Olu phando luza kuphendla ubugcisa bokusetyenziswa kwezicengo ekutshintsheni izimvo, iinkolo nokuziphatha kwabantu. Kuza kugxilwa kakhulu kwiinjongo noxinzelelo lwazo kuba zingunozala wezicengo. Kuza kugocwagocwa ‘Amaza’ kaQangule kwakunye no ‘UDike noCikizwa’ kaMmango. Apha kwezi ncwadi kuza kuhlutywa ukuba ulwimi olucengayo luyasetyenziswa ngabantu abantetho isisiXhosa, nokuba imingangatho eyinqobo (values), inkcubeko, nengqeqesho (socialization) zidlala indima enkulu kulwimi olucengayo. Isahluko sokuqala salo msebenzi siza kunika amagqabantshintshi ngolu phando. Esi sahluko siqulathe: Intshayelelo; Iingxaki zophando; Iinjongo zophando; Ukubaluleka kolu phando; Okusele kubhaliwe ngezicengo; Ingcaciso magama. Isahluko sesibini siqulathe iingcingane zolwimi olucengayo, abasunguli bazo, nemisebenzi yabo. Isahluko sesithathu siqwalasele ukusetyenziswa kwezicengo kwiincwadi ezichongiweyo. Isahluko sesine sijonge ubugcisa bokusetyenziswa kolwimi olucengayo kwizihlobo nakwiintsapho. Kwalapha, kujongwe nokusetyenziswa kolwimi oluchubekileyo ngamadoda nabafazi, igunya, umyalezo ocalanye kwakunye nokunikezela. Isahluko sesihlanu nesisesokugqibela – sishwankathela iziphumo zophando kukwanikwa neengcebiso.

Si notre étude des Tragoediae sev diversarum gentium et imperiorum magni principes (1621) de Pierre Mousson (Petrus Mussonius) présente la réception de quatre figures historiques de l'Antiquité lors du renversement de leur pouvoir, nous nous centrons essentiellement sur la pièce liminaire du recueil, Pompeius Magnus, réécriture tragique de la mort de Pompée, où nous analysons le processus d'élaboration mis en œuvre à partir d'un épisode essentiel de la vie de ce personnage historique, à la lumière des modèles esthétiques de l'Antiquité, des historiens grecs à l'épopée latine. Son esthétique dramatique privilégie la dimension culturelle par rapport aux intentions édifiantes : fragilité des grandeurs, opposition entre sagesse et démesure. Relevant, par son écriture dans le cadre d'un collège jésuite, d'un théâtre pédagogique spectaculaire, elle s'inscrit dans une tradition encore récente d'un théâtre moral destiné à la représentation. Notre analyse étudie comment, en empruntant sujets et forme littéraire à la culture antique, ce Père jésuite, professeur de rhétorique, a composé ce corpus dans la tradition du théâtre humaniste, alliant tragédie et histoire, dans une dimension rhétorique qui répond aux exigences de l'enseignement jésuite.Bien qu'éditées en 2000 par R. Rieks (Petrus Mussonius, Tragoediae, Peter Lang, Frankfurt am Main, 2000), ces tragédies n'ont fait l'objet d'aucune traduction, d'aucune analyse approfondie de leurs sources antiques, d'aucune étude de leurs conditions de rédaction et de représentation, ce qui motive le présent travail, étude de la réception de figures historiques et de genres littéraires antiques, sous l'influence de la rhétorique / This study about Tragoediae sev diversarum gentium et imperiorum magni principes (1621) from Pierre Mousson (Petrus Mussonius), presents the reception of four historical figures of Antiquity when they were falling their authority ; but we focus our attention essentially on the preliminary play of the compilation, Pompeius Magnus, which is a tragic rewriting of the death of Pompée, and we analyse the development process implemented from an essential episode of the life of this historical character, with regard to aesthetic models of antiquity, from Greek historians to the Latin epopee. His aesthetics privileges the cultural dimension compared to the edifying intentions : fragility of splendours, opposition between moderation and excessiveness. Concerning the spectacular teaching theatre because written in the Jesuit colleges, it also falls under a still recent tradition of a moral theatre intended for the representation. We study how this Jesuit Father, who taught rhetoric, took inspiration from topics and literary form to the ancient culture, and composed this corpus in the tradition of humanistic theatre, by combining tragedy with history, in rhetorical dimension which fulfils the requirements of Jesuit pedagogy. Although published by R. Rieks (Petrus Mussonius, Tragoediae, Peter Lang, Frankfurt am Main, 2000), these tragedies have never been translated, their ancient sources never thoroughly analysed, and their conditions of writing and performing never studied ; all these reasons justify this work about reception of historical figures and literary styles of Antiquity, under rhetoric influence

