While an extensive body of research exploring professional discourse exists, research investigating off-task talk within workplaces has been relatively side-lined. To better understand the possible functions of personal interstices layered between institutional goal-oriented talk, this study examines instances of self-disclosure that emerged from 34 hours of authentic interactions recorded at three Canadian workplaces. Using conversation analysis, 87 self-reference, self-disclosure declaratives were identified. Of those, 21 occurred within reciprocal sequences between two participants. Similar to a second story telling found in ordinary conversation (Sacks, 1992a), the second speaker’s self-disclosure reflects the first speaker’s, both in content and form, and is often an upgraded version of the initial disclosure. This pattern and in-meeting placement suggest that these types of personal interstices may be a mechanism for displaying co-worker empathetic affiliation. Additionally, hierarchical role relations and institution goals may be temporarily suspended or back-grounded during these sequences.

It all began in the village. We would wake up with the sun, we would rest our laboured bodies underneath the moon. Gli vecchi (old folks) often told us: “In the end, all that will remain is our story. Nothing else really matters.” This thesis “Awakening the Calabrian Story: The Diverse Manifestations of Acquiring Knowledge” will take you into the lives of ten Southern Italian women from Calabria. They will lure you back to their villages: their place of birth, their hearth, to the midst of the olive trees. Their stories will then migrate to Canada, as these women take their first steps on Pier 21. “In the end, all that matters is our stories.” This thesis will give voice to ten Southern Italian women who will tell the world what, to them, matters most. They will tell their tales and pass on the wisdom they have learned along the way. With each breath and each step, they are always growing, never remaining the same. They go along and live out their villages wherever the thread takes them. This thesis itinerary will begin in the village, follow a journey across the Atlantic Ocean to a life in Canada. Chapter One: (Introduction) will outline and describe the background, purpose and objectives, on this journey of awakening. Chapter Two: (Literature Review) will look at pedagogical perspectives in curriculum theory. Chapter Three: (Methodology) will focus on the research methodology applied throughout this thesis process. Chapter Four: (Stories as Data) will lure readers into the personal lives and experiences of participants. Chapter Five: (Interpretation of Stories) will reveal the analysis of acquired knowledge as reported by participants. This thesis itinerary will continue and conclude by the fireside with a collection of Calabrian folktales told by these participants, and translated from the Calabrian dialect into English.

It all began in the village. We would wake up with the sun, we would rest our laboured bodies underneath the moon. Gli vecchi (old folks) often told us: “In the end, all that will remain is our story. Nothing else really matters.” This thesis “Awakening the Calabrian Story: The Diverse Manifestations of Acquiring Knowledge” will take you into the lives of ten Southern Italian women from Calabria. They will lure you back to their villages: their place of birth, their hearth, to the midst of the olive trees. Their stories will then migrate to Canada, as these women take their first steps on Pier 21. “In the end, all that matters is our stories.” This thesis will give voice to ten Southern Italian women who will tell the world what, to them, matters most. They will tell their tales and pass on the wisdom they have learned along the way. With each breath and each step, they are always growing, never remaining the same. They go along and live out their villages wherever the thread takes them. This thesis itinerary will begin in the village, follow a journey across the Atlantic Ocean to a life in Canada. Chapter One: (Introduction) will outline and describe the background, purpose and objectives, on this journey of awakening. Chapter Two: (Literature Review) will look at pedagogical perspectives in curriculum theory. Chapter Three: (Methodology) will focus on the research methodology applied throughout this thesis process. Chapter Four: (Stories as Data) will lure readers into the personal lives and experiences of participants. Chapter Five: (Interpretation of Stories) will reveal the analysis of acquired knowledge as reported by participants. This thesis itinerary will continue and conclude by the fireside with a collection of Calabrian folktales told by these participants, and translated from the Calabrian dialect into English.

