[pt] O Estudo das Contribuições dos Certificados vem salientar a relevância e suas consequências práticas na política Municipal do Rio de Janeiro, sobre as Mudanças do Clima e Desenvolvimento Sustentável, estabelecendo metas de redução de emissões antrópicas dos gases do efeito estufa, estimulando o aprimoramento dos conceitos e práticas estruturantes na construção de edificações residenciais, comerciais, mistas e institucionais. Iniciado com o Plano Estratégico da Prefeitura do Rio de Janeiro pelo disposto da Lei número 5.248 de 27 de janeiro de 2011 e posteriormente pelo Decreto Municipal número 35.745 de 06 de junho de 2012, foi criado o selo ambiental de qualificação nas construções, o QUALIVERDE, de aplicação opcional aos projetos de novas edificações e as existentes. Seu objetivo principal foi o de incentivar o crescimento de empreendimentos que contemplem ações e práticas sustentáveis de (Construções Verdes), com eficiência no uso e consumo de água e energia, destinadas a favorecer a redução dos impactos ambientais na Cidade do Rio de Janeiro. As contribuições dos parâmetros estabelecidos nos outros três selos internacionais mais aplicados, o Green Building-Leed, o Aqua-H.Q.E. e o Breeam, servirão para a análise e eficácia da aplicabilidade do Qualiverde, comparando-o as ações e medidas específicas utilizadas nos selos estrangeiros, avaliando seus conjuntos de estratégias, quanto a: a) Gestão no consumo de água; b) Eficácia energética e c) Soluções inovadoras nos Projetos Arquitetônicos. / [en] The theme is to stress the importance of the matter at the Master Course of Urban and Environmental Engineering and their practices in the Municipal policy on Climate Change and Sustainable Development consequences, establishing goals for reducing anthropogenic emissions of greenhouse gases in stimulating and disseminating concepts and structuring practices in the construction of residential, commercial, and institutional buildings mixed. It started with the Strategic Plan of the Municipality of Rio de Janeiro by the terms of Law No. 5,248 of January 27, 2011 and subsequently by Municipal Decree No. 35,745 of June 6, 2012, when the environmental seal QUALIVERDE was created as on option for new projects and existing buildings, residential, commercial, institutional or mixed use application.

Traveling Women and Consuming Place in Eighteenth-Century Travel Letters and Journals considers how various women-authored travel narratives of the long eighteenth century employ food in the construction of place and identity. Chronologically charting the letters and journals of Delarivier Manley, Lady Mary Wortley Montagu, Janet Schaw, and Frances Burney, I argue that the “critical food moments” described in their letters and journals demonstrate material, cultural, and social implications about consumption. My interdisciplinary project is located at the intersection of three seemingly divergent topics: food studies, human geography, and women-authored travel narratives. Approaching “place” as a way of being-in-the-world, my project traces the connection between verbal constructions of place and issues of identity, national and gender, across the eighteenth century. Looking at what I term “critical food moments” during travel allows us particular insight into how food simultaneously serves a literal (intended for consumption) and a figurative (used as a literary topic and device) function, and how tropes of food—such as digestion—function as lexicons which offer women writers opportunities to better understand and criticize the nation and their own identities within the nation. I argue that food-centered moments allow us to better understand the lived experiences of women traveling in the eighteenth century, to analyze how material and sensory conditions influenced and shaped women’s understandings of themselves and their positions (places) in the world. Taken together, these four women authors represent a wide-range of perspectives from various social and economic backgrounds, and yet, what they have in common is crucial: a connection with the food, communities, and places they travel.

