Cette recherche qui a comme point de repere la théorie du développement cognitif de Jean Piaget, se constitue d'une étude d ' exploration descriptive longitudinale des manife s tations spontanées rythmo-mélodiques aux deux premieres années de vie d'un garçon né d ' accouchement normal. On a préféré cette conception du développernent de l'intelligence de Jean Piaget puisque c'est sa base biologique et logico-mathématique qui permet une meilleure conpréhension du développement musical, quand on considere la nature de la musique. L'objectif de cette investigation est celui de vérifier si la manifestation spontanée de l'organisation de l'intelli - gence musicale du sujet en observation à travers l'audition, la vision, l'émission et le tact , évolue concomitante au perfectionnement de l'intelligence "en soi" comme il arrive au langage. La méthode utilisée pour cette recherche a été celle de l'observation à t ravers des f i lmages mensuels au cours de ses 24 premiers mais de vie. Les comportements relatifs aux 5 premiers mais de vie ont été tournés dans son ambiance naturelle. Les dix-neuf suivants ont été docurnentés au Centre de Productions du Cours de Pós-Graduaçao de la Faculté d'Education de l'UFRGS.L' analyse des actions du sujet de la recherche a été faite selon les six phases du développement de l'Intelligepce Sensori - Motrice" de Jean Piaget . La premiere phase étudie "L'Exercice des Reflexes". Dans la deuxieme phase ont été étudiées les habitudes acquises relativement aux transmutations de base: "Succion, Vision, Phonation Audition, Préhension, et Adaptations Sensori- Motric e s Intentionnel le s ". Dans la troisieme phase, ont été analysées les "Réactions Circulaires Secondaires". Dans la quatrieme I, ont été analysées "La Coordination des Schémas Secondaires et leur Application aux Nouvelles Situations". Dans la quatrieme phase II, ont été observées "L'Assimilation, l'Accomodation et l'Organi s ation Typiques des Schémas Mobiles". Dans la cinquieme phase ont été étudiées "La Réaction Circulaire Tertiaire et la Découverte de Nouveaux Moyens par l'Expérimentation Active". Dans la sixieme phase, on a envisagé "L'Invention de Nouveaux Moyens par la Combinaison Mentale". A travers ces six phases on a cherché d'observer le parallélisme parmi les manifestations de l'intelligence "en soi'' et l'intelligence musicale, ce qui a été documenté dans les films ci-joint. On est arrivé à la conclusion que ce parallélisme existe. / Esta pesquisa que tem como quadro de referência a teoria do desenvolvimento cognitivo de Jean Piaget, consiste de um estudo exploratório -descritivo longitudinal das manifes taçõe s espontâneas rítmico- melÓdicas nos doi s primeiros anos de vid a , de um menino nas c ido de par t o natural . Optou-se pela concepção do desenvolvimento da inteligência de Jean Piaget, po r que seu embas ame nto biolÓgico e lÓgic o-matemát ico propicia uma melhor compre e nsão do desenvolvimento levando em consideração a natureza da música. , e que musical, O objetivo desta investigação é o de verificar se a manifestação espontânea da organização da inteligência music a l do s u jeito da pesquisa investigada por meio da audição~isão, emi ssão e tato evolue con comitantemente com o aprimorame nto da i n teligênc ia "per se" tal como ocorre com a linguagem. O método utilizado na pesquisa foi o de observação me diante filmagens mensais do suje ito durante 24 meses. Os e pisódios relativos aos c i nco primeiros meses foram filmados em ambiente natural. Os dezenove restantes foram documentados no Centro de Produções do Curso de PÓ s -Graduação da Faculdade de Educa ção da UFRGS .A análise das atuações do sujeito da pesquisa foi fe i ta de acordo com as seis fases do desenvolvimento da "Inteligência SensÓrio-Motora" segundo Piaget A primeira fase estuda "0 Exercicio dos Reflexos". Na segunda fase, foram estudados os há bitos adquiridos relativos às transmutaçê5es básicas da "Sucção, Visão, Fonação, Audição, Preensão e Adaptações Sensório-Motoras Intencionais". Na terceira fase, foram analisadas as ''Reações Circulares Secundár ias" . Na quarta fase I, foram investigadas "A Coordenação dos Esquemas Secundários e sua Aplicação às Novas Situações". Na quarta fase I foram observadas "A Assimilação, A Acomodação e a Organização Própria dos Esquemas Móveis". Na quinta fase,foram estudadas, "A Reação Circular Terciária e a Descoberta de Novos Meios por Experimentação Ativa." Na sexta fase, focalizou-se "A Invenção de Novos Meios Bor Combinação Mental. Em todas essas seis fase s procurou-se observar o paralelismo entre manifestações da inteligência "per se" e a inteligência musical, o que ficou documentado nos filmes. Concluiu- se que existe tal paralelismo. / This study is based on Jean Piaget's theory of cognitive development . It consists of an exploratory - descriptive longitudinal study of the spontaneous rhythmical and melodical manifestations during the firs t two year s of life. The subject of this case study is a boy, born o f natural birth. Piaget's conception of intellec t ual development was chosen because its biological and logic o-mathematic a basis provides a better understanding of music development, taking the nature of music into consideration. The objective of this study is to verify if the spontaneous manifestation of musical intelligence of the research subject, investigated through hearing, vision, sound emission and touch evol v·es simul taneously wi th the improvement of intelligence "itself" as it occur with language. The method utilized in the study was observation by means of filming the subject during 24 months. The episodes of the firs t five months were filmed in the natural environment. The remaining 19 episodes were recorded in the Produc tion Center of the School of Education of UFRGS The analysis of the subject's behavior was done according to the six stages of development of "Sensorimotor Intelligence" according to Piaget. The first s tage studies the "Exercise of Ref le xes". In the second stage we studied the habits relative to the basic changes of "Sucking, Vision, Speech, Hearing, Grasping and Intentional Sensorimotor Adaptations". In the third stage we analysed the "Secondary Circular Reaction " . In the fourth stage (a) we investigated the "Coordenation of Secondary Schernata and their Application to New Stituations. In the fourth stage (b) we observed "Assirnilation, Accornodation, and the Characteristic Organization of Mobile Schernata" . In the fifth phase we studied the " Terciary Circular Reaction and the Discovery of New Mean Through Active Experirnentat ion " . In the s i xth stage , we f ocused the "Invention of New Means Through Mental Cornbination " . In all these phases we tried to observe the parallelisrn between rna nifestations of intelligence " per se" and of musica l intelligence, which was docurnented i n the filrns . We concluded that there is such parallelisrn .

