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This research report investigates the critique that selected independent schools have about the new curriculum in South Africa, the National Curriculum Statement (NCS). The NCS was introduced in response to the implementation of a political democratic dispensation in South Africa, in an attempt to marry the philosophy of democracy to education. The NCS is fundamentally different to the apartheid curriculum in that it is based on democratic values that are derived from the South African Constitution. The independent school sector has been vocal in its critique of the NCS. This study thus investigates this critique in an attempt to uncover the reasons that underlie it. Methodologically, this research project is located in the qualitative paradigm. The research participants comprised teachers and heads of curriculum from three schools in the independent sector, as well as managers from the Independent Examinations Board (IEB). The IEB is the assessment body to which the independent school sector belongs. The independent school sector that this study focused on is upper middle class high-fee paying schools, which are located in the ex whites-only suburbs in South Africa. To gather data from the research participants, I used questionnaires and interviews. The combination of structured and unstructured interviews allowed me to systematically probe the research participants’ understandings and views on the NCS. The themes that emerged from the findings are: (1) the old curriculum is used as a benchmark for the NCS; (2) democratic values teaching in the NCS is regarded as optional and (3) educators continue to hold on to their identities in alignment with the past curriculum. One of the key factors that is used to judge the worth of an independent school is the academic results that the school achieves. This has prompted the independent school sector to continue with the same pedagogical practices that they used in the past curriculum, since they have provided the sought-after academic results. In this regard, very little democratic values teaching is taking place in the schools, as intended by the implementation of the NCS. The IEB, as the assessment body, continues to focus on assessment practices that are largely reminiscent of the past curriculum where the main focus was on summative forms of assessment (form of assessment that is used to record a judgement of the performance or competence of a learner), rather than on formative forms of assessment (form of assessment that gives feedback to the learners so that they can improve their performance). This research project concludes with possible suggestions for each group of research participants that could assist them to implement the NCS as it was intended; that is, as a democratic values-based transformational curriculum. Recommendations for future research are also made.

Autant l’histoire et la théorie de l’édition critique des textes antiques, judéo-chrétiens et médiévaux ont fait l’objet d’études approfondies, autant les origines, le développement, les évolutions, les principes, les débats, les pratiques et les réalisations de l’édition critique des textes modernes ont peu été interrogés, notamment en France, à la différence de l’Allemagne et de l’Angleterre, sinon sous forme d’interventions ponctuelles, ayant surtout pour but de justifier des entreprises particulières. Aujourd’hui, rétrospectivement l’avènement du numérique attire l’attention sur l’historicité – de près de deux siècles – de l’édition critique et/ou savante imprimée, sur l’importance déterminante des formes qu’elle a inventées, ainsi que sur les déterminations liées à la matérialité du support papier et à son économie. Prospectivement, cet avènement incite à observer et à penser les effets induits par la révolution des techniques d’information et de communication : s’agit-il d’un pur progrès matériel en quantité et en rapidité, ou bien du début de mutations intellectuelles et culturelles analogues à celles qui ont résulté du livre imprimé pour nos modes d’écrire et de lire ? Il est grand temps pour la recherche littéraire de se pencher sur ce point aveugle et de le faire au contact d’expérimentations d’édition numérique et de recherches informatiques, en intégrant de surcroît les apports de l’histoire du livre et de la lecture ainsi que ceux des sciences de la communication, avec un regard ouvert sur les expériences étrangères. / The history and theory of the critical edition of ancient, medieval and Judeo-Christian texts have been extensively studied, whereas the origins, developments, principles, debates, practices and achievements of the modern critical editions have been little examined, especially in France. Unlike in Germany and in England, it has only been studied in the form of ad hoc interventions, through articles whose main intent is to justify a personal initiative. Today, the advent of digital technologies retrospectively draws attention to the historicity of the whole sector, and to the critical importance of the form it has taken, of the materiality and of its economy. It leads to observe and to think about the effects of the information and communication technologies’ revolution: is it a purely material progress, in terms of quantity and speed, or is it the beginning of cultural and intellectual changes akin to those which resulted from book printing? It is time for literary research to deal with this blind spot though experiments in digital publishing and computing research and insights into the history of books and reading as well as communication sciences. Experiments with digital publishing made in foreign countries will be taken into account too.

