Com o objetivo de investigar o desenvolvimento da musicalidade na formação e na prática musical do professor da Educação Infantil, este estudo reflete sobre o papel da música como um conhecimento a ser construído e suas aplicações nas escolas de Boa Vista – RR. Optei refletir e analisar como a música está presente na prática pedagógica deste, e quais as concepções de música que norteiam sua ação pedagógica. Observo e discuto como esse profissional da educação entende e dinamiza o conhecimento musical, ao pensar sobre suas possibilidades de trabalhar com a música na sua prática pedagógica, através de uma ação educativa reflexiva e crítica: a Oficina de Musicalização. Existem dois focos de análise: a musicalização de professores da Educação Infantil e suas práticas pedagógicas na Educação Infantil. O corpo teórico que fundamenta esta pesquisa aborda a teoria piagetiana e o pensamento de Paulo Freire, calcada na relação dialógica-dialética entre educador e educando. Para discutir a formação do professor atuante na educação infantil e a educação musical, adotei os estudos de autores como Bellochio (2000), Kater et al (1998), Penna (2008), Figueiredo (2004), Krobot e Santos (2005). E, a partir das pesquisas de Brito (2003); Fonterrada (2005); Beaumont (2003); Schafer (2001); pude refletir sobre a presença da música na Educação Infantil como área de conhecimento. Como metodologia, adotei como referência a pesquisa-ação caracterizada por Carr & Kemmis (1986), Elliott (1991), Kemmis & Mctaggart (1992), ressaltando: a imersão da pesquisadora nas circunstâncias e no contexto da pesquisa, o reconhecimento dos sujeitos participantes como produtores de conhecimentos e práticas e, a busca por resultados como fruto de um trabalho coletivo conseqüente da interação entre pesquisador e pesquisado. A presente pesquisa vem contribuir com reflexões e discussões sobre a teoria que permeia as nossas práticas no sentido de privilegiar um espaço diferenciado de construção do conhecimento e contribuir para a formação de um professor atuante na educação infantil, que possa agir e refletir na e para a prática educativa. / Aiming to investigate the development of musicianship training and practice of Music professor of early childhood education, this study reflects on the role of music as a knowledge to be built and its applications in schools of Boa Vista - RR. I chose to reflect and analyze how music is present in this teaching practice, and the conceptions of music that guide the classroom. I observe and discuss how this education professional understands and streamlines the musical knowledge, to think about their ability to work with music in their teaching through an educational and reflective criticism: the Musicalization Workshop. There are two focus of analysis: the musicalization of teacher with a pedagogic background and their teaching practices in early childhood education. The theoretical framework underlying this research addresses the theory of Piaget and the thought of Paulo Freire, based on dialectic-dialogic relationship between teacher and student. To discuss the formation of teachers with a pedagogic background and the music education, I adopted the studies of authors like Bellochio (2000), Kater et al (1998), Penna (2008), Figueiredo (2004), Krobot and Santos (2005). And from the studies of Brito (2003), Fonterrada (2005), Beaumont (2003), Schafer (2001), I did realize the presence of music in early childhood education as an area of knowledge. As methodology I adopted action research, based on the approach suggested by Carr & Kemmis (1986), Elliott (1991), Kemmis & McTaggart (1992), highlighting: the researcher's immersion in the circumstances and context of research, the recognition of the participating subjects as producers of knowledge and practice, and the quest for results as the fruit of a collective consequence of the interaction between researcher and researched. This research is a contribution to debates and discussions on the theory that permeates our practices in order to privilege a distinct area of knowledge building and contribute to the formation of a pre-school teacher, who can act and reflect in and for educational practice.