No description available.

<p>This study investigates the way that many contemporary LGBTQ2 historical novels encourage cross-temporal identifications - the process wherein people today identify with historical figures - as a means of both evoking empathetic responses to lesbian, queer and trans characters, and countering temporal shame - progressivist tendencies to disidentify with the past. I contend that historical novels by contemporary authors, such as Penny Hayes, Jeanette Winterson, Sarah Waters, Leslie Feinberg and Jackie Kay, demonstrate the power of empathetic identifications with historical figures to destabilize prejudiced beliefs about contemporary LGBTQ2 people. I begin this study by examining the pleasures, dangers and work involved in developing empathetic identifications with others and using (dis )identifications to emancipatory ends. As I argue in my first chapter, recuperating lesser known or out-of-print novels, such as Penny Hayes's lesbian(-feminist) historical novels Grassy Flats and Yellowthroat, is a powerful means of challenging reductive stereotypes about the lesbian-feminist movement and countering temporally-based shame that often leads to a loss of LGBTQ2 history and of theories that still have relevance today. In my second chapter, I discuss how Leslie Feinberg and Jackie Kay's depiction of the continued mistreatment of trans-people as abjected subjects in the post-Stonewall era counters the progressivist myth that the post Stonewall lesbian and gay rights movement has necessarily improved the lives of transpeople; Stone Butch Blues and Trumpet thereby show how historical fiction may challenge apathy and work to inspire political engagement. My third chapter examines how Sarah Waters's depiction of male impersonation in Tipping the Velvet highlights the importance of closely attending to both historical differences and similarities. I argue that this novel shows that historical fiction may use the past to provide insight into issues of contemporary concern, and thereby make difficult political commentaries more likely to be heard and taken seriously.</p> / Thesis / Doctor of Philosophy (PhD)

This essay explores the reason behind the sexless human figures depicted in rock carvings from the Bronze Age in Scandinavia, to understand why they are sexless while others have indicated sex markers, and to investigate which theories about them are the most reliable - are they sexless by purpose, or are they women, men, children or are they a third gender? This interdisciplinary study with archeology and gender research will discuss and analyze human figures with non distinct sex markers from 10 pictures of rock carvings from Scandinavia with the purpose to understand the lack of sex markers such as phallus and long hair. The ambition of this essay is that a study of this kind will deepen the general knowledge of the subject of rock art and possibly contribute to the discussion about the Bronze Age society's view of gender. The result and discussion of this study have shown that several earlier theories about the sexless human figures could be confirmed, for example that small mostly sexless human figures are children but that they are not a specific indicator of sex and that shamans are depicted in ceremonies, but that not all sexless human figures should be interpreted as shamans. The discussion also contradicted a few of the earlier theories, for example the theory that weapons always indicate male sex and that the lack of it indicates female sex, and that all human figures on ships should be interpreted as male even if they do not have any sex markers. The sexless human figures are still a mystery, but this study have lead to the conclusion that they are sexless by purpose and that sex markers such as phallus and long hair are indicators of masculinity and femininity, not the biological male and female sex.

