procedure gives rise to voices and personas who, often in dialogue, make the poem a space of dramatization of subjectivity. This technique, which allows the enunciation of the "lyrical self" to the voice of the other, it makes possible the poet to denounce the violence forms that are naturalized by the society and for the State. Theoretical studies around the lyrical subject, such as those of Michel Collot (2013) and those of Michael Hamburger (2007); Studies on recent Brazilian poetry, such as those of Benedito Nunes (2009) and those of Iumna Maria Simon (1999); Critical studies on Francisco Álvim's lyric, such as those of Carlos Antonio de Brito (1988) and those of Roberto Schwarz (2002) support our reflections.
A poesia, centrada na expressão da primeira pessoa do discurso, cristalizou-se, no imaginário coletivo, como reduto elocutivo do “eu lírico”. Associado, a priori, à revelação dos estratos emocionais do poeta empírico, esse conceito se mostra frágil, sobretudo, a partir da Modernidade literária, momento no qual os valores idealistas são questionados em prol de uma ótica materialista. Essa mudança de paradigmas implicará na compreensão do ser humano como sujeito fragmentado pelas incongruências do processo histórico, o que resultará, na lírica, na configuração de subjetividades cada vez mais dissociadas da visão de um sujeito centrado e íntegro. No panorama da poesia brasileira contemporânea, em relação ao trabalho em torno da construção do sujeito lírico, destaca-se a obra de Francisco Alvim. Desde a publicação de seu primeiro livro, Sol dos cegos (1968), esse traço constitutivo do gênero lírico tem sido uma questão que o inquieta. Partindo de uma configuração subjetiva centrada na experiência vivencial de um “eu”, característica de sua fase inicial, passa a ganhar força em sua dicção, principalmente a partir de sua segunda obra, Passatempo (1964), poemas nos quais há a predominância da descentralização e da despersonalização da elocução subjetiva. Esse procedimento faz emergir vozes e personas que, muitas vezes em diálogo, tornam o poema um espaço de dramatização da subjetividade. Essa técnica que permite a concessão da enunciação do “eu lírico” à voz do outro, possibilita ao poeta denunciar as formas de violência que são naturalizadas pela sociedade e pelo Estado. Estudos teóricos em torno do sujeito lírico, como os de Michel Collot (2013) e os de Michael Hamburger (2007); estudos sobre a recente poesia brasileira, como os de Benedito Nunes (2009) e os de Iumna Maria Simon (1999); estudos críticos sobre a lírica de Francisco Alvim, como os de Carlos Antonio de Brito (1988) e os de Roberto Schwarz (2002) embasam nossas reflexões.
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Ling, Matilda. "Drama i förskolan : Pedagogers erfarenheter av och uppfattningar om att dramatisera utifrån barnböcker." Thesis, Karlstads universitet, Institutionen för pedagogiska studier (from 2013), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-85102.
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The aim of the study is to bring knowledge about educator's experiences of and perceptions about dramatizing based on children's books in preschool and how it can promote children's learning and development. Semi-structured qualitative interviews were used as a method. Some interviews were conducted online through Zoom and other interviews were answered in paper. The choice to use online interviews was made due to the prevailing Covid19 pandemic. Results show that educator's have experiences of and perceptions of dramatizing based on children's books. In this study som examples of methods are presented which are being used to dramatize childrens books. According to the educator's, dramatization based on children's books can promote children's learning and development by the children developing and strengthening their self-confidence, ability to process emotions, social interaction and their thoughts. The conclusion of the study shows that it’s of great importance to start from the children's interest in and attachment to specific children's books. Children can be scaffolded by the educator with the help of props to develop their own actions and to immerse themselves in the story in the dramatization.
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Goncalves, Thomas. "La théâtralité artistique, sociale et psychologique dans trois recueils de nouvelles d'Alice Munro." Electronic Thesis or Diss., Reims, 2022. http://www.theses.fr/2022REIML001.
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La théâtralité est un leitmotiv dans Dance of the Happy Shades (1968), Lives of Girls and Women (1971) et Who Do You Think You Are? (1978) d’Alice Munro. D’une part, ces trois recueils de nouvelles mettent en scène des personnages qui dirigent, écrivent, interprètent ou observent du théâtre ; d’autre part, le lecteur assiste à de nombreuses scènes au cours desquelles les personnages portent différents costumes et masques sociaux afin de trouver leur place dans la société canadienne d’après Seconde Guerre mondiale. Si ces deux premières formes de théâtralité, que nous nommons respectivement « artistique » et « sociale », nécessitent de la part des personnages un certain degré de contrôle sur les rôles qu’ils interprètent, d’autres scènes, identifiées par les voix narratives comme étant théâtrales également, font quant à elles état d’une perte de contrôle qui les fait alors basculer dans le domaine de la psychologie. Cette dernière forme de théâtralité, nommée « théâtralisme » ou « histrionisme » en psychologie et en psychiatrie, intervient en effet lorsque certains personnages perdent le contrôle des rôles sociaux qu’ils interprètent au quotidien et sombrent de ce fait dans une mise en scène en tout point paroxystique qui est le signe d’une profonde crise d’identité. Dans cette étude, nous nous interrogerons sur les sources et les enjeux de ces trois niveaux de théâtralité, tout en identifiant les « glissements » qui conduisent les personnages à transposer les rôles qu’ils interprètent au théâtre en dehors de l’enceinte théâtrale, ou qui favorisent le basculement de la mise en scène contrôlée de la vie quotidienne vers une forme de théâtralisme témoignant d’une crise d’identité aiguëTheatricality is a leitmotiv in Alice Munro’s early fiction, notably in Dance of the Happy Shades (1968), Lives of Girls and Women (1971) and Who Do You Think You Are? (1978), in which at least three different forms of theatricality intermingle. Indeed, in these short story collections, numerous characters are closely linked to the theatre or the opera either as actors, singers, directors and writers, or as spectators. Other characters however are part of what Erving Goffman calls the “presentation of everyday life” inasmuch as they constantly wear a number of social masks and costumes so as to find their place in postwar Canadian society. In addition to these two forms of theatricality, that we will call respectively “artistic” and “social”, the reader can witness a number of scenes which are identified by the various narrative voices as being theatrical, and yet are neither entirely artistic or social. These scenes, which underscore the characters’ loss of control of the daily roles they perform, are reminiscent of the notions of “theatricalism” and “histrionism” in psychological and psychiatric studies, defined by the American Psychiatric Association in the Diagnostic and Statistical Manual of Mental Disorders (DSM-5) as “a pervasive pattern of excessive emotionality and attention-seeking, beginning by early adulthood and present in a variety of contexts”. In this study, we aim to determine what the sources and stakes of theatricality are in Alice Munro’s Dance of the Happy Shades, Lives of Girls and Women and Who Do You Think You Are?, while analyzing the way artistic, social and psychological theatricality intermingle or echo each other in these short story collections
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Morel, Alexandre. "Formes et figures du psychodrame : l'exemple de l'adolescence." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015PA05H101.
