Dissertations / Theses on the topic 'Isadora'

Being Isadora is a story of possession. Isadora Duncan, the founder of modern dance, was an intensely creative, free-spirited woman. Her life experiences early last century were as fascinating and tragic as her achievements. In New York in 1985, Isadora's last surviving pupil and adopted daughter, ninety-year old Anna Duncan, is searching for a way to fulfill a long held promise. Isadora wished to control the way she was remembered and had made Anna promise that any remaining film of her dancing would be destroyed. But one film survives and Anna is running out of time to find it. A young Australian journalist, Tamsin Doyle, attends a dance class at the Isadora Duncan Studio and meets Anna, unknowingly becoming part of the quest. Initially the stories of Isadora and Tamsin run parallel, then as Tamsin gets to know Anna, she becomes immersed in a dream world of dramatic incidents from Isadora's life. The dreams become waking experiences and she fears her will is gradually being taken over. She ends up in places - in fact other countries - that she had no intention of being, pursuing an agenda that is not her own. In the second part of the book, she finds herself in Russia, where Isadora lived after the Revolution. She meets and falls in love with Vladimir, the grandson of Isadora's former dance collaborator. Unable to prevent herself being possessed while visiting the school Isadora founded, Tamsin is arrested by the authorities. A Russian KGB officer has his own plans and abducts her, keeping her prisoner in a dacha outside Moscow. He shows her a film of herself dancing and then the surviving film of Isadora. The two are almost identical and a dramatic climax ensues. Themes in the book explore the nature of memory and how it is influenced by photographic and filmic record, love and loss and the way patterns repeat in people's lives in an attempt to change outcomes.

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Child sexual abuse is one of the most re current forms of mistreatment, and a serious public health problem. The importance of family relationships in this theme is well established. Nevertheless, there is a lack in studies addressing the specific aspects that underlie the intergenerational transmission of abused children. In this context, the aim of the study was to investigate the intergenerational transmission of child sexual abuse. To this end, two studies, one empirical and other theoretical have been performed. The theoretical study provides a systematic review of the prevalence of intergenerational transmission of sexual abuse. Data on the increase of intergenerational transmission in different generations of family were found. The mean prevalence of intergenerational transmission of sexual abuse in generations was: 42.47% in the generation of grandparents, 41,28% in the generation of mothers and 51,0% in the generation of children. The empirical study, in turn, examined the relationship between the type of attachment and parenting style and its relation to the intergenerational transmission of child sexual abuse. For this a quantitative research with cross-sectional design with three different groups of girls and their mothers was conducted. The first group comprised girls who have suffered abuse; the second was composed by girls who suffered mistreatment and their mothers and the third included girls who displayed clinical symptoms and their mothers. The results did not confirm the intergenerational transmission of attachment types, or the parenting style across different generations. Similarly and different than expected, the abused girls no reported more insecure attachment or poor parenting style. However, tow significant predictors were found to agree with the model of intergenerational transmission of child sexual abuse: the type of maternal attachment and the fact that parents are separated.
O abuso sexual infantil ? uma das mais recorrentes formas de mau trato, sendo um grave problema em sa?de p?blica. Sabe-se a import?ncia das rela??es familiares nessa tem?tica. Entretanto, faltam estudos que tratem sobre as especificidades dos aspectos que perpassam as gera??es de crian?as abusadas. Nesse contexto, o objetivo do estudo foi verificar a transmiss?o intergeracional do abuso sexual infantil. Para isso, foram realizados dois estudos, um te?rico e outro emp?rico. O estudo te?rico realiza uma revis?o sistem?tica sobre a preval?ncia da transmiss?o intergeracional do abuso sexual. Foram encontrados dados sobre o aumento da transmiss?o intergeracional em diferentes gera??es de familiares. A m?dia da preval?ncia da transmiss?o intergeracional do abuso sexual nas gera??es foi de: 42,47% na gera??o das av?s (G1); 41,28% na gera??o das m?es (G2) e 51.0% na gera??o das crian?as. O estudo emp?rico, por sua vez, examinou a rela??o entre o tipo de apego e estilo parental e a sua rela??o com a transmiss?o intergeracional do abuso sexual infantil. Para isso foi realizada uma pesquisa quantitativa com delineamento transversal com tr?s diferentes grupos de meninas e suas m?es: meninas que sofreram abuso sexual; meninas que sofreram maus tratos e meninas que est?o passando por sintomas cl?nicos. Os resultados n?o confirmaram a transmiss?o intergeracional dos tipos de apego, nem do estilo parental entre as diferentes gera??es. Do mesmo modo, diferente do esperado, as meninas abusadas n?o reportaram mais apego inseguro ou estilo parental deficit?rio. No entanto, duas associa??es foram encontradas como concordantes com o modelo da transmiss?o intergeracional do abuso sexual infantil: o tipo de apego materno e o fato dos pais serem separados.