Cette recherche qui a comme point de repere la théorie du développement cognitif de Jean Piaget, se constitue d'une étude d ' exploration descriptive longitudinale des manife s tations spontanées rythmo-mélodiques aux deux premieres années de vie d'un garçon né d ' accouchement normal. On a préféré cette conception du développernent de l'intelligence de Jean Piaget puisque c'est sa base biologique et logico-mathématique qui permet une meilleure conpréhension du développement musical, quand on considere la nature de la musique. L'objectif de cette investigation est celui de vérifier si la manifestation spontanée de l'organisation de l'intelli - gence musicale du sujet en observation à travers l'audition, la vision, l'émission et le tact , évolue concomitante au perfectionnement de l'intelligence "en soi" comme il arrive au langage. La méthode utilisée pour cette recherche a été celle de l'observation à t ravers des f i lmages mensuels au cours de ses 24 premiers mais de vie. Les comportements relatifs aux 5 premiers mais de vie ont été tournés dans son ambiance naturelle. Les dix-neuf suivants ont été docurnentés au Centre de Productions du Cours de Pós-Graduaçao de la Faculté d'Education de l'UFRGS.L' analyse des actions du sujet de la recherche a été faite selon les six phases du développement de l'Intelligepce Sensori - Motrice" de Jean Piaget . La premiere phase étudie "L'Exercice des Reflexes". Dans la deuxieme phase ont été étudiées les habitudes acquises relativement aux transmutations de base: "Succion, Vision, Phonation Audition, Préhension, et Adaptations Sensori- Motric e s Intentionnel le s ". Dans la troisieme phase, ont été analysées les "Réactions Circulaires Secondaires". Dans la quatrieme I, ont été analysées "La Coordination des Schémas Secondaires et leur Application aux Nouvelles Situations". Dans la quatrieme phase II, ont été observées "L'Assimilation, l'Accomodation et l'Organi s ation Typiques des Schémas Mobiles". Dans la cinquieme phase ont été étudiées "La Réaction Circulaire Tertiaire et la Découverte de Nouveaux Moyens par l'Expérimentation Active". Dans la sixieme phase, on a envisagé "L'Invention de Nouveaux Moyens par la Combinaison Mentale". A travers ces six phases on a cherché d'observer le parallélisme parmi les manifestations de l'intelligence "en soi'' et l'intelligence musicale, ce qui a été documenté dans les films ci-joint. On est arrivé à la conclusion que ce parallélisme existe. / Esta pesquisa que tem como quadro de referência a teoria do desenvolvimento cognitivo de Jean Piaget, consiste de um estudo exploratório -descritivo longitudinal das manifes taçõe s espontâneas rítmico- melÓdicas nos doi s primeiros anos de vid a , de um menino nas c ido de par t o natural . Optou-se pela concepção do desenvolvimento da inteligência de Jean Piaget, po r que seu embas ame nto biolÓgico e lÓgic o-matemát ico propicia uma melhor compre e nsão do desenvolvimento levando em consideração a natureza da música. , e que musical, O objetivo desta investigação é o de verificar se a manifestação espontânea da organização da inteligência music a l do s u jeito da pesquisa investigada por meio da audição~isão, emi ssão e tato evolue con comitantemente com o aprimorame nto da i n teligênc ia "per se" tal como ocorre com a linguagem. O método utilizado na pesquisa foi o de observação me diante filmagens mensais do suje ito durante 24 meses. Os e pisódios relativos aos c i nco primeiros meses foram filmados em ambiente natural. Os dezenove restantes foram documentados no Centro de Produções do Curso de PÓ s -Graduação da Faculdade de Educa ção da UFRGS .A análise das atuações do sujeito da pesquisa foi fe i ta de acordo com as seis fases do desenvolvimento da "Inteligência SensÓrio-Motora" segundo Piaget A primeira fase estuda "0 Exercicio dos Reflexos". Na segunda fase, foram estudados os há bitos adquiridos relativos às transmutaçê5es básicas da "Sucção, Visão, Fonação, Audição, Preensão e Adaptações Sensório-Motoras Intencionais". Na terceira fase, foram analisadas as ''Reações Circulares Secundár ias" . Na quarta fase I, foram investigadas "A Coordenação dos Esquemas Secundários e sua Aplicação às Novas Situações". Na quarta fase I foram observadas "A Assimilação, A Acomodação e a Organização Própria dos Esquemas Móveis". Na quinta fase,foram estudadas, "A Reação Circular Terciária e a Descoberta de Novos Meios por Experimentação Ativa." Na sexta fase, focalizou-se "A Invenção de Novos Meios Bor Combinação Mental. Em todas essas seis fase s procurou-se observar o paralelismo entre manifestações da inteligência "per se" e a inteligência musical, o que ficou documentado nos filmes. Concluiu- se que existe tal paralelismo. / This study is based on Jean Piaget's theory of cognitive development . It consists of an exploratory - descriptive longitudinal study of the spontaneous rhythmical and melodical manifestations during the firs t two year s of life. The subject of this case study is a boy, born o f natural birth. Piaget's conception of intellec t ual development was chosen because its biological and logic o-mathematic a basis provides a better understanding of music development, taking the nature of music into consideration. The objective of this study is to verify if the spontaneous manifestation of musical intelligence of the research subject, investigated through hearing, vision, sound emission and touch evol v·es simul taneously wi th the improvement of intelligence "itself" as it occur with language. The method utilized in the study was observation by means of filming the subject during 24 months. The episodes of the firs t five months were filmed in the natural environment. The remaining 19 episodes were recorded in the Produc tion Center of the School of Education of UFRGS The analysis of the subject's behavior was done according to the six stages of development of "Sensorimotor Intelligence" according to Piaget. The first s tage studies the "Exercise of Ref le xes". In the second stage we studied the habits relative to the basic changes of "Sucking, Vision, Speech, Hearing, Grasping and Intentional Sensorimotor Adaptations". In the third stage we analysed the "Secondary Circular Reaction " . In the fourth stage (a) we investigated the "Coordenation of Secondary Schernata and their Application to New Stituations. In the fourth stage (b) we observed "Assirnilation, Accornodation, and the Characteristic Organization of Mobile Schernata" . In the fifth phase we studied the " Terciary Circular Reaction and the Discovery of New Mean Through Active Experirnentat ion " . In the s i xth stage , we f ocused the "Invention of New Means Through Mental Cornbination " . In all these phases we tried to observe the parallelisrn between rna nifestations of intelligence " per se" and of musica l intelligence, which was docurnented i n the filrns . We concluded that there is such parallelisrn .

