No description available.

Denna uppsats undersöker hur tematiken i Nils Ferlins lyrik gestaltas i samtliga diktsamlingar utifrån några valda teman. Först undersöks dödstematiken som på grund av sitt omfång delas in i två kapitel, ett där döden ses som en räddare undan livsångest och ett där döden skildras som skrämmande. Vidare undersöks den religiösa kontext som är förknippad med dödstematiken. Därefter behandlas kärleksmotivet och tematiken kring detta. Slutligen undersöks dikterna där samtiden skildras utifrån Ferlins syn på människan och sin samtid. Till undersökningen används ett biografiskt material för berika analysen. Det är främst i analysen av dikterna med en tydlig dödstematik som den biografiska aspekten är viktig men paralleller till författarens eget liv dras även vid diskussionen av övriga teman. Undersökningen är en tematisk studie men även motiven undersöks då de varierar i förhållande till tematiken. Definitioner för motiv och tema härleds till Lyrikens liv (Janss, Melberg & Refsum, 1999). Döden är det vanligaste motivet respektive temat men andra motiv och teman är viktiga att belysa för en djupare förståelse för Ferlins lyrik. Exempelvis finns en tydlig koppling mellan den religiösa kontexten och dödstematiken. / This paper examines how the themes in Nils Ferlin's poetry are portrayed in all poetry collections based on some selected themes. First the thematics of death is examined, and as a result of its extent it is divided into two chapters; one where death is seen as a savior from anxiety and one where death is portrayed as frightening. Furthermore the religious context associated with the thematics of death is examined. Thenceforth love motive and its thematics are treated. Lastly the poems where Ferlin depicture his vision on man and his contemporaries are examined. The survey uses a biographical material to enrich the analysis. It is primarily the analysis of the poems with a clear death thematic where the biographical aspect is important, but the parallels to the author's own life is used in the discussion of the other themes. The study is a thematic study but also the motives are examined as they vary in proportion to the thematic. Definitions of motive and theme are derived from Lyrikens liv (Janss, Melberg & Refsum, 1999). Death is the most common motive respectively theme however the other motives and themes are important to highlight for a deeper understanding of Ferlin's poetry.

More certified-Canadian feature films were shot in Canada in 1979 than in any other year. The height of what has become known as the "tax-shelter boom," 1979 stands as a remarkable moment in the history of the Canadian cinema, with 70 features shot in a year in which Hollywood produced only 99 films. The extant history of the Canadian cinema has largely ignored this moment, and in this thesis I argue that the slim treatment of the period by critics represents a "received wisdom," consistently repeated, but seldom scrutinized, and that this received wisdom is representative of the culturally nationalist impulse which has coloured the entire historiography of the Canadian cinema. Because many of the films produced during the boom were in the style of Hollywood genres, the "received wisdom" presents the entirety of the tax-shelter boom as a cultural and industrial near-disaster for the Canadian cinema, and this thesis, partly a revisionist history, explores not only those conclusions, but also provides critical discussion of them. / I begin by presenting the received wisdom, the existing account, on the period. This is followed by a chapter which situates the tax-shelter boom in a history of state intervention in the feature film industry. Following this, I provide analysis of the contexts surrounding the tax-shelter boom, including critical discussion of articles and reviews from the contemporaneous popular press, and of the industry discourse. I then turn my attention to the texts themselves, which the received wisdom more or less ignores, and provide three thematically-organized chapters of textual analysis: the first organized around readings of gender and genre in the films, the second on the prevalent theme of "selling out," which is central to numerous films of the period, and a third chapter which explores the place of Quebec in the films of the period. / The thesis concludes with an analysis of the material effects of the government policies which led to the boom, and concludes that in this respect too, the received account of the period---once again, as a failure---needs to be reexamined.

This thesis involved the various discourses around Egyptian novelist Naguib Mahfouz's representation of women in four of his most well-known novels, which were originally written in Arabic. At the one extreme, he is described as a feminist writer who takes up an aggressive anti-patriarchal stance, delivering a multi-faceted critique on Egyptian society. Mahfouz's personal milieu, as well as the broader social context in which he finds himself, was given careful consideration. It was also considered whether the genre in which the four novels have been written has a significant influence on the manner in which Mahfouz has represented his female characters.

