Made available in DSpace on 2014-06-11T19:24:19Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-09-02Bitstream added on 2014-06-13T18:52:11Z : No. of bitstreams: 1 mottola_n_me_rcla.pdf: 359757 bytes, checksum: 647c20048f335ae16df7f299898b7f99 (MD5) / Analisou-se aqui o modo como o conceito de evolução, elaborado por Lamarck e Darwin, é apresentado nos livros didáticos de Biologia, selecionados pelo Programa Nacional do Livro Didático para o Ensino Médio (PNLEM), distribuídos em 2007 para todas as escolas da rede pública do Brasil. Para essa análise, foram consideradas as cinco teorias de Charles Robert Darwin (1809-1882), presente em sua obra A Origem das Espécies, a saber: a evolução propriamente dita, a ancestralidade comum, o gradualismo, a multiplicação das espécies e a seleção natural. E, também, as quatro leis da transformação dos animais, de Jean Baptiste Antoine de Monet de Lamarck (1744-1829). Utilizamos os procedimentos de coleta e análise de dados com base em abordagens de natureza qualitativa. Como principais resultados encontramos uma visão reducionista da teoria transformista de Lamarck, limitada a duas leis não centrais em sua obra nem de sua autoria, bem como a presença, em algumas obras, de um antagonismo entre o lamarckismo e fundamentação científica. Com relação à obra darwiniana, constatou-se que na maioria dos livros didáticos está ausente uma referência às idéias relativas à ancestralidade comum, ao gradualismo e à multiplicação das espécies. Também foi possível observar que, em alguns manuais didáticos, há uma visão a - histórica da ciência, a falta de uma contextualização sociocultural e uma carência em relação à história e à filosofia da biologia. Nesse sentido, há um prejuízo na compreensão das idéias contidas nas obras de Lamarck e Darwin, acarretando uma limitação no entendimento do conceito de evolução / We analyzed here how the concept of evolution, developed by Lamarck and Darwin, is presented in textbooks of Biology, selected by the National Textbook Program for high school (PNLEM), selected in 2007 for all public schools in the Brazil. For this analysis, we considered the five theories of Charles Robert Darwin (1809-1882), present in his work The Origin of Species, namely: the actual evolution, the common descent, the gradualism, the multiplication of species and the natural selection. Also, the four laws of transformation of animals, Jean Baptiste Antoine de Monet de Lamarck (1744-1829). We use the data collection and analysis of data based on qualitative approaches. The main results, we find a reductionist view of Lamarck's theory transvestite, limited to two laws do not even central in his work of his own, as well as the presence, in some works, an antagonism between Lamarckism and scientific reasoning. With reference to the work Darwinian, it was found that in most textbooks is missing a reference to the ideas on common ancestry, the gradualism, and the multiplication of species. Was also observed that in some textbooks, there is a vision – of historical science, the lack of a socio-cultural context and a lack in relation to history and philosophy of biology. In this sense, there is a loss to understand the ideas embodied in works of Lamarck and Darwin, leading to a limitation in understanding of the concept of evolution