Ce travail propose une histoire de l’école de Genève à travers l’étude comparée des œuvres de Georges Poulet, Jean Starobinski et Jean-Pierre Richard. Une première partie retrace l’histoire intellectuelle du groupe à une époque marquée par l’influence de la phénoménologie, puis par la pensée structuraliste ; ainsi que par les tensions entre une nouvelle critique extrauniversitaire et une critique universitaire. En s’appuyant sur la correspondance inédite entre ces trois auteurs, ce récit historique permet de découvrir l’histoire du groupe de l’intérieur, et s’efforce de nouer la pensée à la vie. Une deuxième partie analyse les études de Poulet, Starobinski et Richard pour tenter de cerner la spécificité de leur démarche critique au-delà de leurs singularités de style et des différentes théories et méthodes auxquelles ces trois auteurs ont pu être associés. La notion de « geste critique » permet de proposer une analyse immanente de leurs textes, en se focalisant sur les mouvements de la pensée interprétative. Ces auteurs mobilisent images et métaphores pour penser l’acte et la relation critique, et cet imaginaire influe sur leurs gestes herméneutiques. Ceci rapproche leur pratique d’une pensée rêvante qui transforme l’interprétation des textes en un acte d’« imagination critique », compris comme la conjonction entre identification et prise de distance, discernement et force créatrice, logique et sensibilité. / This dissertation proposes a history of the Geneva School through the comparative study of the works of Georges Poulet, Jean Starobinski and Jean-Pierre Richard. The first part traces the intellectual history of the group at a period in time marked by the influence of phenomenology and later, of structuralism; and by tensions between the new extra-academic criticism and traditional academic criticism. Based on the unpublished correspondence between these three authors, this historical account allows for the discovery of the group from within, and endeavors to link thought to life. The second part analyzes the works of Poulet, Starobinski and Richard in an attempt to grasp the specificity of the critical process, looking beyond their stylistic singularities and different theories and methods to which the three authors have been associated. The notion of “critical gesture” allows for an immanent analysis of their texts, focusing on the movements of interpretive thought. These authors employ images and metaphors to reflect on the critical act and on critical relations, and this imagination in turn influences their hermeneutic gestures. This brings their practice of dreamlike thought that transforms the interpretation of texts into an act of “critical imagination”, understood as the convergence between identification and distancing, discernment and creative force, logic and sensitivity.

Esta pesquisa elege o materialismo histórico-dialético como método de análise de ques-tões contemporâneas da homossexualidade e sua relação com o Judiciário brasileiro. Articula paradigmas marxianos, marxistas e feministas, por meio da interdisciplinaridade do direito, da sociologia, da antropologia, da filosofia e das ciências da linguagem, para compreender o fenômeno LGBT (lésbicas, gays, bissexuais, transexuais e transgêneros) que mobiliza indivíduos na reivindicação por promoção, efetivação e proteção de direitos humanos. Recorre aos conceitos de fetichismo da mercadoria, fetichismo jurídi-co, forma jurídica, contrato e gênero, na perspectiva da História, para compreender e promover a desnaturalização de processos sociais e situá-los na base econômica da so-ciedade em face da luta de classes. Posiciona o direito na superestrutura, onde localiza também o direito civil, o direito de família e os direitos humanos, para desnudar seus processos discursivos ideológicos e, logo, práticos. Empreende uma crítica marxista dos direitos humanos ao tomar como objeto decisões do Supremo Tribunal Federal (STF) e do Superior Tribunal de Justiça (STJ), respectivamente, sobre o reconhecimento da união estável entre pessoas do mesmo sexo e a autorização de conversão em casamento de união estável entre duas lésbicas. / This research chooses historic-dialectic materialism as a method of analyzing contem-porary issues concerning homosexuality and its relation to the Brazilian Judiciary System. It formulates Marxian, Marxist and feminist paradigms, through the interdisciplinarity of law, sociology, anthropology, philosophy and language sciences, to comprehend the LGBT (lesbian, gay, bisexual, transsexual and transgender) phenomenon that mobilizes individuals in the claim for promotion, effectuation and protection of human rights. It resorts to the concepts of commodity fetishism, legal fetishism, judicial form, contract and gender, in the historical perspective, to comprehend and promote the de-naturalization of social processes and place them in the economical base of society in light of class struggle. It positions the law in the superstructure, where it also finds civil law, family law and human rights, to unveil its discursive ideological and, therefore, practical processes. It undertakes a Marxist critique of human rights by taking as object Brazils Federal Supreme Court (STF) and Superior Court of Justice (STJ) decisions, respectively, regarding the recognition of same-sex unions and the authorization of civil union conversion into marriage between two lesbians

