La chronique médiatique contemporaine est indissociable de son contexte de production. Un cadre strictement générique ne suffit donc pas à rendre compte de la forme que revêtent aujourd'hui les chroniques. En étudiant l’écologie de production du genre, caractérisée en aval par le pacte conclu entre le chroniqueur et son éditeur et en amont par un narrataire qu’éclaire le courrier du lecteur, nous proposons ici une explication de certains traits caractéristiques du genre – comme la brièveté du texte, l’aspect fragmentaire du propos et le ton de la conversation privilégié par le chroniqueur. Notre étude de quatre recueils de chroniques explore la relation intime mais conflictuelle qu’entretient la chronique avec le temps. François Mauriac, Bernard-Henri Lévy, Gil Courtemanche et Jacques Brault déploient des stratégies variées pour s’acquitter de leur tâche d’écriture périodique, ainsi qu’afin de concilier deux horizons de lecture, dont l’un est immédiat et l’autre dans la durée. Enfin, nos propres chroniques - les Immédiates -, explorent trois thèmes : l’âge adulte, la ville et l’américanité.

Cette thèse propose une réflexion sur l’accès inégal des femmes à la terre au Fuuta dans une perspective d’analyse féministe postcoloniale et néoinstitutionnelle. Plus précisément, je m’intéresse aux rôles que peuvent jouer les institutions genrées, aussi bien formelles qu’informelles, dans le maintien des pratiques discriminatoires qui limitent l’accès des femmes aux terres agricoles dans la région du Fuuta au Sénégal. En effet, malgré certains efforts manifestes comme la reconnaissance du droit des femmes à la terre dans la Constitution sénégalaise en 2001, les femmes peinent toujours à jouir pleinement de leurs droits. Elles demeurent largement dépendantes des hommes et ne peuvent que dans de très rares cas exercer une forme de contrôle sur la terre qu’elles cultivent. De ce fait, je m’interroge sur les raisons qui expliquent pourquoi, malgré l’existence d’un cadre formel garantissant l’accès équitable à la terre, les femmes du Fuuta demeurent désavantagées par rapport aux hommes. De nombreuses recherches abordent la problématique de l’accès genré à la terre en ne traitant que des obstacles rencontrés par les femmes. Dès lors, afin que ma recherche soit pertinente, j’ai choisi d’analyser ce qui se cache derrière ces obstacles soit, leurs origines et les mécanismes qui assurent leur reproduction à travers les générations. Plus précisément, ce sont les rapports de forces inégaux tant au sein de ménage que de la société et des institutions qui représentent les principaux obstacles à l’effectivité des réformes garantissant aux femmes sénégalaises un accès à la terre égal à celui des hommes. Les résultats de cette recherche démontrent que ce sont précisément les réalités contextuelles propres au Fuuta qui caractérisent les facteurs de résistance analysés.

Orientador: Jackson Gois / Resumo: Há alguns anos, a abordagem de ensino da língua materna, mais especificamente da gramática, tem sido um verdadeiro desafio e se tornou objeto de reflexões, debates e de pesquisas de caráter qualitativo. O objetivo dessa pesquisa é investigar como ocorrem os processos de domínio dos gêneros discursivos WhatsApp, Carta Formal e Notícia Jornalística como ferramentas culturais em sala de aula utilizadas por alunos de Ensino Médio, à luz das perspectivas da Teoria da Ação Mediada de James Wertsch. Os dados foram coletados por meio de gravações de áudio e vídeo e atividades escritas em uma escola privada de São José do Rio Preto/SP. A análise dos dados nos permite observar que as categorias Incerteza e Formalidade nos auxiliam não somente na investigação de como ocorrem os processos de domínio de uma ferramenta cultural, mas também se o agente já domina a ferramenta. Observamos que quanto mais os alunos exercitam uma ferramenta cultural, maior é o domínio que apresentam sobre ela. Em contrapartida, usar apenas a mesma ferramenta pode acabar não contribuindo para que o agente use outras. A intervenção da professora também tem um papel importante no processo de domínio das ferramentas culturais. O domínio da ferramenta cultural contribui para o processo de ensino e aprendizagem do aluno e está intimamente correlacionada a elaboração de significados. / Abstract: For some years now, the approach to teaching mother tongue, more specifically grammar, has been a real challenge and has become the subject of reflections, debates and qualitative research. The objective of this research is to investigate how the domain processes of discourse genres WhatsApp, Formal Letter and Journalistic News occur as cultural tools in the classroom used by high school students, in the light of the perspectives of James Wertsch's Mediated Action Theory. The data were collected through audio and video recordings and activities written in a private school in São José do Rio Preto/SP. The analysis of the data allows us to observe that the categories Uncertainty and Formality help us not only in the investigation of how the processes of mastery of a cultural tool occur, but also if the agent already masters the tool. We observed that the more students exercise a cultural tool, the greater their mastery over it. In contrast, using only the same tool may end up not helping the agent to use others. The teacher's intervention also plays an important role in the process of mastering cultural tools. The mastery of the cultural tool contributes to the student's teaching-learning process and is closely correlated with the elaboration of meanings. / Mestre