Au-delà de nos répétitifs « méthode Paulo Freire », « conscientisation » et « pédagogie bancaire », dans quelle mesure, nous demandons-nous, la pensée freirienne est-elle l’expression d’un modèle alternatif en éducation ? Radicalement inscrit dans le champ de la philosophie de l’éducation et l’histoire des idées éducatives, nous portons cette interrogation en appréhendant Paulo Freire dans sa totalité. Il s’agit de dépasser les évidences, de se les réapproprier sous un angle moins commun et de faire connaître ces parts d’inconnu que couvre la pensée de Paulo Freire. Jusqu’alors, force est de constater qu’en France, les seuls à s’être hasardés à l’étude de son œuvre, en sont restés à une lecture didactique, sans analyser plus profondément toute la composition syncrétique de sa pensée, ses tensions, ses paradoxes. Selon nous, c’est dans ces bizarreries comprises de façon rigoureuse que peut entr’apparaître, aux yeux de leurs examinateurs, tout le génie du pédagogue. Notre ambition fut ainsi d’apporter une analyse de la pensée freirienne à même d’élargir les lectures du pédagogue dans le contexte francophone. Cette entreprise nous a également amené à réfléchir conceptuellement la question des spécificités de la pensée pédagogique, de sa réception et du voyage des idées. / Beyond our repetitive "Paulo Freire method", "consciousness" and "banking education", to what extent, we wonder, Freire’s thought is the expression of an alternative model in education? Radically inscribed in the field of philosophy of education and the history of educational ideas, comprehend this question by understanding Paulo Freire in its entirety. It is to go beyond the obvious, to reappropriate it in a less common view, and make known the unknown that covers the Paulo Freire thinking. Until then, it is clear that in France the only researchers they attempted to study his work, remained in a didactic reading stage, without any deeper analysis of the composition of its syncretic thought, tensions and its paradoxes. We believe it is in this strangeness understood rigorously that may, in the eyes of their examiners, exist the genius of the pedagogue. Our goal was thus to provide an analysis of Freire’s thought able to expand the pedagogue reading in the francophone context. This work also led us to think conceptually examines the issue of specific characteristics of educational thought, its reception and travel of ideas.

Esta pesquisa insere-se nos estudos sobre o ensino de língua portuguesa, visando a um conteúdo específico as figuras de linguagem, as quais, a nosso ver, não podem ser consideradas acessórias em um texto, uma vez que são elementos da enunciação. Nesse sentido, este trabalho se coloca na contramão do confinamento das figuras de linguagem à gramática, que herdou inúmeras reduções pelas quais passou a retórica; e também na contramão dos que veem o estilo como desvio, ou seja, como algo especial em determinados gêneros e em determinados autores. Na verdade, as figuras de linguagem estão no interior dos textos verbais e visuais de diversos gêneros do discurso, sendo elas um fator determinante para a produção de sentidos. Tendo em vista isso, propusemos a descrição e a análise de como as figuras de linguagem e as percepções de estilo, no uso da língua escrita, são concebidas pelo professor, segundo as teorias de ensino de língua mobilizadas por ele. Nossa pesquisa concentra-se nas concepções dos professores sobre as figuras de linguagem e o ensino das figuras, descritas e analisadas de forma qualitativa a partir de um questionário com perguntas abertas e fechadas, aplicado a 13 professores de português do ensino médio. Para tal análise, buscamos aporte teórico na retórica clássica, na Nova Retórica, na teoria do Círculo de Bakhtin e na teoria socioconstrutivista de Vigotski. Tendo sido concluída a pesquisa, podemos afirmar que professores de perfil semelhante ao de nossos informantes graduação e pós-graduação na área de Letras possuem representações teóricas que propiciam uma abordagem discursiva das figuras. Não se pode mais, hoje, concebê-las como aquilo que é acidental ou mero ornamento, como algo a mais (BARTHES, 1975, p. 167). Em outras palavras, docentes experientes e de formação sólida têm em seu projeto didático ensinar as figuras sob o enfoque estilístico e discursivo. Além disso, a formação acadêmica contínua (do professor-pesquisador, sem perder de vista a prática) favorece uma maior abertura para as teorias linguísticodiscursivas. / This research is part of the studies within the teaching of Portuguese Language, directed towards a specific content - figures of speech -, generally taught in the 1st grade of High Schools in Brazil. We have proposed the description and analysis of how figures of speech and perceptions of style in the use of written language are conceived and promoted by teachers according to the theories of language teaching. Our research focuses on the teachers\' conceptions about figures of speech and the teaching of figures, described and analyzed in a qualitative way from a questionnaire with open and closed questions, applied to 13 Portuguese high school teachers. For this analysis, we search for theoretical input in Classical Rhetoric, New Rhetoric, Bakhtin\'s Discourse Analysis and Vygotsky\'s socioconstructivist theory. Having concluded the research, we can assert that teachers with a similar profile to that of our respondents - recent undergraduate and graduate courses, especially in public institutions - have theoretical representations that propose a discursive approach to the figures. Nowadays, it is no longer possible to regard them as accidental or mere adornment, as something else (BARTHES 1975, 167). In other words, experienced teachers with solid preparation hold in their didactic project the teaching of figures under the stylistic and discursive approach. Moreover, the current and ongoing academic formation (of the researcher-teacher, without obliterating their practice) supports an openness to the most recent linguistic-discursive theories and new teaching practices.

