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La Técnica del Teatro y la Comunicación Asertiva en la I.E. Inca Garcilaso de la Vega, Angaraes-Huancavelica
No full textEl presente trabajo de investigación titulado: “La técnica del teatro y la comunicación asertiva en la I.E. Inca Garcilaso de la Vega, Angaraes-Huancavelica”; tuvo como objetivo general de determinar la influencia de la Técnica del teatro en el desarrollo de la Comunicación asertiva en la I.E. Inca Garcilaso de la Vega, Angaraes-Huancavelica. Tipo de investigación es aplicada, nivel explicativa, de diseño Pre-Experimental con un solo grupo, la población estuvo conformada por 47 estudiantes de 1°, 2°, 3°, 4° y 5° grado de secundaria de la Institución Educativa de “Inca Garcilaso de la Vega” de Ccochatay del Distrito de Secclla, el tipo de muestreo es no probabilístico y la muestra está conformado por 15 estudiantes de 4° grado secundaria de la Institución, la técnica empleada para la recopilación de datos es encuesta y el instrumento que se utilizó para recolección de datos es cuestionario con un total de 18 preguntas para el variable de estudio, con una escala nominal y medición de Likert, para el procesamiento de los datos y gráficos estadísticos del estudio se utilizó el programas estadístico Excel y SPSS, así mismo para la contrastación de fiabilidad de hipótesis planteado se utilizó confiabilidad del instrumento se determinó por el coeficiente de Alfa de Cronbach y T Student para la validación de la hipótesis de la investigación con un nivel de confianza de 95%, finalmente demostró que la técnica del teatro influye positivamente en el desarrollo de la comunicación asertiva en los estudiantes de 4° grado secundaria de la I.E. de Inca Garcilaso de la Vega; se logró efectivamente que la comunicación asertiva permite expresarse a los estudiantes de manera clara, directa, honesta y oportuna cuando realizan una representación teatral.ÍNDICE
DEDICATORIA ....................................................................................................................... vi
AGRADECIMIENTO .............................................................................................................. vii
ÍNDICE ................................................................................................................................... viii
ÍNDICE DE TABLAS ............................................................................................................ xiii
ÍNDICE DE FIGURAS ............................................................................................................ xv
RESUMEN ............................................................................................................................. xvii
ABSTRACT .......................................................................................................................... xviii
CHINTI ................................................................................................................................... xix
CAPÍTULO I .............................................................................................................................. 1
INTRODUCCIÓN ..................................................................................................................... 1
1.1. Situación del problema ........................................................................................................ 1
1.2. Formulación del problema .................................................................................................. 3
1.2.1. Problema general ..................................................................................................... 3
1.2.2. Problemas específicos ............................................................................................. 3
1.3. Fundamentación teórica ...................................................................................................... 3
1.4. Fundamentación práctica .................................................................................................... 3
1.5. Objetivos de la investigación .............................................................................................. 4
1.5.1. Objetivo general ...................................................................................................... 4
1.5.2. Objetivo específicos ................................................................................................ 4
1.6. Hipótesis de la investigación ............................................................................................... 4
ix
1.6.1. Hipótesis general ..................................................................................................... 4
1.6.2. Hipótesis específicos ............................................................................................... 4
CAPÍTULO II ............................................................................................................................ 6
MARCO TEÓRICO ................................................................................................................... 6
2.1. Marco teórico ...................................................................................................................... 6
2.1.1. Técnicas del teatro ................................................................................................... 6
2.1.1.1. Concepto de teatro..................................................................................... 6
2.1.1.2. Clasificación de teatro. .............................................................................. 7
2.1.1.2.1. Tragedia. ............................................................................................ 7
2.1.1.2.2. La comedia. ....................................................................................... 7
2.1.1.2.3. Drama. ............................................................................................... 8
2.1.1.3. Beneficios del teatro para el desarrollo personal. ..................................... 8
2.1.1.3.1. Apoyo pedagógico. ............................................................................ 8
2.1.1.3.2. Como apoyo didáctico. ...................................................................... 9
2.1.1.4. Tipos del teatro. ......................................................................................... 9
2.1.1.4.1. Títeres y Marionetas. ......................................................................... 9
2.1.1.4.2. Teatro de sombras. ........................................................................... 10
2.1.1.4.3. Teatro callejero. ............................................................................... 10
