A partir de pressupostos teóricos de Émile Benveniste, esta pesquisa investiga o conceito de enunciação e os que o constituem (eu-tu-aqui-agora), no documento intitulado Referenciais da Educação da Rede Municipal de Caxias do Sul, Caderno 2 - Planos de Estudo de Língua Portuguesa, mais especificamente, no que diz respeito aos objetivos gerais e às habilidades dos 7° e 9° anos. De cunho essencialmente bibliográfico, esta investigação fundamenta-se em referenciais teóricos de Saussure e Benveniste, entre outros autores que tratam de educação, epistemologia, processos de ensino e aprendizagem e de questões relacionadas à língua materna. A análise efetiva do conceito de enunciação é realizada com base em um material teórico delimitado a partir de um itinerário de leitura. Esse material é composto por seis textos das obras benvenistianas Problemas de Lingüística Geral I e II: Natureza do signo linguístico (1939), A Natureza dos pronomes (1956) e Da subjetividade na linguagem (1958); A linguagem e experiência humana (1965), A forma e o sentido na linguagem (1966/1967) e O aparelho formal da enunciação (1970). Com base nos resultados apresentados neste estudo, entendo que a organização do material analisado, seja pelos objetivos gerais, seja pelas habilidades, concretiza o conceito de enunciação e os que o compõem, evidenciando o ensino de língua materna, sob uma perspectiva enunciativa, que considera o efetivo uso da língua, nas mais diferentes situações interlocutivas. / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior, CAPES. / This research investigates the concept of enunciation, from Émile Benveniste’s theoretical perspective, and those that constitute it (I-you-here-now) in the document entitled Referenciais da Educação da Rede Municipal de Caxias do Sul (Education Framework for the Municipal Schools in Caxias do Sul). The research focuses more specifically on the general goals and skills of the 7th and 9th school years found in the number 2 Study Plan booklet for the Portuguese Language. The study is essentially bibliographic and is based on Saussure’s and Benveniste’s views as well as on other researchers whose works are related to education, epistemology, the teaching and learning processes and to issues on the mother tongue. The effective analysis of the enunciation concept is carried out based on a theoretical material framed according to a reading program. This material consists of six essays found in the two volumes of Problems in General Linguistics by Benveniste: the nature of the linguistic sign (1939), the nature of pronouns (1956) and subjectivity in language (1958); language and human experience (1965), form and meaning in language (1966/1967) and the formal apparatus of enunciation (1970). Based on the results presented in this study, I understand that the planning of the analyzed material, considering both the general goals and the skills, materializes the concept of enunciation and those that constitute it. The results show that the teaching of the mother tongue is based on an enunciative perspective, which considers the effective use of language in many different situations of interlocution.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Based on the novel Emile, or On Education, the research problem concerning this dissertation demonstrates the necessity for a moral education in Jean-Jacques Rousseau's pedagogy. For this purpose, we prepared the following hypothesis: if human entry into civilization is responsible for the moral degradation of humanity, then a moral education is required. Given the above, it remains, therefore, to examine under what circumstances a moral education project appears at Rousseau's work, that is to say, how this is justified by the philosopher or how it is possible to extract evidence of a moral education in his philosophical project. And, if this assumption is confirmed, we intend to reveal the conditions of possibility for the realization of this goal, since moral education is intrinsic to the act of educating. To this end, given the hypothesis, the research supports the concept of morality relevant to moral education in Rousseau's pedagogy, and attempts to demonstrate the relevance of the resumption of his thought to understand the relationship between education and morality according to the concept of human perfectibility. We also intend to comprehend – especially by Emile's analysis and by other works of the philosopher such as A Discourse on the Moral Effects of the Arts and Sciences (Discours sur les sciences et les arts), Discourse on the Origin and