Kamratbedömning kan ha en positiv effekt på elevers lärande. För att uppnå denna positiva effekt måste elever kunna ge återkoppling till sina kamrater och även ta emot återkoppling från sina kamrater. Elever måste också kunna använda den återkoppling som de får. Återkoppling kan ges på fyra olika nivåer, uppgiftsnivå, processnivå, självregleringsnivå och personnivå. Att använda elever som lärande resurser för varandra, är en av nyckelstrategierna inom formativ bedömning. Fokus på formativ bedömning och användning av den samma har ökat inom skolan. Det, tillsammans med att det inte finns många studier som undersöker formativ bedömning med ett ämnesinnehåll i svensk kontext, är exempel på vad som ligger till grund för studien. Det övergripande syftet med denna studie var att öka kunskapen om hur kamratbedömning genomförs i naturvetenskap på mellanstadiet. Fokus riktades dels mot hur lärare implementerar kamratbedömning, men framförallt mot hur elever ger varandra återkoppling. För att undersöka hur och på vilka nivåer som 11-åriga elever ger varandra återkoppling, genomförde elever kamratbedömning i mindre grupp efter att enskilt ha besvarat uppgifter med ett naturvetenskapligt innehåll. Insamling av data skedde i flera steg. När läraren gav eleverna instruktioner kring bedömningsmatrisen, uppgifterna och den kamratbedömning som de skulle genomföra, observerades och videofilmades detta. Elevernas kamratbedömningssamtal i grupp, videofilmades också. Därefter intervjuades eleverna enskilt.Studiens resultat visade att eleverna fick återkoppling på olika nivåer av sina kamrater. Den återkoppling som var mest förekommande, var på uppgiftsnivå. Det fanns exempel på återkoppling på andra nivåer också i materialet, samt exempel där det inte förekom någon återkoppling alls. När eleverna bedömde varandras svar, fokuserade de på mängden naturvetenskapliga begrepp i kamraternas svar. Slutsatser som dragits utifrån studiens resultat var bland andra att elever behöver träna både på kamratbedömning och på att ge användbar återkoppling, samt att lärare bör vara medvetna om att deras instruktioner är betydelsefulla när det gäller hur kamratbedömningen faller ut. En annan slutsats är att kamratbedömning med ämnesinnehåll, kräver både bedömarfärdighet och ämneskunskap. / Peer assessment may have a positive effect on student learning. In order to have these positive effect students have to be able to give feedback to their peer and also to receive feedback from their peer. The students also have to be able to use the given feedback. Using students as learning resources to each other is a key strategy within formative assessment. The feedback that is given can be directed at four different levels, task level, process level, self-regulation level and self-level. Using peers as learning resources, is one of the key strategies within formative assessment. Focus on formative assessment and the use of it, have increased within school. That, and the fact that there are not many studies that examines formative assessment with science content, are a part of the background to the conducted study.The overall purpose of the study was to contributed to the field concerning peer assessment in science with 11-year old students. The focus was partly how teachers implement peer assessment, but above all how students give feedback. In order to examine how and in what different levels student give each other feedback, students conducted peer assessment in small groups, after they had answered questions concerning science. Data collection was done in the following steps. At first, the teacher gave the students instructions about the tasks, the scoring rubric, how to assess and so on. While doing that, the teacher was observed and video recorded. Next step concerned the students. They answered the questions and then had peer assessment in small groups. This was also video recorded. Later on the students were interviewed. The students received different kinds of feedback, mostly at task level, from their peer. Some examples of feedback at other levels were also discovered. When students assessed each other’s answers, they looked at the amount of science concepts that were used in their peer’s answers. The results suggest that students need to practice peer assessment, how to give useful feedback and that the teacher need to be aware of that given instruction may turn out differently from what is expected. The results also show that students believe that peer assessment is useful and that feedback is given. This was contradictory from what was seen in some of the observations of the peer assessment. Conclusions are for example that students need both assessment skills and scientific knowledge.