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Made available in DSpace on 2016-04-27T16:58:47Z (GMT). No. of bitstreams: 1 Rodrigo Sanchez Macedo.pdf: 2027323 bytes, checksum: 37ac4e33d4ecc9ff5385e13f1bfcff4b (MD5) Previous issue date: 2008-10-22 / This research provides an analysis of textbooks that Osvaldo Sangiorgi published in the period of the Movement of Modern Mathematics. This analysis was centered in the Theory of Sets, which before the move was part only of Higher Education, and during the Movement was inserted in textbooks, especially in the Sangiorgi, protagonist of the Movement in Brazil. For this analysis are used to the common theoretical foundation of History of Education. The study by Le Goff (1992) on Monument/Document and the study of Juliá (2001) respectively based treatment that should be given to sources of research and the History of Practice. Chartier and Hébrard (1981) deal with the strategies, tactics and ownership and Chervel (1990) contributes with the concept of disciplinarization, which are used in the analysis of how the author entered the contents of their textbooks. Preceding this analysis, it presented the Movement of Modern Mathematics in Brazil and the Theory of Sets included within this movement, this presentation based on dissertations, theses and articles dealing with the issue. Also preceding the analysis, are given an overview of the historical development of the theory of sets, and books on the Theory of Sets published during the period of the Movement of Modern Mathematics in Brazil. The results obtained in the analysis shows how some elements included in textbooks of Osvaldo Sangiorgi emerged from the tensions in the school culture, not limited only to a adequacy of the contents before addressed only in Higher Education / Essa pesquisa apresenta uma análise de livros didáticos que Osvaldo Sangiorgi publicou no período do Movimento da Matemática Moderna. Essa análise foi centralizada na Teoria dos Conjuntos, que antes do Movimento fazia parte apenas do Ensino Superior e durante o Movimento foi inserida nos livros didáticos, especialmente nos de Sangiorgi, protagonista do Movimento no Brasil. Para esta análise são utilizados os fundamentos teóricos comuns à História da Educação. O estudo de Le Goff (1992) sobre Monumento/Documento e o estudo de Juliá (2001) fundamentam respectivamente o tratamento que deve ser dado às fontes de pesquisa e a História das Práticas. Chartier e Hébrard (1981) tratam das estratégias, táticas e apropriação e Chervel (1990) contribui com o conceito de disciplinarização, que são utilizados na análise de como o autor inseriu os conteúdos em seus livros didáticos. Precedendo essa análise, é apresentado o Movimento da Matemática Moderna no Brasil e a Teoria dos Conjuntos inserida nesse Movimento, apresentação esta baseada em dissertações, teses e artigos que tratam do tema. Também precedendo a análise, são apresentados um panorama histórico do desenvolvimento da Teoria dos Conjuntos e livros sobre a Teoria dos Conjuntos publicados durante o período do Movimento da Matemática Moderna no Brasil. Os resultados obtidos na análise mostram como alguns elementos inseridos nos livros didáticos de Osvaldo Sangiorgi surgiram a partir das tensões existentes na cultura escolar, não se limitando apenas a uma adequação dos conteúdos antes abordados apenas no Ensino Superior

Made available in DSpace on 2016-04-26T18:17:34Z (GMT). No. of bitstreams: 1 Simone Sobral Rocha.pdf: 4441074 bytes, checksum: 8dd0df829998b202d831f49a11924879 (MD5) Previous issue date: 2008-10-30 / This research consists of reflecting on the production methods of Contemporary Art, specifically, on the study of the creation process used by the artist Joseph Beuys. We will discourse on some specific features of the Visual Arts in this context, attempting to understand how much the interfaces among means shape the communication in certain contemporary art works and make that communication possible. The constructive procedure that is seen in Beuys works, in the adherence of means and in the continuity of his actions, leads to the adoption of a critical perspective that focuses on the creation process, in other words, the criticism of the process as it has been developed by Cecília Almeida Salles. We will use the general theory of creation based on semiotics as an analytical tool, reflecting on the creation as a network that is being built and emphasizing the question about the mobility of the creative process, in which the art work is the process and the process is the art work. Based on Charles S. Peirce s semiotics theory, it is intended to enlarge the study by focusing on the meaning of communication in aesthetic contemporary movements. The dynamism in the sign process allows the interrelation between several artistic demonstrations and the interface among means of action. Through discrimination, analysis and comparison of genetic elements that are established in videos, interviews and photographic registers of Beuys production, we will reflect on the interfaces between means