Orientador: Fermino Fernandes Sisto / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-07-21T08:29:15Z (GMT). No. of bitstreams: 1 Urquijo_Sebastian_M.pdf: 14541587 bytes, checksum: 63a8cd128b324c97f1e64d3d0e9c3434 (MD5) Previous issue date: 1996 / Resumo: o objetivo principal do estudo foi analisar as relações entre duas posições diferentes sobre criatividade: o clássico pensamento divergente (Guilford, Torrance, Y amamo to) e a formação dos possíveis piagetianos. Três provas do TTCT (Torrance Test of Creative Thinking) e uma da bateria de Guilford, foram aplicadas a cento e sessenta alunos do primeiro ano do Curso de Psicologia da Universidad Nacional de Mar deI Plata. As respostas foram classificadas segundo os critérios de Torrance, os de Yamamoto e os adaptados das provas piagetianas. Os resultados da análise fatorial sugeriram / Abstract: The purpose of this study was to analyze the relations between two different positions of creativity: classical divergent thought (Guilford, Torrance, Y amamoto) and piagetian formation of possibilities. Three tasks of TTCT (Torrance Test of Creative Thinking) and one of Guilford Test, were applied to one hundred and sixty first year students of Psychology, at the Universidad Nacional de Mar del Plata. The answers were classified based upon piagetian-type evolution, Torrance and Yamamoto criteria. Results of factor analysis suggest that these three different criteria classified the subjects in the same way, and the psychological mechanism, which explains the creativity, was probably the same in these two different theoretical frameworks. Moreover, the extracted factors were strongly associated with the different tasks, and the four classical factors (fluency, flexibility, originality and elaboration), foreseen by the factorial theories, were not extracted, contradicting their theoretical assumptions, usually accepted in the literature / Mestrado / Psicologia Educacional / Mestre em Educação