The following document provides insight into the uncharted process of producing a micro-budget feature length film. This paper aims to document my growth as an artist in terms of storytelling and filmmaking as well as the development and production process. Red Tide: A Feature Length Motion Picture includes elements from each phase of the production process, from story and script development to marketing and distribution. This document reflects on the obstacles we faced and the solutions we implemented during the process of creating a feature length motion picture on an undersized budget.

This thesis investigates the literary fantastic in Italy from the late nineteenth century to the second half of the twentieth century. The purpose is to analyse the way in which the fantastic functions in a story—its ʻmechanicsʼ—and to see how the fantastic evolved structurally over the first century of its existence in Italy. This investigation is carried out by the development of a new theoretical methodology together with the close reading of a selection of texts from four key Italian authors of fantastic literature. The thesis is divided into six chapters. The first chapter is a historical overview of the emergence of the fantastic in Italy in the late nineteenth century up to the second half of the twentieth century; it examines the obstacles the fantastic has faced and some of the thematic and structural characteristics of texts which emerge. The second chapter is a literature review of the theoretical models used to analyse and understand the fantastic, followed by an outline of a new model, entitled Different Mimetics, which looks at the internal logic of the fantastic. In the following four chapters Different Mimetics is applied to the study of a selection of fantastic texts by four authors. Chapter three focuses on Ugo Tarchetti, and shows that his stories are defined by coexistence and coincidence in both historical and thematic terms. Chapter four demonstrates how Giovanni Papini reverses the mechanics one might expect, and how his stories are structured as internal narratives. Chapter five looks at how Dino Buzzatiʼs stories are characterised by instability and stretched narrative paradigms; and finally, chapter six looks at how Italo Calvinoʼs narratives focus on world creation and paradox and how they question the stability of narrative paradigms.

Submitted by Franciele Moreira (francielemoreyra@gmail.com) on 2018-04-05T17:25:44Z No. of bitstreams: 2 Dissertação - João Fernandes da Silva Neto - 2017.pdf: 21655916 bytes, checksum: c2eaa441e43ed2fb96b81e3dbc28201d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-04-06T12:14:54Z (GMT) No. of bitstreams: 2 Dissertação - João Fernandes da Silva Neto - 2017.pdf: 21655916 bytes, checksum: c2eaa441e43ed2fb96b81e3dbc28201d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-04-06T12:14:54Z (GMT). No. of bitstreams: 2 Dissertação - João Fernandes da Silva Neto - 2017.pdf: 21655916 bytes, checksum: c2eaa441e43ed2fb96b81e3dbc28201d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-12-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research had as scope to investigate the peculiarities of the elaboration and execution of the baixaria (bass lines) of seven-string guitar in the interpretation of the Choro by Rogério Caetano, aiming to identify how it interacted with the marked diversity that characterizes postmodernity and with the elements of the tradition, here represented by the work of Dino Sete Cordas and Raphael Rabelo, and, in this context, the innovations that he brought to the history of the genre in Brazil. Three works by Rogério Caetano – Amigos, Um chorinho em Cochabamba and Rogerinho no sete – as well as three recordings of the music Noites Cariocas – composed by Jacob do Bandolim – interpreted, respectively, by Rogério Caetano, Dino Sete Cordas, and Raphael Rabello, were selected for analysis, interpretation, and comparison. The methodological trajectory prioritized: bibliographical survey; documentary survey (musical scores); exploration of oral sources (semi- structured interviews), auditory and audio-visual sources; investment in the transcription of baixarias of choro music carried out by the researcher; analysis, interpretation and comparison of the baixarias performed by each of the three mentioned musicians. Finally, it was possible to consider that Rogério Caetano, despite all the mastery of the traditional elements (in the context of the baixaria of Choro), represented here by the work of Dino Sete Cordas and Raphael Rabello, used a lot of melodic material from other musical genres like the jazz, the blues, Latin American music, evidencing that it brought great innovations to the choro genre. We state that this musician achieved this when he established profound dialogues with the diversity characteristic of the postmodern scenario with which he interacted. In what it concerns to the seven-string guitar universe, still having in sight the other two mentioned musicians, he showed that he is able to represent a third school of the seven-string guitar in Brazil. / Essa pesquisa teve como escopo