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No description available.

The aim of the study is to delve deeper into how the press portrays the librarian profession through two different time periods and take a closer look at the discourses related to work tasks represented in the media to see how the profession has changed and why. The empirical material is from Biblioteksbladet, published in 1923 and 2023, and the study analyses the differences from a hundred-year progress in the representation of the profession in the press. These papers are analysed with discourse analysis to explain power relations, changes in social practices and society, and the context of the texts to explain why these changes have happened. The result of the study shows that there has been a change in the profession, as more tasks have been assigned to the librarians, which brings new expectations and changes in the work-related discourses in Biblioteksbladet and how they express themselves to the librarians. Furthermore, the profession changes with the society it is centred in to be of use to its users.

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

No description available.

The study of James Parton Haney is threefold in purpose. The first purpose is to study the life and educational background of Haney in order to gain an understanding of the man and his educational objectives. A second purpose is to gain an insight into Haney's philosophy of education, and the third purpose is to examine the available writings of Haney in an attempt to analyze his philosophy of industrial arts as a phase of general education.

La revue des différents écrits sur le concept de la violence montre qu'il n'existe guère de solution facile pour enrayer ce phénomène. Ce travail a été consacré à la recherche de nouvelles pistes de solution. Pour ce faire, nous nous sommes basés sur l'hypothèse anthropologique de René Girard. Cette hypothèse permet, entre autres, d'aborder différemment les questions comme l'origine et la genèse de la violence dans l'histoire des cultures. Elle permet aussi d'examiner des propositions de solutions nouvelles. Selon Girard, la violence nait du désir de l'être humain et c'est par le biais de la relation à l'autre qu'on en arrive à la rivalité. C'est en remontant toute l'organisation sociale et religieuse que Girard nous fait découvrir comment l'être humain s'y est pris pour limiter, au cours des siècles, les effets de la violence. En nous basant sur les données de cette hypothèse, notamment sur les concepts de mimésis d'apprentissage et d'appropriation énoncés par Girard, il nous a semblé possible d'envisager la mise au point d'un processus psycho-pédagogique plus efficace pour la réinsertion sociale des délinquants. Ce processus implique que l'éducateur et le délinquant soient pleinement conscients du caractère mimétique qui influence et limite leurs relations réciproques. / Québec Université Laval, Bibliothèque 2015

Québec Université Laval, Bibliothèque 2012

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-07-03T13:30:46Z No. of bitstreams: 1 Cibelle Figueiredo Migliorança.pdf: 752455 bytes, checksum: 63cce3160a757e476da0641b308f063e (MD5) / Made available in DSpace on 2018-07-03T13:30:46Z (GMT). No. of bitstreams: 1 Cibelle Figueiredo Migliorança.pdf: 752455 bytes, checksum: 63cce3160a757e476da0641b308f063e (MD5) Previous issue date: 2018-04-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research proposes the study of the novel As horas nuas (1989) by Lygia Fagundes Telles. The focus of the analysis is the zooliteratura, a field that studies the animal from a transdisciplinary perspective, investigating different aspects of the relationship between humans and animals. Our special attention is dedicated to Rahul, one of the novel's narrators and a cat. We will also turn our attention to some of the author's short stories in which the presence of animals is also noted, especially in narratives in which dogs and cats appear. We aim to question the role of the animals in the works of Lygia Fagundes Telles and what effect is generated by the recurrent presence of these animals. The hypothesis is that the author uses these animals to try to understand human nature, as if the treatment given to the animals by their owners was an unmasking of the true essence of these people. The methodology used is bibliographic type and it has the theoretical and critical support of Gérard Genette, Wayne Booth and Maria Lúcia Dal Farra, as reference for the study of the novel, and Maria Esther Maciel, a reference and a pioneer in Brazil when relating to studies in zooliteratura / Este trabalho propõe o estudo do romance As horas nuas (1989) de Lygia Fagundes Telles. O foco da análise será o da zooliteratura, campo que estuda a questão do animal sob uma ótica transdisciplinar, investigando diferentes aspectos das relações entre humanos e animais. Nossa especial atenção recaiu particularmente em Rahul, que além de ser um dos narradores do romance é um gato. Também voltamos nossa atenção para alguns dos contos da autora em que a presença de bichos se mostrou contundente. Principalmente nas narrativas em que aparecem cães e gatos. Indaga-se qual o papel dos animais na obra de Lygia Fagundes Telles e qual o efeito que se gera com a recorrente presença destes bichos. A hipótese é de que a autora se utiliza destes animais para tentar compreender a natureza humana. Como se o tratamento concedido aos animais por seus donos fosse um desmascaramento da verdadeira essência dessas pessoas. A metodologia empregada foi do tipo bibliográfica e teve o respaldo teórico e crítico de Gérard Genette, Wayne Booth e Maria Lúcia Dal Farra, como referência para o estudo do romance, e Maria Esther Maciel, pioneira no Brasil com estudos na área, com relação a zooliteratura