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Ciências da Educação, Programa de Pós-Graduação em Educação, Florianópolis, 2016.
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Esta dissertação é fruto de uma pesquisa na qual se procura trazer à tona o discurso de Isadora Faber, aluna com 12 anos de idade à época e cursando a 7ª série na Escola Básica Municipal Maria Tomázia Coelho, escola da Rede Municipal de Ensino (RME), de Florianópolis localizada no bairro do Santinho (Norte da Ilha). O discurso de Isadora foi largamente difundido na mídia em 2012 e, também ou principalmente, por seu perfil da rede social Facebook, Diário de Classe: a verdade . Procura-se investigar num primeiro momento: por que alguns profissionais observam com certo estranhamento, atitudes como a de Isadora que revelava, por meio do seu dizer franco, o seu descontentamento com as condições precárias de ensino-aprendizagem e infraestrutura oferecidas pela sua escola? É também objetivo desta pesquisa, ampliar o horizonte formativo, alargando as possibilidades de produção de verdades na escola, e levar em consideração outros dizeres sobre a verdade e não somente aqueles que vêm sendo valorizados tradicionalmente na escola, ou seja, o dos professores em detrimento dos estudantes. Metodologicamente, a operação de pesquisa acontece por meio de procedimentos que se interpenetraram. Toma-se o fenômeno enquanto um caso a ser estudado, pois se pode considerar a pesquisa que aqui se apresenta como um estudo de caso pelas características singulares e inéditas relacionadas com as atitudes e reações dos atores envolvidos com os fatos que se apresentaram no decorrer da criação e do desenvolvimento do Diário de Classe de Isadora Faber e que de forma tão contundente abalaram as relações existentes entre os estudantes e os professores da escola Maria Tomazia Coelho. É um estudo empírico baseado nas experiências deste autor com a repercussão negativa que o fenômeno causou na escola Maria Tomázia Coelho e também nas demais escola da referida rede, onde tentou-se analisar , por meio de um olhar mais apurado e distanciado, a interpretação que os professores, e em menor escala os estudantes, tiveram frente ao advento do caso do Diário de Classe de Isadora Faber e que como resultado fez incidir uma interpretação crítica das ações e das relações que existiam naquela escola e que até então não eram evidentes. Interpreta-se o fenômeno Isadora Faber a partir da base empírica constituída de um conjunto de elementos materiais como o seu perfil da rede social Facebook, Diário de Classe: a verdade e o seu livro de mesmo nome publicado em 2014. Tendo em vista que o termo verdade aparece tanto na rede social como no título do livro, nesta pesquisa foi tomado como conceito filosófico fundante. Ampliando este horizonte, busca-se cotejar a ideia de verdade apresentada por esta base empírica com elementos concorrentes na fabricação de sentido, tais como o dizer dos professores, da diretora, as reportagens que saíram nas mídias eletrônicas e impressas. Trata-se de uma pesquisa qualitativa de cunho híbrido: é bibliográfica, tendo em vista que o estudo sistematizado foi desenvolvido com base em material publicado em livros, revistas, jornais e redes eletrônicas; empírica, quando vai ao encontro da realidade escolar; e conceitual, quando remete o elemento empírico ali selecionado a uma reflexão teórica que não dispensa o aporte da tradição filosófica no entendimento do conceito de verdade. As reflexões filosóficas procuram se orientar pelo referencial teórico, entre os quais os mais importantes, o que nos ofereceram Nietzsche e Foucault, notadamente deste último, os seus conceitos de verdade, parresia e cuidado de si, como elementos que operacionalizam a análise discursiva sobre as verdades aqui apresentadas: de Isadora Faber e dos professores. Temos então, o imediatamente dado exposto ao que transcende, ou seja, a possibilidade de a verdade não ser de única fonte, mas sim, estar perspectivada e objetivada pelo dizer dos seus enunciadores.

Abstract : This dissertation is the result of a survey which seeks to bring out the speech of Isadora Faber, student with 12 years of age at the time and attending seventh grade in Municipal elementary school Maria Tomázia Coelho, the Municipal School of education (RME), located in the neighborhood of Florianópolis s Santinho (Northern Island). The speech was widely diffused Isadora on media in 2012 and also or mainly, on the profile of the social network Facebook, the notebook class: the truth . Seeks to investigate at first: why some professionals note with a certain estrangement, attitudes like Isadora which revealed, through his say franco, his displeasure with the precarious conditions of teaching and learning and infrastructure offered by your school? It is also objective of this research, expand the horizon formation, extending the possibilities of production of truths in school, and take into consideration other say about truth and not only those that have been traditionally prized in school, that is, the teachers at the expense of students. Methodologically, the search operation happens through interpenetraram procedures. Take the phenomenon as a case study because it may consider the research here is presented as a case study by unique features and unseen related to attitudes and reactions of actors involved with the facts that were presented during the creation and development of Isadora Class Faber and that such scathing shook the relationship between students and teachers of the school Maria Tang rabbit. It is an empirical study based on the experience of this author with the repercussions that the phenomenon caused the school Maria Tomázia rabbit and also in other school of that network, where an attempt was made to analyse, through a more refined look and distanced, the interpretation that teachers, and to a lesser extent, students had outside the advent of Daily case of Isadora Class Faber and which as a result did focus a critical interpretation of actions and relationships that existed at that school and that until then were not evident. interprets the phenomenon Isadora Faber from the empirical base consisting of a set of material elements as his/her profile from the social network Facebook, the notebook class: the truth and his book of the same name published in 2014. Considering that the term true appears in both the social network as in the title of the book, in this survey was taken as a fundamental philosophical concept. Expanding this horizon, collate the idea of truth by this empirical basis with competing elements in the production of meaning, such as the saying of the teachers, the principal, the reports that came out in the electronic and printed media. It is a qualitative research of a hybrid: is literature since the systematic study was developed based on material published in books, magazines, newspapers and electronic networks; empirical, while meeting school reality; and, when it refers the empirical element thereselected a theoretical reflection that cannot do without the contribution of the philosophical tradition in the understanding of the concept of truth. The philosophical reflections seek to guide by the theoretical reference, among which the most important, what we ve been offered Nietzsche and Foucault, notably, their concepts of truth, parresia and care of themselves, as elements that operacionalizam the discursive analysis about the truths presented here: Isadora Faber and teachers. We then immediately given exposed to that transcends, i.e. the possibility of the truth not be only source, but rather, be considered and objectified by saying its enunciators.