Esta dissertação propõe uma tradução comentada de um excerto do romance Lenfant multiple, de Andrée Chedid, para o português brasileiro. Inicialmente apresentamos a autora e a obra, desconhecidas do público leitor brasileiro, para em seguida analisar as etapas de tradução e revisão de onze trechos por nós selecionados do original. Tendo como equivalência tradutória a busca pela reescritura do ritmo, sendo ele a organização do movimento da palavra/fala [parole] na escritura (MESCHONNIC, 1999, p. 69) por um sujeito, entendemos que a tradução é reveladora do pensamento da linguagem e da literatura (MESCHONNIC, 1999, p.11), o que nos fez analisar nosso movimento tradutório dos seguintes pontos de vista: o das normas (estratégias) como sendo intrínsecas ao ato tradutório; o da tradução como sendo um intenso exercício de crítica literária; e o do movimento do processo em direção ao Outro que, a nosso ver, é a tradução literária. Para tanto nos baseamos em Toury (1995, p.53), segundo o qual a aquisição de um conjunto de normas é um pré-requisito para o tradutor, uma vez que ele integra um ambiente cultural; em Berman (1995), Zilly (2000, 2011), Campos (2006), Pound (2006) e Britto (2011) para tratarmos do Tradutor-(re)criador: crítico por excelência, trazendo novamente à discussão Meschonnic e Toury; e, por fim, em Lévinas (1971, 1985), Laygues (2004) e outros, que nos levaram a começar a desenvolver o conceito de identidade tradutória: defendemos que o tradutor busca a alteridade para, posteriormente, eliminá-la, proporcionando assim a criação de um Novo Outro (a tradução). À guisa de conclusão, relacionamos o processo criativo da escritura (do original) com o da reescritura (da tradução) e, questionando-nos sobre a tradução comentada em âmbito acadêmico, vemo-la como um instrumento pedagógico, indutor da autoconsciência e da tradução responsável / This thesis proposes a commented Brazilian Portuguese translation of an excerpt of the L\'enfant multiple novel written by Andree Chedid. Initially, we introduce the author and her work, unknown to the Brazilian public, to analyse the stages of translations and reviews of the eleven excerpts selected from the original. Considering the translation equivalence the search for the rhythm rewriting the rhythm being the \"organization of the movement of speech [parole] in writing\" (MESCHONNIC, 1999, p. 69) by someone , we understand that translation reveals the thought of language and literature (MESCHONNIC, 1999, p.11), which made us to analyse the translation movement from the following viewpoints: the rules (strategies) as intrinsic to the translation act; the translation as an intense exercise of the literary criticism; and the movement of the process towards to the Other, which from our perspective is the literary translation. Hence, we rely on Toury (1995, p.53), who consider the adoption of a set of norms as a pre requirement for the translator, since he is part of a cultural environment; on Berman (1995), Zilly (2000, 2011), Campos (2006), Pound (2006) and Britto (2011) to treat the \"Translator-(re)creator: critic par excellence\", bringing back to discussion Meschonnic and Toury; and finally on Lévinas (1971, 1985), Laygues (2004) and others, which led us to start developing the concept of translational identity. We defend the thought that the translator seeks alterity to eliminate it posteriorly, thus enabling the creation of a New Other (the translation itself). To conclude we relate the writing creative process (from the original) with the rewriting (of translation) and questioning ourselves on the commented translation in the academic context, we see it as a pedagogical instrument, conducive to self-awareness and responsible translation

The eighteenth century is primarily known for the development of codes of etiquette, the refinement of manners and the artistic cultivation of the beautiful and the sublime, but there is at the same time a strand of highly visceral, often stomach-turning texts and images that coexist alongside the push for a much more polite and urbane culture. My dissertation, “Evoking Disgust in the Eighteenth Century,” looks at a wide range of scientific, literary and ephemeral texts to excavate the ways that disgust both persisted and transformed across the century. These range from the poems of Jonathan Swift, the novels of Tobias Smollett, Evelina by Frances Burney, and George Psalmanazar’s An Historical and Geographical Description of Formosa. I argue that disgust served as both a boundary line that can tell us the kinds of behaviors, objects and bodies that should not be tolerated in society, and as an emotion that could be trained and cultivated to guide the disgust reactions of readers.