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Prenant le parti de la valeur mutative du psychodrame psychanalytique, cette recherche vise une description métapsychologique de ce qui en fonde l'efficacité, comme de ses spécificités dans la mise en oeuvre des desseins psychothérapiques de la psychanalyse. L'exemple du renforcement pulsionnel propre à l'adolescence questionne les capacités de symbolisation et de montage pulsionnel permis tant par l'appareil psychique que par les dispositifs (de prothèse ou de détour) que sont les dispositifs psychothérapiques. Trois études longitudinales constituées par des récits de cures psychodramatiques d'adolescents donnent un appui à la construction d'une « figurabilité» spécifiquement psychodramatique grâce à trois opérateurs, nommés le « narratif », le « scénique » et le « dramatique ». Le but de cette recherche est la fabrique métapsychologique de ces opérateurs à l'intersection de la pratique en séance et de la littérature psychanalytique. La notion freudienne de « figurabilité » sert de cadre à la construction de ces opérateurs et à ce qu'ils articulent des capacités de symbolisation du psychisme et de celles d'un dispositif de psychothérapie. La continuité d'un éprouvé de subjectivation permis par l'opérateur du « narratif » se complète des spécificités fictionnelles de la narrativité psychodramatique. De salutaires contournements des mécanismes de censure et une plus ample fréquentation de la réalité psychique soutiennent ainsi la mise en forme des quantités pulsionnelles. La circulation de la notion de « scène » dans la métapsychologie décrit la dimension processuelle que soutient l'opérateur du « scénique ». Si la mise en scène est au service du saisissement conscient, elle opère aussi par le recours à l'hallucinatoire. Ce que la scène du psychodrame permet d'une distinction des objets et contraint d'un commerce avec eux est un facteur subjectivant d'« objectalisation » qui fait contrepoids au repli narcissique. L'objet fabriqué par le psychodrame naît des capacités d'accordage de la scène psychodramatique, celles-ci étant décrites à travers leur usage singulier de la transitionnalité. Enfin, l'opérateur du « dramatique » déploie la fécondité des modes de présence de l'acte dans la représentation psychodramatique. L'excitation véhiculée par le jeu en groupe appelle un travail constant de mise en forme qui utilise divers médiums expressifs. L'objet est à la fois celui qui provoque les quantités d'excitation et celui qui en soutiendra la liaison. L'activité figurative s'articule à une activité pare-excitante qui peut relancer l'activité régulatrice du refoulement. Entre impression et expression, l'activité esthétique du jeu de l'acteur consiste en la modulation des valeurs attribuées aux représentations. Le « dramatique » peut alors se définir comme un art des variations en quête de sens. Les objets de sens issus de ces variations d'affectation sont ensuite détaillés comme visée topographique et subjectivante des entrelacs entre réalité matérielle et réalité psychique. Par sa mise en jeu et en scène, une place de représentation est plus aisément donnée ou re-donnée au transfert afin d'en défaire la potentialité agissante. Pour finir, le dernier récit clinique permet de montrer l'utilité et le caractère structurant de ces opérateurs dans la mise en scène adolescente du second acte de la dramaturgie oedipienneGranting that psychoanalytic psychodrama can effect change, this project seeks to produce both a metapsychological description of the basis for its effectiveness and an account of the specific ways in which it pursues the therapeutic aims of psychoanalysis. The example of adolescent drive reinforcement raises questions about the capacities for symbolization and for the organization of drives that are made possible as often by the psychic apparatus as by the mechanisms (whether of prostheses or of detours) of psychotherapy. Three longitudinal studies, narratives of psychodramatic treatments of adolescents, anchor the construction of a specifically psychodramatic "figurability" with three modalities, the "narrative", the "scenic", and the "dramatic". This research project aims to produce a metapsychological account of these modalities at the intersection between clinical practice and the psychoanalytic literature. The Freudian notion of "figurability" serves as the framework for constructing these modalities and for representing their capacity to symbolize the psyche and to articulate a psychotherapeutic instrument. The continuity of an experience of subjectivization permitted by the "narrative" modality is completed by the fictional specificities of psychodramatic narrativity. Salutary evasions of the mechanisms of censorship and increased commerce with psychic reality thus support the shaping of drive quantities. The circulation of the notion of "scene" in metapsychology describes the dimension of process that is supported by the "scenic" modality. If the staging is at the service of a conscious awareness, it also operates through recourse to the hallucinatory. What the scene of psychodrama permits regarding a distinction of objects and constraints regarding interactions with them, is a subjectivizing factor of "objectalization" that provides a counterweight to narcissistic retreat. The object created by the psychodrama grows out of the capacities for harmonization of the psychodramatic scene, the capacities being described through their singular use of transitionality. Finally, the "dramatic" modality unfolds the fecundity of the modes of presence of the act in psychodramatic representation. The excitement conveyed by group play-acting calls for a constant work of shaping which uses various expressive media. The object is at once the one that provokes quantities of excitement and the one that will support their linking. The figurative activity is articulated with a protective shield that can relaunch the regulating activity of repression. Between impression and expression, the aesthetic activity of the actors performance consists in the modulation of the values attributed to the representations. The "dramatic" can then be defined as an art of variations in search of meaning. The meaningful objects that emerge from these variations of affectation are then scrutinized as the topographic and subjectivizing aim of the interlacings between material reality and psychic reality. By being set into play and put on stage, a place of representation is more easily given or restored to the transference so as to undo its "agieren" effective potentiality. In conclusion, the last clinical narrative makes it possible to show the utility and the structuring character of these modalities in the adolescent staging of the second act of the Oedipal drama
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Pereira, Theda Cabrera Gonçalves. "A ético-poética do trabalho sobre si por meio da dramatização de contos filosóficos com mitema iniciático na formação inicial de educadores." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-15062015-143412/.
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Esta pesquisa de doutoramento em Educação na Universidade de São Paulo (USP)/ Brasil teve financiamento CAPES, 2011/2012/2013 e FAPESP 2013/2014/2015. Trata-se de uma investigação acerca do trabalho sobre si (GURDJIEFF, 1990, 1993, 2002, 2003; OUSPENSKY, 1995, 2009; Shah apud VARELLA, 2009; STANISLAVSKI, 1977; TOPORKOV, 1991, GROTOWSKI,1997; BROOK, 1997, 2000) na formação inicial de educadores por meio da dramatização de contos filosóficos (CARRIÈRE, 2004, 2008) com o mitema (DURAND, 1988) iniciático (ELIADE, 2004, 2010; GUSDORF, 2003). A pesquisadora teve a oportunidade de pôr em prática suas propostas por meio da condução de estágios no núcleo de dramatização de contos do Lab_Arte - laboratório experimental de arte-educação e cultura- FE- USP. Os principais eixos metodológicos da pesquisa foram:1) a parte empírica da pesquisa: dramatização de contos filosóficos com mitema iniciático junto aos educadores em formação inicial; 2) o diálogo entre a parte empírica e seus registros com o referencial teórico hermenêutico-fenomenológico (RICOEUR, 1988, 2006, 2013) da mitohermenêutica (ORTIZ-OSÉS, 2003; FERREIRA-SANTOS, 2005; FERREIRA-SANTOS & ALMEIDA, 2012). A tese se apresenta, respectivamente, com dois níveis narrativos: um primeiro nível com as experiências e um segundo nível com as leituras decorrentes do trabalho de investigação, ambos entrecruzados pelos contos filosóficos de forma metalinguística. Acompanha ainda um vídeo-poesia encartado em DVD com registro audiovisual da experiência.This doctoral research in Education at the University of São Paulo (USP) / Brazil had CAPES funding, 2011/2012/2013 and FAPESP 2013/2014/2015. This is a research about the work on yoursef (GURDJIEFF, 1990, 1993, 2002, 2003; OUSPENSKY 1995, 2009; Shah apud VARELLA, 2009; STANISLAVSKI, 1977; TOPORKOV, 1991, GROTOWSKI, 1997; BROOK, 1997 2000) in the initial training of educators by means of the dramatization of philosophical tales (CARRIÈRE, 2004, 2008) with the initiatic (ELIADE, 2004, 2010; GUSDORF, 2003) mytheme (DURAND, 1988). The researcher had the opportunity to put in place its proposals by the means the leading of the internships at the core of dramatization of tales at the Lab_Arte- experimental laboratory of art education and culture- FE- USP. The main methodological axes of the research were: 1) the empirical part of the research: dramatization of philosophical tales with initiatic mytheme together educators in initial training; 2) the dialogue between the empirical part and their records with the theoretical framework of the hermeneutic-phenomenological (RICOEUR, 1988, 2006, 2013) of mythe-hermeneutic (ORTIZ-OSÉS, 2003; FERREIRA-SANTOS, 2005; FERREIRA-SANTOS & ALMEIDA, 2012). The thesis is presented, respectively, with two narrative levels: the first level with the experiences and a second level with readings arising from the research work, both of crisscrossed by philosophical tales of metalinguistic form. Still attached a video-poetry in DVD with audiovisual record of experience.
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Eriksson, Mats. "Ungdomars berättande : En studie i struktur och interaktion." Doctoral thesis, Uppsala universitet, Institutionen för nordiska språk, 1997. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-14.