Ao atender o telefone no fim de 2009, ouvi uma voz feminina com sotaque anunciando, \"Aqui é Sheila Ribeiro\". \"O QUÊ?!\", quase caí para trás. Ela estava me convidando para integrar e escrever textos para seu projeto 7x7. Após alguns segundos de hesitação, aceitei. Há vinte e cinco meses eu não criava um texto original, mas com a ajuda de vários autores, com quem estudei desde 1992 e ainda estavam firmes e fortes, vasculhei meus arquivos, me debrucei sobre velhos cadernos e fotos antigas, texto-coreografei um material novo, acrescentei alguns pronunciamentos famosos e outros nem tanto, que seriam ditos a partir das coreografias. Fiz um mix de nove textos curtos que depois intitulei coreoescrituras. A referência às vanguardas e seus proverbiais - hoje disseminados - procedimentos artísticos foram intencionais, é claro, embora as frases venham tanto de um poema concreto como de uma canção popular e isso também já foi usado por Jérôme Bel no título de sua coreografia de 2001, The show must go on. O período de seis anos com o 7x7 na Bienal SESC de Dança e no Festival Contemporâneo de Dança foram maravilhosos. Eu amo trabalhar com os coreógrafos. Eles sabem exatamente o que são capazes de fazer e por que estão onde estão. Eles estão acostumados a dar duro e à limitada recompensa material que o trabalho traz. O 7x7 fez turnê por vários festivais no Brasil antes de ser premiado pela APCA na categoria iniciativa em dança, em 2014. O restante da tese é um amálgama de clipes de diálogos e falsas entrevistas em que eu mesma, Jérôme Bel e Xavier Le Roy, entre outros, nos alternamos no meu papel à medida que encenamos trechos de conversas originalmente ocorridas comigo e vários artistas e autores. Coreoescrituras - texto e dança em diálogo faz parte de uma pesquisa interminável que se originou na interação entre coreografia e escrita e inclui minha trajetória artística combinando fragmentos de dança e textos que abordam o embate entre arte e política no novo milênio. Ao editá-la descobri as maravilhas das estratégias de apropriação. Posso dizer francamente que nunca me diverti tanto. O elenco e a equipe racharam de rir, eu mais que todos. Desde 2002 tem havido mais remontagens e reconstruções. Fantasio sobre uma nova coreografia a partir de quatro extratos de peças icônicas. Em algum momento no meio disso, uma horda invade o palco em uma revolta política. Durante alguns anos depois de 2011, ano em que parei de performar e coreografar espetáculos - minha cabeça ainda inundada em imagens de movimentos - eu oferecia por brincadeira ideias de coreografias para outros coreógrafos. As imagens ressurgiram nos anos seguintes, em que me envolvi com a escrita. Não sei o que essa relação/oposição entre palavra e corpo significa ou pretende. Ao retornar à dança nos anos 2000, eu parei de escrever. E então novamente a linguagem do movimento suplantou a linguagem verbal. Falo comigo mesma, \"Não se preocupe. A mente trabalha por meios misteriosos, mais misteriosos ainda que o corpo\". O corpo declina, a mente continua a produzir linguagem. Aguardo ansiosamente as perambulações de ambos - mente e corpo - pela próxima década. Sendo assim, esta tese pode ser lida como outra coreografia. / Upon answering the phone toward the end of 2009, I heard an accented female voice announce, \"This is Sheila Ribeiro\" \"WHAT?!\" I nearly peed in my pains. She was inviting me to integrate and write texts for her 7x7 Project. After a few seconds of hesitation, I accepted the invitation. I hadn\'t written an original piece for twenty five months, but, assisted by various authors, who I have been studying with since 1992 and were still going strong, I raided my icebox, pored over old notebooks and vintage photos, choreographed some new text material, added pronouncements of famous and not-so-famous people, to be uttered based on the choreographies, and came up with a mélange of nine short texts that I later called choreowriting. The references to avant-garde proverbial - now widespread - artistic strategies were of course intended, although the phrases originated from a concrete poem and popular song which had already been used by Jérôme Bel to title his 2001 choreography, The show must go on. The six years period with 7x7 at Bienal SESC de Dança and the Festival Contemporâneo de Dança were exhilarating. I love working with choreographers. They know exactly what they can do and why they are there. They are accustomed to hard work and the limited material rewards that it brings. 7x7 toured various festivals in Brazil before being awarded for best dance initiative by APCA in 2014. The rest of the thesis is an amalgam of clips from dialogues and faux interviews in which I am alternately played by myself, Jérôme Bel, and Xavier Le Roy, among others, as we enact parts of a conversation that originally took place between artists, writers and myself. Choreowriting - text and dance in dialogue is part of a lifetime research that originated from the interplay between choreography and writing and includes my artistic career combining fragments of dance and texts that deal with the clash of art and politics in the new millennium. While editing it I discovered the wonders of appropriation strategies. I can honestly say it was just about the most fun I\'ve ever had in my life. The cast and crew bellowed with laughter, myself loudest of all. Since 2002 there have been more revivals and reconstructions. I have a fantasy about a new piece of choreography, from four extracts of iconic pieces. Somewhere in the middle of it, a horde of people rushes onto the stage in a political riot. For some years after 2011, the year I stopped performing and choreographing shows - my head still awash in movement images - I would jokingly offer others ideas for choreography. The images receded in the intervening years as I became involved with writing. I don\'t know what this relation/opposition between words and body means or pretends. As I returned to dance in the 2000s I stopped writing. And then again movement language superseded verbal language. I tell myself, \"Don\'t worry. The mind works in mysterious ways, even stranger than the body.\" The body declines, the mind continues to extrude language. I look forward to the perambulations of both - mind and body - in the next decade. It follows, then, that this thesis can be read as another choreography.