[pt] O Maio de 68 francês foi um movimento que propôs nova maneira de pensar o poder, segundo a qual não haveria mais distinção entre arte, saber e política, representando dessa forma o acontecimento da crise em toda sua potência, como espaço de imaginação e de criação. O cineasta brasileiro Glauber Rocha trabalha em afinidade com esta proposta, questionando esteticamente as instituições clássicas: ele põe em cena uma câmara em transe e personagens que explicitam a crise em seus discursos. Observa-se como os filmes de Glauber, representados neste ensaio por Terra em transe, Câncer e A idade da terra, ao apresentarem episódios desalinhados, desordenados, incongruentes, arrebentam com as formas tradicionais de contar uma história. Tal explosão da linguagem cinematográfica clássica, presente no imaginário coletivo, arranca o público de sua posição passiva de espectador, convidando-o a uma experiência transformadora. E é nesse processo de desestruturação que Glauber, utilizando dinamismos espaços-temporais, se articula com a prática filosófica dos movimentos antiautoritários do Maio francês e do pós-68. Desenvolvido e divulgado no âmago do embate crítico, o pensamento do filósofo francês Gilles Deleuze constitui o fundamento teórico que sustenta esta experiência de leitura da performance de uma revolta popular em contraponto com a construção da arte-pensamento de um cineasta. / [fr] Mai 68 a été un mouvement qui a proposé une nouvelle manière de penser le pouvoir politique, selon laquelle, il n y aurait pas de distinction entre art et politique, représentant ainsi l événement de la crise dans toute sa puissance, de la crise comme lieu d imagination et de création. Le cinéaste brésilien Glauber Rocha utilise esthétiquement cette proposition soulignant la crise des institutions traditionnelles: il met en scène une caméra dans un état de transe et des personnages qui explicitent cette crise dans leurs discours. Ainsi, notre intention est de montrer comment Glauber dans ses films, représentés ici par Terre en transe, Câncer et L âge de la terre, avec des scènes sans logique, non-ordonnées, incohérentes, bouleverse les manières traditionnelles de raconter une histoire. Il fait exploser le langage cinématographique classique, présent dans l imaginaire collectif, et arrache le public à sa position de spectateur passif, l invitant à une expérience de l imagination. Et c est dans ce processus de déstructuration que Glauber, employant dynamismes d espace et de temps, s articule avec la pratique philosophique des mouvements contre l autoritarisme du Mai 68 et post cette époque, étant le fondement théorique qui soutient cette thèse est la pensée du philosophe français Gilles Deleuze.

The study investigated the impact of computer simulations on the teaching and learning of photoelectric effect in Grade 12. The Grade 12 Physical Sciences curriculum has components of physics and chemistry. The photoelectric effect is a section in the physics curriculum and examination in the National Senior Certificate. In this case study, thirty learners were randomly divided into three groups in one rural school in the Frances Baard district in the Northern Cape Province. A randomised pre-test - post-test control group design was implemented. Data were collected through pre and post tests, by observation of the lessons and learner interviews. An analysis of variance performed showed that there was no significant difference on pre-test scores for the three groups. A paired -sample t-test on the post-test scores discovered that the Teacher-Centred Experimental Group (TCEG) performed better than the Learner-Centred Experimental Group (LCEG); (t statics, t (9) = -6.135, p < 0.05). In addition, the Control Group (CG) where the teacher used the traditional method of teaching performed even better than the Learner-Centred Experimental group. An analysis of covariance on the post-test scores with learners' pre-test scores as the covariate showed a significant effect on the instructional group favouring the TCEG (F (2,29) = 52.763, p < 0.05). The Hake's normalised gain, <g> was used to measure the effectiveness of the intervention. The normalised gain showed a high-g (0.794) for the TCEG, a medium-g (0.405) for the CG and a low-g (0.134) for the LCEG. The interview data also confirms that the TCEG learners benefited more than the LCEG learners. It is, therefore, suggested that the TCEG approach is a better method for the effective teaching of photoelectric effect. / Science and Technology Education / M. Sc. (MSTE)