Cette thèse, sous la direction de Claude Jamain, interroge l’affirmation de Duncan selon laquelle elle n’invente pas sa danse qu’elle qualifie de naturelle. Afin de répondre à ce paradoxe, l’idée est de saisir l’élaboration de sa danse comme matière en termes kinesthésiques, moteurs et qualitatifs, en interactions avec les contextes historiques et culturels auxquels elle se confronte en Amérique, en Europe et à la charnière des XIXe et XXe siècles. Après une présentation des pratiques corporelles en Amérique, la thèse aborde la façon dont l’imaginaire de la nature en Amérique et les différentes visions de l’antique aux Etats-Unis d’Amérique et en Europe participent de l’élaboration de sa danse. La conclusion,loin d’apporter une réponse radicale, tendrait à considérer sa danse à la fois comme renaissance de l’antique et naissance d’une nouvelle danse
This thesis, directed by Professor Claude Jamain, questions Duncan’s assertion that she does not invent her dance, which she describes as natural, even though, it is immediately praised for its novelty. In order to deal with this paradox, this research seeks to capture the way she developed her dance as a discipline with its kinesthetic, motor and qualitative aspects,against the historical and cultural contexts she encountered in America and Europe at theturn of the 19th and 20th centuries. After a presentation of bodily-practices in the United States, the thesis shows how the imaginary view of nature in America and the differing visions of antiquity in the United States and in Europe feed the development of her dance.Our conclusion, far from offering a radical answer, would rather consider her dance as are birth of the antique, as well as a new emerging dance

O objetivo de nossa pesquisa é demonstrar que a intervenção psicológica durante o desencadeamento da primeira crise psicótica, pode ajudar de modo muito significativo, o terapeuta no seu trabalho clínico. O Estudo de Caso, objeto desta pesquisa, que chamamos de O Caso Clínico de Isadora, foi inspirado por nosso trabalho terapêutico com esta jovem paciente. Foi no decorrer deste trabalho que descobrimos a importância da intervenção psicológica, quando o paciente psicótico, desde a sua primeira crise, recebe, simultaneamente com o trabalho psiquiátrico, uma ajuda psicológica. Utilizando a estratégia da intervenção psicológica desde a primeira crise psicótica, nós conseguimos minimizar os seus efeitos desastrosos sobre a personalidade da paciente. A realização desta pesquisa só foi possível graças às narrativas que a paciente nos fez durante as sessões psicoterápicas, bem como graças a tudo o que ela própria escreveu sobre os seus sonhos e os seus delírios. Recolhemos os dados que nos pareceram mais importantes e, desse material clínico, tentamos fazer uma leitura psicanalítica, tendo como referência teórica a doutrina freudiana e os comentários de alguns discípulos de Lacan. Nós esperamos que esta pesquisa possa mostrar de que modo o paciente psicótico, após a intervenção psicológica, torna- se menos resistente ao processo psicoterapêutico, que vai ajudá-lo a reconstruir seu mundo interior, em condições mais favoráveis, levando em consideração a melhora de seu sistema defensivo, de sua capacidade de relação com a realidade e também com as pessoas que formam seu mundo ambiente, com as quais tenta conviver
The objective of this research is to demonstrate that psychological intervention during the first psychotic crisis can sinificantly help the therapist in his clinical work. The Case Study, object of this research, entitled The Isadora Clinical Case, was inspired by our clinical psychotherapeutic work with a young patient. During this clinical psychoterapeutic process we discovered the importance of the psychological intervention, when the psychotic patient, in her first crisis, receives psychological help simultaneously with the psychiatric treatment. Utilizing the strategy of the psychological intervention right from the first psychotic crisis, it was possible to minimize its desasterous effects on the patients personality. The implementation of this research was possible due to the patient narratives during psychotherapeutic sessions, as well from everything she wrote about her dreams and her delirius. We collected the data that seemed most important and, from this clinical material, we proceeded with a psychoanalytic reading, using as theoretical reference Freuds doutrine and the comments of some of Lacans disciples. We hope that this research will show how the psychotic patient, after psychological intervention, becomes less resistent to the psychotherapeutic process, which will help to rebuild his inner world, in more favorable conditions, having improved his defense system, his capacity to relate to reality, and also, with the persons that form his surrouding world that he tries to live with