De la seconde moitié du XVIe siècle au règne personnel de Louis XIV, les duels clandestins se multiplient en France. Par le biais de cet exercice, la noblesse cherche à affirmer son identité de classe en réaction aux changements politiques et structuraux qui affectent la société d'Ancien Régime. Or cette prolifération de combats donne lieu à une vaste production d'ouvrages se consacrant au phénomène. D'une part, les auteurs attachés aux valeurs aristocratiques tentent de persuader l'autorité royale de rétablir un duel autorisé à la manière médiévale, qui, en offrant un lieu d'expression officiel à l'honneur nobiliaire, permettrait selon eux de faire cesser les affrontements. D'autre part, un groupe d'auteurs appartenant aux corps constitués oeuvrant à la défense des structures de l'État - magistrats et hommes d'Église -, proposent plutôt d'infliger de graves peines aux combattants. Dans cette thèse, nous montrons, par l'examen des procédés stylistiques, des emprunts intertextuels et du système de références mis en oeuvre dans ces textes, que la réflexion sur le duel s'articule autour d'un imaginaire héroïque, mobilisé par les auteurs de chaque position selon leurs intérêts. À travers un ensemble de figures récurrentes empruntées à la littérature de fiction ou l'histoire fictionnalisée - figures qui cristallisent une série de notions-clés au coeur du débat intellectuel sur le combat singulier (vertu, honneur, noblesse, jugement de Dieu) -, ce sont deux façons de concevoir l'organisation de la société française qui s'affrontent dans un véritable duel symbolique. / From the second half of the 16th century to the personal reign of Louis XIV, there was an increase in the number of clandestine duels in France. Through this practice, nobility sought to affirm its class identity in reaction to structural and political changes which affected the Old Regime. This proliferation of combats gave rise to a vast production of works dedicated to this very phenomenon. One group of authors attached to aristocratic values tried to persuade the royal authority to re-establish a legal form of duel, similar to what existed in medieval times. It would create, they argued, an official space for the expression of nobiliary honour and would permit the end of the clandestine duels. An opposite group of authors who belonged to the constituted bodies dedicated to the defense of the structures of the State - magistrates and clergymen - proposed rather to inflict grave punishments on the combatants. This thesis will demonstrate, though the analysis of stylistic processes, of intertextual loans and of the system of references employed in these texts, that the reflection on the duel revolves around heroic imagery, used differently by each group of authors in accord with their own interests. Through an ensemble of recurring figures borrowed from fictional literature or fictionalized history - figures which reinforce a series of key-notions at the heart of the intellectual debate on the duel (such as virtue, honour,

