Socially critical pedagogy and the 'production of skilled performers': Further considerations of teaching and learning in physical education

The growing call for physical educators to move beyond the bounds of performance has been a powerful discourse. However, it is a discourse that has tended to be heavy on theory but light on practical application. This paper discusses recent work in the area of skill acquisition and what this might mean for pedagogical practices in physical education. The acquisition of motor skill has traditionally been a core objective for physical educators, and there has been a perception that child-centred pedagogies have failed in the achievement of this traditional yardstick. However, drawing from the work of Rovegno and Kirk (1995) and Langley (1995; 1997), and making links with current work in the motor learning area, it is possible to show that skill acquisition is not necessarily compromised by child-centred pedagogy. Indeed, working beyond Mosston's discovery threshold and using models such as Games for Understanding, can provide deeper skill-learning experiences as well as being socially just.

Can the dead speak? appropriation and rewriting of the canon in Angela Carters Nights at the circus and in Margaret Atwoods The Penelopiad

Esta dissertação visa estudar como autoras pós-modernas se apropriam e reescrevem textos canônicos em uma tentativa de trazer à tona e desconstruir as metanarrativas patriarcais, que informam tais textos. Tal objetivo pretende ser alcançado através de um estudo sobre a formação do cânone literário, dos conceitos de mito e principalmente das estratégias narrativas utilizadas por essas autoras em seu processo criativo. Para tal, um estudo sobre intertextualidade, a paródia e a intertextualidade paródica é levado a cabo nesta dissertação. Dois romances figuram como objeto de investigação neste trabalho. O romance Nights at the Circus, da escritora inglesa Angela Carter, é o primeiro a ser analisado. Nesse romance, as estratégias de apagamento das fronteiras entre os gêneros e a intertextualidade paródica entre textos e mitos clássicos como formas de apropriação e subversão do cânone, são privilegiadas. O outro romance que se faz presente nesta dissertação é a obra da autora canadense Margaret Atwood intitulada The Penelopiad. Nesse romance, personagens que antes eram marginalizados ou não tinham voz figuram como personagens principais, como é o caso de Penélope e de suas doze criadas. Esta dissertação visa, assim, mostrar como essas apropriações de textos canônicos exercem um papel fundamental no questionamento da artificialidade de discursos que são naturalizados e dos valores propagados pelos mesmos

THE PERFORMER’S INFLUENCE ON FRANCO-BELGIAN COMPOSITIONS FROM 1870 TO 1930

The turn of the 20th century marked an ascendancy of the Franco-Belgian school of composers. French composers were inspired by the great German composers of the Romantic era, and they created their own defined national style that emerged toward the end of the 19th century. The Franco-Belgian composers’ special emphasis on tone, timbre and color encouraged a more individual, personally interpretative approach. These devices underscore the importance and influence a performer can have on the outcome of a piece. I researched the relationship between composers and violinists at a time when the Franco-Belgian style developed and flourished. The Franco-Belgian school of violin playing emerged from the Paris and Brussels conservatories as well as the symbiotic relationship between the performers and composers. Three recitals in collaboration with pianist David Ballena, which comprise this dissertation project, were performed at the University of Maryland. Each recital featured music for violin and piano from 1870 through 1930. The repertoire was chosen to reflect a performer’s influence on a composer. I examined specific composer/performer relationships that helped shape the birth of a newly defined “French” style of playing. My research focused on the stylistic interactions composers, such as César Franck, his disciple Guillaume Lekeu had with the leading prominent Belgian violinist Eugène Ysaye and between Maurice Ravel and the Hungarian violinist Jelly d’Aranyi. I also looked into the personal relationship between friends who inspired each other: Gabriel Fauré and Paul Viardot, Edouard Lalo and Pablo de Sarasate, Claude Debussy and Arthur Hartmann, and the young Lili Boulanger and Yvonne Astruc. Furthermore, I looked into the unfulfilled love between Maurice Ravel and Hélène Jourdan-Morhange, as well as the marriage of Olivier Messiaen with Claire Delbos, both relationships resulting in masterpieces for violin that have remained a part of the standard violin repertoire. My research led me to understand what type of violin playing each composer had in mind while composing, all of which led me to understand the importance a performer has in preserving national styles. The recitals were recorded on compact discs and archived within the Digital Repository at the University of Maryland (DRUM).

New Circus: the benefits of Circus Training for young people in a residential setting,

Circus 1 to 3 is a circus school, based on the concept of New Circus, for boys resident in St. Patrick's Training School, Northern Ireland. The project is designed, not only to teach Circus skills, but also to foster social and personal skills. This report details an evaluation undertaken to assess die extent to which this programme meets these aims. A study of participants Circus records indicated that significant gains in co-operative behaviour, team-work, attitude and participation, as rated by Circus tutors, were evident over the course of boys involvement. A qualitative study was also conducted. These interviews with Circus 1 to 3 participants indicated that this project enhanced the quality of life for boys resident in St. Patrick's Training School. In addition the project, through the use of positive feedback, provides opportunities for boys to develop their social and personal skills. This evaluation concludes that Circus 1 to 3 is a worthwhile and successful endeavour.