or supports and the interaction of the public as basic elements of his process of production. One of the most relevant elements was to observe the presence of several demonstrations, to what extent they are inseparable and merge in Contemporary Art. Even though a clipping in the Visual Arts may exist, the interface between means is evidenced in a intersemiotic process. Being so, we will think the artist s actions throughout his journey as a continuous process of communication. As we deal with contemporary artistic events, we realize his expressive and communicative qualities that generate questions and invite the public to be and take part of the art work. In the artists actions, the body is a means and a support for the artistic and communicative process. Considering the perceptive experience in this process, we will resort to Norval Baitello s theory and Dietmar Kamper s philosophy, allowing further study on the body and its image. In this non-linear process, Beuys' own actions and the public s actions are elements that lead to other actions, producing new possibilities about the production process in his movement and allowing new networks to be built, shaping the tendency of the artist s poetic project in a dynamic action and not in a static product / Esta pesquisa consiste em refletir sobre os modos de produção na Arte Contemporânea, especificamente, no estudo do processo de criação do artista Joseph Beuys. Discorreremos sobre algumas especificidades das Artes Visuais nesse contexto, objetivando compreender em que medida as interfaces entre meios configuram e possibilitam a comunicação em certas obras contemporâneas. O procedimento construtivo presente na obra do artista, na aderência entre meios e na continuidade de suas ações, levam à adoção de uma perspectiva crítica que enfoca os processos de criação, ou seja, a crítica de processo, assim como vem sendo desenvolvida por Cecília Almeida Salles. Utilizaremos a teoria geral da criação de base semiótica como instrumento de análise, refletindo a criação como rede em construção e enfatizando a questão da mobilidade do processo criativo, no qual a obra é o processo e o processo é a obra. Com base na teoria semiótica de Charles S. Peirce, pretende-se ampliar o estudo focando o sentido da comunicação nos movimentos estéticos contemporâneos. A dinamicidade no processo sígnico permite a inter-relação das diversas manifestações artísticas e a interface entre os meios de ação. Por meio da discriminação, análise e comparação dos elementos genéticos que se estabelecem entre vídeos, entrevistas e registros fotográficos da produção do artista, refletiremos sobre as interfaces entre meios ou suportes e a interação do público como elementos fundamentais do seu processo de produção. Um dos elementos de maior relevância foi observar a presença das diversas manifestações , o quanto são inseparáveis e se fundem na Arte Contemporânea. Por mais que exista um recorte para as Artes Visuais, constata-se a interface dos meios em um processo intersemiótico. Sendo assim, pensaremos as ações do artista em todo seu percurso como um contínuo processo sígnico de comunicação. Ao tratarmos das manifestações artísticas contemporâneas, percebemos suas qualidades expressivas e comunicativas que geram questionamentos convidando o público a ser e fazer parte da obra. Nas ações do artista, o corpo é meio e suporte do processo artístico e comunicativo. Considerando a experiência perceptiva nesse percurso, recorreremos a teoria de Norval Baitello e a filosofia de Diétmar Kamper, possibilitando um estudo mais aprofundado sobre o corpo e sua imagem. Nesse processo sígnico não linear, as próprias ações do artista e do público são elementos que levam à outras ações, gerando novas possibilidades nos processos produtivos em seu movimento e permitindo que novas redes se construam, configurando a tendencialidade do projeto poético do artista em uma ação dinâmica e não em um produto estático

Submitted by Irvana Coutinho (irvana@ufpa.br) on 2017-04-12T17:00:15Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_AnjosCronistasDybbukim.pdf: 692257 bytes, checksum: 987bde12d8c737d2c0e4322dc2d26dcd (MD5) / Approved for entry into archive by Irvana Coutinho (irvana@ufpa.br) on 2017-04-12T17:00:39Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_AnjosCronistasDybbukim.pdf: 692257 bytes, checksum: 987bde12d8c737d2c0e4322dc2d26dcd (MD5) / Made available in DSpace on 2017-04-12T17:00:39Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_AnjosCronistasDybbukim.pdf: 692257 bytes, checksum: 987bde12d8c737d2c0e4322dc2d26dcd (MD5) Previous issue date: 2015-02-24 / A presente pesquisa tem por objetivo analisar os antagonismos percebidos nas crônicas esportivas escritas pelo poeta Carlos Drummond de Andrade e pelo dramaturgo Nelson Rodrigues, publicadas em duas antologias post-mortem, Quando é dia de futebol, organizada por dois netos do poeta mineiro, e À sombra das chuteiras imortais, uma seleção feita por Ruy Castro. Os antagonismos são discutidos no trabalho ao apontar para as opiniões dos autores, quanto