The thesis is divided into five parts. The first consists of a revue of the opinions of the critics on the work of Georges Bernanos, and then proceeds to define the aims of the thesis: (i) to combat the pernicious idea that we are dealing with a "Catholic Opus", one where the term "Catholic" would imply "idealistic" or "out of touch with reality", and to arrive at a different way of approaching the work; (ii) to lay bare the hidden unity of the work since the new interpretation we are seeking will derive from the relation of the parts to the whole; (iii) to show the radical nature of Bernanos's thought which lays bare the roots of the Discontents of our Civilisation and, by so doing, imparts a prophetic tone to his writings. In the second part Bernanos is placed within the context of his times and compared to other intellectuals, both Catholic and non-Catholic, in order to separate the "Catholic" from the "non-Catholic" elements in his work. Next, using the methods of Charles Mauron, we study the Youthful Works. In the third part, following the methods of Lucien Goldmann, we place the Novels in the context of Ecclesiastical Politics. In the fourth part we trace the transformation of the Novelist into the political pundit, then we go back to La Grande peur des bien-pensants to retrace the origins of his political thinking. Chapter twelve, "Birth of the Modem World", traces the development of capitalism in France and concomitant evolution of the value-system and ways of thinking. The fifth part contains the second half of the "Ecrits de Combat" entitled "The Modem World" which gives us Bernanos's view - a prophetic view - of the world we inhabit at present, Then the Conclusion. / Whole document restricted, but available by request, use the feedback form to request access.

Error Analysis has been widely used in studies of second language learning. At the same time, foreign language learning (as opposed to teaching), has largely been ignored as an object of research. The research had three major aims: to examine the potential of Error Analysis in foreign language learning by the development and trialling of a complex new coding schedule for analysing learner errors in French; to provide some descriptive data on the written errors and performance of foreign language pupils over a complete scholastic year; and to explore the nature of foreign language learning strategies used by the pupils studied. The thesis opens with a statement of purpose and method. This is followed by a short discussion of theories, topics and techniques in second and foreign language learning. The development of two forms of the coding schedule used to analyse errors is described and discussed. Recode checks and the development of 'Coding Confidence Levels' are presented. Procedures used in a longitudinal study of errors are then described. This study acted as an important trial for the coding schedules, known as Foreign Language Error Analysis: French (FLEAF). All written French produced by eight pupils in the same school class was collected over the 1978 New Zealand school year (February to December). The group were in their second year of high school French and had an average age of 14 years 5 months midway through the study. Background information is given about the subjects, including results of selected IEA French (Population II) tests administered during the year. Some description of the year's work is given, followed by general and case study analyses of errors. Selected results from both the longer (FLEAF-L) and shorter (FLEAF-S) coding schedules are then tabulated and discussed. Particular attention is paid to variables coding possible explanations for errors. Detailed analyses of errors in word order, negation and gender are offered, along with a review of correct performances for selected aspects. These analyses lead to two preliminary hypotheses which could in part explain the occurrence of errors. One hypothesis relates to the frequency with which pupils had been required to focus through drills on the point at issue, the other to the number of choices available to the pupil at the time of error. Discussion of Error Analysis and pupil strategies is then presented. It is concluded that Error Analysis has a valid role in developing hypotheses for a theory of foreign language learning. Five such hypotheses, suggested by the longitudinal study, are presented. It is argued that these five could all be classified on one of a proposed five levels of 'Operating Procedures' (McLaughlin, 1978a). Selection of a unique cluster of operating procedures would constitute the learning/performance 'strategy' of a particular pupil. These notions are incorporated into a tentative framework for a theory of foreign language learning. A modified 'Principle of Least Effort' (Zipf, 1965), is suggested as a key factor in the early stages of learning a foreign language, and ideas for subsequent research are proposed. / Whole document restricted, but available by request, use the feedback form to request access.

Thesis (Ph. D.)--University of Texas at Austin, 2008. / Vita. Includes bibliographical references.