Ce mémoire porte sur le rôle des divinités dans la structure dramatique de la tragédie en musique Idoménée d’Antoine Danchet et d’André Campra, originalement créée en 1712 et remaniée en 1731. L’étude répond à des questions d’ordre structurel quant à l’évolution du genre et montre de quelle façon la représentation des dieux dans Idoménée est liée à une ouverture formelle qui annonce la disparition du prologue, puisque les divinités n’y sont plus confinées à une fonction de louange du roi, mais contribuent activement à lancer l’action dramatique dès cette partie liminaire de l’opéra. Par un bref aperçu historique de la tragédie lyrique et des traditions mythologiques se rapportant à Vénus et à Neptune, ce mémoire questionne la place de ces dieux dans l’univers des hommes, tel que l’envisage la tragédie lyrique, qui démontre, comme on le sait, une propension à unifier les mondes surnaturel et humain. Dans Idoménée, cette unification passe en grande partie par l’usage d’un prologue qui fait office de premier acte, en assurant aux divinités en question une fonction essentielle à la structure dramatique. / This essay focuses on the deities’ role in the dramatic structure of Antoine Danchet and André Campra’s Idoménée, a tragédie en musique originally written in 1712 and rearranged in 1731. This research raises questions about the evolution of this particular genre while aiming to show how the representation of the Gods in Idoménée is linked to a formal opening which announces the disappearance of the prologue during the 1740s, as the deities are no longer used to solely praise the king but actively contribute to start off the dramatic effect as early as this opening part of the opera, thus giving a new function to the prologue. Through a brief historical overview of the French opera genre known as tragédie lyrique and of the mythological traditions linked to Venus and Neptune, this essay questions the place of these two deities in the human universe as envisioned by the tragédie lyrique which, as it is well known, tends to unify the supernatural and human worlds. In Idoménée, this unification mostly occurs through the use of a prologue, which also forms the first act of this drama, giving the deities in question an essential role in the dramatic structure of the opera.

Cette these porte sur differents aspects syntaxiques et semantiques de l'intensification implicite dans une construction du francais non standard du type "Marie est belle qu'on en reste ebahi". Cette construction se caracterise par la presence d'un modificateur propositionnel (la prop-que) jouant le role d'un evaluateur de mesures extremes liees au predicat de la proposition matrice ("belle"). Ce modificateur opere sur des echelles de mesures et delimite la mesure reelle en la mettant en rapport avec la consequence qu'il exprime. Comme ce type d'evaluation correlative definit aussi la construction intensive de consequence (CIC), ou l'intensification est lexicalement realisée par les marqueurs d'intensité "tellement", "si", etc., nous proposons que la construction non standard represente un type implicite de la CIC. La CIC-implicite constitue un nouvel objet d'etude pour la description et la formalisation dans le cadre de la grammaire generative (Chomsky 1993, 1995, 2000). L'objectif principal de cette these est de fournir une description detaillee des comportements de la CIC-implicite, d'identifier les contraintes qui la regissent et de proposer un lien derivationnel entre cette derniere et la CIC-explicite. Une comparaison systematique des proprietes des deux CIC montre que les realisations de la CIC-implicite sont plus restreintes. Les restrictions incluent, entre autres, l'impossibilite de l'enchassement par un verbe factif et l'absence de la force interrogative. Une ligne directe peut etre etablie entre les differentes restrictions en termes de la notion pragmatique d'assertion et de la presence du locuteur. Notre derivation de la CIC-implicite, basee sur l'analyse de la CIC-explicite par association tardive proposee par Bhatt et Pancheva (2004, 2007), formalise la notion d'assertion au niveau de la peripherie gauche avec une projection dediee (Haegeman 2006 ; Speas et Tenny 2003). Cette projection, ainsi que l'association de la prop-que modificatrice, permettent d'interpreter et de legitimer la categorie vide qui realise l'intensification dans la CIC-implicite.