aos rumos da política nacional e da sociedade brasileira no período da Ditadura Civil-Militar; aqui percebidos na visão crítica das obras como anjos modernos e categorizando-as como dybbukim literários, a partir de reflexões sugeridas em História & Modernismo de Mônica Velloso e O anjo da história de Walter Benjamin. Para tanto, realizar-se-á uma breve discussão sobre o gênero crônica, alguns traços de sua origem no Brasil, bem como a relação entre crônica, jornalismo e Literatura. Além de uma exposição sobre estudos acerca de crônicas esportivas escritas por literatos, como Coelho Neto e Lima Barreto, e discussões que tratam do conceito de Moderno e do Modernismo; por fim, selecionaram-se algumas das crônicas dos dois autores sobre futebol e política, em que se exemplificam as categorizações propostas. / This research aims to analyze the perceived antagonism in sports chronicles written by the poet Carlos Drummond de Andrade and the playwright Nelson Rodrigues, published in two anthologies post-mortem Quando é dia de futebol, organized by two of the miner poet grandchildren, and À sombra das chuteiras imortais, a selection made by Ruy Castro. The antagonisms are described in this work by pointing to the opinions of the authors, about the direction of national politics and Brazilian society in the period of the Civil-Military Dictatorship; here perceived in critical view of modern works such as angels, and categorizing them as literary dybbukim: from reflections suggested in História & Modernismo of Monica Velloso and O anjo da história of Walter Benjamin. This shall be held a brief discussion about the chronic gender, some traces of its origin in Brazil, and the relationship between chronic, journalism and literature. In addition to an exposition of studies on chronic sports written by writers like Coelho Neto and Lima Barreto, and discussions dealing with the concept of Modern and Modernism, finally selected some of the chronicles of two authors about soccer and politics, in which to exemplify the proposed categorization.

La presente tesis busca replantear el tema de las adquisiciones de armas en los países en vías de desarrollo a partir del análisis del caso del Perú durante el Gobierno Revolucionario de las Fuerzas Armadas, entre los años 1968 y 1980. En este periodo el país fue regido por una junta militar de gobierno que emprendió una escalada armamentista de proporciones inusitadas en la historia nacional. Para finales del docenio, las compras de armas habían consumido una porción importante de los ingresos estatales y generado una considerable deuda externa; para detrimento de los objetivos públicos del régimen: la reforma de la sociedad y el desarrollo del país. / Tesis

There are few events in the history of humankind which have been more compelling than the Second World War (1939-1945). Unfortunately, most of what transpired during this period of history stands obscured by events such as D-Day, Kursk, and Midway, all happenings which popular history has been more than happy to dwell upon. This study' s intent is to, with the use of primary materials, analyze one of the more "obscured" happenings of the Second World War, the Rashid Ali al-Kilani Revolt of April and May 1941. Central to this work is an assessment of the policy responses of both Great Britain and Germany to the Baghdadbased revolt. It also seeks to answer the following question: why did Great Britain approach the coup with great urgency, while Germany, for the most part, paid it very little attention? In the case of Great Britain, its traditional power position in the Middle East, and possession of both the Suez Canal and extensive oil stocks, was challenged by Axis activity in north Africa, the Balkans and Crete. The Iraqi coup simply exacerbated the British problem. London's fears were valid and its successful response reflected as much. For Germany and its leader Adolf Hitler, ideological concerns took precedence over a Middle Eastern campaign. A Nazi invasion of the Soviet Union, an event which, by design, would destroy Slavism, Bolshevism, and much of world Jewry, plus gain greater Germany "living space," was primary to Hitler's thinking in the spring of 1941. Furthermore, the Fuehrer's desire for an Anglo-German "understanding" seems to have influenced his attitude in regards to the coup. Conclusions are also drawn that the policy paths chosen by each European player during the coup were met with dissension. In Great Britain's case, Middle Eastern Commander-in-Chief Archibald Wavell felt that aggressive British action in Iraq might antagonize Arab nationalism. For Germany, Foreign Minister Joachim von Ribbentrop was a major advocate of an antiBritish strategy and corresponding Nazi activity in Iraq. The Rashid Ali coup represented the last opportunity for Ribbentrop, prior to "Barbarossa," to expose the great vulnerability of the British Empire. From this, proffered is the theory that Ribbentrop, through an exploitation of the Iraq coup, was perhaps attempting to dissuade Hitler from an invasion of the Soviet Union.