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No dia 11 de julho de 2012 a jovem estudante Isadora Faber, de 13 anos, criou uma página no Facebook chamada Diário de Classe. O objetivo era utilizar o espaço para denunciar deficiências na educação pública no Brasil a partir da sua realidade particular, vivida na escola Ebm Maria Damázio Coelho, em Florianópolis (SC). Depois de despertar a atenção da imprensa e ganhar repercussão nacional, o caso ilustrou diversas perspectivas sobre as novas formas de expressão e conversação trazidas por tecnologias da informação, especialmente sites de redes sociais como o Facebook. Ao analisar o conteúdo presente no diário de Classe, no contexto das reações sociais e midiáticas à página, o presente trabalho permite observar de que maneira os atores sociais constroem identidades e reforçam cidadanias em ambiente social. Para isso, investiga, sob a perspectiva intercultural de Néstor Garcia Canclini, como as apropriações do Facebook em diálogo com a mídia tradicional possibilitaram a participação social e favorecem o ciberativismo em uma contexto de modernidade reflexiva
On July 11 th 2012, a young student called Isadora Faber, 13 years old, created a page on Facebook called Diário de Classe - gradebook. The target was use the tool to report deficiences of public education in Brazil from her particular reality, experienced in school Maria Damázio Coelho, in Florianópolis (SC). After gretting press attention and gaining national visibility, the case illustrated several perspectives on new forms of expression and conversation brought by information technology, especially from social networking sites such as the Facebook. By analyzing the content present in Diario de Classe, in the context of social and media reactions to the page, this work allow us to observe how social actors construct identities and reinforce citizenship in social environment. To reach this, investigates with intercultural perspective of Néstor Canclini, how Facebook's appropriation in dialogue with the traditional media allow social participation and favor cyberactitivism in a context of reflexive modernity

Orientador: Cláudio Bertolli Filho
Banca: Maria Cristina Gobbi
Banca: Mirna Tonus
Resumo: No dia 11 de julho de 2012 a jovem estudante Isadora Faber, de 13 anos, criou uma página no Facebook chamada "Diário de Classe". O objetivo era utilizar o espaço para denunciar deficiências na educação pública no Brasil a partir da sua realidade particular, vivida na escola Ebm Maria Damázio Coelho, em Florianópolis (SC). Depois de despertar a atenção da imprensa e ganhar repercussão nacional, o caso ilustrou diversas perspectivas sobre as novas formas de expressão e conversação trazidas por tecnologias da informação, especialmente sites de redes sociais como o Facebook. Ao analisar o conteúdo presente no diário de Classe, no contexto das reações sociais e midiáticas à página, o presente trabalho permite observar de que maneira os atores sociais constroem identidades e reforçam cidadanias em ambiente social. Para isso, investiga, sob a perspectiva intercultural de Néstor Garcia Canclini, como as apropriações do Facebook em diálogo com a mídia tradicional possibilitaram a participação social e favorecem o ciberativismo em uma contexto de modernidade reflexiva
Abstract: On July 11 th 2012, a young student called Isadora Faber, 13 years old, created a page on Facebook called "Diário de Classe" - gradebook. The target was use the tool to report deficiences of public education in Brazil from her particular reality, experienced in school Maria Damázio Coelho, in Florianópolis (SC). After gretting press attention and gaining national visibility, the case illustrated several perspectives on new forms of expression and conversation brought by information technology, especially from social networking sites such as the Facebook. By analyzing the content present in "Diario de Classe", in the context of social and media reactions to the page, this work allow us to observe how social actors construct identities and reinforce citizenship in social environment. To reach this, investigates with intercultural perspective of Néstor Canclini, how Facebook's appropriation in dialogue with the traditional media allow social participation and favor cyberactitivism in a context of reflexive modernity
Mestre

Dance
Ph.D.
In her autobiography, Isadora Duncan recalled an assertion made by Karl Federn: "Only by Nietzsche, he said, will you come to the full revelation of dancing expression as you seek it" (Duncan 1995, 104). Duncan also told her students to read Nietzsche's The Birth of Tragedy, as if it was their "Bible" (Duncan 1928, 108). These statements justify an examination of Nietzsche's The Birth of Tragedy as an imperative source for understanding the depth of her dance philosophy. This dissertation asks what it means to see Duncan's philosophy of dance and its practice in the context of this nineteenth-century German philosopher. It examines Nietzsche's words and ideas about the birth of tragedy and how they become body in the writings and dance of Isadora Duncan. This dissertation focuses on the philosophical idea of the "tragic idea" according to Nietzsche's and Duncan's interpretations and applications of philosophy bodied forth in dance. This tragic idea comes from an emerging idea in intellectual history initiated by followers of Kant. The idea of drawing from Greek tragedy a philosophy that could be used in philosophical thought to debate the meaning and function of art and even life was particular to German thinkers, philosophers and literati. While it drew from Greek tragic plays a philosophy, German thought on tragedy differed from the ancients in that it was applied as a philosophy for life. The ideas on Greek tragedy that Nietzsche situates his own within were developed within and against the Romantic aesthetic. The characteristics of Romantics provide context for understanding the use of tragedy as a source for thought and art. Although Nietzsche came to oppose aspects of Romanticism, his first book was in part a dialogue with German Romantic thought and aesthetics. Nietzsche's idea of tragic philosophy in his The Birth of Tragedy is examined in precedence to Duncan's use of his book. This dissertation provides an historical contextualization of the idea of a tragic philosophy to show that Duncan's choice to base her dance philosophy on Nietzsche's tragic philosophy follows this historical philosophical thread. As Nietzsche both dedicated The Birth of Tragedy to Wagner and based the book on Wagner's interpretation of Greek tragedy (Williamson 2004, 238), and Duncan wrote on and danced to Wagner, Wagner is relevant within the specific context of understanding Duncan's dance as a philosophical practice of The Birth of Tragedy. This dissertation, then, looks into Duncan's writings as a way to read Nietzsche's The Birth of Tragedy, and through these texts to interpret some aspects alive within the Romantic mood. In addition, this dissertation incorporates as part of both the literature and the analysis of Duncan's moving image, an embodied voice of personal experience from its writer, who has practiced this dance intimately. I weave my personal experience into the dissertation, using my experience in dancing within this dance form to reflect on the ideas presented here. The tragic idea as I see it within this movement drives the dancer's ideas about dance as an expressive art form. A tragic philosophy/wisdom motivates the imagination, the range of emotional expression and the physical body as it shapes and moves itself in, through and around space. A tragic sensibility represents a quality of investigation about the range of human experience that happens in and from out of the body. It comes from deep within the body's inner space and emotional and physical aliveness. It is an idea that the dancer is conscious of and actively engaged in as a process of dancing (for oneself) and making dance (as performative).
Temple University--Theses