Basis of Inequality Among Men (Discours sur l'origine et les fondements de l'inégalité parmi les hommes) and Julie, or the New Heloise (Julie or La Nouvelle Héloïse) – how Rousseau laid the foundations for a moral education; investigate the birth of moral consciousness in individuals and how education is linked to moral actions. In addition, we seek to demonstrate how perfectibility may contribute to the formation of the individual, and how education, based on moral principles, can contribute to human improvement through the connection between nature, conscience and freedom. / Fundamentado no romance Emílio ou da educação, o problema de investigação concernente a este trabalho visa demonstrar a necessidade de uma educação moral na pedagogia de Jean-Jacques Rousseau. Para tal, elaborou-se a seguinte hipótese: se o ingresso humano na civilização é responsável pela degradação moral da humanidade, torna-se então necessária uma educação moral. Diante do exposto, resta, portanto, analisar sob quais circunstâncias compareceria na obra rousseauniana um projeto de educação moral, ou seja, como esta é justificada pelo genebrino ou como é possível extrair indícios de uma educação moral do seu projeto filosófico. E, caso esta suposição seja confirmada, pretende-se revelar as condições de possibilidade para a realização de tal objetivo, uma vez que a educação moral é intrínseca ao ato de educar. Para tal, em face da hipótese, a pesquisa defende o conceito de moralidade relevante para a educação moral na pedagogia de Rousseau; e intenta evidenciar a pertinência da retomada do seu pensamento para se compreender a relação entre educação e moralidade à luz do conceito de perfectibilidade humana. Pretende-se compreender também – sobretudo por meio da análise do Emílio e de outras obras do filósofo tais como Discurso sobre as ciências e as artes (Discours sur les sciences et les arts), Discurso sobre a origem e os fundamentos da desigualdade entre os homens (Discours sur l'origine et les fondements de l'inégalité parmi les hommes) e Júlia ou a Nova Heloísa (Julie ou La Nouvelle Héloïse) – como Rousseau estabeleceu os fundamentos para uma educação moral; investigar o nascimento da consciência moral nos indivíduos e de que modo a educação está vinculada às ações morais. Ademais, procura-se demonstrar como a perfectibilidade pode contribuir para a formação do indivíduo e como a educação, fundamentada conforme princípios morais, pode auxiliar no aperfeiçoamento humano através da conexão entre natureza, consciência moral e liberdade.

Orientador: Eliana Ayoub / Acompanha anexo em DVD: Emile-Dalcroze: Memorias em musica / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-12T11:58:14Z (GMT). No. of bitstreams: 1 Madureira_JoseRafael_D.pdf: 2098968 bytes, checksum: 68591f45cb20280e08dd75fd10cec532 (MD5) Previous issue date: 2008 / Resumo: Émile Jaques-Dalcroze (1865-1950), compositor austro-suíço, é o protagonista deste estudo. Suas andanças foram muitas assim como os temas de suas investigações. Este é um trabalho inédito de tradução e discussão de parte substancial da obra teórica de Jaques-Dalcroze, bem como um apontamento sobre as interfaces de seu sistema de educação musical - denominado Rítmica (Rythmique) - com o devir da modernidade na dança do século XX, na Europa como nos Estados Unidos, e com os sistemas ginásticos alemães que estiveram tão perigosamente ligados ao totalitarismo europeu novecentista. Este trabalho foi organizado em 9 fragmentos que narram as incursões de Jaques-Dalcroze pelo universo da música, do teatro, da dança e da ginástica. Os fragmentos - aqui intitulados QUADROS - encontram-se inacabados e, justamente por essa razão, guardam uma grande potência germinativa que poderá inspirar outras pesquisas acerca da temática corpo-ritmo-movimento-expressão. Os 9 QUADROS são precedidos de um PRÓLOGO e estão organizados nos seguintes temas: 1. Panorama biográfico de Émile Jaques-Dalcroze; 2. Origens e princípios do sistema de educação musical denominado Rítmica; 3. A influência das teorias da expressão de François Delsarte (1811-1871) na concepção da Rítmica; 4. A amizade com o cenógrafo Adolphe Appia (1812-1928) e a relação da Rítmica com o conceito de "obra de arte viva"; 5. A experiência do Instituto Jaques-Dalcroze de Hellerau (1911-1914), situado nos arredores de Dresden (Alemanha); 6. O brutal fechamento do Instituto alemão devido à eclosão da 1ª Guerra Mundial; 7. A relação de Jaques-Dalcroze e de sua obra com o devir da dança do século XX; 8. A relação da Rítmica com a ginástica moderna especialmente a partir