[pt] O modelo de controle de constitucionalidade francês, devido à sua especificidade, serviu por anos como exemplo do único sistema no qual o exame de compatibilidade entre normas infraconstitucionais e o texto da Constituição era realizado pelo Conselho Constitucional - órgão político - e de maneira preventiva, ou seja, antes das disposições legislativas entrarem em vigor e produzirem efeitos. Com o passar do tempo verificou-se na prática, a perda da supremacia da Constituição da República Francesa de 1958, como resultado da ausência de proteção a direitos e liberdades constitucionais. Por este motivo, no final dos anos 80 operadores do direito começaram a se mobilizar e a vislumbrar uma proposta de mudança e reforma. Em 2008 foi aprovada uma Lei Constitucional, que tem status de Emenda Constitucional, com o intuito de modernizar as instituições políticas da França. Dentre as medidas modernizadoras estava incluída a criação da Questão Prioritária de Constitucionalidade, mecanismo que tem como principal objetivo conferir aos particulares a prerrogativa de contestarem a constitucionalidade de uma disposição legislativa que julguem atentar contra direitos e liberdades garantidos constitucionalmente. Esta pesquisa analisou os fatores que antecederam e influenciaram a reforma supracitada, além das consequências e dos efeitos gerados pela introdução da QPC no ordenamento jurídico francês. / [en] The French system of constitutional review is very specific and was used for years as an example of the only system in which the compatibility exam between laws and the Constitution was performed by the Constitutional Council - which is a politic institution - preventively. In other words, this exam happened before the legal provisions come into force and take effect. As a result of the lack of protection of the constitutional rights and freedoms, the French Constitution was gradually losing its supremacy. That is why jurists during the 80 s started to discuss a proposal of change and reform. When in 2008, a constitutional amendment was approved, creating a mechanism which gave individuals the right to contest the constitutionality of whichever legal provision they deemed to be violating their constitutional rights and freedoms. This research examined the factors that preceded and influenced the reform, and above all the effects and consequences generated by the Priority Question of Constitutionality in French Law.

The dissertation investigates the correlations among the development of general anthologies of Canadian literature, the Canadian canon, and visions of national identity. While literature anthologies are widely used in university classrooms, the influential role of the anthology in the critical study of literature has been largely overlooked, particularly in Canada. The dissertation begins with an analysis of the stages of development of general anthologies of Canadian literature, demonstrating that there are important links between dominant critical trends and the guiding interests of the various phases of anthology development and that anthologies both reflect and participate in moulding views of the nation and its literature. Focusing then upon five eighteenth- and nineteenth-century Canadian authors, the dissertation traces their treatment in anthologies and analyzes in detail the impact of stages of anthology development upon authors’ inclusion and presentation. The reception of Frances Brooke, John Richardson, William Kirby, Susanna Moodie, and Emily Pauline Johnson over a span of nearly 90 years is examined, and points of inclusion and exclusion are scrutinized to determine links with prevailing critical interests as well as canonical status. These case studies reveal the functions of anthologies, which include recovering overlooked authors, amending past oversights, reflecting new areas of critical inquiry, and preserving the national literary tradition. Their treatment also reveals the effect of larger critical concerns, such as alignment with dominant visions of the nation, considerations of genre, and reassessments of past views. The dissertation shows that the anthology is a carefully constructed, culturally valuable work that plays an important role in literary criticism and canon formation and is a genre worthy of careful scrutiny.

After a long struggle, the State of Mississippi founded and funded the Industrial Institute and College in 1884. The school, located in Columbus, Mississippi, was the first state-supported institution of higher education for women in the United States, and it quickly became a model for similar schools in many other states. The Industrial Institute and College was distinguished from other women’s colleges in the nineteenth century by the fact that its graduates were expected to be fully prepared to support themselves. This curriculum required students to complete coursework in both liberal arts and vocational training. There was much conflict and controversy between factions that wanted the school to focus exclusively on either vocational training or liberal studies. Pauline Van de Graaf Orr served as Mistress of English from 1884-1913. Under her leadership, the Department of English set a high standard for its students. While there was considerable attrition among the students, many of whom were as young as fifteen and most of whom had no adequate secondary preparation, the Industrial Institute and College also graduated students, such as Blanche Colton Williams and Rosa Peebles, who went on to distinguished academic careers. Frances Ormond Jones Gaither was the best fiction writer the school graduated. After finding some success as a writer of children’s books in the 1930s, Gaither wrote a trilogy of novels about the Old South in the 1940s. Follow the Drinking Gourd (1941) follows the establishment and development of the Hurricane Plantation in Alabama. The Red Cock Crows (1944) addresses the then-unexplored topic of a slave revolt in antebellum Mississippi. In Double Muscadine (1949), a best-seller, Gaither explores the causes and consequences of miscegenation.

Thesis (M.A.)--James Madison University, 2009. / Includes bibliographical references.