Cette these porte sur differents aspects syntaxiques et semantiques de l'intensification implicite dans une construction du francais non standard du type "Marie est belle qu'on en reste ebahi". Cette construction se caracterise par la presence d'un modificateur propositionnel (la prop-que) jouant le role d'un evaluateur de mesures extremes liees au predicat de la proposition matrice ("belle"). Ce modificateur opere sur des echelles de mesures et delimite la mesure reelle en la mettant en rapport avec la consequence qu'il exprime. Comme ce type d'evaluation correlative definit aussi la construction intensive de consequence (CIC), ou l'intensification est lexicalement realisée par les marqueurs d'intensité "tellement", "si", etc., nous proposons que la construction non standard represente un type implicite de la CIC. La CIC-implicite constitue un nouvel objet d'etude pour la description et la formalisation dans le cadre de la grammaire generative (Chomsky 1993, 1995, 2000). L'objectif principal de cette these est de fournir une description detaillee des comportements de la CIC-implicite, d'identifier les contraintes qui la regissent et de proposer un lien derivationnel entre cette derniere et la CIC-explicite. Une comparaison systematique des proprietes des deux CIC montre que les realisations de la CIC-implicite sont plus restreintes. Les restrictions incluent, entre autres, l'impossibilite de l'enchassement par un verbe factif et l'absence de la force interrogative. Une ligne directe peut etre etablie entre les differentes restrictions en termes de la notion pragmatique d'assertion et de la presence du locuteur. Notre derivation de la CIC-implicite, basee sur l'analyse de la CIC-explicite par association tardive proposee par Bhatt et Pancheva (2004, 2007), formalise la notion d'assertion au niveau de la peripherie gauche avec une projection dediee (Haegeman 2006 ; Speas et Tenny 2003). Cette projection, ainsi que l'association de la prop-que modificatrice, permettent d'interpreter et de legitimer la categorie vide qui realise l'intensification dans la CIC-implicite.

This dissertation analyzes how the concept of the ideal citizen is shaped linguistically and visually in Macedonian textbooks and how this concept changes over time and in concert with changes in society. It is focused particularly on the role of primary education in the transmission of language, identity, and culture as part of the nation-building process. It is concerned with how schools construct linguistic norms in association with the construction of citizenship. The linguistic practices represented in textbooks depict “good language” and thus index also “good citizen.” Textbooks function as part of the broader sets of resources and practices with which education sets out to make citizens and thus they have an important role in shaping young people’s knowledge and feelings about the nation and nation-state, as well as language ideologies and practices. By analyzing the “ideal” citizen represented in a textbook we can begin to discern the goals of the government and society. To this end, I conduct a diachronic analysis of the Macedonian language used in elementary readers at several points from 1945 to 2000 using a combination of qualitative and quantitative methods. I catalogue and chart the frequency of certain linguistic forms and changes in their usage over time and contextualize these choices and changes within the greater changes of the narratives in the books. I conduct a similar analysis of the visual depictions of identity in these textbooks and the content of the textbooks with respect to notions of identity, nationalism, and other cultural factors.

This dissertation analyzes how the concept of the ideal citizen is shaped linguistically and visually in Macedonian textbooks and how this concept changes over time and in concert with changes in society. It is focused particularly on the role of primary education in the transmission of language, identity, and culture as part of the nation-building process. It is concerned with how schools construct linguistic norms in association with the construction of citizenship. The linguistic practices represented in textbooks depict “good language” and thus index also “good citizen.” Textbooks function as part of the broader sets of resources and practices with which education sets out to make citizens and thus they have an important role in shaping young people’s knowledge and feelings about the nation and nation-state, as well as language ideologies and practices. By analyzing the “ideal” citizen represented in a textbook we can begin to discern the goals of the government and society. To this end, I conduct a diachronic analysis of the Macedonian language used in elementary readers at several points from 1945 to 2000 using a combination of qualitative and quantitative methods. I catalogue and chart the frequency of certain linguistic forms and changes in their usage over time and contextualize these choices and changes within the greater changes of the narratives in the books. I conduct a similar analysis of the visual depictions of identity in these textbooks and the content of the textbooks with respect to notions of identity, nationalism, and other cultural factors.

