This paper consists in the analysis of music lyrics in a discursive gender scope, investigating the composition of women image in songs by Rita Lee. The issue behind this paper is related to the fact that some educational institutions have still priviledged the textual typology to the detriment of the teaching of discursive genre and also due to the fact that the discursive text has been taught out of context. Another aspect that also led to this research is the fact that many Brazilian Popular Music composers still depict the profile of the Brazilian woman as someone inferior, submissive, intangible or simply as an object of the mans desire. The aim of this research is to analyse, according to predetermined criteria, this peculiar aspect in the composers work within her particular feminine point of view, showing in which way the feminine universe is depicted in the linguistic-discursive concreteness of her songs. Seven of the artists songs have been analysed based on the following Mikhail Bakhtins followers and theoretical referentials: concrete statement, discursive genres and dialogism, intertextuality and interdiscursivity, ideology, author and authorship. The results confirm that, in the artists point of view, the feminine universe is represented by autonomous, intelligent, strong and independent women. / Este trabalho consiste na análise de letras de música enquanto gênero discursivo e investiga a constituição da imagem da mulher nas canções de Rita Lee. O problema que motivou esta dissertação está relacionado ao fato de algumas instituições de ensino ainda privilegiarem a tipologia textual em detrimento do ensino dos gêneros discursivos e também ao fato de se ensinar o texto descritivo isolado de um contexto. Outro aspecto que também motivou esta pesquisa é o fato de muitos compositores da Música Popular Brasileira ainda abordarem o perfil da mulher como um ser inferior, submisso, inatingível ou simplesmente como um objeto de desejo do homem. O objetivo deste trabalho é analisar, de acordo com critérios preestabelecidos, esse aspecto peculiar na obra da compositora sob seu ponto de vista feminino, apresentando o modo pelo qual o universo da mulher é retratado na materialidade linguístico-discursiva de suas canções. Foram analisadas sete canções da autora com base nos seguintes referenciais teóricos de Michail Bakhtin e de seu Círculo: enunciado concreto, gêneros discursivos e dialogismo, intertextualidade e interdiscursividade, ideologia e autor e autoria. Os resultados confirmam que, na visão da autora, o universo feminino é representado por mulheres autônomas, inteligentes, fortes e independentes.

Esta pesquisa tem por objeto de estudo peças publicitárias parcial ou totalmente textualizadas e enunciadas sob a forma e/ou função prototípicas de gêneros discursivos alheios à publicidade, como telegrama, cartão de votos, artigos jornalísticos, capas de revista/jornal, entre outros. A partir da observação empírica desse tipo de publicidade, intimamente relacionado às tendências pós-modernas e à multiplicação dos suportes na era da internet, levanta-se a hipótese de que, para além da visada lúdica ou da tentativa de camuflar a finalidade pragmática inerente a essa prática, o empréstimo de regimes genéricos não coincidentes está relacionado ao fraco regime de genericidade do discurso publicitário e, por extensão, ao status desse discurso na sociedade. Com efeito, ainda que institucionalizada enquanto prática profissional, a publicidade revela uma instabilidade constitutiva no tocante a seus dispositivos de fala, o que se explica pela necessidade de (se) (re)(i)novar constantemente para seduzir e captar o público consumidor. Mas, para além dessa função reconhecida e legitimadora, a publicidade ocupa, na cultura de massa, uma função antropológica, constituindo um verdadeiro elo entre o homem, a cultura e o passado. Nas publicidades analisadas, esse diálogo se dá entre práticas discursivas detentoras de uma história e uma memória, que refletem determinadas posturas ideológicas/discursivas. Eis a razão pela qual esta pesquisa assume uma postura científica reflexiva, que entende a produção do conhecimento, aqui, da noção de gênero, como um processo inacabado. A necessidade de contextualização científica exige, desse modo, um retorno à problemática dos gêneros, tal como ela foi tratada na antiguidade grega (retórica e poética aristotélicas), na teoria literária e na filosofia da linguagem. No primeiro capítulo, o status quaestionis fornece pistas fundamentais para compreender a arqueologia da noção, em particular, a relação do gênero às identidades enunciativas, aos lugares de enunciação, às tendências de uma época, o que permite