investigar as peculiaridades da elaboração e execução da baixaria do violão de sete cordas na interpretação do Choro de Rogério Caetano, visando identificar a forma como interagiu com a diversidade acentuada que caracteriza a pós- modernidade e com os elementos da tradição, aqui representada pelo trabalho de Dino Sete Cordas e Raphael Rabelo, e, nesse contexto, as inovações que trouxe para a histórica do gênero no país. Foram selecionadas para análise, interpretação e comparação, três obras de Rogério Caetano – Amigos, Um chorinho em Cochabamba e Rogerinho no sete – e três gravações da obra Noites Cariocas de Jacob do Bandolim, interpretadas, respectivamente, por Rogério Caetano, Dino Sete Cordas e Raphael Rabello. A trajetória metodológica priorizou: levantamento bibliográfico; levantamento documental (partituras); exploração de fontes orais (entrevistas semiestruturadas), auditivas e audiovisuais; investimento na transcrição de baixarias do choro realizada pelo pesquisador; análise, interpretação e comparação da interpretação das baixarias dos músicos em questão. Por fim, foi possível considerar que Rogério Caetano, apesar de todo o domínio dos elementos tradicionais (no âmbito da baixaria do Choro), aqui representados pelo trabalho de Dino Sete Cordas e Raphael Rabello, utilizou muito materiais melódicos oriundos de outros gêneros musicais, sobretudo o jazz, o blues, música latino-americana, evidenciando que trouxe grandes inovações para o gênero choro. Isto ao dialogar profundamente com a diversidade característica do cenário pós-moderno com o qual interagiu. Em relação ao universo violonístico de sete cordas, tendo em vista os dois outros músicos mencionados, mostrou que tem condições de representar uma terceira escola do violão de sete cordas no Brasil.

Cette thèse interroge le sens du mythe orphique dans la poésie de six auteurs européens du début du XXe siècle (Valéry, Rilke, Trakl, Apollinaire, Campana, Goll), et le sens de la poésie orphique dans la modernité. En partant du double constat d’une crise de la Weltanschauung signant la désertion de la transcendance et du sens, et d’une crise du langage héritée de Mallarmé, cette thèse définit la poésie orphique comme une tentative de ré-enchantement visant à refonder la place de l’être dans le monde, le sens de la mort et la profondeur ontologique de la poésie. La thèse pose la question de l’unité ou de l’éclatement d’un lyrisme orphique moderne. Elle propose une mise au point historique sur les sources de l’orphisme jusqu’au début du XXe siècle, puis un parcours analysant le passage de la mythologie à des poétiques orphiques parfois opposées dans leur aboutissement (réharmonisation de soi et du monde, catabase sans fin, démembrement du sujet, incarnation par l’orphisme de l’idée d’une poésie parfaitement composée). Cette thèse s’attache aussi à définir l’orphisme dans ses dimensions musicales et picturales, interroge les liens entre orphisme et union des arts, et étudie la langue musicalisée et picturalisée des poètes, ainsi que plusieurs œuvres vocales et plastiques (Honegger, Poulenc, Webern, Weill, Delaunay, Dufy, Klee, De Chirico). Enfin, considérant le mythe selon sa dimension fondatrice d’une manière d’être au monde, cette thèse envisage la poésie orphique du début du XXe siècle comme le signe et le moyen d’un désir de retour à une forme de rapport mythique au monde où l’être, dans le chant, coïnciderait avec le sacré et avec le dicible. / This thesis examines the meaning of the myth of Orpheus in the poetical works of six early twentieth century European poets, and the meaning of Orphic poetry within a context of modernity. Having taken into account a twofold crisis, both of the Weltanschauung – revealing that any sense, or transcendent reference, is missing – and of language (Mallarmé’s legacy), this thesis defines Orphic poetry as an attempt to re-enchant the world, in order to give new roots to the being, a new meaning to death, and a new ground to settle poetry’s ontological depth. The thesis tries to determine if such a lyricism is unique or manifold. It makes a historical mise au point from the sources of Orphism up to the twentieth century; then, it tries to describe the transformation of mythological elements into poetical principles – from which may even have issued contradictory achievements (setting back harmonious links between the world and the self; endless katabasis; dismemberment of the I; Orphic embodiment of a perfect poetry). Our thesis also tries to describe how Orphism is conveyed through music and painting: it questions the link between Orphism and the union of the arts, and studies the poet’s music-like and picture-like language, as well as some vocal or painted works (Honegger, Poulenc, Webern, Weill, Delaunay, Dufy, Klee, De Chirico). At last, as it considers myth as the settling of a new way of being-in-the-world, this thesis pictures early 20th century Orphic poetry both as the symptom and the way of a desire to get back some kind of mythical relationship to the world, in which the being, the sacred and the sayable, through the poetical song, would prove coextensive.