Tesis para optar al grado de magíster en artes con mención en teoría e historia del arte
El presente trabajo de tesis busca abordar los tránsitos y tensiones claves del surgimiento del modernismo en danza, bajo la óptica de la tensión tecnológica (entendida como proceso de modernización) y el naturalismo como visión contra-moderna. De esta forma las tensiones que se expresan en el punto de inflexión del cambio de siglo permean la constitución de una nueva forma de entender la disciplina de la danza. La emergencia de la danza moderna está antecedida por una serie de fenómenos que son los que interesa observar y discutir. ¿Cuáles son las condiciones de posibilidad que dan cuenta de la emergencia del modernismo en Danza? Colocando en el centro de la investigación las nociones de técnica, naturalismo, modernismo, y el cómo la obra y pensamiento en Vaslav Nijinsky, Isadora Duncan y LoÏe Fuller pueden dar cuento de ello.

Los principios de la danza libre, desarrollados por Isadora Duncan a inicios del siglo XX, tales como la observación de la naturaleza, la belleza y la forma, y el ritmo proponen un acercamiento personal al movimiento libre del cuerpo y al retorno de las formas naturales físicas que el ser humano dejó de utilizar producto de la búsqueda de un esteticismo en las danzas clásicas como el ballet durante los siglos anteriores. Estas danzas se caracterizaban por ser rígidas y cumplir patrones de movimiento inalterables que deformaban el cuerpo. Por ende, la investigación se propone recuperar la libertad de movimiento que propuso Duncan en su danza libre adaptándola al teatro y aplicándola al entrenamiento físico del actor en nuestro contexto actual con el fin de redescubrir y ampliar sus posibilidades físicas comunicacionales en escena. Así mismo propone desarrollar una conciencia plena del cuerpo, su uso y la relación con el otro en el espacio. El objetivo principal radica en validar que enfoque de trabajo de los principios adaptados funciona como medio para la construcción de códigos corporales extracotidianos que como consecuencia permiten adquirir mayor libertad creadora en escena. Por ende, el proceso del laboratorio intenta probar que el cuerpo posee gran capacidad comunicativa y expresiva que se encuentra dormida o poco desarrollada, pero que puede ser incrementada entrenando con los principios adaptados de la danza libre.
Tesis

O objetivo desta dissertação é examinar as articulações entre o teatro e as mídias digitais no âmbito dos espetáculos Isadora.Orb- A Metáfora Final (2005), do brasileiro nascido nos Estados Unidos Ricky Seabra, e A Un Certo Punto Della Vita Dovresti Impegnarti Seriamente I Smetteredi Fare Il Ridicolo (2007), do argentino radicado na Espanha Rodrigo García. Considerando o espetáculo teatral como um espaço intermedial por excelência, a análise das obras permitiu a identificação dos procedimentos de composição da cena onde se destacam os princípios operatórios aqui denominados como montagem revelada e acontecimento teatral como experimento.
This thesis aims at examining the manner in which the theatre articulates with the digital media in two plays, Isadora.Orb - A Metáfora Final (2005) - by the Brazilian director Ricky Seabra, born in the United States - and A Un Certo Punto Della Vita Dovresti Impegnarti Seriamente e Smettere di Fare Il Ridicolo (2007) - by the Argentinian director Rodrigo García, who has established himself in Spain. By considering that the theatrical spectacle is the intermedial space par excellence, the analysis of these works allows the identification of the procedures employed for the composition of the scene. Among the most important of these, two procedural principles stand out, which are designated here as the revealed montage and the theatre event as an experiment.