This paper centres in and around words. I have incorporated words into my recent work in a variety of ways including drawing, Letraset, sound and fiction writing. The philosophical questions which arise through any use of language and the various ways of adopting these questions and words within a 'visual art' context is considered in a number of ways. These include The Voyager Interstellar Space Mission which was humankind's first attempt to communicate with other hypothesized populations, conceptual word-incorporating artists, writers of fiction and philosophers within whose work can readily be found an extreme vigilance towards language. Alongside this word exploration I will consider other processes through which I've made and continue to make, works of art. These processes include drawing and film/video. My drawings (which sometimes include words) will be addressed in terms of a crossover between the drawn line and words found in Raymond Carver's story Cathedral. This story made me think about what it means to 'be led' by somebody and how I'm led (by myself or perhaps those mysterious 'populations' the Voyager team of thinkers had in mind) when drawing. It also marks an interesting point in my discussion of a state of being 'without words.' In addition to words an important focus in this paper are the windows through which I've spent a lot of 'my life' looking at 'life pass by' (which are in many ways a physical reality corresponding to the metaphorical 'frame of language'). The time I've spent looking out windows over the past few years has resulted in. several film and video pieces in addition to my latest work (presented as the appendix of this paper) which comprises of a series of short stories. The paper opens with a quote by German philosopher Martin Heidegger: "Language is the house of Being. In its home man dwells." The enigmatic broadness of this statement is appropriate to the apprehensive and cautious attitude towards words found throughout the paper (also it mentions 'house' which immediately brings to my mind 'windows')

The notion of doubledeath, as an idea to generate work, can be seen as both an ironic reflection on the medium of photography and a critical attempt to comment on contemporary culture. In short, the inherent characteristics of the photographic medium and its function within society are combined. Photography embodies both death and the beginning of something autonomous and new in the very moment of the picture-taking process. A photograph is a mere simulation of what was once there, in front of the lens, transformed onto photographic paper. It then opens up a whole range of new possibilities to the viewer. The photograph's almost life-like appearance informs the photographic myth that is the idea that a photograph provides evidence of absolute truth. This characteristic together with the possibility of manipulating and altering a photograph has been continuously exploited by mass media to influence, make and guide our perceptions towards reality. These characteristics of image-making have left the borders between fiction and fact blurred. Living in a world of over-mediation it is hard to escape and find one's way around in this melting pot of the various realities suggested. Reality today is informed by the present trace of an absent original. When this is recorded photographically, it could be described as a doubledeath. Both this research documentation and the studio work are social comments on contemporary life and artmaking. Where photographs record scenes from life informed by visual simulation (the presence of the absent) the notion of doubledeath becomes most obvious. Moreover, they reflect contemporary culture, addressing and investigating concerns fueled by today's omnipresent commodity and life-style culture, and provoking thoughts about illusion and the crises of the real. In the 21st century we interact with, acknowledge, accept or even prefer the surface over the essence of things, and real experience becomes more diluted.

Thesis (M.A.)--Miami University, Dept. of Communication, 2008. / Title from first page of PDF document. Includes bibliographical references (p. 72-79).