The study of body part metaphors provides a convenient way to examine human conceptual structuring because we start from what we as humans share. This study collected and compared Thai and English body part metaphors: one hundred and eighty-four English body part expressions and four hundred and eighty-eight Thai body part expressions were considered.The data are discussed in terms of the body part involved, the underlying conceptual metaphors, and syntactic and morphological form. The data show that basically, Thai and English share many conceptual metaphors, and there are a number of equivalent expressions in both languages, such as hua-hoog [head-spear] `spearhead', and waan-caj [sweet-heart] `sweetheart.' Furthermore, it was found that most body part metaphors are built on three different aspects of body parts: physical constitution, location and nature of involvement. In some contexts, more than one of these bases is involved in the same expression.Other similarities include sharing some of the same morphological and syntactic forms, using the same body parts; relative frequency of individual body parts; having completely equivalent expressions, and having pairs of opposite expressions. Differences involve having some different morphological and syntactic forms; the number of conventional body part metaphors found in translation-equivalent texts, with Thai having many more than English; a difference between the two languages in distribution across written vs. spoken texts; having similarly glossed expressions with different metaphorical meanings; level of markedness for an otherwise equivalent expression; and degree of explicitness in the components of an expression.Finally, applications of the findings to the teaching of English to Thai speakers and vice versa are discussed. I conclude that systematic attention to the bases of metaphorical expressions to facilitate learning is to follow the time-proven practice of linking the old to the new. / Department of English

Esta pesquisa insere-se nos estudos sobre o ensino de língua portuguesa, visando a um conteúdo específico as figuras de linguagem, as quais, a nosso ver, não podem ser consideradas acessórias em um texto, uma vez que são elementos da enunciação. Nesse sentido, este trabalho se coloca na contramão do confinamento das figuras de linguagem à gramática, que herdou inúmeras reduções pelas quais passou a retórica; e também na contramão dos que veem o estilo como desvio, ou seja, como algo especial em determinados gêneros e em determinados autores. Na verdade, as figuras de linguagem estão no interior dos textos verbais e visuais de diversos gêneros do discurso, sendo elas um fator determinante para a produção de sentidos. Tendo em vista isso, propusemos a descrição e a análise de como as figuras de linguagem e as percepções de estilo, no uso da língua escrita, são concebidas pelo professor, segundo as teorias de ensino de língua mobilizadas por ele. Nossa pesquisa concentra-se nas concepções dos professores sobre as figuras de linguagem e o ensino das figuras, descritas e analisadas de forma qualitativa a partir de um questionário com perguntas abertas e fechadas, aplicado a 13 professores de português do ensino médio. Para tal análise, buscamos aporte teórico na retórica clássica, na Nova Retórica, na teoria do Círculo de Bakhtin e na teoria socioconstrutivista de Vigotski. Tendo sido concluída a pesquisa, podemos afirmar que professores de perfil semelhante ao de nossos informantes graduação e pós-graduação na área de Letras possuem representações teóricas que propiciam uma abordagem discursiva das figuras. Não se pode mais, hoje, concebê-las como aquilo que é acidental ou mero ornamento, como algo a mais (BARTHES, 1975, p. 167). Em outras palavras, docentes experientes e de formação sólida têm em seu projeto didático ensinar as figuras sob o enfoque estilístico e discursivo. Além disso, a formação acadêmica contínua (do professor-pesquisador, sem perder de vista a prática) favorece uma maior abertura para as teorias linguísticodiscursivas. / This research is part of the studies within the teaching of Portuguese Language, directed towards a specific content - figures of speech -, generally taught in the 1st grade of High Schools in Brazil. We have proposed the description and analysis of how figures of speech and perceptions of style in the use of written language are conceived and promoted by teachers according to the theories of language teaching. Our research focuses on the teachers\' conceptions about figures of speech and the teaching of figures, described and analyzed in a qualitative way from a questionnaire with open and closed questions, applied to 13 Portuguese high school teachers. For this analysis, we search for theoretical input in Classical Rhetoric, New Rhetoric, Bakhtin\'s Discourse Analysis and Vygotsky\'s socioconstructivist theory. Having concluded the research, we can assert that teachers with a similar profile to that of our respondents - recent undergraduate and graduate courses, especially in public institutions - have theoretical representations that propose a discursive approach to the figures. Nowadays, it is no longer possible to regard them as accidental or mere adornment, as something else (BARTHES 1975, 167). In other words, experienced teachers with solid preparation hold in their didactic project the teaching of figures under the stylistic and discursive approach. Moreover, the current and ongoing academic formation (of the researcher-teacher, without obliterating their practice) supports an openness to the most recent linguistic-discursive theories and new teaching practices.