Cette recherche a pour thème la réception de l’oeuvre de Jorge Amado en France et a pour objectif d’analyser cette réception à partir de l’étude de la fortune critique amadienne produite par les lecteurs, les intellectuels, les éditeurs et les artistes en France. L’ensemble de ces textes est considéré comme révélateur de la dynamique de diffusion et de réception, depuis la première oeuvre publiée en France jusqu’à ce jour. Ainsi, à côté de la méthodologie qualitative, de caractère bibliographique, sont problématisés les échanges réels et symboliques catalysateurs des débats sur l’imaginaire français relatif à l’identité et à la culture brésiliennes. Pour ce faire, ce ne sont pas seulement les réponses à la réception des textes de l’écrivainbahianais traduits et publiés dans le pays qui sont examinés, mais également tout le réseauparatextuel qui les entoure : éditions de premières et quatrièmes de couverture, “l´entour” deslivres, préfaces, ainsi qu’émissions audio-visuelles / The theme of this research is the reception of Jorge Amado’s work in France and aims to analyse this reception from the study of the Amadian critical fortune produced by readers, intellectuals, publishers and artists in France. All these texts are regarded as revealing the dynamics of diffusion and reception, since the first work published in France to date. Thus, alongside the qualitative methodology, of a bibliographic character, the real and symbolic exchanges catalyzing the debates on the French imaginary on Brazilian identity and culture are problematized. To do this, it is not only the responses to the reception of the texts of the Bahianian writer translated and published in the country that are examined, but also the entire network that surrounds them: editions of first and fourth covers, “the entour” of books, prefaces, as well as audio-visual broadcasts / Na presente pesquisa, tem-se como tema a recepção da obra de Jorge Amado na França e objetiva-se analisar tal recepção a partir do estudo da fortuna crítica amadiana, fomentada por leitores, intelectuais, editores e artistas no território francês. Entende-se que o conjunto desses textos revela a dinâmica de difusão e recepção, desde a primeira obra publicada na França até os dias atuais. Desse modo, a par de metodologia qualitativa, de cunho bibliográfico, discutesesobre as trocas reais e simbólicas catalisadoras das discussões sobre o imaginário francês em relação à identidade e à cultura brasileiras. Para tanto, considera-se não apenas as respostas à recepção dos textos do escritor baiano traduzidos e publicados no país, mas toda a rede paratextual que o envolve: edições de capas, contracapas, entorno de livros, prefácios, bem como emissões audiovisuais

La thèse soumise à votre attention est une analyse critique du De Oraculis (première édition 1683, deuxième édition avec des différences substantielles 1700) l’ouvrage le plus connu de l’anabaptiste néerlandais Anton van Dale (1638-1708). Ce livre a eu une considérable résonance dans le milieu culturel de son temps, mais il a été très souvent délaissé dans les études – pourtant dans les années récentes un nouvel intérêt pour la pensée de van Dale a émergé. C’est un ouvrage savant et érudit. L’auteur y soutient que les oracles ne sont que des fourberies et des ruses des prêtres pour duper le peuple. Mais l’enquête de van Dale sur les oracles montre des similarités dangereuses entre paganisme et christianisme : on pourrait en fait croire que la même critique des oracles et du paganisme peut être adressée aux prophéties et à la religion chrétienne. Je soutiens qu’au contraire le De Oraculis est en ligne avec la tradition de pensée reformée – en particulier, mais pas seulement, avec l’anabaptisme, et aussi avec les discussions savantes qui, dans la tradition des études humanistes, ont animé la République des Lettres. L’analyse du contexte culturel du De Oraculis et de l’ouvrage lui-même est au cœur de cette thèse. Le résultat final est une contribution originale à la connaissance d’un livre presque oublié et d’une époque qui a été centrale pour le développement de l’identité culturelle européenne. / The dissertation submitted to your attention is a critical analysis of De Oraculis (first edition 1683, second edition with major changes 1700), the most famous work by the Dutch Anabaptist Anton van Dale (1638-1708). This book had a remarkable impact on the culture of its time, but has often been overlooked in the studies – although a growing interest for the thought