da figura do ex-aluno Rudolf Bode (1881-1971); 9. A permanência da Rítmica na dança contemporânea francesa a partir do trabalho de Françoise Dupuy. Ao final do texto teórico encontra-se disponível um material complementar de consulta organizado em 3 APÊNDICES: A. Cronologia da vida e das publicações teóricas de Jaques-Dalcroze; B. Dicionário sobre as personalidades citadas ao longo do texto; C. Alguns aforismos esparsos de Émile Jaques-Dalcroze. Em anexo, encontra-se disponível o DVD "Émile Jaques-Dalcroze: Memórias em Música" (18 min.), no qual pode-se ouvir trechos das obras musicais engendradas por Dalcroze enquanto o olhar acompanha algumas imagens de suas andanças pelo mundo afora. / Abstract: This work presents the concepts and practices of Eurhythmics (Rythmique) as conceived by the Swiss composer Émile Jaques-Dalcroze (1865-1950). It discusses the relation of Eurhythmics with modern dance and gymnastics in Europe and in the U.S. It also stablishes a comparison between the poetic experience of Eurhythmics and the German employ of rhythm and expression gymnastics in the european totalitarism. This thesis is composed by 9 PICTURES which describe Dalcroze's exploration of the universe of dramatic arts (music, dance and theather) and gymnastics. These pictures are unfinished, and for this reason they may offer their potency to inspire future researches on the theme body-rhythmmovement- expression. The 9 pictures are preceded by a PROLOGUE and present the following approaches: 1. A biographical essay about Émile Jaques-Dalcroze; 2. A synthesis about Dalcroze's system of musical education named Eurhythmics; 3. The influences of the theories of expression by François Delsarte (1811-1871) on the creation of Eurhythmics; 4. The friendship with the cenographer Adolphe Appia (1862-1928) and the relation between Eurhythmics and the Appia's concept of "living work of art"; 5. The experience of the 1st Dalcroze's Eurhythmics Institute created at the garden-city of Hellerau (Germany); 6. The interruption of Hellerau's school activities caused by the begining of the World War I; 7. The relation between Dalcroze's Eurhythmics and the conception of Modern Dance in Eupore and in the U.S.; 8. The relation between Eurhythmics and the germany gymnastics - a special approach with the Expression-gymnastics created by Dalcroze's pupil Rudolf Bode (1881-1971); 9. The permanence of Eurhythmics at french contemporary dance with Françoise Dupuy. Annexed there is a video named "Émile Jaques-Dalcroze: Memory into Music", where it's possible to hear Dalcroze's own compositions and see some images about his personal life and work. / Doutorado / Educação, Conhecimento, Linguagem e Arte / Doutor em Educação

Orientador: Luiz Marques / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-04T07:34:27Z (GMT). No. of bitstreams: 1 Dias_ElaineCristina_D.pdf: 22636818 bytes, checksum: 544f05d81637869806178de8dbf1020a (MD5) Previous issue date: 2005 / Resumo: Esta tese de Doutorado estuda a carreira do pintor francês Félix-Émile Taunay no Rio de Janeiro, entre os anos de 1824 a 1851. Analisamos sua atuação como pintor de paisagens, assim como sua atividade de diretor da Academia Imperial de Belas Artes entre 1834 a 1851, período em que realizou uma série de inovações no campo do ensino artístico. Entre estas medidas, está o desenvolvimento do curso de desenho, a criação das Exposições Gerais de Belas Artes em 1840, a organização da Pinacoteca da Academia, o Prêmio de Viagem à Itália em 1845 e uma constante preocupação com a atuação do artista na sociedade. Nesse sentido, foi de suma importância o trabalho conjunto de Taunay e Grandjean de Montigny na busca pelo reconhecimento e estabelecimento profissional dos arquitetos acadêmicos na sociedade carioca de então. A abordagem à pintura de paisagem de Taunay realizou-se através de duas vias distintas. A primeira delas refere-se à análise do primeiro panorama brasileiro exposto em Paris - o Panorama da cidade do Rio janeiro - com base nos desenhos elaborados por Taunay e pintados por Guillaume Ronmy em 1824. A segunda concentra-se na pintura de paisagem realizada entre as décadas de 1820 e 1840, as quais demonstram, pouco a pouco, uma nova abordagem temática do gênero. Com este trabalho, caminhamos na tentativa de cobrir uma lacuna dentro da história da arte brasileira do século XIX, seja na história do ensino artístico, seja na temática da pintura de paisagem / Abstract: This doctoral thesis studies the French painter Félix-Émile Taunay career in Rio de Janeiro, in between the years of 1824 and 1851. We