Submitted by ANDRÉA ORRIGO LIMA null (andreageigen@gmail.com) on 2016-08-08T16:39:54Z No. of bitstreams: 1 LIMA, Andréa O. Jovens violinistas e a pragmática do gosto a construção do gosto pela música.pdf: 5359902 bytes, checksum: 71762ea8227b3ef684544168309e31c0 (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-08-11T12:56:52Z (GMT) No. of bitstreams: 1 lima_ao_me_ia.pdf: 5359902 bytes, checksum: 71762ea8227b3ef684544168309e31c0 (MD5) / Made available in DSpace on 2016-08-11T12:56:52Z (GMT). No. of bitstreams: 1 lima_ao_me_ia.pdf: 5359902 bytes, checksum: 71762ea8227b3ef684544168309e31c0 (MD5) Previous issue date: 2016-06-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta investigação, produzida no campo da Educação Musical, na sua abordagem sociocultural, é de caráter qualitativo e tem por objetivo compreender como jovens violinistas e violistas, estudantes da Escola de Música do Estado de São Paulo – EMESP Tom Jobim, constroem seu gosto pela música. No início do trabalho situo o objeto de estudo, bem como esclareço os conceitos sociológicos jovens e juventudes. Abordo estudos que tratam da interação de jovens e músicas e relato, na revisão bibliográfica, alguns trabalhos acerca do gosto dos jovens pela música. Seguindo, apresento a teoria do gosto de Antoine Hennion, aporte teórico desta investigação, nos seus conceitos centrais: o coletivo dos amadores, esses entendidos como “aqueles que fazem algo com a música”, profissionais ou diletantes, o conceito de mediação, a reflexividade, a performance musical e os quatro suportes para a análise do gosto. Recorri a procedimentos etnográficos como observação participante, diários de campo, conversas informais, entrevistas semiestruturadas, observações das práticas musicais desses jovens e registros audiovisuais. De outubro de 2014 a junho de 2015 interagi com dez jovens, sendo nove violinistas e um violista com idade entre 11 e 24 anos, interação ocorrida na EMESP Tom Jobim e na OJESP – Orquestra Jovem do Estado de São Paulo. No capítulo interpretativo, apresento os mediadores envolvidos, os amadores em ação e os gêneros musicais degustados. Exponho uma ilustração criada a partir das reflexões acerca da pragmática do gosto pela música, que me auxiliou a compreender como os jovens constroem o gosto pela música. Os resultados indicam mediadores que ligam os jovens à música e às ações musicais densas de expressões corporais, sensações físicas e emocionais. Constatei que os mediadores são suportes para a construção do gosto dos jovens pela música que, de modo coletivo, desenvolvem suas performances e demonstram no engajamento do corpo o gosto pela música verbalizando-o por meio da reflexividade. Finalizo, indicando implicações desta pesquisa para a educação musical. / This investigation is produced in the field of musical education with a socio-cultural approach. It is a qualitative study and aims to understand how young violinists and violist students of the School of Music of the State of São Paulo – Tom Jobim, EMESP - have built their taste in music. At the beginning of this work it is showed the object of study, as well as is clarified the sociological concepts of young people and youth. I review studies dealing with interaction between young people and music, and some works about the taste of young people by music. Following, I present the taste theory of Antoine Hennion which is the theoretical support of this research in its central concepts: the collective of the amateurs, which are understood as "people who does something with the music"; the professional or amateurish, the concept of mediation, the reflexivity, the musical performance and the four supports for the analysis of taste. It was also resorted ethnographic procedures as participant observation, fieldnotes, informal conversations, semi-structured interviews and observations of these young musical practices, and audiovisual records. From October 2014 to June 2015 I interacted with ten young students, nine violinists and a violist with age between 11 and 24 years, that interaction took place in Tom Jobim EMESP and OJESP-Youth Orchestra of the State of São Paulo in Brazil. In interpretative chapter, I present the mediators involved on the study, amateurs in action and the musical genres tasted. I exhibit an illustration created from reflections about the pragmatics of taste in music, which have helped to understand how young people build their taste for music. The results point out the mediators that linking young people to music and to music actions dense of bodily expressions, physical and emotional sensations. It was observed that the mediators are supports for the construction of taste of young people for music that collectively develops their performances and show on the engagement of the body the taste by music, verbalizing it through music reflexivity. Finally, I concluded indicating implications of this research for music education.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Línguas Estrangeiras e Tradução, Programa de Pós-Graduação em Estudos da Tradução, 2014 / Submitted by Ana Cristina Barbosa da Silva (annabds@hotmail.com) on 2014-11-28T18:19:40Z No. of bitstreams: 1 2014_JulianaCecciSilva.pdf: 966858 bytes, checksum: 43d1c20b5a3fc31c972dff9469fb4555 (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2014-12-01T15:25:27Z (GMT) No. of bitstreams: 1 2014_JulianaCecciSilva.pdf: 966858 bytes, checksum: 43d1c20b5a3fc31c972dff9469fb4555 (MD5) / Made available in DSpace on 2014-12-01T15:25:27Z (GMT). No. of bitstreams: 1 2014_JulianaCecciSilva.pdf: 966858 bytes, checksum: 43d1c20b5a3fc31c972dff9469fb4555 (MD5) / À luz do pensamento do rastro de Jacques Derrida (1930-2004), da desconstrução, e de nossa experiência com a leitura e a tradução de textos da Filosofia da Linguagem, sobretudo os do alemão Gottfried Wilhelm Leibniz (1646-1716), pretendemos apresentar algumas teses filosóficas (etimológicas e filológicas) de Leibniz sobre a questão da natureza da linguagem que contribuíram para a formação da Linguística Histórico-Comparativa e, do ponto de vista de Derrida, das teorias logocêntricas da Tradução. Teorias fundadas na busca pelo "sentido", isso é, em uma metafísica da linguagem. Para ilustrar tais considerações, apoiados nos fundamentos teóricos e metodológicos do tradutor Antoine Berman (1942-1991), em particular nos desenvolvidos em seu La Traduction et la Lettre ou l'alberge du lointain (2007), em primeiro lugar, faremos a "analítica" de alguns trechos da primeira tradução brasileira da obra Nouveaux essais sur l'entendement humain, par l'auteur du système de l'harmonie préetablie ( (1765) - do primeiro capítulo do livro III, o Des Mots, para sermos mais específicos - a fim de explicitar o "sistema de deformação" da "letra" que aí opera; em seguida, proporemos uma segunda tradução dos três capítulos iniciais, ou melhor, uma "retradução". Trata-se de capítulos em que Leibniz tece importantes considerações sobre os aspectos "materiais" da natureza da linguagem. ______________________________________________________________________________ ABSTRACT / In light of the thought of Jacques Derrida (1930-2004) trace, of the deconstruction, and of our experience with the reading and the translating texts of the philosophy of the language, especially those of the German Gottfried Wilhelm Leibniz (1646-1716), we intend to presente some philosophical (etymological and philological) theses of Leibniz on the subject of the language’s nature that contributed to the formation of the Historical-comparative Linguistics and, from the Derrida’s point of view, to the logocentric theories of translation. Theories founded on the search for “the signification”, i.e., on a metaphysics of the language. To illustrate such considerations, supported by the theoretical and methodological foundations of the translator Antoine Berman (1942-1991), particularly in those developed in his La Traduction et la Lettre ou l’Alberge du lointain (2007), first, in order to explain the “letter’s system of deformation” that operates there, we will make the “analytical” of some passages of the first Brazilian translation of the work Nouveaux essais sur l’entendement humain, par l’auteur du système de l’harmonie préétablie (1765) – the first chapter of the book III, Des Mots, to be more specific –; after that, we will propose a second translation of the three initials chapters, or better, a “retranslation”. These are chapters in which Leibniz weaves important considerations about the “material” aspects of the nature of language.