No description available.

Plusieurs études explorent la question des œuvres théâtrales traduites et censurées dans un contexte dictatorial, au Brésil et ailleurs dans le monde. Pourtant, peu d’entre elles examinent les stratégies de traduction mises en œuvre pour éviter ou contourner la censure. S’appuyant sur l’Histoire de la traduction, la présente thèse propose précisément de se pencher sur la question des stratégies de traduction des pièces de théâtre pendant deux périodes de dictature au Brésil : Estado Novo (1937-1945) et Ditadura Militar (1964-1985). Pour chacune de ces périodes, des mécanismes de censure différents et les stratégies de traduction variées qui en découlent sont examinés et illustrés. La méthodologie, fondée sur le modèle TRACE (TRAducciones CEnsuradas en España), consiste en l’analyse d’un corpus de pièces de théâtre traduites et censurées pendant les périodes précitées, et obtenues au Centre d’archives Miroel Silveira, à São Paulo. Chaque dossier de censure (y compris les traductions, les commentaires et avis des censeurs, et les documents relatifs aux négociations entre les censeurs et les directeurs d’œuvres théâtrales) est analysé afin de comprendre les actes de censure ; de même, un échantillon de pièces de théâtre et leur traduction font l’objet d’une analyse comparative pour cerner de quelle manière les traducteurs réagissent à la censure. Les données sont analysées dans leur contexte historique, ce qui nous a permis de conclure que les procédures et les stratégies de traduction ont évolué d’une période de dictature à l’autre. Quant au cadre théorique, il se réclame en grande partie des travaux sur les normes et le système de mécénat de la traductologie descriptive, notamment ceux de Toury (1995) et de Lefevere (1992). Ces travaux décrivent le fonctionnement de la censure au sein et en dehors du système littéraire, de même que ses répercussions sur les traducteurs. Le concept de censure y est souvent qualifié de concept multidimensionnel et arbitraire mais une étude détaillée des lieux d’interaction entre la censure et la traduction s’avérait nécessaire. Telle est l’une des principales contributions de la présente thèse au domaine. Afin d’atteindre les objectifs énoncés ci-dessus, cette étude a été divisée en cinq chapitres: 1) Traduction, théâtre et censure, dans lequel nous introduisons les principaux concepts utilisés et faisons un état de la question; 2) Aspects théoriques et méthodologiques, dans lequel nous présentons les bases théoriques, la méthodologie (TRACE), et, enfin, notre méthodologie propre; 3) Estado Novo et les caractéristiques principales de cette période (contexte historique, lois et décrets de censure), les données générales collectées dans les archives Miroel Silveira et, enfin, l'analyse de cinq pièces de théâtre traduites et censurées au cours de cette période; 4) La Ditadura Militar, avec le même contenu que le point précédent mais pour la période; 5) Comparaison des deux périodes citées, dans lequel nous analysons les mécanismes de censure et les différentes stratégies de traduction qui en découlent. / Numerous studies exist on theatrical works translated and censored during periods of dictatorship in Brazil and other countries around the world. However, few among such studies are devoted to strategies used by the translator to avoid or circumvent censorship. Situated in the area of Translation History, this work investigates strategies used in the translation of theater plays during Brazil’s two dictatorships: the Estado Novo (1937-1945) and the Military Dictatorship (1964-1985). We, in each of these periods, different censorship mechanisms and the varied strategies translators adopted in response. We thus sought to identify these strategies in correlation with each mechanism of censorship that provoked them. To our knowledge, there is no study comparing these aspects between the two dictatorships. Our methodology entailed analysis of a corpus of plays translated and censored during the aforementioned periods of dictatorship. The works were retrieved from the Miroel Silveira Archive. An examination of censorship dossiers (among them the translations themselves, comments and opinions of the censors, and negotiations between the censors and directors of the theatrical works) broadened our understanding of censors’ actions while analysis of the theatrical works provided insight into translators’ reaction to censorship. Articulated with