postular a permeabilidade da fala a seus exteriores constitutivos. Tendo em vista que, nas ciências da linguagem, o problema do gênero permanece frequentemente circunscrito a questões de ordem tipológica, textual e didática, um aprofundamento dos debates permite postular uma concepção dialógica e interdiscursiva dos gêneros. No segundo capítulo, investigamos, assim, o problema do gênero pela ótica de duas teorias sociais da linguagem: a perspectiva dialógica do círculo de Bakhtin e a análise do discurso francesa. Essa longa discussão teórica culmina na análise de cinqüenta e oito publicidades francesas e brasileiras, veiculadas entre 2005 e 2009. O terceiro capítulo é dedicado a descrever as três modalidades de inserção de gêneros no iconotexto publicitário (citação direta, hibridação e imitação) e o funcionamento enunciativo complexo dessas operações. O quarto capítulo explica, de modo mais consequente, a construção do sentido no dialogismo intergenérico mediante dois procedimentos: a construção de um ethos próprio do gênero convocado, consolidado em outras esferas, e a inscrição de uma memória interdiscursiva histórica, implicitamente marcada na língua e na imagem. As análises desses textos plurissemióticos revelam, mais do que a evolução dos dispositivos técnicos da publicidade, a tensão entre a evolução dos costumes e o inevitável retorno ao já-dito. / The objective of this work is to analyze advertisements that are partially or totally textinserted and enunciated in the form and/or function prototypical of discursive genres that do not belong to the ad area, such as telegrams, wish cards, newspaper articles, newspaper/magazine covers, among others. Beyond the playful view or the attempt to disguise the pragmatic finality inherent to advertising discourse, this kind of advertisement manifests the post-modern trends and the multiplication of supports in the internet era. The empirical observation of these texts leads to the hypothesis that the loan of non-coincident genre systems is related to the poor \"genreness\" of this discourse and, by extension, to its status in society. In fact, even institutionalized as a professional practice, advertising reveals a constitutive instability as far as its language devices are concerned, which can be explained by the need to constantly (re)(in)novate in order to seduce and catch the consumer. However, beyond its legitimating and recognized function, advertisement plays, in mass culture, an anthropological role, constituting a true link between man, culture and past. In the analyzed advertisements, this dialogue takes place between discursive practices with history and memory of their own, reflecting certain ideological/discursive postures. That is why this study assumes a reflexive and scientific posture, that conceives the production of knowledge of the notion of genre as an unfinished process. The need for scientific contextualization demands, thus, a return to genre issue, as it was dealt with in ancient Greece (Aristotelian rhetoric and poetics), in the theory of literature and in the philosophy of language. In Chapter 1, the status quaestionis provides fundamental clues to understand the archeology of the notion, especially the relation between genre and enunciation identities, places of enunciation and time trends. Taking this reflection into account, our aim is to postulate the permeability of discourse to its constitutive exteriors. Considering that, in language sciences, the genre discussion frequently remains circumscribed to typological, textual and didactical issues, in-depth debates allow us to postulate a dialogic and interdiscursive conception of the genres. Thus, Chapter 2 investigates the genre discussion in the view of two social theories of language: the dialogical perspective of Bakhtin´s circle and the French discourse analysis. This long theoretical discussion culminates in the analysis of 58 French and Brazilian advertisements conveyed between 2005 and 2009. Chapter 3 describes the three modalities of genre insertion in the advertising icon-text (direct citation, hybridization and imitation) and the complex enunciation functioning of these operations. Chapter 4 explains, in a more consequent way, the meaning construction in intergeneric dialogism through two procedures: the construction of an ethos characteristic of the enunciated genre, consolidated in other spheres, and the inscription of a historical interdiscursive memory implicitly marked in language and image. The analysis of these multisemiotic texts reveals, more than the evolution of advertisement technical devices, the tension between the evolution of costumes and the unavoidable return to the already-said.