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My research examines how music genres influence consumer psychology, particularly focusing on uncovering the underlying mechanism between music genres and consumer behaviors. Toward this goal, Essay 1 identifies the links between specific music genres and product/brand choice, while Essay 2 explores the positive repercussions that listening to sad music has on prosocial decisions, as well as, higher quality personal consumer choices. In Essay 1, I take a wider look at the influence of music genres, as broad categories of music, and examine how specific genres inform consumer "music mindsets" (elicited through learned associations) that ultimately influence product/brand preference. Specifically, I look at the influence of a competitive mindset, informed by listening to hiphop music, and a down-to-earth mindset, informed by listening to country music, on product and brand choice. Three experiments and one field study demonstrate that listening to hiphop music gives consumers the desire for performance brands and products, as a result of their competitive mindset, while listening to country music gives consumers the desire for products and brands that are focused on the simple comforts in life, as a result of their down-to-earth mindset. The second essay focuses on the positive outcomes of listening to sad music. I hypothesize that sad music moves listeners into a state of positive longing which increases the desire to make prosocial decisions and higher quality personal decisions such as healthy food choices. Two experiments, one lab study, and one field study support the proposed framework and find that listening to sad music can enhance an individual's desire to make positive choices, mediated by a positive longing state. This essay makes important contributions to understanding the impact sad music has in marketing, especially as advertising campaigns (e.g., ASPCA) continue to utilize sad music as a common tactic in their efforts.

« Je ne mets rien au-dessus de la musique », écrit Giono. Pourtant, l’écrivain n’est guère musicien et refuse l’apprentissage du solfège, même si sa sensibilité musicale deviendra au fil du temps passion éclairée. La présence de la musique dans l’œuvre suit logiquement un parcours parallèle à celui qu’elle occupe dans la vie de Giono. Au-delà de sa simple présence thématique, aisément repérable dès les premiers écrits, outre les fonctions argumentatives, narratives et poétiques qu’elle offre aussi à l’écrivain, la musique s’impose progressivement comme une source d’inspiration et même un modèle esthétique pour l’homme de lettres. De manière inattendue, c’est lorsque la thématique musicale tend à disparaître que le roman devient ou tente de devenir véritablement musical chez Giono. La musique offre de plus l’occasion de s’interroger sur des tensions essentielles de l’œuvre, entre aspiration pour un certain naturel et nécessité de la culture, entre goûts musicaux très personnels et découverte de la musique via des mentors littéraires, entre modernité romanesque et prédilection pour des modèles souvent anciens, entre quête de structures musicales définies et transposition subjective de celles-ci. Giono aura proposé une réponse singulière à la question de l’impossible traduction du langage musical en mots qui taraude nombre d’écrivains. Paradoxalement, le rapport libre de Giono à la musique a une incidence sensible sur son écriture et, partant, intéresse de plein droit les études musico-littéraires et l’histoire de la littérature du xxe siècle et de ses mutations. / « For me nothing is more important than music », Giono wrote. However, the writer was no musician and refused to learn music theory, even though his musical sensitivity became an enlightened passion as time went by. The presence of music in his work logically follows a parallel path to that of music in Giono’s life. Beyond its mere presence as a theme, easily perceptible in his early writings, and apart from its argumentative, narrative and poetic roles that are presented to the writer, music progressively becomes essential as a source of inspiration and even a model of aesthetics for the writer. Against all odds, when the theme of music tends to disappear, the novel becomes or seeks to become truly musical in Giono’s work. Besides, music is an opportunity to ponder over the paramount tensions in his work : between an aspiration to nature and the necessity of culture, between very personal musical tastes and the discovery of music through literary mentors, between fictional modernity and a predilection for past models, between a quest for defined musical structures and their biased transposition. Giono offered a singular answer to the question of the impossible translation of the language of music in words, and this question has tormented countless writers. Paradoxically, Giono’s independence from music had a conspicuous effect on his style and is therefore relevant to music and literary studies as well as the history of 20th century literature and its transformations.