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In any human culture the telling of stories for representing past events is likely to have a centralplace. The aim of this dissertation is to describe storytelling among Swedish adolescents from astructural, interactional and functional perspective, and to demonstrate how the meaning of thestory is interactionally constructed. The material consists of a corpus of 258 stories taken from 30 hours of tape recordings of conversations between adolescents, aged 10-15, of both sexes, mostly in naturally occurring situations. The majority of the recordings were made in the late 80's and early 90's, while others datefrom 1974-1984. The study tries to combine the theoretical and methodological ideas of conversational analysis(CA) and sociolinguistic discourse analysis. The method is basically qualitative and the analysesare carried out through detailed scrutiny of pieces of recordings and transcriptions. The aspects ofstorytelling that arc studied include the way the stories are introduced and accounted for in the ongoing conversation, how they are designed by the teller in order to propose and make the listeneraccept a certain version of what happened, and how the listener through his contributions duringthe telling can accept, modify, reject and negotiate the meaning proposed by the teller. Another aspect studied is how the stories serve as means for self- and other-presentations. The results show that, both as tellers and listeners, Swedish adolescents make use of many different strategies to structure the telling and evaluate the story. These include verb tense, word orderand different kinds of discourse markers as well as highly emotional and dramatizing features suchas reported speech, onomatopoetic expressions and laughter. A very important evaluative deviceis the discourse marker ba. Dramatization is also found in many of the listener's contributions tothe telling. It is also shown that there are substantial differences between boys and girls, both in the use of (some of) these dramatizing features and in the way they construct and present themselves and others in the stories. This seems to be due to the fact that storytelling serves different functions in groups of boys and girls. Finally, it is argued that there are some indications of an ongoing change in the narrative style of Swedish adolescents.
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Månsson, Annajohanna, and Emma Swärd. "SOS: var god dröj! : En kvalitativ textanalys av Aftonbladet och Dagens Nyheters rapportering kring SOS Alarm." Thesis, Högskolan för lärande och kommunikation, Högskolan i Jönköping, HLK. Medie- och kommunikationsforskning, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-17640.
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Syftet med denna studie är att studera mediernas rapportering kring ett antal specifika händelser kopplade till SOS Alarm. Med vår undersökning avser vi att bidra till kunskapen om hur tidningarna Aftonbladet och Dagens Nyheter framställer SOS Alarm i sina nyhetspubliceringar. Mediernas rapportering är viktig att studera då mediebilden av SOS Alarm kan påverka allmänhetens förtroende för denna viktiga samhällsaktör. Detta är viktigt på grund av att den bild och på det vis som medierna framställer olika händelser påverkar människor, vår sociala och kulturella kontext, att se och uppfatta verkligheten vi lever i. Medierna utgör ett kraftfullt verktyg för människors åsikter, värderingar och påverkar människors beteende. Studien har använt sig av kvalitativ textanalys och inriktat sig på 43 tidningsartiklar från Aftonbladet och Dagens Nyheter. Med grunden i valda teorier diskuteras de resultat som undersökningen visar, med fokus på dramatisering. Vår slutsats är att båda tidningarna, men främst Aftonbladet har skapat en vinklad bild av olika händelser, genom sin frekventa användning av dramatisering i texterna. Vinklingen visade sig vara negativ, vilket beror på valet av ord och sammanhang som tidningarna gjort.This study aims to study the media’s reporting on a number of specific events linked to the SOS Alarm. In our study, we wish to gain an insight into how the newspaper Aftonbladet and Dagens Nyheter presents SOS Alarm in their news releases. Media reporting is important to study because the media image of SOS Alarm can affect public confidence in this actor of society. This is important because the image and the way media produce different events affect people, our social and cultural context, to see and perceive the reality we live in. The media is a powerful tool for people’s options, values and affect people’s behavior. The study has used the method of quality content analysis and focused on 43 newspaper articles from Aftonbladet and Dagens Nyheter. With the foundation of the selected theories discussed the results that the investigation concludes with a focus on the dramatization. Our conclusion in the analysis of reporting on SOS Alarm is that both papers, but mainly Aftonbladet has created a biased and partially inaccurate picture of different events by the frequent use of dramatizations in the texts. The bias proved out to be negative, which depends on the choice of words and context in which the newspapers have done.
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Marija, Bjeljac. "Драмска и луткарска активност у наставној и ваннаставној пракси Српског језика и књижевности у основној школи." Phd thesis, Univerzitet u Novom Sadu, Filozofski fakultet u Novom Sadu, 2016. http://www.cris.uns.ac.rs/record.jsf?recordId=100622&source=NDLTD&language=en.
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Докторска теза Драмска илуткарска активност у наставној иваннаставној пракси Српског језика икњижевности у основној школи замишљенаје као књижевно-методичко истраживањекоје има за циљ да истакне значај драме илуткарства у наставној и ваннаставнојпракси; да истакне значај и утицај драме илуткарства у редовној настави; да прикажерад драмске и луткарске секције и њиховзначај, као и значај који драма и луткарствоимају за ученике у ваннаставном процесу, асве то кроз принципе диференциране наставеи кроз примену теорије синхроницитета.Рад је заснован на примерима иискуствима из праксе, а кроз примену дијалошке методе (слободан разговор:дискусија, полемика), рада на тексту,демонстративне методе, практичног рада ирадионица, кроз примену игровнеактивности, аналитичко-интерпретативнеметоде дошло се до резултата који показујуда драма и луткарство у наставном иваннаставном процесу имају значајан утицајна ученике и у образовном и у васпитномсмислу. Применом поменутих метода као ипринципа диференциране наставе часовиредовне наставе Српског језика, као и часовидрамске и луткарске секције ученицима суомогућили нов приступ драмскимкњижевним делима како на пољу читања иразумевања, тако и на пољу доживљавања ианализе.Doktorska teza Dramska ilutkarska aktivnost u nastavnoj ivannastavnoj praksi Srpskog jezika iknjiževnosti u osnovnoj školi zamišljenaje kao književno-metodičko istraživanjekoje ima za cilj da istakne značaj drame ilutkarstva u nastavnoj i vannastavnojpraksi; da istakne značaj i uticaj drame ilutkarstva u redovnoj nastavi; da prikažerad dramske i lutkarske sekcije i njihovznačaj, kao i značaj koji drama i lutkarstvoimaju za učenike u vannastavnom procesu, asve to kroz principe diferencirane nastavei kroz primenu teorije sinhroniciteta.Rad je zasnovan na primerima iiskustvima iz prakse, a kroz primenu dijaloške metode (slobodan razgovor:diskusija, polemika), rada na tekstu,demonstrativne metode, praktičnog rada iradionica, kroz primenu igrovneaktivnosti, analitičko-interpretativnemetode došlo se do rezultata koji pokazujuda drama i lutkarstvo u nastavnom ivannastavnom procesu imaju značajan uticajna učenike i u obrazovnom i u vaspitnomsmislu. Primenom pomenutih metoda kao iprincipa diferencirane nastave časoviredovne nastave Srpskog jezika, kao i časovidramske i lutkarske sekcije učenicima suomogućili nov pristup dramskimknjiževnim delima kako na polju čitanja irazumevanja, tako i na polju doživljavanja ianalize.
PhD thesis Drama and puppet activity incurricular and extracurricular practice ofteaching The Serbian language and literature inprimary school is envisioned as literarymethodologicalresearch with the purpose ofemphasising the importance of drama andpuppetry in curricular and extracurricularpractice; emphasising the importance andinfluence of drama and puppetry in regularclasses; showing the work of drama and puppetryclub and its importance, as well as theimportance of drama and puppetry for students inextracurricular process, all through the principlesof differentiated teaching and through theapplication of the theory of synchronicity.This paper is based on the actualexamples and experiences, through theapplication of dialogue method (free conversation: discussion and polemics), textanalyses, demonstrative method, practical workand workshops, while applying acting games,analytical-interpretative method. This showedthat drama and puppetry in curricular andextracurricular process have a significantinfluence on students in both educational andupbringing sense. Applying the said methods, aswell as the principles of differentiated teaching,the classes of The Serbian language, as well asdrama and puppetry club classes gave students anentirely new approach to dramas in the field ofreading and understanding, as well as in the fieldof experience and analysis.
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Perez, Karine Gomes. "(RE) CONFIGURAÇÕES DO EU: A PRODUÇÃO DE AUTORRETRATOS FOTOGRÁFICOS COMO FICÇÃO/ENCENAÇÃO." Universidade Federal de Santa Maria, 2010. http://repositorio.ufsm.br/handle/1/5186.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorThis theoretical and practical research proposes to investigate the artistic creation process of photographic self-portraits. It analyzes the possibilities of identity reconfigurations, involved in this process, resulting in the series (Re)Configurações do eu [(Re)Configurations of me], produced from two different types of images: photos 3x4 of documents and fictional and dramatized photographs in domestic environment. The series is composed of works created from these contaminated photographs by pictorial means (encaustic painting) and digital manipulations (overlaps and juxtapositions of images in digital laboratory), printed on matte canvas. The works present the hidden body with other people's clothing and veils, establishing direct relationship with the camera that registers their "poses/actions". They also present space-temporal compositions overlapped, contained in each layer of the images. Through these procedures, the self-portrait s subgenre and the subjects identity are problematized, showing not an artist's identity seen as "mesmidade" but (re)configurations of me through hidings and possibilities of multiplications identity, produced in the images. Like this, from the documents photographs, that indicate a standardized "me", the work reach the production of many dramatized mes who are creations or fictions.