of van Dale has arisen in recent years. It is a scholarly, erudite work; its main contention is that the oracles are shams fabricated by crafty priests to exploit the people. But van Dale’s enquiry into the oracles reveals dangerous similarities between paganism and Christianity: it might even lead to believe that the same criticism of oracles and paganism can be addressed to Christian prophecies and religion as well. I argue instead that De Oraculis is in line with the tradition of thought of the Reformation – especially, but not only, with Anabaptism – and with the learned discussions that animated the Republic of Letters, following the humanist tradition of scholarship. The study of the cultural context of De Oraculis and the detailed examination of the text are the core of this dissertation. Its final outcome is an original and innovative contribution to the knowledge of a (nearly) forgotten book and of a period that has been pivotal in the development of the European cultural identity.

A datação cronológica do Parmênides aliada às críticas contidas na primeira parte do Diálogo parece compor um dilema exemplificado pelas leituras de Owen e Cherniss: se as críticas não são relevantes para a doutrina das Formas, por que apresentá-las da maneira aporética, como nos são apresentadas no Parmênides? Se por outro lado, as críticas são relevantes e afetam a doutrina Platônica, como devemos interpretar os Diálogos posteriores ao Parmênides, sobretudo o Timeu, que apresenta uma doutrina semelhante àquela de Diálogos como a República? O presente trabalho tem como objeto de estudo a doutrina das Formas de Platão no Diálogo Parmênides, e sua relação com a doutrina das Formas presente nos Diálogos da maturidade. Tendo em vista o dilema interpretativo representado pelo Parmênides, nosso trabalho pretende investigar e analisar os argumentos da primeira parte do Diálogo, e mostrar que a doutrina atacada é, de fato, muito semelhante àquela apresentada pelos Diálogos da fase madura do pensamento Platônico, como Banquete, Fédon e República. / The chronological dating of the Parmenides, when combined with the critique present in the first part of the dialogue, seems to present a dilemma which is exemplified by Owens and Chernisss readings: if the criticisms are not relevant to the Platonic doctrine of Forms, why present them in such an aporetic way as we are presented in the first part of the Parmenides? If otherwise the criticisms are indeed relevant and pose real problems for the Platonic doctrine, how are we to interpret the dialogues that follow the Parmenides, especially the Timaeus, which seems to present a doctrine of Forms similar to that of dialogues such as the Republic? This thesis has as its subject the Platonic doctrine of Forms as presented in the first part of the Parmenides, and its relation to the doctrine of Forms present in dialogues contained in the second group of Platonic dialogues, such as Phaedo and Republic. Given the interpretive dilemma represented by the Parmenides, this research intends to investigate and analyze the arguments of the first part of that dialogue, and show that the doctrine under attack is, indeed, very similar to that advanced in the middle-period dialogues, such as Symposium, Phaedo and Republic.

O objetivo da pesquisa é contribuir para o estabelecimento do campo de estudos teórico-críticos em dança contemporânea no Brasil. Pretende-se apresentar a discussão sobre uma parcela da produção contemporânea que faz da própria criação um exercício crítico, problematizando em suas obras algumas noções hegemônicas de dança. Para isso, propõe-se contextualizar o debate teórico acerca desta produção, bem como situá-lo em uma perspectiva mais ampla das artes contemporâneas. Por fim, pretende-se aproximar-se de algumas obras coreográficas que realizam este exercício crítico e localizar em suas configurações estéticas tais discussões. / The research aims to contribute to the establishment of the field of theoretical and critical studies in contemporary dance in Brazil. We intend to present a debate about a part of contemporary\'s dance scene that works the creation itself as a critical exercise, discussing in their works some hegemonic notions of dance. It is proposed to contextualize the theoretical debate about this production and put it in a broader perspective of contemporary arts. Finally, we intend to approach some choreographic works that perform this critical exercise and find such discussions in their aesthetics.