Made available in DSpace on 2014-06-11T19:26:52Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-01-27Bitstream added on 2014-06-13T19:55:16Z : No. of bitstreams: 1 yahn_cac_me_assis.pdf: 676578 bytes, checksum: d9e422fd55697a618082f29fa06d7a6c (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Visa-se estudar as cantigas de Capoeira Angola e descobrir um pouco mais sobre seus mitos e ensinamentos que muitas vezes funcionam como instrumento de transmissão de uma tradição ancestral que resiste até hoje, que interage com a cultura e a oralidade brasileiras enriquecendo-as e, que diante dessa interação por meio de conhecimentos que são passados em situações múltiplas de comunicação forma novos capoeiristas angoleiros. Procura-se demonstrar como os cânticos da roda de capoeira denominados “ladainha”, “corrido” e “louvação” podem ser analisados como parte da poesia oral afrobrasileira, pois de antemão já se sabe que os mesmos possuem forma e conteúdo essencialmente enraizados na arte poética. Tais cânticos são providos de ritmo, rimas, musicalidades, gestos, olhares e ambiguidades de vários tipos inerentes ao contexto da roda onde se desenvolve o discurso do canto, revelando uma dupla faceta uma poética e outra dinâmica do mesmo fenômeno. Ainda procura-se ilustrar parte da representação que a Capoeira Angola tem no mundo atualmente. Convém destacar a cotidiana relação que se estabelece com o seu universo por meio de treinamentos e trocas coletivas. Experiências de grandes mestres e mestras da Capoeira Angola contribuíram para o desenvolvimento deste trabalho, pois como aqui tratamos de um saber específico, inevitavelmente em muitas etapas debruçamo-nos diante de seus detentores para então se entender pequenos pedaços de sua magia, que como já se sabe de antemão, é simples, porém reflete sentidos profundos / The aim is to study the songs of Capoeira Angola and discover a little more about their myths and teachings which often act as instrument of transmission of an ancestral tradition that endures until today, that interacts with the Brazilian culture and orality and enriching them, interacting through knowledge that are passed in multiple situations of communication creating new players of capoeira angola. It seeks to demonstrate how the chants of wheel called ladainha, louvação and corridos can be analyzed as part of the oral poetry: struggling, because beforehand is already known that they have the form and content essentially rooted in the poetic art. Such songs are fitted with pace, rhymes, gestures, looks and ambiguities of various types inherent in the context of the wheel where develops the chant speech, revealing a dual facet a poetic and other dynamics of the same phenomenon. It still seeks to illustrate part of the representation that Capoeira Angola has in the world today. Everyday should highlight the relationship that is established with his universe through collective exchanges and trainings. Experiences of grandmasters and master of Capoeira Angola contributed to the development of this work, because here we treat a specific knowledge, inevitably in many steps focusing on their holders to then understand small pieces of their magic, which as already known beforehand, is simple, but reflects deep meanings

M.A. (Applied Linguistics and Literary Theory) / Any person who tries to learn or acquire a second on foreign language will be subject to some form of mother tongue and/or cultural interference. In the South African context such interference can occur between any two cultural and language groups in contact e.g. between English and Afrikaans, or between both English and Afrikaans on the one hand, and any African language on the other. The investigator is of the opinion that such interference can cause serious barriers to communication. Her research focuses particularly on the impact of cultural interference. Her findings suggest that cultural interference has a significant negative impact, and as a result she recommends that differences need to be addressed as an important component of ESL and EFL teaching in South African schools. She believes that the new education system known as Curriculum 2005 will help to reduce some of the identified communication problems, because it emphasises the promotion of all languages, especially the African languages which were in the past not accorded official status.