「藝術旦后」余麗珍（1923-2004）以香港為根據地開展的演藝事業歷時很長，由登台演戲至拍攝「粤劇戲曲片」，穩紮穩打地縱橫藝壇演戲三十多載，其作品標誌著香港五、六十年代粤劇和電影的發展。 / 筆者將余麗珍在1957至1961年間──粤劇戲曲片創製最顛峰時期拍攝的十七齣電影歸為「斷頭與精怪美人」及「紮腳英雌」兩個系列，它們能充分展現粤劇和電影藝術如何妥善揉合。透過分析這些作品即能整理出此電影類型的特色，並從中窺探余麗珍別於同代旦行伶人的演藝造脂，繼而確立她對開創神怪粤劇戲曲片的貢獻。 / 余麗珍素來以歌唱「聲」藝和功架「技」藝譽藝壇，其聲、藝必須透過演繹人物角色才能顯現。納入研究範圍的文本都是她的代表作，她在這些電影中飾演的飛頭者、無頭鬼、精怪美人和紮腳英雌都能自成一格，以性別角度切入分析，即可得知這些角色隨著劇情推進都能夠跳出社會既有性別樊籬。當余麗珍演繹這些獨特的角色時，亦很大程度上挑戰了觀眾對正印花旦的常規性想像。 / Known as “The Queen of the Art of Dan (藝術旦后), Yu Lizhen（1923-2004） was a Cantonese opera actress based mainly in Hong Kong. Yu had actively performed both on the stage and on the screen for over three decades. Her performances, especially those in the Cantonese opera-films (粤劇戲曲片) , marked a new stage of development of both the Cantonese operas (粤劇) and films (電影) in the 1950s and 1960s. / In this research, seventeen Cantonese opera-films by Yu Lizhen screened from 1957 to 1961, the historical peak of the production of this film genre, will be categorized into two series, “The Headless and Spirit Beauty and “The Foot-binding Heroines. They are excellent examples of this film genre which demonstrate very well the ways Cantonese opera art and film art can be blended perfectly together. An analysis of Yu’s performances does not only showcase the characteristics of Cantonese opera-film genre and how distinctive her performances had been in comparison with her contemporaries, but also further establishes her pioneering role in introducing supernatural elements to Cantonese opera-films. / Famed for her singing talent and artistic martial skills on stage, Yu Lizhen was able to bring the characters alive in her signature works, including “The Headless and Spirit Beauty and “The Foot-binding Heroines film series. Her casting in the roles with the flying head, as headless ghost, spirit beauty and foot-binding heroines was original and unique. Analyzing from the gender perspective, each of these characters actually goes beyond the established gender stereotypes in society as each story advances. To a large extent, her performed characters in these films transgress the general viewers’ expectation and imagination of the principal huadan (正印花旦). / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 陳曉婷. / "2012年9月". / "2012 nian 9 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 200-207). / Abstract in Chinese and English. / Chen Xiaoting. / Chapter 第一章 --- ：導言 / Chapter 1.1 --- 研究方法 / Chapter 1.1.1 --- 歷史研究：香港粤劇與電影發展及余麗珍 --- p.2 / Chapter 1.1.2 --- 類型研究：類型電影與類型人物 --- p.7 / Chapter 1.1.3 --- 性別研究：性別與性別氣質的表演 --- p.9 / Chapter 1.2 --- 研究對象及範圍：余麗珍及其「粤劇戲曲片」──「斷頭與精怪美人」及「紮腳英雌」電影系列 --- p.11 / Chapter 第二章 --- ：香港粤劇電影發展概說及余麗珍的粤劇戲曲片 / Chapter 2.1 --- 從香港粤劇發展概況看粤劇戲曲片的生成脈絡 --- p.17 / Chapter 2.2 --- 余麗珍演藝事業從舞台到銀幕的過渡 --- p.28 / Chapter 2.3 --- 「斷頭與精怪美人」及「紮腳英雌」電影系列：分類與內容簡介 --- p.46 / Chapter 第三章 --- ：余麗珍的「神怪」戲與「神怪」粤劇戲曲片 / Chapter 3.1 --- 余麗珍的「聲」、「藝」、「色」及其在粤劇戲曲片的展現 / Chapter 3.1.1 --- 余麗珍的「聲」演 --- p.60 / Chapter 3.1.2 --- 余麗珍的演「藝」 --- p.75 / Chapter 3.1.3 --- 余麗珍的遜「色」到出「色」的任務轉移 --- p.88 / Chapter 3.2 --- 余麗珍的「神怪」題材運用 --- p.94 / Chapter 3.3 --- 余麗珍的粤劇戲曲片對電影剪接和特技的應用與「神怪」題材的展現 --- p.112 / Chapter 第四章 --- ：余麗珍在粤劇戲曲片演繹的女性角色及其性別扮演 / Chapter 4.1 --- 「斷頭與精怪美人」電影系列：飛頭者、無頭鬼與精怪美人 --- p.134 / Chapter 4.1.1 --- 超生越死的飛頭者和無頭鬼 --- p.139 / Chapter 4.1.2 --- 佑護致福的精怪美人 --- p.155 / Chapter 4.2 --- 「紮腳英雌」電影系列：剛柔並重的紮腳英雌 --- p.167 / Chapter 總結 --- 一代名伶余麗珍──最「神怪」最「狠」的正印花旦 --- p.190 / 參考文獻 --- p.198