Ordbildningskategorin diminutiv är ett utmärkande drag i det polska språket, men inte lika framträdande i svenskan. Uppsatsens syfte är att undersöka hur polska diminutiva former har översatts till svenska. Först presenteras en forskningsbakgrund och definition av begreppet diminutiv, sedan följer en teoretisk genomgång om översättning. Materialet för uppsatsen består av olika prosatexter: två noveller ur novellsamlingen Gra na wielu bębenkach (Spel på många små trummor) av Olga Tokarczuk (2001) och Le Petit Prince (Lille prinsen/ Mały Książę) av Antoine de Saint-Exupéry (1946/1987). Utgångspunkten har varit de polska novellerna och den polska översättningen av Mały Książę, där substantiv, adjektiv och adverb med diminutiva suffix har markerats. Därefter har motsvarande ställe i de svenska översättningarna markerats och analyserats. Det franska originalet agerar som referens i jämförelsen av en polsk och svensk översättning. Analysen av de utvalda texterna visar att polskan oftare använder diminutiva suffix än svenskan och att svenskan uttrycker diminutivitet på andra sätt än med ändelser. I en del fall har den svenske översättaren använt adjektiv eller lexikala alternativ för att återge de polska diminutiven. I andra fall har de polska diminutiva formerna inte översatts alls.  I jämförelse med den franskan texten, visade det sig att den polska översättaren lagt till diminutiva former trots att de inte finns i originalet eller i den svenska översättningen. / Kategoria słowotwórcza deminutiwów stanowi charakterystyczną cechę języka polskiego, jednakże nie jest ona równie oczywista w języku szwedzkim. Celem tej pracy jest prześledzenie, w jaki sposób polskie formy deminutywne znajdują swoje odzwierciedlenie w tłumaczeniach na język szwedzki. Na wstępie zaprezentowano pochodzenie i definicję pojęcia deminutywu (zdrobnienia), jego rozwój w historycznej perspektywie, a następnie podstawy teoretyczne przekładu.    Materiał, na którym opiera się praca składa się z kilku utworów prozy. Są to dwie nowele ze zbioru Gra na wielu bębenkach (Spel på många små trummor) Olgi Tokarczuk (2001) oraz Le Petit Prince (Lille prinsen/Mały Książę) Antoine de Saint-Exupéry’ego (1946/1987).   Metoda pracy polegała na wybraniu z powyższych tekstów rzeczowników, przymiotników i przysłówków ze zdrobniającymi przyrostkami, a następnie przeanalizowanie ich odpowiedników w tłumaczeniach na język szwedzki. Francuski oryginał Małego Księcia spełniał tu rolę punktu odniesienia dla porównania polskiego i szwedzkiego przekładu.   Analiza wykazała znacznie większą częstotliwość używania zdrobnień w języku polskim niż w szwedzkim oraz różnice w sposobie tworzenia form deminutywnych. W wielu przypadkach szwedzki tłumacz zastosował formy przymiotnikowe lub leksykalne alternatywy dla oddania polskich zdrobnień. W innych przypadkach odstąpił on całkowicie od tłumaczenia form deminutywnych. W porównaniu z tekstem francuskim okazało się, że w polskim tłumaczeniu wprowadzono formy zdrobniałe, nawet tam gdzie nie występują  one w oryginale ani w szwedzkim przekładzie.