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Ethnographic study adapted to education that aimed to investigate the actions and relation of teachers and their daily work in sex education of adolescents in primary and secondary schools that configure the educational praxis of school experience and the specific objectives were: identify the teachers approach on sex education at school in the perception of adolescents; characterize the adolescents from the social and sex point of view; know the teachers' perception on sexuality and sex education; describe the teachers' work on sex education in a public school of Juazeiro do Norte- CE, Brazil; and, learn their values and attitudes toward adolescents' sexuality in school environment. The fieldwork was carried out from September 2009 to February 2010 through a questionnaire answered by 67 students, followed by observation and semi-structured interviews with seven teachers that had their classes observed. Questionnaire data was organized through the Collective Subject Discourse Method, teachers' perception of sexuality and sex education through thematic categorization. The analysis happened in a reflective and interpretive way. The students reported that the teachers usually did not approach the issues in classroom and when it was present it was predominantly in biological sciences, guided by the prerogative of preventing sexually transmitted infections. The concept of sexuality was divided in two categories: gender and sexual orientation. Besides physical aspects, there was spiritual elements and expression of love between humans, although these were secondary to the attributes of genitals and sexual intercourse, surrounded by the natural character. Sex education was based on three themes: sexual intercourse, body physiology and social behavior. Science classes figured as the most appropriate place to discuss the matter. It was found that even though the issues were raised by the students, the teachers were always omitted in any intervention. We verified the presence of moral and personal values in the conduction of educational practices, silence concerning the prejudice against homosexuals and the loss of virginity, as well as maintenance of gender inequalities. The approach on sexuality in the school environment does not happen in a cross-sectional way. The pedagogical practice was configured as sexist in a gender environment that uses silencing as a way of disciplining and controlling sexuality, as well as for the maintenance of hegemonic order, producing and reproducing the values and attitudes of the patriarchal and sexist society model. Thus, the teaching work needs constant renewal, being necessary to overcome the biomedical/scientific model on sexuality, considering its historical, social and cultural dimensions, whose crosssectional actions should be seek in various fields of knowledge. / Estudo do tipo etnográfico, adaptado à educação, cujo objetivo geral foi investigar ações e relações dos/as professores/as e seu trabalho cotidiano na educação sexual de adolescentes do Ensino Fundamental e Médio que configuram a práxis pedagógica da experiência escolar e os objetivos específicos foram: identificar a abordagem de professores/as acerca da educação sexual no espaço escolar segundo a percepção dos/as adolescentes; caracterizar os/as adolescentes escolares do ponto de vista social e sexual; conhecer a percepção sobre sexualidade e educação sexual dos/as professores/as; descrever o trabalho de educação sexual dos/as professores/as de uma escola pública de Juazeiro do Norte- CE; e, apreender os valores e as atitudes dos/as professores/as em relação à sexualidade de adolescentes no espaço escolar. O trabalho de campo foi desenvolvido de setembro de 2009 a fevereiro de 2010 por meio da aplicação de um questionário respondido por 67 estudantes, seguido de observação e entrevista semiestruturada com sete professores/as que tiveram aulas observadas. Os dados dos questionários foram organizados através do Método do Discurso do Sujeito Coletivo, a percepção docente de sexualidade e educação sexual por categorização temática. A análise aconteceu de forma reflexiva e interpretativa. Os/As estudantes referiram que os/as professores/as, geralmente, não abordavam as questões em sala de aula e quando esta esteve presente localizava-se, predominantemente, nas ciências biológicas, pautadas na prerrogativa da prevenção das infecções sexualmente transmissíveis. O conceito de sexualidade foi dividido em duas categorias: sexo e opção sexual. Além de aspectos corporais, houve elementos espirituais e de expressão do amor entre os seres, embora estes fossem secundários aos atributos genitais e do intercurso sexual, circundados pelo caráter natural. A educação sexual foi pautada sobre três eixos: relação sexual, fisiologia corporal e comportamento social. Para os/as docentes, as aulas de ciências se figuraram como espaço mais adequado para se tratar do assunto. Constatou-se que, mesmo sendo o assunto suscitado por parte dos/as estudantes, os/as professores/as se omitiram em realizar qualquer intervenção. Observou-se a presença de valores morais e pessoais na condução das práticas educativas, atitudes de silenciamento em relação ao preconceito a homossexuais e perda da virgindade, assim como manutenção das desigualdades de gênero. Conclui-se que a abordagem da sexualidade no espaço escolar não ocorre de forma transversal. A prática pedagógica configurou-se como sexista em ambiente generificado que usa o silenciamento como forma de disciplinamento e controle da sexualidade assim como para a manutenção da ordem hegemônica, produzindo e reproduzindo os valores e as atitudes do modelo de sociedade patriarcal e machista. Neste sentido, o trabalho docente necessita de constante renovação, sendo preciso superar o modelo biomédico/científico na sexualidade, considerando dimensões histórica, social, cultural e política, cuja transversalidade das ações deve ser meta a ser alcançada nos diversos campos do saber.