Contained in this study is a musical discussion and analysis of seven Romance Sans Paroles (song without words), written by three French composers, Charles-François Gounod, Camille Saint-Saëns, and Gabriel Fauré. The Romance Sans Parole genre seems to be quite unknown in the piano field; as a result, there are few secondary sources available. By immersing myself in these scores, I sought to discover their musical value and compositional nuance and excellence. I thoroughly investigated each composer’s unique treatment of melody, harmony, rhythm, texture, and form. Chapter One includes an Introduction, brief biographical information on each composer, the Need for the Study, the Purpose of the Study, a Review of Literature, and a Methodology. Chapters Two, Three, and Four consist of a musical analysis and discussion of the seven Romance Sans Paroles. Chapter Five offers a Conclusion and Suggestions for Further Study. I believe my dissertation will enhance the understanding and appreciation of this art form. / School of Music

L'influence du président de la commission du Sénat américain sur les Relations extérieures (Senate Foreign Relations Committee ou CSRE) a-t-elle inéluctablement diminué depuis 1945? Le président de la CSRE joue-t-il toujours un rôle déterminant dans la formulation et la conduite de la politique étrangère américaine? Ces questions animent plusieurs experts du Congrès des États-Unis et guident notre thèse. Décrivant l'expérience de quatre sénateurs qui ont occupé la tête de la CSRE depuis la fin de la Seconde Guerre mondiale, soit Arthur Vandenberg (1947-1949), J. William Fulbright (1959-1975), Jesse Helms (1995-2001) et Joe Biden (2007-présent), nous recourons à une approche récente de la politique intérieure américaine - l'étude du développement politique américain (American Political Development) - pour formuler trois conclusions à propos de l'influence du président de la CSRE sur la politique étrangère américaine après 1945. D'abord, les experts du Congrès ont tort d'affirmer que l'impact du président de la CSRE sur la politique étrangère n'a cessé de diminuer depuis 1945. Non seulement ces experts n'offrent-ils pas d'indicateurs précis pour mesurer le déclin du président de la CSRE, mais nos propres indicateurs et observations contredisent leur thèse linéaire et simpliste. Vandenberg, Fulbright, Helms et Biden se sont effectivement démarqués par rapport aux autres sénateurs qui ont occupé la tête de la CSRE depuis 1945, ce qui mine l'argument voulant que l'influence du président de la CSRE a décru de manière inéluctable. Ensuite, à l'aide d'une approche à trois niveaux d'analyse, nous utilisons les cas de Vandenberg, Fulbright, Helms et Biden pour développer une théorie de l'influence du président de la CSRE. À notre avis, les expériences de ces quatre sénateurs sont comparables et démontrent que les présidents de la CSRE qui marquent le plus l'histoire possèdent les trois caractéristiques suivantes, sans exception: a) ils dirigent la CSRE lors d'une période cruciale de la politique étrangère américaine, c'est-à-dire lorsqu'un événement international d'envergure les incite à s'imposer dans les débats à Washington (niveau international); b) ils oeuvrent dans un environnement institutionnel et sociétal qui favorise leur réussite (niveau national); et c) ils ont les intérêts, les aptitudes et les convictions nécessaires pour exercer un fort leadership au Congrès et face au président américain (niveau individuel). À notre avis, l'histoire se souvient moins des autres présidents de la CSRE parce qu'ils ne répondaient pas à un ou à plusieurs de ces critères. Qui plus est, notre thèse porte à croire que les présidents de la CSRE qui risquent le plus de marquer la politique étrangère à l'avenir sont également ceux qui rempliront ces trois conditions. Enfin, faisant la distinction entre les actions législatives (introduction de projets de loi et