Stena Recycling is one of the leading recycling companies in Sweden and at their facility in Halmstad, 300 tonnes of refuse are handled every day where aluminium is one of the most valuable materials they sort. Today, most of the sorting process is done automatically, but there are still parts of the refuse that are not correctly sorted. Approximately 4\% of the aluminium is currently not properly sorted and goes to waste. Earlier works have investigated using machine vision to help in the sorting process at Stena Recycling. However, consistently through all these previous works, there is a problem in gathering enough annotated data to train the machine learning models. This thesis aims to investigate how machine vision could be used in the recycling process and if pre-training models using self-supervised learning can alleviate the problem of gathering annotated data and yield an improvement. The results show that machine vision models could viably be used in an information system to assist operators. This thesis also shows that pre-training models with self-supervised learning may yield a small increase in performance. Furthermore, we show that models pre-trained using self-supervised learning also appear to transfer the knowledge learned from images created in a lab environment to images taken at the recycling plant.

Dans le cadre d’une étude comparatiste, ce travail vise à analyser, en les rapprochant pour la première fois, les univers créatifs de l’écrivain italien Dino Buzzati (1906 – 1972) et de son confrère français Claude Louis-Combet (1932 –), selon la dualité chair et âme, qui est une constante de leur oeuvre respective. Les deux auteurs, par le biais de l’autobiographie romancée, de la réélaboration mythique, comme d’une vision originale de l’art figuratif, ont exprimé une sensibilité et un imaginaire étonnamment proches. Ils auront été accompagnés par des figures légendaires et des amis artistes, afin de guider le lecteur vers la dimension fantasmatique et mystique de son inconscient. / As part of a comparative study, this work aims to analyze, by bringing them together for the first time, the creative worlds of the Italian writer Dino Buzzati (1906 – 1972) and his French colleague Claude Louis-Combet (1932 –), according to the flesh and soul duality, which is a constant in their works. Both authors, through the fictionalized autobiography, the mythology reworking, as an original vision of figurative art, expressed sensitivity and imagination surprisingly close. They have been accompanied by legendary figures and fellow artists, to guide the reader into the mystical and fantasy dimension of his unconscious.

Il lavoro si propone come studio sul Cammino Neocatecumenale dalle sue origini ai giorni d’oggi attraverso l’analisi degli elementi caratteristici del movimento (la sua struttura, le pratiche liturgiche e i seminari Redemptoris Mater). Basata su fonti archivistiche conservate negli archivi diocesani di Madrid e Firenze, la ricerca ricostruisce la vicenda storica del movimento fin dalle sue primissime fasi, tanto nell’opera del fondatore Francisco “Kiko” Argüello, quanto nell’intervento di altre figure ecclesiali (l’arcivescovo di Madrid, Casimiro Morcillo, e don Dino Torreggiani, fondatore dei Servi della Chiesa). La ricerca è stata poi ampliata dall’utilizzo di fonti inedite interne al Cammino Neocatecumenale (Direttorio catechetico) e dai documenti curiali e pontifici che hanno regolato l’inserimento dell’esperienza Neocatecumenale nel contesto più ampio dell’atteggiamento della Chiesa cattolica nei confronti delle associazioni, movimenti e gruppi laicali nei decenni che fecero seguito al Concilio Vaticano II. In questo contesto la ricerca evidenzia inoltre alcune analogie tra l’intuizione originaria dell’Argüello e le espressioni del dissenso cattolico degli anni Sessanta e Settanta all’interno delle quali ha avuto luogo la ripresa di certi aspetti della teologia di Dietrich Bonhoeffer nel messaggio proprio del Cammino Neocatecumenale. / The research aims to study the Neocatechumenal Way from its foundation right up to nowadays through the movement’s peculiar aspects (its structure, liturgical practices and the Redemptoris Mater seminaries). Based on documents preserved in the diocesan archives of Madrid and