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2015-07-03T16:00:09Z No. of bitstreams: 1 Íris Vitória Pires Lisboa.pdf: 928688 bytes, checksum: b49c59125004e327bb08c37380ec5a4f (MD5) / Made available in DSpace on 2015-07-03T16:00:09Z (GMT). No. of bitstreams: 1 Íris Vitória Pires Lisboa.pdf: 928688 bytes, checksum: b49c59125004e327bb08c37380ec5a4f (MD5) Previous issue date: 2014-09-18 / Nenhuma / A discussão acerca do ensino de gramática é um tema sempre atual quando se trata de pensar o ensino-aprendizagem de língua. O trabalho baseado em uma concepção tradicional é ainda dominante em grande parte das escolas, mas novas opções metodológicas e diferentes concepções de ensino vêm procurando ressignificar seu estudo. Com base em uma concepção interacionista de linguagem, acredita-se que o ensino pode se organizar em torno de gêneros textuais. Utilizando a opção metodológica dos Projetos Didáticos de Gênero (Guimarães e Kersch, 2012), este estudo pretende contribuir com reflexões a respeito de um trabalho de análise linguística atrelado às especificidades do gênero textual e às capacidades linguísticas dos alunos. Propõe-se, então, que, no processo de didatização do gênero textual, a dimensão linguística seja abordada através da análise linguística. Nesse sentido, analisa-se o desenvolvimento de dois Projetos Didáticos de Gênero, enfatizando as oficinas de análise linguística. Tais oficinas enfocaram elementos linguísticos essenciais para o gênero desenvolvido (em acordo com o modelo didático de referência montado para o gênero) e aqueles elementos vistos como necessários a partir das produções iniciais dos alunos. Segue-se a análise comparativa entre as produções iniciais e finais para a verificação dos resultados em função das atividades propostas. Esta análise guia a reflexão sobre a possibilidade de se considerar o ensino de gramática através da análise linguística no trabalho com o gênero textual. Como base teórica para essas reflexões, toma-se a noção de gênero de Bakhtin (2003), que considera o caráter dialógico da interação, e o conceito de análise linguística de Geraldi (1984), adotado em diferentes estudos sobre o ensino de gramática, em especial o proposto por Antunes (2007, 2010). As conclusões a que nos remetem os resultados são de que é possível redimensionar o trabalho linguístico a partir do estudo dos gêneros textuais, na direção de valorizar os aspectos constitutivos do gênero e as reflexões sobre como a língua se organiza de fato nas diferentes situações comunicativas em que se envolvem os alunos. / The discussion about the teaching of grammar is an ever present theme, when it comes to thinking about the teaching and learning of language. Work based on a traditional conception still prevails in most schools, but new methodological options and different teaching conceptions have been searching to reframe it. Based on an interactionist conception of language, it is believed that teaching can be organized on textual genres. Using the methodological option of the Teaching Projects of Genre (Guimarães and Kersch, 2012), this study intends to contribute with the reflections on a linguistic analysis work tied to the specificities of textual genre and to the linguistic capabilities of the students. It is proposed, therefore, that, in the process of textual genre didactization, a linguistic dimension be approached through linguistic analysis. Accordingly, the development of two Teaching Projects of Genre are analyzed, emphasizing the workshops on linguistic analysis. These workshops focused on essential linguistic elements to the developed genre (according to the educational reference model put together to the genre) and those elements seen as necessary from the initial productions of the students. It is followed then by the comparative analyses between the initial and the final productions to verify the results based on the proposed activities. This analysis guides the reflection on the possibility of considering the teaching of grammar through linguistic analysis in the work with textual genre. As a theoretical basis for these reflections, were adopted the notion of genre from Bakhtin (2003), which considers the dialogical aspects of reading, and the concept of linguistic analysis from Geraldi (1984) , used in different studies on the teaching of grammar, in particular the one proposed by Antunes (2007, 2010). The conclusions we were referred to by the results show that it is possible to revalue the linguistic work as from the study of textual genres, toward valuing the constituent aspects of the genre and the reflections on how the language is actually organized in different communicative situations in which the students are engaged.