A presente pesquisa de mestrado tem como proposta investigar, de modo teórico-prático, o processo artístico de criação de autorretratos fotográficos, analisando as possibilidades de reconfigurações identitárias nele envolvidas. Resultou na série (Re)Configurações do eu , produzida a partir de dois tipos de imagens diferentes: fotografias 3x4 de documentos e fotografias ficcionais e encenadas em ambiente doméstico. É composta por trabalhos criados a partir dessas fotografias contaminadas por meios pictóricos (técnica de pintura-encáustica) e manipulações digitais (sobreposição e justaposição de imagens em laboratório digital), impressas em lona fosca. A série evidencia o corpo encoberto com vestimentas de outros indivíduos que não a autora/artista e véus, estabelecendo relação direta com a câmera fotográfica que registra suas poses/ações . Também apresenta variados agenciamentos espaço-temporais sobrepostos, contidos em cada camada das imagens. Através desses procedimentos, o subgênero do autorretrato e as questões identitárias do sujeito contemporâneo são problematizados, evidenciando-se, assim, não uma identidade do artista, encarada como mesmidade , mas (re)configurações do eu através de ocultações e possibilidades de multiplicações identitárias, produzidas nas imagens. Dessa forma, parte-se de fotografias de documentos, as quais presumem um eu padronizado, para atingir a produção de múltiplos eus encenados, que são criações ou ficções.
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PINHEIRO, Francisco Pablo Huascar Aragão. "A arte e a brincadeira e suas interfaces com a dramatização em psicologia comunitária: um estudo de processos de mediação simbólica." http://www.teses.ufc.br, 2008. http://www.repositorio.ufc.br/handle/riufc/1497.
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PINHEIRO , Francisco Pablo Huascar Aragão. A arte e a brincadeira e suas interfaces com a dramatização em psicologia comunitária: um estudo de processos de mediação simbólica. 2008. 110f. Dissertação (Mestrado em Psicologia) – Universidade Federal do Ceará, Departamento de Psicologia, Programa de Pós-Graduação em Psicologia, Fortaleza-CE, 2008.Submitted by moises gomes (celtinha_malvado@hotmail.com) on 2012-01-09T13:48:37Z No. of bitstreams: 1 2008_dis_FPHAPinheiro.PDF: 884806 bytes, checksum: 3e4026804377deb0ef7b115a18704f6e (MD5)
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This work has the purpose of investigate how occur the process of symbolic mediation through the use of dramatization techniques in Community Psichology’s interventions, having the will to comprehend and theoretically articulate the dramatization technique with related questions to art and play. The theoric bases are found in the Cultural-Historical theory for the comprehension of the psychical unctioning and the psychological mediated process. The empiric study was fulfilled in the context of a Community Psichology’s intervention situation with a group of teenagers from a NGO at Fortaleza, being analyzed only one meeting in which the dramatization technique has been worked with and the topic of the debate was “adolescence”. The intervention situation choosed for analysis was registered in video, specifically the dramatized activity, acknowledging that in it’s different stages, the initial debate phase (warming), the dramatization itself and the later moment of reflexion generated by the dramatization. The analysis proceeding was handed as interpretative-construtive, in a way that was realized a contend analysis with the intent to produce clues that allowed to trace links of of intelligibility on the studied phenomena. Observing that the question in the analyzed meeting was the way how the teenagers of the group conceived and qualified the characteristics and papers captured as relevant to “teenager”, two analysis categories were elected: “Social Knowledge” and “Moral Judgment”. The analysis results point to the constructions allowed by the dramatization and are considered in the possible articulations between the art, the play, and the psychical functioning. In this sense, the dramatization situation can constitute a mediated process, in so far as translate and objectifies not only an individual experience, but also says about a living per passed by the history of the place and the social interactions made, and also opens space for the re-elaboration of the experience as creator act. In the same time, the dramatization can be comprehended as an imagination act, so as it is conceived the play in a cultural-historical vision, meaning that it isn’t conceived as an isolated symbolic act, but it is linked to the imagination, that, just as the others psychical functions, is originated by the action. Therefore, the imagination is captured as the toy without action and composes the scenery of dramatization.
Este trabalho intenta investigar como se dão os processos de mediação simbólica através do uso de técnicas de dramatização em intervenções de Psicologia Comunitária, tendo em vista compreender e articular teoricamente a técnica de dramatização com questões relativas à arte e à brincadeira. As bases teóricas se fundamentam na teoria histórico-cultural para a compreensão do funcionamento psíquico e dos processos psicológicos mediados. O estudo empírico foi realizado no contexto de uma situação de intervenção em Psicologia Comunitária com um grupo de jovens de uma ONG em Fortaleza, sendo analisado apenas um encontro em que se trabalhou com a técnica de dramatização, no qual o tema do debate era a “adolescência”. Foi feito o registro em vídeo da situação de intervenção escolhida para análise, especificamente a atividade dramatizada, compreendendo esta em suas diferentes etapas, a fase de debate inicial (aquecimento), a dramatização propriamente dita e o momento de reflexão posterior gerado a partir da mesma. O procedimento de análise foi tomado como construtivo-interpretativo, de modo que se realizou uma análise de conteúdo com a intenção de produzir indícios que permitissem traçar nexos de inteligibilidade diante dos fenômenos estudados. Tendo em vista que no encontro analisado estava em questão o modo como os participantes do grupo concebiam e qualificavam características e papéis tomados como pertinentes à “adolescência”, elegeu-se duas categorias de análise, a saber: “conhecimento social” e “julgamento moral”. Os resultados da análise apontam para as construções possibilitadas a partir da dramatização e são considerados nas articulações possíveis entre a arte, a brincadeira e o funcionamento psíquico. Neste sentido, a situação de dramatização pode se constituir um processo mediado, na medida em que traduz e objetifica não somente uma experiência individual, mas também diz de uma vivência perpassada pela história do lugar e pelas interações sociais estabelecidas, bem como abre espaço para reelaboração da experiência como ato criador. Ao mesmo tempo, a dramatização pode ser compreendida como ato de imaginação, assim como é concebida a brincadeira numa visão histórico-cultural, ou seja, esta não é concebida como uma ação simbólica isolada, mas está vinculada à imaginação, que tal como as demais funções psicológicas superiores, é oriunda da ação. A imaginação, portanto, é tomada como o brinquedo sem ação e compõe o cenário da dramatização.
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Mifsud, Denise. "Raising the curtain on relations of power in a Maltese school network." Thesis, University of Stirling, 2014. http://hdl.handle.net/1893/21710.
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This study concerns school reform in Malta. Under the policy framework ‘For All Children to Succeed’ (Ministry of Education, Youth & Employment, 2005) [henceforth referred to as FACT], Maltese state schools embarked on the process of being organized into networks called ‘colleges’. These consisted of primary and secondary schools according to geographical location, under the leadership of the Principal – a newly-designated role hierarchically above that of the individual Heads of School. The purpose of my research is to explore relations of power in a Maltese college. My study gives prominence to both theory and methodology. The theoretical research question investigates how networking unfolds among the various leadership hierarchies in school governance in a Maltese college. This is explored through the performance of policy-mandated collegiality; the circulating relations of power; and leadership distribution. My study is framed within a postmodern paradigm and adopts a Foucauldian theoretical framework, more specifically his concepts of power, discipline, governmentality, discourse, and subjectification. Data for my case study are collected through semi-structured, in-depth interviews; observation of a Council of Heads meeting; and a documentary analysis of FACT. Narrative is not only the phenomenon under exploration, but also the method of analysis, and mode of representation. Thus, I attempt to answer my methodological research question that investigates the ways a researcher negotiates the methodological tensions and contradictions in the conduct of qualitative inquiry in order to construct knowledge differently. The Maltese college is viewed as a surveillance mechanism by both the Principal and the Heads, with collegiality being regarded as a straitjacket imposed by the State through a policy mandate. However, there is unanimous agreement on conscription being the only way forward for Maltese state schools. Different degrees of ‘support’ and empowerment exist, according to the directives of the Principal and the State. College setup is problematized on geographical clustering and college streaming, due to which it may end up defying the primary aim of networking by clustering students from particular areas in isolation, resulting in social injustice and educational inequality. This study exposes a strong sense of sectoral isolation among the Heads – a situation being mirrored at macro-level with very few opportunities for inter-networking among colleges. There is an asymmetrical power flow among the college schools, both within the same level and across different levels. Despite the policy FACT mandating distributed leadership, hierarchical forms of accountability are still inherent within the system, bringing out a tension between autonomy and centralization.