Firenze, the survey reconstructs the movement’s history from its beginnings, so much in its founder’s (Francisco “Kiko” Argüello) work, as in the intervention of other ecclesial figures (the archbishop of Madrid, Casimiro Morcillo, and don Dino Torreggiani, founder of the Servi della Chiesa). The survey has been expanded using unpublished sources within the Neocatechumenal Way (Direttorio catechetico) and the curial and papal documents that set the insertion of the Neocatechumenal’s experience into the wider context of the Catholic Church’s attitude towards associations, movements and lay groups in the decades that followed the Second Vatican Council. In this context, the research also highlights some similarities between the Argüello’s original intuition and the expressions of Catholic dissent of the Sixties and Seventies in which the resumption of certain aspects of Dietrich Bonhoeffer’s theology took place in the message of the Neocatechumenal Way.

Cette étude porte sur un corpus de chroniques du XIVe siècle qui comprend les trois principaux textes historiographiques florentins en langue vulgaire de cette période – Cronica delle cose occorrenti ne’ tempi suoi de Dino Compagni, Nuova Cronica de Giovanni Villani et Cronaca fiorentina de Marchionne di Coppo Stefani – et se fixe pour objet l’analyse des principaux concepts employés pour décrire le fonctionnement de la cité et ses enjeux, ainsi que l’identification des sources présentes dans les chroniques. L’analyse prend en compte à la fois l’écriture du fait politique et la valeur de celui-ci dans l’élaboration du discours de la cité.Pour mettre en évidence ce qui transparaît des principaux rouages politiques de la cité, les textes du corpus sont abordés selon les trois axes suivants : les rapports entre cité et citoyens dans le contexte de l’affirmation de la souveraineté du Comune et en regard des notions d’unité et de division ; la question de la liberté à Florence, ses principes fondamentaux, ses formes et ses représentations, par opposition à la tyrannie ; les liens entre cité céleste et cité des hommes à partir de l’analyse de la réception des signes célestes et des notions de providence, fortune et libre arbitre. L’approche retenue s’arrête sur les enjeux et les représentations propres à chacun de ces axes.De cette analyse conceptuelle il ressort que les trois sources principales du discours de la cité sont les auteurs de l’Antiquité gréco-romaine, la théologie chrétienne et le droit. On trouve également des sources contemporaines des chroniqueurs : textes officiels et documents produits par la cité, auteurs de référence pour la période comme Dante Alighieri. / This study focuses on a corpus of chronicles of the Fourteenth century consisting in three main historiographical Florentine texts written in vernacular in this period, namely Cronica delle cose occorrenti ne’ tempi suoi by Dino Compagni, Nuova Cronica by Giovanni Villani and Cronaca fiorentina by Marchionne di Coppo Stefani. It aims at analyzing the principal concepts describing the running of the city and its stakes, as well as identifying the sources present in these chronicles. The analysis takes in account both the operation of writing the political experience and its value in elaborating the discourse on the city.To highlight what can be seen from the main aspects of political machinery in the city, the approach to the texts is threefold : the connections between city and citizens both in the context of the Comune’s increasing sovereignty and in the light of the concepts of unity and division ; the question of freedom in Florence, its fundamental principles, its forms and representations, in opposition to tyranny ; the links between the celestial city and the city of men based on the analysis of the reading of celestial omens and the concepts of Providence, Fortune and Free Will. The approach chosen concentrates on the stakes and representations peculiar to each of those subjects.From this conceptual analysis it emerges that the three main sources to the discourse on the city are the authors of Classical Antiquity, Christian Theology and Law. Contemporary sources of the chroniclers also can be found : official texts and documents produced by the city, noted authors in the period as, for instance, Dante Alighieri.