Orientador: Rosio Fernández Baca Salcedo / Resumo: Um dos maiores desafios da sociedade brasileira é a resolução do déficit habitacional e a oferta de moradia popular com qualidade. Qualidade esta que entendemos pelo acesso facilitado aos equipamentos e serviços coletivos presentes em seu contexto, que são necessários à qualidade de habitação, como expressa a Carta de Atenas de 1933. Nas décadas de 1980 e 1990, a Prefeitura de São Paulo sob forte pressão popular para atender a demanda por moradia implementa os primeiros programas de habitação social no Centro: território com infraestrutura urbana consolidada, sede das principais instituições e órgãos públicos, do patrimônio histórico e cultural edificados no município. Dentre os programas de habitação social implementados, o mais recente é a Parceria Público-Privada (PPP) Habitacional da Agência Casa Paulista que objetiva a requalificação da ambiência do Centro histórico, mediante a implementação de empreendimentos de Habitação de Interesse Social (HIS) e Habitação de Mercado Popular (HMP). O objetivo desta dissertação é analisar a qualidade de habitação social do Programa PPP Habitacional e propor um instrumento de análise dessa qualidade em contextos históricos (Centro histórico e ambiência), através do estudo de caso do Residencial São Caetano: projeto novo de HIS construído pelo Programa PPP em 2016, e localizado no Bairro da Luz, no Distrito de Bom Retiro, na ambiência do Centro histórico de São Paulo. A metodologia proposta tem como base a fundamentação filosófica e teó... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: One of the big challenges for Brazilian society is the resolution of housing deficit and the offering of popular housing with quality. Quality that we understand by easy access to the collective equipment and services present in its context, which are necessary for the quality of housing according to the Athens Charter of 1933. In the 1980s and 1990s, under strong popular pressure to attend housing demand, the municipality of São Paulo implements the first social housing programs in the downtown area: territory with consolidated urban infrastructure, head office of the main public institutions and departments, of historical and cultural heritage built in the city. Among the social housing programs implemented, the latest one is the Public-Private Partnership (PPP) Housing developed by the Casa Paulista Agency, which aims at the requalification of the ambience of São Paulo’s Historical Center with the construction of new buildings for social housing and popular market. The Dissertation aims to analyze the social housing quality of the PPP Housing Program and proposes an evaluation instrument of this quality applied in historical contexts (historical center and ambience), by using a case study of the Residencial São Caetano: a new social housing project built by the PPP Program in 2016, which is located in the Luz Neighborhood of the Bom Retiro District in the ambience of São Paulo’s Historical Center. The proposed methodology is based on the philosophical and theoretical found... (Complete abstract click electronic access below) / Mestre

Cette thèse étudie la question de l'idiomaticité dans la pratique musicale de l'improvisation libre. Notre enquête débute avec une discussion sur les difficultés qu'implique toute tentative de délimiter cette activité ou de la définir en termes positifs. En effet, le produit d'une performance improvisée émerge au moment de la prestation et s'évanouit immédiatement. Ce fait a poussé de nombreux musiciens et chercheurs à classer cette pratique comme étant « non-idiomatique » (et donc comme étant résistante à l'analyse sémiotique), une désignation qui a été popularisée par Derek Bailey dans son oeuvre pionnière Improvisation. Cependant, malgré son apparent caractère insaisissable, le genre a été capable de subsister depuis plusieurs décennies et continue a se propager à de nouvelles scènes musicales à travers le monde, supporté par un ensemble relativement consistant de préoccupations idéologiques et esthétiques quiunissent et habilitent ses praticiens et admirateurs. En utilisant un modèle sémiotique triadique dans la tradition de C.S. Peirce et en considérant les différents aspects de l'improvisation libre à la lumière de sa théorie des catégories, nous sommes capables d'élaborer une analyse sémiotique des aspects émergents/évanescents de l'improvisation libre, ainsi que de ses propriétés plus durables/idiomatiques. L'improvisation libre n'est pas du tout, comme aiment l'affirmercertains, libre de toutes conventions. Un des accomplissements de cette thèse est de déconstruire de mythe de la non-idiomaticité de l'improvisation libre et de démontrer que les engagements idiomatiques particuliers de cette pratique ont tout simplement été déplacés, abandonnant pour la plupart les idiomes formels (tels des approches génériques, codifiées et reconnaissables à la tonalité et au rythme) pour privilégier des codes de conduite qui rendent l'activité cohérente et signifiante à ses participants. Les témoignages d'improvisateurs révèlent qu'ils sont largement motivés par des préoccupations et principes similaires. Quant à la valeur momentanée reconnue de n'importe quel aspect formel d'une performance improvisée, c'est grâce à l'implémentation soudaine de conventions localisées et habituellement de trèscourte durée (que nous appelons « entente ») que les musiciens arrivent à cette reconnaissance mutuelle (mais toujours contingente). Les improvisateurs tendent à vouloir déconstruire ces conventions formelle émergentes assez rapidement. Ils comptent ne laisser aucun engagement formel se solidifier au delà d'un certain caractère liminaire qu'ils jugent désirable dans le cadre de leur activité. Finalement, n'importe quel indicateur pour mesurer le succès d'une performance improvisée doit se référer soit aux principes unificateurs qui soutendent la pratique et représentent le coeur de sonidiomaticité, soit aux exigences momentanées imposées par l'entente. / This thesis studies the question of idiomaticity in the musical practice of free improvisation. Our enquiry begins with a discussion on the difficulties of delineating this activity and of defining it in positive terms. The production of improvised performances indeed emerges at the moment of its delivery and is immediately fleeting. This has led many musicians and writers to classify the practice as "non-idiomatic" (and thus resistant to semiotic analysis), a designation popularized by Derek Bailey in his pioneering book Improvisation. Yet despite its apparent elusiveness, the genre has been able to endure for several decades and keeps spreading to new music scenes throughout the world, supported by relatively consistent ideological and aesthetic preoccupations that unify and enable its practitioners and fans. By using a triadic semiotic model in the tradition of C.S. Peirce and by considering the different aspects of free improvisation in the light of his theory of categories, we are able to give a semiotic account of both the emergent/evanescent and the enduring/idiomatic aspects of free improvisation. Free improvisation is not at all, as some would hope, free from all conventions. One of the accomplishments of this thesis is to deconstruct the myth of free improvisation's non-idiomaticity and demonstrate that the practice's particular idiomatic commitments have merely been shifted away from formal idioms (such as generically codified and recognizable approaches to tonality and rhythm) and onto codes of conduct that keep the activity coherent and significant for its participants. Musician testimonies reveal that the practices of free improvisers are indeed motivated by similar underlying concerns and principles. As for agreements on the momentary value of any of the improvised performance's formal aspects, they find mutual (if contingent) recognition through short-lived localized formal conventions that we call "entente". Improvisers, however, typically playfully deconstruct these emergent formal conventions rather expeditiously; they are intent on not letting any formal commitments solidify beyond a desired liminal capacity. In the end, any gauge for the success of an improvised performance must refer either to the underlying unifying principles that make up the core of its idiomaticity or to the momentary exigencies of entente.

Vår undersökning handlar om konflikter, konflikthantering samt språkets betydelse för att lösa konflikter. Syftet med själva undersökningen är hur pedagoger ser på konflikter i skola och förskola och hur dessa hanteras. Med pedagoger menas förskollärare, fritidspedagoger och grundskollärare. Även språkets betydelse för att hantera konflikter är centrala företeelser i vår undersökning. Vårt arbete struktureras via kvalitativa intervjuer. Pedagogerna i förskola och skola intervjuar vi för att ta reda på hur de arbetar för att hantera konflikter och hur de ser på språkets betydelse för att barnen ska kunna lösa konflikter. I intervjuerna framkommer att pedagogerna arbetar för att utveckla barns verbalspråk samt att ge barnen strategier för att lösa konflikter. I vår undersökning använder vi oss bland annat av teoretiska begrepp såsom Vygotskijs proximala utvecklingszon, Dysthes teori om det flerstämmiga klassrummet och hennes tolkning av Bakhtins begrepp dialogism, Szklarskis konflikthanteringsmodell samt Kolfjords teori om medling. Slutsatser som vi drar av denna undersökning är vikten av att ge barnen strategier och verktyg för att hantera konflikter verbalt, vikten av att som pedagog själv vara en förebild och ”leva som man lär”, samt att ge barnen språkliga redskap för att utveckla förmågor att hantera konflikter konstruktivt.