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Riley, Nerea. "For a new art of reading : dramatizations of writing and reading in Julio Cortazar's narrative." Thesis, King's College London (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300315.
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Al, Iftaihat Mareim. "Le comique problématique dans l'œuvre d'Eugène Ionesco." Thesis, Lyon 2, 2013. http://www.theses.fr/2013LYO20058.
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Eugène Ionesco est un «nouveau classique» dont la dramaturgie est à la fois en rupture avec la dramaturgie traditionnelle et en progrès sur elle, la dramaturgie ionescienne est alors labyrinthique. Les composants de cette dramaturgie sont également labyrinthiques : la construction dramatique, les personnages, le langage, le temps et l'espace. Ce labyrinthe total mène à une absurdité totale celle de l'indécision et de déséquilibre. Pour envisager cette absurdité, l'homme ionescien a recours à la révolte, à l'indifférence et au rêve, mais il se heurte toujours à sa condition tragique d'un errant sans racines ni buts. Il ne lui reste alors que le rire, d'où la naissance d'un comique à la recherche de son identité. C'est le comique problématique d'Eugène Ionesco. L'aspect problématique de ce comique est dû aux points suivants : premièrement, sa naissance dans une ambiance labyrinthique crée l'absurde qui rend incertaine même l'humanité de l'homme. Deuxièmement, ce nouveau comique s'inspire du comique classique de Molière, mais son essence n'est plus d'instruire, de corriger ou de plaire mais de réfléchir. Troisièmement, ce comique révèle la condition tragique de l'homme par des scènes qui augmentent l'angoisse au lieu de la dissiper. Par conséquent, c'est un comique problématique soit par rapport au tragique, soit par rapport au rire qui devient, à son tour, un effet du tragique. C'est pour cette raison que ce comique reste ouvert à de multiples hypothèses même celle de son inexistenceEugene Ionesco is a "new classic" which is both dramatic break with the traditional drama and progress on it, the ionesco's dramatic is so labyrinthine. The components of this dramatic are labyrinthine: the dramatic structure, personages, language, time and space. This total maze leads to the utter nonsense of indecision and imbalance. To consider this absurdity, the ionescien man uses the revolt, indifference and dreams, but he still faces his tragic condition of a rootless wanderer or goals. He is left while laughing, hence the birth of a comic in search of his identity. This is the comic problematic of Eugene Ionesco. The problematic of this comic appearance is due to the following points: first, his birth in a labyrinthine environment creates the absurd makes uncertain even the humanity of man. Second, this new comic inspired by the classic Molière comic, but its essence is not to instruct, correct or pleasing but to reflect. Thirdly, the comic reveals the tragic condition of man by scenes that increase anxiety rather than dissipate. Therefore, this problematic is a comic or tragic compared to or relative to laughter becomes, in turn, an effect of tragedy. It is for this reason that this comic remains open to many assumptions even of its nonexistence
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Carvalho, Vânia Lúcia Corradi. "Efeitos da dramatização sobre compreensão oral de histórias infantis por alunos com deficiência auditiva." Universidade Federal de São Carlos, 2004. https://repositorio.ufscar.br/handle/ufscar/3026.
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Previous issue date: 2004-07-27The scholar integration proposal demands that the school organize itself to facilitate the access for students with hearing impairment to the curriculum, allowing them, under those circumstances, to have educational opportunities to reach enough knowledge to perform their citizenship. The educational needs of these students demand effort of educators providing them a flexibility of the instruction resources, making feasible the opportunities of learning that take into account their singularity, especially related to communication. This paper had as the main objective an assessment to evaluate the effectiveness of the use of fairy tale dramatization, as an educational strategy to provide an improvement of the oral comprehension of stories for five students with hearing impairment, aged between 7 and 13, enrolled on a public school. It was used an experimental multiple baseline design between individuals, which started with an assessment of previous knowledge that each participant had; hearing impairment, previous knowledge about the fairy tale, followed by the participation of each one in a training with a pedagogical activity and in the end a dramatization related to the fairy tale. These activities were performed by each student in different moments, in a same group composed of four no-hearing-impairment participants. The data were collected by video and/or tape recordings. One statistical descriptive analysis was applied, by comparing the previous knowledge that each student with hearing impairment had about the fairy tale, before and after the achievement of both pedagogical activities and dramatization. The results showed that the participants who had been exposed to the two posterior interventions showed more improvement in performing the assessment tests of the fairy tale oral comprehension, as much in the evaluations accomplished after the introduction of the pedagogical support activity as after the dramatization activity. Although the two interventions had promoted improvement in this performance, there were differences in the magnitude of the change when it was compared with each individual among themselves, or in the student himself, the effect of the two strategies (pedagogical support and dramatization). The inter and intra-individual rate differences suggest that individuals benefited themselves in different ways when the two teaching strategies were used, and it seems to point toward that there is no superiority of one strategy over another, what implies the importance in diversifying the teaching instruction to fulfill the individual particularities in learning condition of students with hearing impairment.
A proposta de integração escolar exige que a escola se organize para facilitar o acesso dos alunos com deficiência auditiva ao currículo, permitindo, assim, que eles tenham oportunidades educacionais na aquisição de conhecimentos necessários, para o exercício de sua cidadania. As necessidades educacionais desses alunos exigem que os educadores proporcionem a eles uma flexibilização dos recursos instrucionais, viabilizando oportunidades de aprendizagem que considerem a sua singularidade, especialmente em relação à comunicação. Este estudo teve por objetivo principal avaliar a efetividade da utilização da dramatização de uma história infantil, como uma estratégia educacional para promover a melhora da compreensão oral de histórias por cinco alunos com deficiência auditiva, com idade entre 7 e 13 anos, matriculados em uma escola pública. Foi utilizado um delineamento experimental de linha de base múltipla entre sujeitos, o qual iniciou-se com a avaliação do conhecimento prévio que cada participante portador de deficiência auditiva tinha da História, prosseguiu com a participação de cada um deles em treino via atividade pedagógica e, posteriormente, via dramatização referente à História, sendo que essas atividades foram realizadas com cada um deles em momentos diferentes, embora com um mesmo grupo composto por quatro participantes ouvintes. Os dados foram coletados através da gravação em vídeo e/ou áudio. Aos resultados aplicou-se uma análise estatística descritiva, comparando-se o conhecimento prévio que cada aluno com deficiência auditiva tinha da História, antes e após a realização das atividades pedagógicas e de dramatização. Os resultados demonstraram que os participantes que foram submetidos às duas intervenções subseqüentes apresentaram melhora no desempenho em testes de avaliação da compreensão oral da História, tanto nas avaliações realizadas após a introdução da atividade de apoio pedagógico, quanto após a atividade de dramatização. Embora as duas intervenções tenham promovido melhora no desempenho, houve diferenças na magnitude da mudança quando se comparam os diferentes sujeitos entre si, ou no mesmo sujeito. As diferenças inter e intra-sujeitos sugerem que os indivíduos se beneficiaram de forma diferente quando as duas estratégias de ensino foram utilizadas, e isso parece indicar que não há superioridade de uma estratégia sobre a outra, o que implica na importância de diversificar o ensino, a fim de atender às especificidades individuais no estilo de aprendizagem de alunos com deficiência auditiva.
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Beauchamp, Pauline. "The Corpus Christi plays as dramatizations of ritual : an examination of the decline of the medieval theatre." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63121.
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Rose, Brian A. "Transformations of terror: American dramatizations of Stevenson's The Strange case of Dr. Jekyll and Mr. Hyde and the dramaturgy of anxiety." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1346260393.
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Rose, Brian Andrew. "Transformations of terror: American dramatizations of Stevenson's "The Strange Case of Dr. Jekyll and Mr. Hyde" and the dramaturgy of anxiety /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487846885777996.
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Duruş, Natalia-Maria. "Analyse conversationnelle des interactions, dramatisation et didactique du FLE en contexte non-institutionnel." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCF009.