Isadora Duncan fait partie de ce genre d’artiste qui laisse une empreinte profonde dans la culture. Arrivée en Europe en 1899 avec sa famille pour exposer sa nouvelle danse, Isadora Duncan va sillonner l’Europe et le monde pour montrer, au moyen de son savoir-danser, une voie à l’éveil de soi. Elle-même objet de cette expérience à laquelle elle a été préparée dans la cellule familiale par une éducation de l’amour de l’être pour ce qu’il est, Isadora choisit sa propre voie philosophique pour élaborer son œuvre en communauté et projeter de former, avec sa sœur Elizabeth, des disciples à l’art Duncan. Or, le contexte réformateur de la vie en Allemagne et le déploiement économique et technique de l’industrie, vont poser, d’une certaine façon, l’antagonisme des voies pédagogiques que choisissent les sœurs Duncan dans leur transmission. Elles vont surtout révéler la survivance d’un courant pédagogique antique à partir duquel elles construisent leur rapport au monde et le sens qu’elles donnent à l’aspect de la formation. Car le style d’Isadora Duncan, s’il peut être défini comme étant un style naturel, c’est qu’il pose la question de sa genèse, de sa transmission et de ce qu’il laisse en héritage. C’est cet ensemble de questions qui a motivé notre enquête par traces au sein des archives en suivant Isadora et sa famille. Mais c’est aussi dans les lieux de pratiques Duncan que nous avons suivi le fil de la transmission et le projet depuis son origine pour en comprendre le sens
Isadora Duncan is part of this kind of artist who leaves a deep imprint in the culture. Arrived in Europe in 1899 with his family to exhibit his new dance, Isadora Duncan will travel Europe and the world to show, through his knowledge-dancing, a path to self-awareness. She herself is the object of this experience to which she was prepared in the family unit by an education of the love of being for what it is, Isadora chooses her own philosophical way to elaborate her work in community and project of form, with his sister Elizabeth, disciples at Duncan art. However, the reforming context of life in Germany and the economic and technical deployment of the industry will, in a way, pose an antagonism to the educational pathways chosen by the Duncan sisters in their transmission. Above all, they will reveal the survival of an ancient educational current from which they have built their relationship to the world and the meaning they give to the aspect of formation. For Isadora Duncan's style, if it can be defined as a natural style, is that it raises the question of its genesis, its transmission and what it leaves as an inheritance. It is this set of questions that motivated our investigation by traces in the archives, following Isadora and his family, but also in places of practice Duncan to find the thread of transmission and follow the project from its origin to understand the meaning

The emergency of complex phenomena in our time has forced creators to reconnect knowledge in design, since at the moment, most of them have fragmentary and hyper specialized inertia. Due to this, nowadays, in architecture the interest for hidden or little-known historic figures, related to science and technology, that for years looked for answers of design within the interconnection of different dimensions of reality, especially in conjunction with models of generative systems. This condition or problem on the daily chore allows us to approach to more general topics around the way man comes into contact with ideas and how it materializes them. In this case, the specific interest lies in how this happens in the architecture of the North American Northeast, or more exactly in the North American derivations of European theories, around the middle of the 20th century. That is, the moment in which there was a traffic of figures of science and technology between Europe and North America, which nurtured the architecture. Specifically, this text is interested in the figure of the architect A. G. Tyng, who maintained a strong professional and personal relationship with L. I. Kahn, one of the most notable figures of twentieth-century architecture. In this way, the initial concern was; how did she reconnect knowledge and how she materialized her seminal work between 1951 and 1953? Then, the objective of this thesis is to decipher the set of norms and rules that make up the practical theoretical world of A. G. Tyng, through the exegesis of his seminal work between 1951 and 1953, and his special relationship with L. I. Kahn. The answer to our research question was constructed from a qualitative descriptive-critical view, in which the inductive inferences, the abduction and methodologic empiricism prevailed. The physical description was privileged in this document, thanks to its presence in the present, what allowed it we face the theory and phenomena manifesto, as well as its comprehension and its internal laws’. Couple with the above, it is important to highlight that this thesis approached a different angle than usual, and at the same time, opened a space of historiographical experimentation where the hypotheses of these great stories were tested. The results of the study indicated how the ideal of progress, coupled with science and technology in the mid-20th century United States, fueled a traffic of ideas between the professional and educational worlds. This generated a readjustment in the reductive and totalizing architectural models, dominant at that time, a fact that guided A. G. Tyng in the process of articulating fragmented knowledge in disciplines or fields of knowledge towards interdisciplinary and transdisciplinary reflexive models close to generative systems. Namely, it helped her in her search for tomorrow's structures. In conclusion, this process contributed to the construction of a new critical path for architecture and provided evidence to rearrange the history of L. I. Kahn, one of the great figures of architecture. He also delegated to us the bases of the visionary theories of A. G. Tyng, which represents an invaluable collection for research interested in the affinity to numbers and their similarity with computer-aided design logics or their similarity with design, close to the scientific paradigm or complex thought.
La emergencia de los fenómenos complejos en nuestro tiempo ha obligado a los creadores a reconectar conocimientos en el diseño, ya que, actualmente, muchos presentan una inercia fragmentaria e hiperespecializada. En razón a esto, en la arquitectura se ha despertado hoy día el interés por las figuras históricas ocultas o poco conocidas, próximas a la ciencia y a la tecnología, que por años buscaron respuestas de diseño en la interconexión de distintas dimensiones de lo real, especialmente en conexión con modelos de sistemas generativos. Esta condición o problemática en el quehacer investigativo nos permite aproximarnos a temas más generales en torno a la forma en que el hombre entra en contacto con las ideas y cómo las materializa. En este caso, el interés específico radica en cómo sucede esto en la arquitectura del noreste norteamericano, más exactamente en las derivaciones norteamericanas de las teorías europeas, alrededor de la mitad del siglo XX; esto es, el momento en el cual sobrevino un tráfico de figuras de la ciencia y la tecnología entre Europa y Norteamérica, que nutrió la arquitectura. De manera puntual, este documento se interesa en la figura de la arquitecta Tyng quien mantuvo una fuerte relación profesional y personal con Kahn, una de las figuras más notables de la arquitectura del siglo XX. De esta manera, la inquietud inicial fue: ¿Cómo reconectó ella conocimientos y cómo materializó su obra seminal entre 1951 y 1953? Luego, el objetivo de esta tesis es descifrar el conjunto de normas y reglas que conforman el mundo teórico práctico de Tyng ¿a través de la exégesis de su obra seminal entre 1951 y 1953¿ y su especial relación con Kahn. La respuesta a esta pregunta de investigación fue construida a partir de una visión cualitativa descriptiva-critica, en la que primaron las inferencias inductivas, la abducción y el empirismo metodológico. La descripción física fue privilegiada en este documento, gracias a su existencia en el presente, lo que permitió enfrentar la teoría y el fenómeno manifiesto, así como su comprensión y la de sus leyes internas. Aunado a lo anterior, es importante resaltar que esta tesis abordó un enfoque distinto al habitual y a la vez abrió un espacio de experimentación historiográfica en el que las hipótesis de esas grandes historias fueron puestas a prueba. Los resultados del estudio indicaron cómo el ideal de progreso, unido a la ciencia y a la tecnología en los Estados Unidos de mediados del siglo XX, alimentaron un tráfico de ideas entre el mundo profesional y educativo. Este generó un reajuste en los modelos arquitectónicos reductivos y totalizantes, dominantes en ese tiempo, hecho que dirigió a Tyng en el proceso de articular los conocimientos fragmentados en disciplinas o campos de saber hacia modelos reflexivos interdisciplinarios y transdisciplinarios cercanos a los sistemas generativos. A saber, la ayudó en su búsqueda de las estructuras del mañana. En conclusión, este proceso contribuyó en la construcción de un camino crítico nuevo para la arquitectura y aportó pruebas para reacomodar la historia de Kahn, una de las grandes figuras de la arquitectura. Así mismo, nos mostró las bases de las visionarias teorías de Tyng, lo que representa un acervo invaluable para las investigaciones interesadas por la afinidad al número y por su similitud con las lógicas de diseño asistido por ordenador o por su semejanza con el diseño, cercano al paradigma científico o al pensamiento complejo.