Vår undersökning handlar om konflikter, konflikthantering samt språkets betydelse för att lösa konflikter. Syftet med själva undersökningen är hur pedagoger ser på konflikter i skola och förskola och hur dessa hanteras. Med pedagoger menas förskollärare, fritidspedagoger och grundskollärare. Även språkets betydelse för att hantera konflikter är centrala företeelser i vår undersökning. Vårt arbete struktureras via kvalitativa intervjuer. Pedagogerna i förskola och skola intervjuar vi för att ta reda på hur de arbetar för att hantera konflikter och hur de ser på språkets betydelse för att barnen ska kunna lösa konflikter. I intervjuerna framkommer att pedagogerna arbetar för att utveckla barns verbalspråk samt att ge barnen strategier för att lösa konflikter. I vår undersökning använder vi oss bland annat av teoretiska begrepp såsom Vygotskijs proximala utvecklingszon, Dysthes teori om det flerstämmiga klassrummet och hennes tolkning av Bakhtins begrepp dialogism, Szklarskis konflikthanteringsmodell samt Kolfjords teori om medling. Slutsatser som vi drar av denna undersökning är vikten av att ge barnen strategier och verktyg för att hantera konflikter verbalt, vikten av att som pedagog själv vara en förebild och ”leva som man lär”, samt att ge barnen språkliga redskap för att utveckla förmågor att hantera konflikter konstruktivt.

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This study investigates the extent to which the Florida B.E.S.T (Benchmark for Excellent Student Thinking) English Language Arts (ELA) standards demand that students participate in dialogic interactions within the 10th grade ELA classroom. Dialogic demands, characterized by active discourse and collaborative sense-making, are the opportunities students interact with one another or with a text. The dialogic elements of classroom pedagogy are an increasingly recognized critical component of effective literacy instruction in contrast with the monologic classroom where teachers are the primary source of information. A Critical Discourse Analysis through the lens of Fairclough is used as this research aims to identify specific instances where students are required to engage in meaningful dialogue with one another or with a text. The analysis examines the standards' language, the distribution of the standards, and the underlying ideological stance of the standards that students interact with. By assessing the presence or absence of dialogic demands within the standards, this study seeks to provide insights into the alignment between the Florida B.E.S.T ELA standards and the principles of dialogic pedagogy. Findings from this research can inform curriculum development, instructional practices, and educational policies aimed at promoting more robust and participatory approaches to literacy education in Florida schools.

Cooperative learning is a pedagogic approach that is prevalent in all levels of education as it is seen to yield higher learning outcomes than individual learning (Johnson & Johnson, 2009). In the global university, it is believed to have the potential of increasing intercultural contact since students work together in small groups to conduct projects related to their discipline. The assumption is that students will learn the intercultural skills they need for an interconnected world by studying and learning in groups with linguistically and ethnically diverse others (Association of Community Colleges Canada, 2010). Although cooperative learning is based on social interdependence in which group members work together for the mutual benefit of their group, there has been very little research conducted into the relationships that the group members actually have with each other. It is the aim of this study to examine these relationships and find out their impacts on cooperative learning experiences. Drawing upon insights from pragmatism and dialogism, in this thesis, learning is conceptualised as an embodied, socially situated, and relational process. This means that the key to learning is the relationships that learners can construct with others. An integral part of forming relationships is the negotiation of identities in which people see themselves and others as certain kinds of people. In learning in cooperative groups, the ability to negotiate legitimate, competent identities is regarded as essential. For this reason, the study reported in this thesis uses a view of identity as socially constructed as a lens though which to analyse relationships in cooperative learning. The study focuses on the experiences of 12 students participating in group learning projects in first year business courses. Narrative inquiry is the methodology used as it is ideal for highlighting the complexities in human relationships and issues of power. The narratives of four international, four Canadian immigrant, and four Canadian-born students are analysed. A key finding from the analysis is that the relationship students are able to negotiate in cooperative groups and the types of identities they are able to construct with others strongly impacts their learning. There appeared to be a hierarchical order to student identities in groups with Canadian-born students assuming more powerful identities. Frequently these students are results oriented showing only interest in achieving high marks in their group projects. This leads to an absence of emotional connectedness amongst students and a disregard for the process aspect of working together which is core to cooperative learning. The thesis concludes with a discussion of the ways that cooperative learning could be changed to make it more process oriented. Finally, I make recommendations for further research which can build on the findings from this study.