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Cette thèse prend pour objet des situations d’apprentissage guidé du français, en face à face et en dehors de cadres institutionnels, se déroulant dans le contexte multilingue du Luxembourg. Elle décrit et analyse des interactions entre des locuteurs plurilingues adultes dont la première langue est le chinois ou le coréen et des locuteurs plurilingues agissant en tant qu’experts pour la langue française. Plus particulièrement, dans l’optique d’une analyse qualitative des données, ce travail s’efforce d’appliquer les outils de l’analyse conversationnelle d’inspiration plutôt anglo-américaine à une vision didactique de tradition de langue française. Pour ce faire, il est fait appel aux notions de compétence communicative (Hymes 1972), de dramatisation (Goffman 1991) et de rôle social (Cicurel 1988). L’analyse montre que dans des situations d’apprentissage-en-interaction, les apprenants et les experts ont recours à une diversité de ressources interactionnelles liées à des activités de dramatisation : le dialogue-en-situation, la voix, la séquence préfabriquée, la séquentialité discursive, la réparation, la séquence explicative, le récit préenregistré, l’évaluation, le récit enchâssé, l’identité, le récit conversationnel de l’expert, l’interview, le récit conversationnel de l’apprenant et le mode éditeur. Pour conclure, un rapprochement est opéré entre ces activités de dramatisation et la didactique du FLE, à plusieurs niveaux, sous la forme de recommandations suggestionsThe current thesis focuses on guided language learning exchanges in French, in a face-to-face non-institutional setting in the multilingual context of Luxembourg. It describes and analyzes interactions between adult plurilingual speakers whose first language is Chinese or Korean and multilingual speakers acting as experts for the French language. Taking a qualitative analysis approach, our work strives to apply the tools of conversation analysis of a rather Anglo-American origin to a vision of “didactique” corresponding to the French language tradition. To this end, we rely in particular on the notions of communicative competence(Hymes 1972), dramatization (Goffman 1991) and social role (Cicurel 1988). The analysis of learning-in-interaction data shows the enactment of a variety of dramatization-related interactional resources by both learners and experts: the situated dialogue, the voice, the formulaic language, the discursive sequentiality, the repair, the explanatory sequence, the pre-recorded conversational narrative, the evaluation, the embedded narrative, the identity, the conversational narrative of the expert, the interview, the conversational narrative of the learner and the editor mode. A few recommendations-suggestions are proposed in the conclusion, focusing on how these dramatization activities could inform, at different levels, the development of French teaching and learning
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Gaspar, Andrea Marques. "'Where does the new come from?' : an ethnography of design performances of 'the new'." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/where-does-the-new-come-from-an-ethnography-of-design-performances-of-the-new(cd77bec4-ba9b-48ed-b2c4-f53ed0eb7e03).html.
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The core concern of my thesis is with shifting the focus from the description on how innovation is done (predominantly STS accounts of innovation in-the-making) to what designers do with conceptions of innovation. The thesis is based on ethnographic fieldwork within a group of interaction designers of Milan. Despite the different conceptions and traditions of innovation that these designers bring in – the artistic and technological ones – I observed that a design-centered conception of innovation is reproduced, as well as the idea that plans and intentions precede things. However, another key idea of my fieldwork is the importance designers give to imagining things as they might be, rather than focusing on how things are. This is where different models of action, planned and open ones coexist in creative ways: it is these processes that the ethnography details.
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Langendorff, Judith. "Le nocturne comme catégorie esthétique de l'image dans la photographie et le cinéma contemporains." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA085.
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À partir d’un corpus ouvert de photographes et de cinéastes coloristes qui ont une fascination pour le nocturne, cette thèse explore les différentes gradations et significations de celui-ci, des plus évidentes aux plus abstraites. La thèse s’attache alors à démontrer que le régime nocturne transforme l’obscurité en valeurs chromatiques et qu’il éclaire, avec une subtilité qu’occulte la vision diurne, les aspects les plus complexes de la société et de l’esprit humain. La confrontation des analyses de séquences filmiques et de photographies dans une perspective articulant esthétique, philosophie et histoire de l’art, a permis de construire la thèse autour de trois grandes notions, Distorsion, Sublimation, Transfiguration, qui fondent le nocturne comme catégorie esthétique de l’image.Le corpus principal organisé sur des critères externes (nocturne, couleur post-années 1960-70) et internes (processus esthétiques conjoints) est composé de séquences de films en couleurs de Stanley Kubrick (1928-1999), de David Lynch (1946), de Brian de Palma (1940), de Francis Ford Coppola (1939) et de séries photographiques de Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) et Daniel Boudinet (1945-1990).Le corpus secondaire est constitué de séries photographiques de Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974), Chrystel Lebas (1966), d’extraits d’un court métrage d’Antoine Barraud (1973) et d’une série TV de Nic Pizzolatto (1975) et Justin Lin (1973), nécessaire pour finaliser la démonstrationBased on a large corpus of colorist film directors and photographers who share a fascination for the nocturne, this thesis explores the different gradations and meanings of this one, from the more obvious to the more abstracts. The thesis endeavours to demonstrate how the nocturne reasserts the darkness values to turn them into colors, and how it illuminates, with a subtlety absent in diurnal vision, the more complex aspects of society as well as the human mind.The confrontation between picture and film sequences analysis, with a perspective articulating aesthetic, philosophy and art history, leads to three main concepts: Distortion, Sublimation and Transfiguration. Thereby it establishes the nocturne as an image’s aesthetic category in cinema and photography.The main corpus in cinema and photography, organised by externals criteria (nocturne, post-1960-1970 years color) and internals criteria (similar operating processes aesthetic), is established with the movie extracts of Stanley Kubrick (1928-1999), David Lynch (1946), Brian de Palma (1940), Francis Ford Coppola (1939) as well as the photographic series of Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) and Daniel Boudinet (1945-1990).The second is based on the photographic series of Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974) and Chrystel Lebas (1966), as well as Antoine Barraud’s (1973) movie extracts. Finally, for the requirement of the demonstration, a Nic Pizzolatto (1975) and Justin Lin (1973) TV show
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Langendorff, Judith. "Le nocturne comme catégorie esthétique de l'image dans la photographie et le cinéma contemporains." Electronic Thesis or Diss., Sorbonne Paris Cité, 2018. https://books.openedition.org/pur/180789.
Full textAbstract:
À partir d’un corpus ouvert de photographes et de cinéastes coloristes qui ont une fascination pour le nocturne, cette thèse explore les différentes gradations et significations de celui-ci, des plus évidentes aux plus abstraites. La thèse s’attache alors à démontrer que le régime nocturne transforme l’obscurité en valeurs chromatiques et qu’il éclaire, avec une subtilité qu’occulte la vision diurne, les aspects les plus complexes de la société et de l’esprit humain. La confrontation des analyses de séquences filmiques et de photographies dans une perspective articulant esthétique, philosophie et histoire de l’art, a permis de construire la thèse autour de trois grandes notions, Distorsion, Sublimation, Transfiguration, qui fondent le nocturne comme catégorie esthétique de l’image.Le corpus principal organisé sur des critères externes (nocturne, couleur post-années 1960-70) et internes (processus esthétiques conjoints) est composé de séquences de films en couleurs de Stanley Kubrick (1928-1999), de David Lynch (1946), de Brian de Palma (1940), de Francis Ford Coppola (1939) et de séries photographiques de Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) et Daniel Boudinet (1945-1990).Le corpus secondaire est constitué de séries photographiques de Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974), Chrystel Lebas (1966), d’extraits d’un court métrage d’Antoine Barraud (1973) et d’une série TV de Nic Pizzolatto (1975) et Justin Lin (1973), nécessaire pour finaliser la démonstrationBased on a large corpus of colorist film directors and photographers who share a fascination for the nocturne, this thesis explores the different gradations and meanings of this one, from the more obvious to the more abstracts. The thesis endeavours to demonstrate how the nocturne reasserts the darkness values to turn them into colors, and how it illuminates, with a subtlety absent in diurnal vision, the more complex aspects of society as well as the human mind.The confrontation between picture and film sequences analysis, with a perspective articulating aesthetic, philosophy and art history, leads to three main concepts: Distortion, Sublimation and Transfiguration. Thereby it establishes the nocturne as an image’s aesthetic category in cinema and photography.The main corpus in cinema and photography, organised by externals criteria (nocturne, post-1960-1970 years color) and internals criteria (similar operating processes aesthetic), is established with the movie extracts of Stanley Kubrick (1928-1999), David Lynch (1946), Brian de Palma (1940), Francis Ford Coppola (1939) as well as the photographic series of Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) and Daniel Boudinet (1945-1990).The second is based on the photographic series of Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974) and Chrystel Lebas (1966), as well as Antoine Barraud’s (1973) movie extracts. Finally, for the requirement of the demonstration, a Nic Pizzolatto (1975) and Justin Lin (1973) TV show
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mei, Liao wu, and 廖五梅. "Tang legendary dramatization in reading education application." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/3tst8d.