Made available in DSpace on 2016-08-16T18:10:28Z (GMT). No. of bitstreams: 1 Dissertacao Flavia.pdf: 4044882 bytes, checksum: db7533376c5e67719cb0ac0e8b541b8d (MD5) Previous issue date: 2012-12-14
FUNDAÇÃO DE AMPARO À PESQUISA E AO DESENVOLVIMENTO CIENTIFICO E TECNOLÓGICO DO MARANHÃO
Discussion sur la cohabitation des éléments religieux (sacrés) et comiques dans la manifestation culturelle Reisada, en mettant en relief un groupe du village Nazaré do Bruno à Caxias /Maranhão, et en analysant le personnage Careta et ses actes dans les moments de la prière et de la procession de Santos Reis. On a cherché a caractériser d une façon générale la manifestation, en identifiant son apparition et en décrivant le lieu où il s insère pour analyser postérieurement la manifestation en soi, en décrivant ses étapes rituelles, les éléments sacrés qui sont autour et qui la justifient, tout comme la structure de la présentation, en marquant un parallèle à la notion de « COMMUNITAS » pour comprendre le rassemblement, la notion de « liminaridade » pour identifier le personnage Careta. L analyse de la perfomance de ce personage dans les moments probants de l étude a été faite à partir des perceptions des participants et de l assistance par rapport à l acte de rire dans des situations de cerémonies, où on a pu identifier la forme avec laquelle le Careta est perçu comme un personnage porteur d une licence gérée par l entendement général sur le coté comique comme élement fondamental pour la manutention de la manifestation et légitimée par l utilisation du costume et du masque.
Discussão sobre a convivência dos elementos religiosos (sagrados) e cômicos na manifestação cultural Reisada, enfocando um grupo do povoado Nazaré do Bruno em Caxias/Maranhão, analisando o personagem Careta e sua atuação nos momentos da reza e procissão de Santos Reis. Buscou-se caracterizar de maneira geral a manifestação, identificando seu surgimento e descrevendo o local onde se insere, para posteriormente analisar a manifestação em si, descrevendo suas etapas rituais, os elementos sagrados que estão no seu entorno e que a justificam, bem como a estrutura da apresentação, traçando um paralelo à noção de communitas para compreender o agrupamento, a de liminaridade para identificar o personagem Careta. A análise da perfomance deste personagem nos momentos de enfoque do estudo foi feita a partir das percepções dos brincantes e da assistência a respeito do ato de rir em situações cerimoniais, onde pudemos identificar a forma como o Careta é percebido como personagem detentor de uma licença mediada pelo entendimento geral de que a comicidade é um elemento fundamental para manutenção da manifestação e legitimada pelo uso do figurino e da máscara.

碩士
國立臺灣藝術大學
表演藝術研究所
98
According to the development of semiotics, the usage of semiotics has applied from linguistics to performing arts. As to the character image construction, the researcher takes Isadora Duncan (1877-1927) for example. In order to discuss how to construct Duncan free dance image by the semiotics, the researcher tries to analyze the documents of literal records, movements, and reconstruction. In the aspect of literal records, the researcher adopts the historical document collecting and comparative methods to find out how Duncan free dance philosophy conveyed by the literal semiotics. As for the movements, the researcher combines the method of Motif Writing and Laban Movement Analysis to record and discuss the movements that Duncan’s student, Julia Levien, has advocated. The researcher finds out how Duncan free dance image is constructed by the movement traits of bending, stretching, contracting, spreading, gesturing, and transferring the weight. At last, as for the reconstruction, in order to extend the discussion from the movement to the music, costume, lighting and props, the researcher takes the theatrical semiotic point of view to analyze Duncan’s reconstruction, Southern Roses (1914) to examine Duncan free dance image. To conclude, the researcher finds out how Duncan free dance image is constructed by the different semiotics of literal records, movements and reconstruction.