Collective synchrony increases prosociality towards non-performers and out-group members

Previous research has found that behavioural synchrony between people leads to greater prosocial tendencies towards co-performers. In this study we investigated the scope of this prosocial effect: does it extend beyond the performance group to an extended in-group (extended parochial prosociality) or even to other people in general (generalized prosociality)? Participants performed a simple rhythmic movement either in time (synchrony condition) or out of time (asynchrony condition) with each other. Before and during the rhythmic movement, participants were exposed to a prime that made salient an extended in-group identity. After the task, half the participants had the opportunity to help an extended in-group member; the other half had the opportunity to help an out-group member. We found a main effect of our synchrony manipulation across both help targets suggesting that the prosocial effects of synchrony extend to non-performers. Furthermore, there was a significantly higher proportion of participants willing to help an out-group member after moving collectively in synchrony. This study shows that under certain intergroup contexts synchrony can lead to generalized prosociality with performers displaying greater prosociality even towards out-group members.

Composing idiomatically for specific performers : collaboration in the creation of electroacoustic music

Cette thèse examine l'impact de la collaboration avec des instrumentistes particuliers sur la composition de quatre œuvres électroacoustiques. Assumant un rôle plus important que celui de consultant ou conseiller, les interprètes ont influencé les décisions de l'auteur / compositeur dans le cadre de multiples ateliers et d'enregistrements de ceux-ci. Cette thèse examine ainsi comment les outils médiatiques de la musique électroacoustique affectent et enrichissent les relations personnelles : ces outils favorisent la transcription et la traduction, qui à la fois soulignent et transforment la spécificité du son. Le dialogue de la collaboration permet par la suite non seulement une réconciliation plus facile entre les éléments médiatisés et directs dans une oeuvre, mais aussi l'ouverture de son potentiel d'interprétation. En se servant d'une méthodologie qui fait appel à une pratique d'auto-réflexion et récursivité, cette thèse explore des sujets tels que : l'analyse du style personnel dans un cadre linguistique; l'importance du contact physique dans la collaboration et sa traduction incomplète sur support; et les défis de la préservation de la musique électroacoustique pour média ou interprète particulier. Des exemples de la création collaborative de quatre œuvres, racontés de manière personnelle, sont tressés parmi le récit plus théorique de cette thèse, imitant le va-et-vient de la recherche-création.

The circus.

El objetivo de esta serie es desarrollar en los niños las habilidades para la lectura y la comprensión de textos, a lo largo de doce niveles y mediante la narración de una historia distinta en cada uno de los libros que la componen. Se refuerza el vocabulario relacionado con el contenido de la historia y se acompaña de distintas actividades. En ésta, se cuentan la visita a un circo, y se incluye en el nivel seis.

The flying circus. 'El circo volador'.

Dirigido a niños de cinco a ocho años, forma parte del plan de estudios del idioma Inglés en el programa nacional de estudios. La colección fue desarrollada en una serie de televisión de la BBC. Consta de veintiseis episodios, cada uno con una historia diferente, dando además, consejos útiles para enseñar a los niños un buen uso del Inglés. Floppy es un perro que tiene un collar con una llave mágica que le permite cumplir sus deseos, en este caso, transportar a los niños Biff, Kipper y Chip en medio de un aeródromo donde cuatro máquinas voladoras están listas para despegar.Una vez que están en el aire, Chip ha de ser capaz de guiarlas hacia abajo en condiciones de seguridad.

Spot goes to the circus.

El balón de Spot rebota en la carpa del circo y el cachorro sale en su busca. Los niños se divierten, levantado las solapas y ayudando al perrito a descubrir donde esta su pelota: no está en la nariz del payaso, ni en la boca del león, no la tiene el elefante de los globos, ni la cerdita equilibrista, tampoco el canguro saltarín.

Performing performers: embodiment and intertextuality in the contemporary biopic

The actor’s body is of critical importance to the biopic’s representation of ‘real’ lives, to issues of physical and gestural resemblance, and in its role as the dramatic vehicle; acting out significant moments, embodying transformations. Through detailed examination of Beyond the Sea (2004), De-Lovely (2004), Molière (2007), films which foreground the construction, and constructedness, of life through performance and spectacle, this chapter explores the self-reflexive and intertexual embodiment of life stories. It focuses on the material details of performance in relation to distinctly contemporary strategies of film style and tone, and how these connect to questions of expectation and agency.