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碩士國立臺東大學
語文教育研究所
97
In spanning history mighty current and time all sorts of tests. The Tang legend still had touches the will of the people and the inspiration thought charm. The character who the Tang legend describes in the content is diverse, the image is bright.May let us by reading understand the human nature. The Tang legend provides the world which in the theme fictionalizes, enables us by reading to be possible to place oneself in which, rich imagination. May see the Confucian from the Tang legend saying that how Buddha does blend together in the Tang Dynasty culture, the imperial civil service examination test to intellectual`s influence and the lives of the people intravenous drip, the style and the time movement path and so on; Then understanding gasification view culture connotation. The Tang legend contains the subject, the thought that the more permeable reading annotation has explained the life and the expression to life all sorts of desires. Takes the auxiliary teaching by the Tang legend the teaching material, after may guide the student to read understands the Tang legend text. Using the reader play site, the story play site, the stage dramatizes, dramatization the again and so on crosstalk dramatization concrete methods, annotates and lets the student participate in the reorganization on own initiative. Using the reader play site, the story play site, the stage dramatizes, dramatization the again and so on crosstalk dramatization concrete methods, annotates and lets the student participate in the reorganization on own initiative.
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Rodriguez-Vivaldi, Ana M. "From narrative to the spectacular: The dramatization of the 'Boom'." 1989. https://scholarworks.umass.edu/dissertations/AAI8917394.
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Latin American writers have seldom limited themselves to monogeneric expression, both by taste and by necessity. Modern examples can be found on the foremost 'Boom' writers: Julio Cortazar, Carlos Fuentes, Mario Vargas Llosa and Gabriel Garcia Marquez who, while being known mostly for narrative fiction, where they have produced important and enduring works, have essayed other genres. They have shown interest in various forms of visual and aural arts: drama, film and radio scripts, as demonstrated by Cortazar's Los reyes, Nada a Pehuajo and Adios, Robinson; Fuentes' Todos los gatos son pardos, El tuerto es rey and Orquideas a la luz de la luna; Vargas Llosa's La senorita de Tacna, Kathie y el hipopotamo and La Chunga; and Garcia Marquez' El secuestro. As they have acknowledged an influence of cinematic and dramatic techniques on their narrative, adopting the genres themselves is a natural development and for some a return to their first works. The generic differences lying between the perception of the visual and auditive images of drama and film and the concept of the mental image of narration is one of the subjects focused on, covering ways in which they adapted technical and thematically to the change. The approach to the scripts has followed an eclectic methodology, basically semiotic, that takes into account thirteen sign systems in the written text and its intrinsic performance. As it studies the script, not its final production, only those aspects of staging revealed through the directions included and the text itself are covered. I have also focused on other traditional subjects: Title, Structure, Time, Space, Language, Characters and Themes, considering them as part of the meaningful substance of the whole system forming the work. The thematic aspects covered were isotopies, subjects that are developed through various systems, allowing the text to function as a whole. Coincidences between each author's works have been found, proving the theory that they have prevailed between generic distinctions, creating according to their own rules not those imposed by traditional definitions.
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"Enacting the canon: The dramatization of composers on the American stage and screen, 1910--1938." NEW YORK UNIVERSITY, 2009. http://pqdtopen.proquest.com/#viewpdf?dispub=3342372.
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WANG, KO-YOUNG, and 王克雍. "The Representation of Military Housing Compounds and the Dramatization of Women inSteel Magnolias ,My kid Sister and The Village." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/4agu52.
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碩士國立臺南大學
戲劇創作與應用學系碩士班
104
“Military housing compounds” were temporary settlements established in Taiwan for the KMT soldiers and their family after they fled from China in 1949. Despite of their strong significance in history, these military housing compounds were gradually torn down and disappeared from the landscape of Taiwan after 60 years’ existence. Since the 1980s, there has been numerous writing about life in these special villages, especially in the genre of fiction and prose. The Village, premiered in 2008, is the most popular among the stage works of this type and brings back or re-creates the memory of the past in these villages unique to its times. This study examines how these three theatrical performances, including Steel Magnolias, My Kid Sister, and The Village, represent the past life experiences of military housing compounds on stage. I analyze how the adaptors or playwrights of these plays, either growing up in these villages or being second-generation Mainlanders, tend to dramatize the beautified military housing compounds on stage. In addition, this study focuses on how these three works present and shape the images of the female characters in military housing compounds. These females can be categorized into two types. One is the female mainlanders with the first generation feeling trapped in the villages and the second generation either escape form or leave the villages forever.The other is the Taiwanese women who are seen to assimilate into the life in these villages effortlessly and thus used to symbolize successful ethnic integration. In either case, both groups of women lose their voices in the male imagination of home and nation. After all, the dramatization of these women is woven into ideal national narratives of that time. In conclusion, with the ignorance of the historic context where “home/the village is country,” the representations of military compounds and their females on stage are far from being true to reality as the authors might claim. Instead, these theatrical performances reflect an obsession with beatified past and nostalgic memories of life in the villages.
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HUANG, JO-YIN, and 黃若茵. "A Case Study of the Four Stories Dramatization, Illustrating the Curriculum Design in Junior High School Performing Arts Course." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/2n97wa.
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碩士國立臺灣藝術大學
表演藝術教學碩士學位班
105
The ancient tragedian dramatized the story of Homer’s epic into a dramatic program, as recorded in Aristotle’s Poetics. In this same fashion, through creative drama, a director can dramatize this story through the same scenes and dialog. This research examines the pedagogical strategy of employing creative drama in the classroom, where students are exposed to a dramatic story in hopes that it improves their learning motivation in the performing arts course. The subject of this research is an investigation of 32 eighth-grade students in the Hsinchu County Er Chong junior high School. Tragedian dramatized the story and improvisation, one student starts with a story, while other students improvise. During this exercise, students constantly interact through role-play dialogue with their peers, enhancing their ability to act creatively. The stories used for the dramas include existing literature, history, legends, and other stories. The teacher leads the students and facilitates discussion, role-play, constructions, exercises, and feedback in useful ways. This helps to further inspire students’ imagination, logic, and organizational understanding. Through the course of ten classes, this case study discusses students’ learning progress and environment while acting, along with their reactions, discussion, and analysis. The findings of the studies are as follows: 1.The story dramatization can effectively improve students’ interest in performance arts. 2.The story dramatization can effectively enhance the students’ creativity and expression ability. 3.By using the method of story dramatization , students better understand story content, reduce anxiety during recitation and reduce the fear of the stage, get students to put themselves into the story, while learning to enjoy performing and appreciate the beauty of the art form. 4.This approach is found to be an effective pedagogical tool in classroom teaching.
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Muchová, Zuzana. "Pohyb v matematice." Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-307907.
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In my thesis I concern with the use of motoric activities in math classes. The chapters that offer a range of motoric activities were processed on the base of a questionnaire and an experiment. Some of the activities are currently being implemented in math classes by teachers of first, second and third grades at primary schools, others are part of textbooks designed for this age group. In addition to that, I offer five more possible activities, which have been recorded and interpreted within six experiments. The goal of the thesis is to demonstrate that physical movement cannot be separated from the life of six to nine years old children, and offer some motoric activities, which can potentially be contributive for development of mathematical skills and abilities.
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Václavíková, Alžběta. "Dramatizace literárních děl v Národním divadle po roce 1990." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-312902.
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This thesis deals with dramatizations of literary works that were introduced at the National Theatre after1990. Compares prose texts with newly formed theatrical texts. It also focuses on the transformation of interpretations of individual works, which occurred as a result of dramatization. For each unfinished work also always gives relevant circumstances relating to the production.
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Φανουράκη, Κλειώ. "Η διδασκαλία των φιλολογικών μαθημάτων μέσω της θεατρικής αγωγής στη δευτεροβάθμια εκπαίδευση." Thesis, 2010. http://hdl.handle.net/10889/5341.