Magister Artium - MA / This study investigates Kinyarwaanda sexuality taboo words and their meaning in Rwandan culture to enable the youth to improve their communication and the values of Rwandan culture. It explores whether the use of Kinyarwaanda sexuality taboo words is a good way to communicate with one another or is a transgression of Rwandan culture. Its intent is to see the value that Rwandans assign to verbal taboos, particularly sexuality taboo words, to see how these taboos regulate Rwandans lives, to see the attitudes Rwandans hold towards them, and to find out the link there might be between sexuality taboo words, the information dissemination on HIV/AIDS and the spread of AIDS. / South Africa

Submitted in partial requirements for the degree of Doctor of Philosophy in the Department of IsiZulu namaGugu in the Faculty of Arts at the University of Zululand, 2002. / Ukubaluleka kwenhlanzeko ekuphathweni komsebenzi wabadala wucwaningo olumpande zalo ziphuza emajukujukwini empilo yomuntu ongum-Afrika nesiko lakhe kanjalo futhi zibe zilunguza esikweni lomZulu phaqa. Ukulondolozwa kwamasiko omdabu yiwona mthambo ongumnyoluka wempilo noyinjulalwazi ngemvelaphi yomuntu nomuntu njengoba edaliwe wabekwa echosheni elithile lomhlaba ngoPhezukonke. Ukugudluka kwezinsika zokugcinwa kwamasiko omdabu ikakhulukazi ukubukelwa phansi kwephuzu lenhlanzeko lapho kuphathwa imisebenzi yasebalala yikhona kanye okususe usinga lokuba kwenziwe lolu cwaningo. Sekuhambe ibanga ukugcinwa kwamasiko kodwa le ngxenye yesiko ibinganakiwe ngokungako. Lolu cwaningo luyimizamo yokubuka ngeso elijulile ukubaluleka kwezinsika zokugcinwa ngokuyikho amasiko eSintu ngoba aphethe injulalwazi yempilo yomuntu emenza ehluke kwabanye kanjalo nomlando wakhe. Lolu cwaningo ngumkhombandlela ekugcinweni ngokuyikho komsebenzi wabadala ngenhloso yokuphephisa leyo nzika esasele njengoba izivunguvungu zokushabalalisa amasiko omdabu zilwa impi yansukuzonke. Esokuqala isahluko sethula indikimba ngalokho ucwaningo oluphokophelele ukukuhlaziya. Ngaphezu kwalokhu, isahluko siphinde siveze lokho okube yilahle eliyimbeleselane elisuse ugqozi lokuhlwaya ngalesi sihloko. Kuyavela futhi ukuthi lolu cwaningo lunemincele ngenxa yokuba ngudedangendlale kwesihloko salo yingakho nje lona lucubungule esingakubiza ngokuthi yiwona mongo walesi sihloko, inhlanzeko. Esokugcina sona siqoqa amaphuzu adingidiwe ngenhloso yokuphetha imbenge kanjalo nokuveza iZlncomo okungathi ngokulandelwa kwazo ngokuyalela kocwaningo kube khona izinguquko endleleni isiko elibukwa ngayo kanjalo nasendleleni abantu abagcina ngayo imisebenzi yabakubo asebalala. Indikimba yalolu cwaningo yona yakhiwa yizahluko eziyisithupha ezidingida izigaba zokukhula komuntu kusuka ezalwa, egana I eganwa kuze kube wendela koyisemkhulu. Isahluko sesibili siyinjulalwazi ngenkolo yomdabu ikakhulukazi kugxilwa kwinhlanzeko efundiswa abantwana lapho befika kulo mhlaba bese leyo mfundiso beyigwinya, bayiphile nokuyikona okubalungiselela ikusasa elifika nezingqinamba zalo. Isahluko sesithathu sona sibuka ukugcinwa kwamasiko endabuko ikakhulukazi lawo agcinelwa abantwana besebancane kuze kuyofika lapho bethomba khona. Ukubaluleka kwawo kanjalo nophawu oluhambisana nawo yikona olugcizelelweyo. Inhloso kuseyiyona leyo yokubuka ngeso elinzulu iphuzu lenhlanzeko njengesinongo-esingugo ekuphumeleliseni la masiko kanjalo' nokwedlulisela ngempumelelo umntwana emabangeni ahlukahlukene. Isahluko sesine sona sibheka umemulo nenhlanzeko egcizelelwa yileli siko. Lesi sahluko sibheka ubuntombi nto njengesizathu sokugcinelwa leli siko. Uphawu ngezinto ezisetshenziswayo lukhuluma buthule nezethameli kuleli siko. Lesi sahluko sandulela futhi sishanela amabala aleso sokuganana leso okuxoxwe ngaso kwisahluko sesihlanu. Ubumsulwa bentombi I bensizwa yibona obudlulisela ngesinono umuntu kuleli banga. Umlobokazi ukufakazela ngokufaka imvakazi lobu bumsula ngosuku lodwendwe. Isahluko sesithupha sibheka ibanga esingalibiza ngebanga eliyisiphetho sempilo yomuntu yakwamhlaba izinga lokufa. Lesi sahluko sicubungula injululwazi ngokufa qobo kanjalo namabanga ahanjwa ngumphefumulo womuntu, uhlanzwa ngemisebenzi egcinwayo enhlobonhlobo ukuze ubuye uzongena ebudlozini bekhaya. Isahluko sesikhombisa sibuka izinguquko ezikhona ekugcinweni kwawo wonke la masiko okuxoxwe ngawo ezahlukweni ezidlule. Izizathu ezidala izinguquko ekugcinweni kwala masiko zibekwe obala. Kuphawuliwe futhi kulesi sahluko ngobunjalo bamasiko kanjalo nokuhambelana kwawo nesikhathi okuphilwa kuso. Ubunjalo bezinguquko bushiyelwe umfundi ukuba kube nguyena owehlulelayo ngobuhle nobubi bazo. Umcwaningi ushiyele ofundayo ukwahlulela ngobuhle nobubi bezinguquko zesikhathi emasikweni endabuko. Isahluko sesishiyagalombili sona siqoqa amaphuzu okuxoxwe ngawo ezahlukweni ezingaphambi kwaso.Okubalulekile ngalesi sahluko wukuthi sithi siyiqoqa kanjalo futhi sibe siyinkombandlela yalokho okubukwa ngeso lomcwaningi ukuthi kungaholela ekugcinweni ngendlela eyamukelekileyo kwamasiko omdabu. / National Research Foundation (NRF)