L’écriture de Michaux se meut invariablement dans des formes aussi diverses que contradictoires. En prose ou versifiée, l’écriture poétique chez cet auteur est totale et conserve dans cette agilité une unité stylistique difficilement perceptible à première vue tant il se fait contorsionniste de la forme. , Michaux réalise avec perspicacité une écriture poétique hybride d’un point de vue générique. Le rapport de Michaux à la langue est aussi complexe. Les subversions langagières sont chez lui multiples et éloignées de l’agrammaticalité même constitutive du genre poétique. Les mots et les signes typographiques construisent un langage sous l’influx des différents parcours émotionnels du poète, d’où les écarts et les associations incongrues. La répétition, en tant que noyau élémentaire du rythme y semble coïncider avec un désir d’exorcisme ou l’amplification de la parole accentue le dire dans un mouvement atemporel de retour à soi et au monde. Michaux inscrit le rythme dans la perception visuelle. Et le graphisme associé au souffle conduit à considérer certains poèmes comme des tableaux communicants. Les poèmes de Michaux sont des fresques au goût insolite où des créatures étranges et des intrigues burlesques se mobilisent pour donner libre cours à son imagination débordante qui puise dans l’ « espace du dedans » lequel fait écho aux préoccupations existentielles. / The writing of Michaux moves invariably in forms so diverse as contradictory. In prose or versified, the poetic writing at this author is total and keeps(preserves) in this suppleness a with difficulty perceptible stylistic unity(unit) at first sight so much he(it) is made contortionist of the shape ., Michaux realizes with perspicacity a hybrid poetic writing of a generic point of view. The report(relationship) of Michaux in the language(tongue) is also complex. The linguistic subversions are at his home multiple and taken away from the ungrammaticality even essential of the poetic genre. The words and the typographic signs build a language under the impulse of the various emotional routes(courses) of the poet, where from écarts and improper associations. The repetition, as elementary pit of the rhythm seems to it to coincide with a desire of exorcism or the development of the word stresses to say it in a timeless movement on returning to one and on returning to the world. Michaux registers the rhythm in the visual perception. And the graphics associated with the breath leads to consider certain poems communicating paintings. The poems of Michaux are frescoes in the unusual taste where strange creatures and comic intrigues mobilize to give free rein to his overflowing imagination which draws from the "space of inside" which echos the existential concerns.

Orientador: Mara Sueli Simão Moraes / Banca: Vinício de Macedo Santos / Banca: Nelson Antonio Pirola / Resumo: A presente pesquisa tem como objetivo verificar se o curso de formação Pró-Letramento Matemática contribuiu para a formação continuada dos professores das séries iniciais do ensino fundamental em Matemática, no que diz respeito ao trabalho com Grandezas e Medidas, com a inserção dos Temas Transversais/Político-Sociais. Participaram da pesquisa os professores tutures do programa Pró-Letramento Matemática São Paulo Retorno que iniciaram o curso de formação em fevereiro de 2008 e os professores cursistas do Pró-Letramento da cidade de Bauru, que realizaram o curso de formação no mesmo ano. A coleta dos dados para esta pesquisa se realizou através da aplicação de questionários ao início e término do curso de formação de tutores para o Pró-Letramento Matemática São Paulo Retorno bem como aplicação de questionários para os professores cursistas ao antes do estudo do fascículo de Grandezas e Medidas do material e realização de entrevistas ao final. Os resultados evidenciam uma melhora nos conceitos referentes a abordagem de Grandezas e Medidas com os alunos / Abstract: This research aims to verify whether the training course Pró-Letramento Matemática contributed to the continuing education of teachers in early grades of basic education in mathematics, with regard to working with Quantities and Measures, with the insertion of the Transversal Themes / Social - Political in this research participated tutors teachers of the Pró-Letramento Matemática São Paulo Retorno who began training in february 2008 and participant teachers of the Pró-Letramento in Bauru, who conducted the training course in the same year. Data collection for this research was conducted through questionnaires at the beginning and end of the course of continuing education of tutors for the Pró-Letramento Matemática São Paulo Retorno and questionnaires for the participant teachers prior to the study of the issue of Quantities and Measures of material and achievement of interviews in the final. The results show an improvement in the concepts about Quantities and Measures with the students / Mestre