Metteur en scène contemporain dont l’itinéraire personnel est une conséquence de la décentralisation théâtrale, Daniel Benoin tire sa force de création du passage de l’image mentale à sa concrétisation dans le spectacle vivant par l’hybridation de savoirs multiples et de techniques artistiques. Cette étude d’un destin particulier dans un rapport holiste avec l’art dramatique permet une théorisation du processus de création dans lequel un regard croisé entre phénoménologie et pragmatique confirme l’hypothèse d’une empreinte matérielle et stylistique. L’approche comparative d’un grand nombre de représentations et de l’ensemble des répétitions préalables à cinq spectacles (Wozzeck, La Cantatrice chauve, Faces, la reprise de La Cantatrice chauve, Le roman d’un trader) définira cette empreinte comme idiosyncrasique, formelle et originale, le tout commun à l’ensemble de l’œuvre observée. Ainsi, grâce aux concours de pré-images modulables et fécondes, les images mentales primordiales s’installent au cœur de la création et la vision onirique se révèle être l’essence même de la particularité artistique de ce metteur en scène. La recherche entreprise ouvre alors des perspectives renouvelées quant à l’esthétique et à la présence/absence de l’artiste dans des domaines élargis (cinéma, danse, peinture, photographie, musique, écriture). / Daniel Benoin, a contemporary stage director whose personal career was a consequence of theatrical decentralization, draws his creative strength from his ability to make mental images become concrete in live shows by using numerous knowledge and artistic techniques in a hybrid way. This project on a distinctive destiny in a holist connexion with Drama enables to theorize about the creation process in which a crossed look at phenomenology and pragmatism confirms the hypothesis of a material and stylistic imprint. The comparative approach of many performances and of all the preliminary rehearsals to five theatrical shows (Wozzeck, La Cantatrice chauve, Faces, the remake of La Cantatrice chauve, Le roman d'un trader) will eventually define this mark as an idiosyncratic, formal and original one, to be found in the whole work which was studied. Thus, thanks to the help of fertile and adjustable pre-images, essential mental images settle in the heart of creation and the oneiric vision turns out to be the very essence of the artistic particularity of this stage director. Therefore the research opens up renewed angles about the aesthetics and the presence/absence of the artist in enlarged fields (such as cinema, dancing, painting, photography, music, writing).

Les genres littéraires et textuels en usage dans la discipline français sont des contructions disciplinaires, qui servent différentes finalités selon les configurations disciplinaires. Ce sont donc à l'école des notions instables, dans leur définition, dans les corpus qui les actualisent ou dans les usages (scripturaux et lecturaux, par exemple) que l'on peut en faire. Telle est la thèse de cette recherche, qui s'intéresse à la scolarisation des genres (par transposition, secondarisation, reconfiguration et/ou création) dans l'enseignement secondaire français, de 1802 à nos jours. Une première partie envisage historiquement les "formes scolaires" des genres, articulées à différents paradigmes (rhétorique, poétique, histoire littéraire et théories linguistiques). Une deuxième partie met en perspective les classements génériques, en les articulant avec d'autres modes de classement, dans la discipline et, aux frontières de la discipline, dans les CDI. Une troisième partie s'organise autour de trois études de cas : la tragédie classique, le "biographique" en classe de première et les textes fondateurs en sixième, et décrit notamment une forme particulière de contextualité, amphitextualité, qui désigne les relations qu'un texte entretient avec les autres textes posés à côté de lui, dans les manuels, les groupements de textes, et plus généralement dans les pratiques disciplinaires. La dernière partie analyse des pratiques disciplinaires de lecture et d'écriture de genres : à travers une étude de la scolarisation des romans de Balzac, dans un ensemble de près de 400 manuels scolaires depuis 1880 ; à travers l'écriture d'invention et un ensemble de copies de baccalauréat

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / O objetivo da presente pesquisa foi desenvolver um conceito que desse conta do fenÃmeno de agrupamentos genÃricos designado aqui de constelaÃÃo de gÃneros. Para o alcance deste objetivo, a investigaÃÃo se inscreve na base epistemolÃgica das formulaÃÃes teÃrico-filosÃficas de Bakhtin, relativas aos usos da linguagem. A Tese foi organizada em duas grandes partes. Na primeira, apresento a elaboraÃÃo de um percurso teÃrico-metodolÃgico que permitiu elaborar um constructo de constelaÃÃo de gÃneros a partir da eleiÃÃo de pelo menos uma caracterÃstica marcante da esfera de comunicaÃÃo em que se ambienta o agrupamento constelar, do processo formativo de seus gÃneros e das funÃÃes sociais que eles realizam. Na segunda parte, ilustro a elaboraÃÃo do constructo com a anÃlise de sete tipos de chats, elegendo a hipertextualidade, a transmutaÃÃo e o propÃsito comunicativo dos bate-papos virtuais como as categorias operantes para caracterizaÃÃo do agrupamento constelar desses gÃneros. Para a construÃÃo dos dados, foi realizada uma pesquisa de carÃter etnogrÃfico na Internet durante