d'amendements, adoption des budgets, votes législatifs, etc.) et non législatives (apparitions télévisuelles, lettres au président américain, conférences publiques, etc.) du président de la CSRE, nous démontrons que les experts du Congrès ont tort de croire que l'influence législative des sénateurs est plus importante que leur influence non législative. Certes, l'influence législative permet au président de la CSRE d'exercer un poids plus significatif et direct sur la politique étrangère que les apparitions télévisuelles, sites Internet ou encore discours au Sénat. Or, les présidents de la CSRE n'ont pas le choix de recourir aux outils non législatifs pour garantir l'adoption de leurs projets de loi. L'influence non législative est donc un préalable à l'influence législative. À ce titre, Fulbright, Helms et Biden ont marqué l'histoire parce qu'ils ont su faire preuve d'innovation: ils ont créé de nouveaux outils non législatifs qui, comme les apparitions télévisuelles, les manoeuvres dilatoires et les apparitions sur Internet, ont permis au président de la CSRE de continuer à s'imposer dans les débats à Washington malgré l'avènement de la « présidence impériale » et l'évolution du contexte socio-politique américain. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Congrès des États-Unis, Sénat des États-Unis, Commission du Sénat sur les Relations extérieures, Politique étrangère des États-Unis, Politique intérieure des États-Unis, Arthur Vandenberg, J. William Fulbright, Jesse Helms, Joe Biden.

This project asserts that much of the cultural anxiety found in Gothic-infused late-Victorian fiction derives from literary revelations of the nested spaces, shifting identities, and spontaneous connections inherent to the late-Victorian metropolis. The three literary texts studied here – The Hound of the Baskervilles by Arthur Conan Doyle, Raffles: The Amateur Cracksman by E.W. Hornung, and The Thirty-Nine Steps by John Buchan – all depict London as fundamentally suitable for those who seek to evade the disciplinary gaze and to pursue menacing schemes of criminality and invasion. Doyle’s text illustrates the interconnectedness of the spaces within London as well as the passable threshold between London and the English countryside; both the villain Stapleton and the hero Sherlock Holmes use these connections to attack and defend, respectively, the city and its inhabitants. Hornung’s stories depict the machinations employed by the gentleman-thief Raffles as he alters his identity and his codes of behaviour in order to free himself to pursue criminal ends and thus as he challenges cultural barriers. Buchan’s text, building on the others, explores the dissolution of cultural boundaries and identities incumbent upon the spontaneous connections made between those who attack English culture and those, like Richard Hannay, who defend it. There emerges in these texts a vision of London (and by extension Great Britain) as a swirling vortex of motion, an unknowable labyrinth perpetually threatened by menacing agents from without and within. I have employed Victor Turner’s theories of liminality and communitas to describe how criminal agents, and their equally menacing “good-guy” pursuers, separate themselves from structured society in order to move freely and to gain access to the contested thresholds they seek to infiltrate. I also invoke theories of the Gothic, surveillance, and travel, as well as Jeffrey Cohen’s monster theory, to characterize the anxiety embedded in such invasions. / The transformation of contested space : Baker Street, Grimpen Mire and the battle for thresholds in The hound of the Baskervilles -- Hornung's code-switching monster : threatening ambiguity and liminoid mobility in Raffles, the amateur cracksman -- Towards a more inclusive Britishness : Richard Hannay's transformative connections and evolving identity in The thrity-nine steps. / Department of English