analyze his activity as landscape painter, as well as his activity as director of the Imperial Academy of Fine Arts between 1834 and 1851, when he implemented several innovations in the area of artistic teaching. Among such accomplishments, we can list the development of a drawing course, the creation of the Exposições Gerais de Belas Artes (General Expositions of Fine Arts) in 1840, the organization of the Picture Gallery of the Academy, the Prix de Rome in 1845, and the existence of a continuous concern about the action of the artist in society. In this sense, it was of chief importance the work of Taunay in cooperation with Grandjean de Montignv for the professional establishment of academic architects in the carioca society at the time. The account of Taunay's landscape painting in this thesis is twofold. First, there is the analysis of the first Brazilian panorama exhibited in Paris - the Panorama da Cidade do Rio de janeiro - based upon Taunay's projected drawings, painted by Guillaume Ronmy in 1824. Second, we focus on the landscape painting from the 1820's to the 1840's, which gradually show a new thematic account of the genus. With this work we attempt to cover a hiatus in the Brazilian history of art of the nineteenth century, a gap existing in the history of artistic teaching as well as in the subject-matter of landscape painting / Doutorado / Historia da Arte e da Cultura / Doutor em História

In this thesis the process of adaptation from novel to film is examined. La Bête humaine by Emile Zola and the film version by Jean Renoir provide specific examples. The starting point is the assumption, often made by cinema audiences, that the film should be "faithful" to the novel upon which it is based. A statement made by Renoir regarding his efforts to be true to what he describes as the "spirit of the book" is quoted to illustrate the prevalence of this attitude. Novel and film are then compared in order to test Renoir's claim to fidelity. What is revealed are the differences between the two. Through an examination of character, action, and space some of the reasons for the director's departure from the novel begin to emerge and it becomes increasingly clear that Renoir was obliged to adopt a different approach. Theme and form are then examined and the organic nature of their relationship suggested. Finally, the departure of the film from the novel is traced to the very different ways in which the two media function — linearity in the written medium as opposed to simultaneity in the cinematic medium — and the indelible nature of the association of theme and form is confirmed. In conclusion, the view that the media should and do correspond is found to be mistaken, and Renoir's statement is re-evaluated and assessed as an attempt, by a director sensitive to the public's insistence on fidelity, to disarm criticism. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

Is there a relationship between science and happiness and, if so, what is it? Clearly, since the Enlightenment, science has increased life expectancy and bodily comfort. Is this happiness, or do humans long for something more? To examine these questions, I investigate the works of Jean-Jacques Rousseau. Specifically, I focus on the Discourses and the Emile, as he states in the Confessions that these works form a whole statement concerning the natural goodness of man. I agree with the literature that finds happiness, for Rousseau, is a sentiment one experiences when their faculties correspond to their desires, as this produces wholeness. In this dissertation, I find a form of modern science is necessary for humans to experience higher forms of happiness. This form of science is rooted in utility of the individual. To fully explain this finding, I begin with Rousseau's concept of being. By nature, our being experiences a low form of wholeness. I show Rousseau's investigation of being exposes a catch-22 situation for developing it to experience higher forms of wholeness. While freedom allows us to develop reason and judgment, we need reason and judgment to properly direct our freedom to perfect our individual being. I then show how three different types of tutors and educators, which include a scientific education, are directed by the single goal of maintaining wholeness in Emile's being so he can achieve the happiness of romantic love. Finally, I find that Emile's scientific education is an elaboration of the First Discourse and that his relationship with science, even from birth, plays a critical role for achieving romantic love in the future.