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Η εργασία έχει ως στόχο να διερευνήσει τον βαθμό και τον τρόπο με τον οποίο η θεατρική αγωγή μπορεί να αποβεί χρήσιμη για τη διδασκαλία της Αρχαίας και της Νέας Ελληνικής Γλώσσας και Γραμματείας στη Δευτεροβάθμια Εκπαίδευση. Με βάση το θεωρητικό υπόβαθρο του ‘δράματος στην εκπαίδευση’ ως μεθοδολογίας για τη διδασκαλία των φιλολογικών μαθημάτων, η διερευνητική εμπειρική μελέτη που ακολούθησε στηρίχθηκε στην επιλεκτική εφαρμογή θεατρικών τεχνικών και συμβάσεων, λαμβάνοντας ωστόσο υπόψη και τους περιορισμούς της σχολικής πραγματικότητας (έλλειψη εξοικείωσης των μαθητών αλλά και των φιλολόγων με τη θεατρική αγωγή, περιορισμένος διδακτικός χρόνος κλπ.). Η γνωριμία με το αντικείμενο της θεατρικής αγωγής αποτέλεσε βασικό κριτήριο σχεδιασμού της έρευνας, ενώ την ίδια στιγμή γινόταν μέσο για τη διδασκαλία των φιλολογικών μαθημάτων.
Στη δραματοποίηση κατά τη διδασκαλία συγκεκριμένων διδακτικών ενοτήτων, η οποία έλαβε χώρα σε συνεργασία με τον φιλόλογο του εκάστοτε τμήματος αλλά πάντα με την παρουσία της γράφουσας ως βασικής εμψυχώτριας, συμμετείχαν 1040 μαθητές και 30 φιλόλογοι, από όλες τις τάξεις του Γυμνασίου και του Λυκείου (διαφορετικών τύπων σχολείων) από το Νομό του Ηρακλείου Κρήτης. Στα ερωτηματολόγια, τα οποία δίνονταν ύστερα από τη διεξαγωγή κάθε διδασκαλίας, απάντησαν 768 μαθητές και όλοι οι φιλόλογοι. Τα αποτελέσματα κατηγοριοποιήθηκαν και αναλύθηκαν στατιστικά (για την επαγωγική ανάλυση των δεδομένων χρησιμοποιήθηκε το κριτήριο x2).
Η πλειονότητα των μαθητών και των φιλολόγων διατύπωσε πολύ θετική γνώμη για τη διδασκαλία των φιλολογικών μαθημάτων μέσα από τις θεατρικές τεχνικές, ενώ απέδωσε την αποτελεσματικότητά της στα εξής: κατανόηση και αφομοίωση του μαθήματος, το οποίο έγινε πιο ευχάριστο, καλλιέργεια επικοινωνίας και συνεργασίας μεταξύ των μαθητών, δημιουργική αλλαγή στη σχέση μαθητή – φιλολόγου, επίδρασή της στην απόδοση των μαθητών, ενεργή και αυτόβουλη συμμετοχή όλων (και δη των ώς τότε χαρακτηριζόμενων ως αδιάφορων ή αδύναμων μαθητών) στο μάθημα, καλλιέργεια δεξιοτήτων και ενδιαφερόντων σε σχέση με το αντικείμενο διδασκαλίας. Τα αποτελέσματα μελετήθηκαν με βάση το φύλο των μαθητών, τη σχολική βαθμίδα, το είδος του σχολείου και το συγκεκριμένο φιλολογικό μάθημα. Η ερμηνεία των αποτελεσμάτων οδηγεί στο συμπέρασμα ότι, εφόσον υπάρχει κατάλληλος σχεδιασμός, η δραματοποιημένη διδασκαλία των φιλολογικών μαθημάτων μπορεί να αποβεί ωφέλιμη για την επίτευξη των ειδικών στόχων των συγκεκριμένων μαθημάτων αλλά και των γενικότερων σκοπών της εκπαίδευσης.This research investigates the level and way with which theatre education can be useful for the teaching of the Ancient and Modern Greek Language and Literature in Secondary Education. Based on the theoretical background of drama in education as a methodology for the teaching of the philological lessons, the exploratory research derived from the selective application of theatre techniques and conventions taking into account both the limitations of the current conditions of Secondary Education (the lack of familiarization of both the students and philologists in theatre’s education, limited didactic time etcetera). The acquaintance with the subject of theatre education constituted basic criteria for the research planning, while at the same time became a medium for the teaching of philological subjects. During the application of dramatization in the teaching of specific didactic units, which took place in collaboration with the philologist of each class but always with the presence of the existing writer as the basic drama teacher, 1040 students and 30 philologists participated, coming from all the six classes of Greek gymnasium and lyceum (varying in school types) from the prefecture of Heraclion-Crete. The questionnaires given after each class were answered by 768 students and all the philologists. The results were categorized and analyzed statistically (for the inductive analysis of data, the criterion used was x2). The majority of students and philologists expressed a positive opinion for the teaching of the philological lessons through theatre techniques, while they attributed its effectiveness on: comprehension, assimilation of the class which became more pleasant, cultivation of communication and collaboration between students, creative change in the relationship between student and philologist and its effect on students output, active and voluntary participation (including the students characterized as “weak”), cultivation of skills and interests in relation to the subject of teaching. The results were studied based on the gender of students, the school level, the school type and the specific philological subject. The interpretation of the results concludes that as long as there is a specific planning, the dramatization of teaching the philological subjects can be effective for the realization of the achievement of specific goals of these subjects and for the general aims of education (paideia).
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Almeida, Ricardo Coutinho de. "O Absolutismo Régio em França no Reinado de Luís XIV." Master's thesis, 2017. http://hdl.handle.net/10316/85586.
Full textAbstract:
Relatório de Estágio do Mestrado em Ensino de História no 3º ciclo do Ensino Básico e no Ensino Secundário apresentado à Faculdade de LetrasO presente trabalho tem como objetivo, partindo de um ano letivo de Prática Pedagógica Supervisionada, onde se realizaram diversas atividades, apresentar um tema científico enquadrado no programa do 8º de escolaridade do 3º ciclo do Ensino Básico na disciplina de História. A primeira parte deste relatório incide sobre a caracterização da escola enquanto local de estágio, das turmas e a descrição das atividades realizadas durante o estágio. Sabendo da importância do Absolutismo Régio para a compreensão do período do Antigo Regime, o presente relatório pretende abordar essa forma de governar em várias vertentes: nos seus princípios, formas de atuar e nas suas particularidades.Para isso, uma primeira abordagem ao tema, dedica-se à teorização política do absolutismo régio francês e português. A partir desta fase, o absolutismo francês é particularizado, sendo analisado o reinado de Luís XIV como exemplo paradigmático. Com esse intuito, procura-se analisar a ação da França do Rei-Sol em vários aspetos, entre eles, as finanças e a economia, administração pública, o exército, a política externa, as relações entre Igreja e o Estado, bem como a ação pessoal do rei. Para que se forme uma ideia completa do reinado, o relatório pretende estudar a forma como a imagem e a corte influenciaram a forma de reinar de Luís XIV. A partir deste núcleo de conteúdos, foi elaborada uma aula de 90 minutos sobre a temática referida nos parágrafos anteriores, onde se construíram materiais diversificados, no sentido de implementar as estratégias definidas.
The following paper, stemming from a school year of Supervised Pedagogical Practice, where several activities were carried out, aims at presenting a scientific theme within the program of the 8th grade of middle school in the History classes. The first half of this report, focuses on the characterization of the school as a place of internship, of the classes and the description of the activities carried out during the internship. Knowing the importance of the Royal Absolutism for the understanding of the period of the Old Regime, this report intends to approach this form of governing in several aspects: in its principles, ways of acting and in its particularities. In this regard, the first approach to the subject is dedicated to the political theorization of the French and Portuguese regal absolutism. From this phase, French absolutism is particularized, and the reign of Louis XIV is analyzed as a paradigmatic example. To this end, the aim is to analyze the action of France of the Sun-King in several aspects, among them, finance and economy, public administration, the army, foreign policy, relations between church and state, as well as personal action of the king. In order to form a complete idea of the reign, the report intends to study how the image and the court influenced Louis XIV's reign. From this core of contents, a 90 minutes class was elaborated on the theme in order to define our parameters where diversified materials were built, in order to implement the defined strategies.
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Hrnečková, Anna. "Dramatizace větších epických celků určené dětskému herci." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-313684.
Full textAbstract:
This thesis analyses the dramatizations of larger epic units, which have appeared on the Czech national (or regional) shows of children's theatre since 1989. After characterizing the role of dramatic text created for the theatre played by children, the work attempts to establish the evaluation criteria for the dramatization of the investigated area. With regard to the artistic and educational objectives, the work compares the composition, language and thematic basis of selected texts. At the centre of attention are those means of adaptation which acquire particular significance especially in connection with a child actor; ways of creating adult characters, the depiction of the inner world of children's heroes etc. The main task of this text analysis is to answer the question about how far the authors were able to get within the narrow borders brought on by focusing on child actors up to fifteen years of age.