Orientador: Rosely Palermo Brenelli / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-03T20:34:34Z (GMT). No. of bitstreams: 1 VonZuben_RenataBonturi_M.pdf: 12104469 bytes, checksum: fa77114c1f3f28a04d11a66d1982ecd4 (MD5) Previous issue date: 2003 / Mestrado

Orientador : Orly Zucato Mantovani de Assis / Tese (doutorado) - Universidade Estadualde Campinas, Faculdade de Educação / Made available in DSpace on 2018-07-14T01:20:23Z (GMT). No. of bitstreams: 1 Mantoan_MariaTeresaEgler_D.pdf: 16161552 bytes, checksum: 7e0592d66ffc366cd8678a13cda69c21 (MD5) Previous issue date: 1991 / Doutorado

Orientador : Nicolau Sevcenko / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-14T01:24:01Z (GMT). No. of bitstreams: 1 Farias_AgnaldoAriceCaldas_M.pdf: 6751752 bytes, checksum: 3338af37a5239ddd727458196c0ce784 (MD5) Previous issue date: 1990 / Resumo: Não informado / Abstract: Not informed / Mestrado / Mestre em História Social

Memoria (licenciado en ciencias jurídicas y sociales) / En este trabajo se presenta el pensamiento jurídico de don Manuel José Irarrázaval Larraín. Poco se conoce en la actualidad sobre este eminente hombre público y jurista; sin embargo fue uno de los personajes más destacados del siglo XIX en Chile; su aporte al desarrollo de la República fue fundamental. Sus contemporáneos, chilenos y extranjeros, sólo tuvieron palabras de admiración para referirse a él. Hombre universal, no sólo se interesó por el derecho y la política; también participó en la fundación de diarios, fundó el club de la Unión, introdujo en Chile el eucalipto.

In the year 1916, there appeared an article by G. Jean-Aubry in "La musique française d'aujourdhui" which placed Paul Verlaine in proper historical perspective. Jean-Aubry states: Even if we consider only its musical aspect, the history of the lied in France must include the name and work of Paul Verlaine. Of course, this poet did not, alone, determine the remarkable movement which, in about 1867, transformed the romantic melody into the lied, as we understand the form today; but the publication of Fêtes galantes, La bonne chanson, and Romances sans paroles, offered musicians poems which were excellently, and indeed uniquely suited to this melodic form. In view of his historical significance, the author will examine representative poems of Paul Verlaine which have been given musical settings by various composers of the nineteenth and twentieth centuries. Within this framework a biographical overview will be presented together with a discussion of Verlaine's poetic style, relating wherever possible events of his life to contemporary developments in literature and the fine arts. His contribution to French literature will be evaluated by the examination of his "Art Poétique" and other personal statements, as well as by comments about his poetry by noted critics of French literature during and after his lifetime. Verlaine's relationships to and with other poets such as the Parnassians, Baudelaire, and Rimbaud will be investigated in order to determine their influence upon his style. His own role as leader of and/or contributor to the literature of the contemporary schools of Parnassianism, Symbolism, Impressionism, and Decadence will be examined. These four schools of thought together with the Naturalist and Romantic schools will also be explored in some depth and placed in historical perspective. For purposes of assessing Verlaine's contributions to French music and poetry, it will be necessary to determine the specific nature and structure of French verse in the nineteenth century along with the principles promulgated in the previous centuries. The role of stress, meter, rhythm, rime, imagery, color, subject matter, and other structural parameters will be illustrated through the examination of three poems: "La mer est plus belle," "Le Son du cor s'afflige vers les bois," and "L'Échellonement des haies" taken from Verlaine's book of poems entitled Sagesse. To this end, specific songs based upon Verlaine poems will be analyzed in terms of the presence or absence of musico- poetic synthesis involving harmony, tonality, tone-painting, texture, rhythm, and declamation. Representative poems given musical settings will be chosen for analysis from the major collections of the poet's life, namely, Fêtes galantes, La Bonne Chanson, Romances sans paroles, and Sagesse. The focus will be upon poems which are considered mileposts and which have been set by two or more composers. This will facilitate comparison.

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