Tese de doutoramento, Belas-Artes (Desenho), Universidade de Lisboa, Faculdade de Belas-Artes, 2013
Tendo como ponto de partida o livro Os Cantos de Maldoror e o seu estudo teórico e prático, tentou-se identificar e compreender o reportório plástico e poético que o Conde de Lautréamont deixou registado na história da arte, direcionando-o para o objectivo final de ilustrar a obra e de comprender melhor o papel desta obra no nosso próprio desenho.
Starting with the book The Songs of Maldoror and its theoretical and practical study, we aimed to identify and understand the plastic and poetic repertoire that the Count of Lautréamont left recorded in the history of art, directing it to the ultimate goal of illustrating the work and better understand the role of that book in our own drawing.

Dissertação de mestrado integrado em Arquitectura, Universidade Lusíada de Lisboa, 2014
Exame público realizado em 23 de Abril de 2014
A presente dissertação propõe assimilar questões para nós fundamentais da arquitectura. Interessa-nos assim questionar como esta se constitui e se desenvolve a partir de dois sistemas: espacial e formal. A forma e o espaço são temas gerais e complexos na arquitectura, pelo que fazemos a sua distinção através da referência a dois arquitectos: Louis Kahn e Steven Holl. Para melhor compreensão dos processos arquitectónicos inerentes a cada arquitecto, optou-se por um enquadramento histórico no âmbito de um sistema espacial na época da arquitectura do Modernismo, e um sistema formal compreendido no Pós-Modernismo. Em que respectivamente se enquadram Kahn e Holl. É conhecida a concretização espacial de Kahn pelo método ordenador dos espaços que servem e os servidos. Steven Holl compõe uma organização formal por intermédio de um moldar dos espaços direccionados para a sensibilidade da experiência de um indivíduo no lugar e na própria arquitectura. O interesse particular em entender estas estratégias é resumido nas intervenções do artista plástico Gordon Matta-Clark, onde o mesmo demonstra a obtenção de espaço e forma pela supressão de matéria de edifícios pré-existentes.

Dissertação de mestrado integrado em Arquitectura, Universidade Lusíada de Lisboa, 2019
Exame público realizado em 25 de Julho de 2019
Esta dissertação, tem como objectivo, o estudo da obra e da metodologia do arquitecto Manuel Vicente. Assenta em dois casos de estudo, representativos de escalas diferentes, bem como assim, de tipologias diferentes. Metodologicamente, vamos estudar e ler criticamente as obras a que equivalem diferentes fases e modus operandi do arquitecto. O contributo dos ex-colaboradores de Manuel Vicente, através das entrevistas concedidas, são pedra basilar, adquirindo as suas citações, durante o estudo, um carácter omnipresente. No primeiro grande capítulo, estudamos o Posto Operacional dos Bombeiros da Areia Preta, ou POBAP, analisando os pressupostos do seu desenho, desde o momento da definição dos planos urbanísticos da zona onde se insere; a Areia Preta, em Macau; passando pela malha da implantação, geometria, luz, e culminando nos elementos de forte génese Pop e de grande componente comunicativa da cidade. Dentro do mesmo capítulo, há uma abordagem ao tema da luz, como elemento definidor de espaço. Criamos um paralelismo entre a obra de Manuel Vicente e a de Louis I. Kahn; incluindo questões fenomenológicas e Poéticas do Espaço, presentes na obra de Gaston Bachelard. No segundo capítulo, o caso de estudo, é o Bairro Social do Fai Chi Kei, localizado na Bacia do Patane, também em Macau. Na consequência da ausência do elemento fisico, fruto da sua demolição em 2010, não existiu estudo in loco. Centramo-nos assim, nos testemunhos dos ex-colaboradores de Manuel Vicente, nas memórias das gentes de Macau e críticas do panorama internacional. O principal objectivo, é invocar a memória vivencial e a dimensão afectiva daquele edifício e daqueles espaços, destrinçando também a sua dimensão física. Procura-se ainda o enquadramento no tempo, ou seja, do passado ao presente.
This dissertation has as its objective the study of the work and methodology of the Architect Manuel Vicente. It rests on two case studies, representatives of different scales, as well as, different typologies. Methodologically, we will study and read critically the works that match different phases and different modus operandi of the Architect. The contribution of his former collaborators, through the interviews ceded, are the cornerstone of this work. Their quotes, during the study, acquire an omnipresent character. In the first major chapter, we will study the POBAP, or, Posto Operacional dos Bombeiros da Areia Preta, and explore the particulars of its design. Since the moment of the urban planning of the area where its implanted; the Areia Preta area, in Macau; until the implantation grid, geometry, light, and culminating in the elements of strong Pop genesis and of great communicative component of the city. In the same chapter, there is an approach to the theme of Light, as defining element of space. We create a parallel beetween Manuel Vicente´s and Kahn´s work, including space phenomenological and poetic matters, present in the work of Gaston Bachelard. In the second chapter, the case study referes to the Fai Chi Kei social housing, located in the Patane Basin, also in Macau. In the absence of the physical element, as the result of its demolition in 2010, there was no in loco study. We focus thus, on the testimonies of Manuel Vicent´s former collaborators, but also on the memories of the Macao people and criticism of the international scene. The main objective is to invoke the experiential memory and the affective dimension of that building and of those spaces, untying too, its physical dimension. We also seek to place it in a timespan, or in other words, from the past to the present.