2.1.1.4.4. Mimo o pantomima ......................................................................... 10
2.1.2. La comunicación asertiva ...................................................................................... 11
2.1.2.1. Definición de la comunicación asertiva. ................................................. 11
2.1.2.2. Características de las personas con comunicación asertiva. ................... 12
2.1.2.3. Modelo de comunicación asertiva. .......................................................... 12
2.1.2.3.1. Modelo conductual. ......................................................................... 13
2.1.2.3.2. Modelo social. ................................................................................. 13
2.1.2.3.3. Modelo cognitivo. ............................................................................ 13
2.1.2.4. Importancia de la comunicación asertiva. ............................................... 13
2.1.2.5. Teoría de la comunicación asertiva. ........................................................ 14
2.1.2.6. Dimensiones de la comunicación asertiva. ............................................. 14
2.1.2.6.1. Estrategias asertivas. ........................................................................ 14
2.1.2.6.2. Estilos asertivos. .............................................................................. 14
2.1.2.6.3. Comunicación precisa. ..................................................................... 15
2.2. Antecedentes de la investigación ...................................................................................... 15
2.2.1. A nivel internacional ............................................................................................. 15
2.2.2. A nivel nacional .................................................................................................... 16
CAPÍTULO III ......................................................................................................................... 18
METODOLOGÍA DE LA INVESTIGACIÓN ....................................................................... 18
3.1. Tipo de investigación ........................................................................................................ 18
3.2. Matriz de consistencia ....................................................................................................... 18
3.2.1. Matriz de consistencia ........................................................................................... 19
3.2.2. Operacionalización de variables ............................................................................ 20
3.3. Nivel de investigación ....................................................................................................... 21
3.4. Diseño de la investigación ................................................................................................ 21
3.5. Población y muestra .......................................................................................................... 22
3.5.1. Descripción de la población .................................................................................. 22
3.5.2. Selección de la muestra ......................................................................................... 22
3.5.3. Tipo de muestreo ................................................................................................... 23
3.6. Recolección de datos ......................................................................................................... 23
3.6.1. Aplicación de instrumento de evaluación, tabulación y procesamiento ............... 23
3.6.1.1. Aplicación de instrumento de evaluación. .............................................. 23
3.6.1.2. Tabulación y procesamiento. .................................................................. 24
CAPÍTULO IV ......................................................................................................................... 25
ANÁLISIS DE RESULTADOS .............................................................................................. 25
4.1. Análisis de resultados ........................................................................................................ 25
4.1.1. Confiabilidad del instrumento ............................................................................... 25
4.1.2. Análisis e interpretación de datos .......................................................................... 29
4.2. Discusiones ....................................................................................................................... 50
4.2.1. En función al primer objetivo ................................................................................ 50
4.3. Contrastación de la hipótesis ............................................................................................. 52
CAPÍTULO V .......................................................................................................................... 55
CONCLUSIONES ................................................................................................................... 55
CAPÍTULO VI ......................................................................................................................... 56
RECOMENDACIONES .......................................................................................................... 56
BIBLIOGRAFÍA ...................................................................................................................... 57
ANEXO ................................................................................................................................. 60
Anexo A: Matriz de consistencia ............................................................................................. 61
Anexo B: Tabulación de datos estadísticos .............................................................................. 62
Anexo C: Evidencias fotográficas ............................................................................................ 6
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
Author Under Sail The Imagination of Jack London, 1893-1902
No full textIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Intro -- Title Page -- Copyright Page -- Dedication -- Contents -- Acknowledgments -- Introduction -- 1. Spirit Truth -- 2. From Absorption to Theatricality and Back Again -- 3. "I Will Build a New Present" -- 4. Sons as Authors -- 5. Fathers as Publishers -- 6. The Daughter as Author -- 7. Lovers as Authors -- 8. At Sea with the Family -- 9. Yellow News, Yellow Stories -- 10. The Return Home -- Notes -- Bibliography -- Index -- About Jay WilliamsIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
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