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Paul Alexis (1847-1901) est souvent cité comme le meilleur ami de Zola, c’est là sa principale caractéristique. Presque son unique définition. On a tendance à oublier qu’il est aussi un écrivain engagé dans une cause qui est le principe même de son existence : le naturalisme. Ce travail tente d’explorer cette double perspective. En étudiant un certain nombre d’ouvrages et d’articles de journaux de cet auteur, il essaie de comprendre d’un côté ses rapports avec Zola, et de l’autre, ses conceptions personnelles, ses convictions profondes ainsi que ses relations avec les autres membres du mouvement. Pour cela, il scrute, tout d’abord, ses liens à la fois littéraires et intimes avec Zola. Il montre le quotidien d’une amitié qui connaît tumultes et mutations. Il analyse les moments marquants qui ont rythmé le cours de leur vie. Il note les convergences et tente de mettre en lumière les divergences entre le rédacteur de Germinal et celui de Madame Meuriot qui se présentait comme le tenant quasi ultime des thèses naturalistes. Ensuite, il s’efforce d’exposer précisément les idées personnelles de cet écrivain à partir de ses prises de position théoriques et de ses ouvrages de fiction. Il observe son implication dans ses domaines de prédilection : le journalisme, les arts, le théâtre, la politique... Enfin, il décrit son action menée au côté de Zola, au cœur du cercle de Médan, mais aussi d’une façon autonome, face aux grands événements qu’il a rencontrés, face aux grands problèmes qu’il a affrontés, comme l’émergence du naturalisme ou l’Affaire Dreyfus, par exemple. Le but ultime de cette thèse est de s’intéresser à ce personnage décrié souvent, parfois négligé, qui fut plus qu’un compagnon de route de Zola. / Paul Alexis (1847-1901) is mainly known as the closest friend of Zola. This is quoted as his main characteristic, almost as his unique definition. He is usually forgotten to be mentioned as also a writer who was very dedicated to a cause which had a huge significance in his life : Naturalism. This thesis tries to explore this double perspective. By studying books and newspaper articles written by this author, this work aims on the one hand, to explore his relationship with Zola, and, on the other hand, to focus on his personal designs, his deep convictions, as well as his connections with the other members of the movement. Primarily, in order to achieve this, this thesis scrutinises his personal and literary links with Zola. It shows the everyday life of a friendship which went through many challenges and changes. It analyses the striking moments which occurred during the course of their lives. It emphasises their common points of thought and tries to highlight the differences between the author of Germinal and the writer of Madam Meuriot, the last appearing to be the ultimate upholder of the naturalistic theories. Then, this project strives to precisely explain the personal ideas of this novelist, according to his theoretical views and to his works of fiction. It observes his restless involvement and the fights he led for the sake of his favourite topics such as : journalism, arts, theatre, politics... Finally, this work describes the actions Alexis carried out at the side of Zola, at the heart of the circle of Médan, but also in a more autonomous way, during major events in which he participated. This paper aims to clarify the huge issues he faced, such as the rise of naturalism or the Dreyfus affair, for example. The ultimate purpose of this PhD is to consider this character often slandered, sometimes neglected, a man who was more than a fellow traveller of Emile Zola.