The thesis will show that a distinctive New Zealand voice in the arts may be found not in an "essence", as has sometimes been suggested, but at chronologically specific intersections of discourses. Each of the six works I examine has been made in New Zealand and is a mixture of music and language. As generic hybrids, combinations of music and language make appropriate objects of study for a thesis that explores a specific local dialogue between the 'mixture' and the 'essence', the 'hybrid' and the 'authentic', the 'indigenous' and the 'exotic', the 'local' and the 'imported', the 'centre' and the 'periphery.' Like acquisitive magpies, New Zealand artists constantly collect and select their material. They sift, save, reject and synthesise, and in so doing they create new combinations out of old ingredients. One of the characteristics of New Zealand poetry is that it has often been combined with music. There have been many collaborations between poets and musicians since colonial times. These collaborative texts occupy a complex space between art forms, just as New Zealand artists negotiate between orientations, positioning themselves between different cultural traditions. In its own process of selection, the thesis selects six works for close analysis which represent not only different periods but also different forms of synthesis. Each work represents 'New Zealand', yet what this means in practice is different in each case.

The thesis will show that a distinctive New Zealand voice in the arts may be found not in an "essence", as has sometimes been suggested, but at chronologically specific intersections of discourses. Each of the six works I examine has been made in New Zealand and is a mixture of music and language. As generic hybrids, combinations of music and language make appropriate objects of study for a thesis that explores a specific local dialogue between the 'mixture' and the 'essence', the 'hybrid' and the 'authentic', the 'indigenous' and the 'exotic', the 'local' and the 'imported', the 'centre' and the 'periphery.' Like acquisitive magpies, New Zealand artists constantly collect and select their material. They sift, save, reject and synthesise, and in so doing they create new combinations out of old ingredients. One of the characteristics of New Zealand poetry is that it has often been combined with music. There have been many collaborations between poets and musicians since colonial times. These collaborative texts occupy a complex space between art forms, just as New Zealand artists negotiate between orientations, positioning themselves between different cultural traditions. In its own process of selection, the thesis selects six works for close analysis which represent not only different periods but also different forms of synthesis. Each work represents 'New Zealand', yet what this means in practice is different in each case.

No description available.