La présente thèse compare le drame Le Docteur Faust de Christopher Marlowe (1604, 1616) avec la première traduction française faite par Jean-Pierre Antoine Bazy (1850) et la première traduction italienne faite par Eugenio Turiello (1898) en visant à identifier les changements textuels révélateurs du contexte culturelle et idéologique au moment où se produisent les deux textes cibles. Le Docteur Faust est un exemple emblématique de l’instabilité du texte dramatique source. Il nous est parvenu en deux versions (le texte A et le texte B) différentes du point de vue structurel, thématique et doctrinal. En revanche, aucune version ne permet pas une interprétation cohérente. Ce travail a pour propos d’examiner si les traductions de Bazy et de Turiello, qui proviennent de contextes géographiques, historiques et littéraires différents mais étroitement liés, multiplient les lectures plausibles ou bien si elles aboutissent à une vision plus constante. En outre, on s’interroge sur la cause des variations textuelles, généralement dénommées en traductologie les glissements. Tout d’abord, j’ai identifié une régularité des glissements qui se manifestent dans deux traductions en question. Puis, j’ai analysé les effets des glissements sur la structure et la signification générales des textes. Enfin, en adoptant une approche socioculturelle de l’analyse des traductions, j’ai exploré la manière dont les changements sont déterminés par l’idéologie des traducteurs et leur interprétation de l’original. Cela explique leur position au sein de l’espace politique et idéologique de chaque culture d’arrivée, ainsi que les normes traductrices et culturelles adoptées au cours de la traduction. / The aim of this research is to compare Christopher Marlowe’s play Doctor Faustus (1604, 1616) with the first French translation by Jean-Pierre Antoine Bazy (1850) and the first Italian translation by Eugenio Turiello (1898) in search of the changes that are symptomatic of the cultural and ideological context of translation production. The case of Doctor Faustus represents the epitome of the instability of a dramatic source text. Two main versions of the play (the A-text and the B-text) differ in structural, thematic and doctrinal terms. At the same time, neither version delivers a coherent vision. The research seeks to examine whether Bazy’s and Turiello’s translation, belonging to different yet related geographical, historical and literary traditions, further multiply the potential readings of the original or whether they display a more consistent framework. In addition, we will analyse the causes of textual variation, commonly labelled in Translation Studies as shifts. First, we identified a pattern of shifts manifested in the target texts in question. Then, we discussed the ways in which the identified patterns of shifts affect the general meaning and the structure of the texts. Finally, adopting a socio-cultural approach, we showed how certain shifts are conditioned by the translators’ ideology and their interpretation of the original. This in turn reveals the positions they occupy within the political and ideological space of each target culture and the main cultural and translation norms operating in the recipient systems.

Antoine Reicha stands as an important figure in the growing systematization of musical form. While Traite de melodie (1814) captures the essence of eighteenth-century concern with tonal movement and periodicity, Reicha's later ideas as represented in Traite de haute composition musicale (1824-26) anticipate descriptions of thematic organization characteristic of his nineteenth-century successors. Three important topics emerge as crucial elements: melody, thematic development, and schematic categorization of complete pieces.

No description available.

No description available.

La première édition du célèbre roman de Félix-Antoine Savard, Menaud, maître draveur (1937), se distingue des éditions suivantes par une utilisation abondante des italiques pour, semble-t-il, mettre en évidence les canadianismes. Toutefois, ce traitement n'est pas systématique. Cette étude a pour but de trouver la signification de l'italique dans ce roman. L'auteur avait de toute évidence une intention, et c'est pourquoi le second objectif de cette étude est de chercher à savoir si l'utilisation de ce procédé typographique peut nous informer sur la conception que 'Savard se faisait de la langue française à l'époque de la rédaction de Menaud. Nous avons fait au départ l'hypothèse que l'italique avait pour but de marquer les canadianismes d'origine canadienne, contrairement à ceux qui trouvent leur origine en France. À travers diverses stratégies, tel le classement des canadianismes selon leurs origines ou selon la différence qu'ils présentent par rapport au français de référence, nous avons pu déterminer qu'aucun facteur pris en compte n'était en mesure d'expliquer de façon satisfaisante ce traitement variable. Il apparaît cependant évident que la pratique de Savard correspond à celle des auteurs des années 1910-1920.

The eighteenth century saw many innovations in political culture including the rise of the public sphere where political ideas were freely and openly discussed and criticized. The new public sphere arose within the institutions of private life such as the Republic of Letters and salons, so the modes of behavior in private life were important influences on the new political culture of the public sphere. By studying the lives and careers of Richard Price and the Marquis de Condorcet, I examine the role that the private institution of friendship played in the new political culture of the late Enlightenment. During the 1780s, friendship became an important political symbol that represented the enlightened ideals of equality, reciprocity, liberty, and humanitarianism.