historical contexts, these aspects allowed us to conclude that there was a variation between the procedures and the translation strategies used in each dictatorship. The success of the study owes much to the work of descriptivist theorists on norms and the patronage system - in particular, Toury (1995) and Lefevere (1992), who shone light on the functioning of censorship within and without the literary system, and its impact on translators. The concept of censorship, frequently described as multifaceted and arbitrary, requires further research studies exploring on its interrelationships with translation. This is one of the chief contributions of this work. In order to achieve the objectives stated above, this study has been divided into five chapters: 1) Translation, Theater and Censorship, in which we introduce the main concepts used by authors who are interested in these subjects; 2) Theoretical and methodological aspects, in which we present the theoretical bases, the methodology (TRACE), and finally our own methodology; 3) Estado Novo and the main characteristics of this period (historical context, laws and decrees of censorship), the general data collected in the Miroel Silveira archives and, finally, the analysis of five plays translated and censored during this period; 4) Ditadura Militar, with the same content as the previous point but focused on the period; 5) Comparison of the two periods indicated above, in which we analyze the mechanisms of censorship and the different translation strategies that result from them. / Os estudos sobre o teatro traduzido e censurado em períodos de ditaduras são numerosos, tanto no Brasil, como em outras ditaduras do mundo. No entanto, entre esses estudos, não são muitos os que se centram nas estratégias utilizadas pelo tradutor para evitar ou driblar a censura. Situado na área da História da Tradução, o presente trabalho se interessa por essas estratégias utilizadas na tradução de peças de teatro, durante as duas ditaduras brasileiras: o Estado Novo (1937-1945) e a Ditadura Militar (1964-1985). Em cada um desses períodos, observamos mecanismos de censura diferentes que provocaram reações variadas e, consequentemente, estratégias de tradução variadas. Buscamos, assim, identificar essas estratégias em correlação com cada mecanismo de censura que as provocou. Em nosso conhecimento, não há nenhum estudo que faça a comparação desses aspectos entre as duas ditaduras estudas. Para realizar essa análise, utilizamos um corpus de peças de teatro traduzidas e censuradas durante os períodos, que recuperamos no Arquivo Miroel Silveira. Os dossiês de censura, em que constam as traduções, comentários e pareceres do censores, negociações entre os censores e os diretores, entre outros, contribuem para compreender a ação dos censores e, a partir da análise das peças, a reação dos tradutores em face da censura. Articulados com os contextos históricos, esses aspectos nos permitiram chegar à conclusão de que houve uma variação entre os procedimentos e as estratégias de tradução utilizadas em cada ditadura. Este estudo foi possível graças às contribuições dos teóricos descritivistas, particularmente Toury (1995) e Lefevere (1992), quanto às normas e ao sistema de patronagem, que ajudaram a elucidar o funcionamento da censura, fora e dentro do sistema literário, e o impacto que ela causou nos tradutores. A censura, frequentemente qualificada como multifacetada e arbitrária, ainda clama por estudos que explorem seus diversos aspectos em relação com a tradução. Nossa pesquisa, dessa forma, contribui para essa compreensão. Para atingir os objetivos propostos acima, este estudo foi dividido em cinco capítulos: 1) Tradução, Teatro e Censura, em que introduzimos os principais conceitos utilizados, fazendo uma revisão da literatura; 2) Aspectos Teóricos e Metodológicos, em que apresentamos as bases teóricas da pesquisa, a metodologia TRACE, e, por fim, nossa própria metodologia; 3) O Estado Novo e as características principais desse período (contexto histórico, leis e decretos de censura), os dados gerais coletados no Arquivo Miroel Silveira e, finalmente, a análise de cinco peças de teatro traduzidas e censuradas durante esse período; 4) A Ditadura Militar, que segue os mesmos passos do item anterior, mas focado na segunda ditadura; 5) Comparação dos dois períodos citados, em que analisamos os mecanismos de censura e as diferentes estratégias de tradução que decorrem de cada mecanismo.