trÃs anos. A partir de um exercÃcio intenso de observaÃÃo participante, em diversas salas de chat, e de pequenas entrevistas realizadas por e-mail com alguns chatters, a triangulaÃÃo dos dados e a sua posterior anÃlise apontam para os seguintes resultados: a constelaÃÃo dos chats assume uma natureza hipertextual, pois tal caracterÃstica aproxima os gÃneros quanto a este aspecto; os chats sÃo gÃneros que compartilham o mesmo fenÃmeno formativo, uma vez que todos transmutam e reinterpretam gÃneros orais de variadas esferas de comunicaÃÃo; finalmente, esses gÃneros se tornam distintos entre si graÃas à teia de propÃsitos comunicativos que eles formam dentro da constelaÃÃo para atender Ãs mais diversas funÃÃes sociais. / O objetivo da presente pesquisa foi desenvolver um conceito que desse conta do fenÃmeno de agrupamentos genÃricos designado aqui de constelaÃÃo de gÃneros. Para o alcance deste objetivo, a investigaÃÃo se inscreve na base epistemolÃgica das formulaÃÃes teÃrico-filosÃficas de Bakhtin, relativas aos usos da linguagem. A Tese foi organizada em duas grandes partes. Na primeira, apresento a elaboraÃÃo de um percurso teÃrico-metodolÃgico que permitiu elaborar um constructo de constelaÃÃo de gÃneros a partir da eleiÃÃo de pelo menos uma caracterÃstica marcante da esfera de comunicaÃÃo em que se ambienta o agrupamento constelar, do processo formativo de seus gÃneros e das funÃÃes sociais que eles realizam. Na segunda parte, ilustro a elaboraÃÃo do constructo com a anÃlise de sete tipos de chats, elegendo a hipertextualidade, a transmutaÃÃo e o propÃsito comunicativo dos bate-papos virtuais como as categorias operantes para caracterizaÃÃo do agrupamento constelar desses gÃneros. Para a construÃÃo dos dados, foi realizada uma pesquisa de carÃter etnogrÃfico na Internet durante trÃs anos. A partir de um exercÃcio intenso de observaÃÃo participante, em diversas salas de chat, e de pequenas entrevistas realizadas por e-mail com alguns chatters, a triangulaÃÃo dos dados e a sua posterior anÃlise apontam para os seguintes resultados: a constelaÃÃo dos chats assume uma natureza hipertextual, pois tal caracterÃstica aproxima os gÃneros quanto a este aspecto; os chats sÃo gÃneros que compartilham o mesmo fenÃmeno formativo, uma vez que todos transmutam e reinterpretam gÃneros orais de variadas esferas de comunicaÃÃo; finalmente, esses gÃneros se tornam distintos entre si graÃas à teia de propÃsitos comunicativos que eles formam dentro da constelaÃÃo para atender Ãs mais diversas funÃÃes sociais. / In the present research my objective was to create a concept to the phenomenon of the constellation of genres. Thus, to define that category, about which I developed my Thesis, the theoretical and philosophical formularizations of Bakhtin relative to the uses of the language were my support. The text which relates this research is organized in two great parts. In the first one, I present my theoretical and methodological construction for the study of the constellations of genres, bringing as proposal the choice of the strongest characteristic of the communication sphere where the grouping of genres is, the observation of the formative process of those genres and the identification of the social functions that they realize. In the second part, I present the chats like an example of constellation of genres and I illustrate my theoretical and methodological construction through of seven different types of chats, focusing the hypertextuality, the transmutation of genres and the communicative purpose as the operational categories to the analysis. In this research, I tried give an ethnographic character through an intense exercise of participant observation, accessing many chat rooms in the Internet during three years. For obtaining the data, besides the participant observation, I did small interviews with some chatters by e-mail. After the triangulation of the data and its posterior analysis, I arrived to the following results: the constellation of chats assumes a hypertextual nature because such characteristic is what brings chats closer as for the aspect of their communication sphere; chats are genres that share the same formative phenomenon, in other words, everyone of them is formed by the transmutation and the reinterpretation of oral genres from various communication spheres; finally, chats become distinct of each one because they build a web of communicative purposes inside of the constellation in order to serve to several social functions. / In the present research my objective was to create a concept to the phenomenon of the constellation of genres. Thus, to define that category, about which I developed my Thesis, the theoretical and philosophical formularizations of Bakhtin relative to the uses of the language were my support. The text which relates this research is organized in two great parts. In the first one, I present my theoretical and methodological construction for the study of the constellations of genres, bringing as proposal the choice of the strongest characteristic of the communication sphere where the grouping of genres is, the observation of the formative process of those genres and the identification of the social functions that they realize. In the second part, I present the chats like an example of constellation of genres and I illustrate my theoretical and methodological construction through of seven different types of chats, focusing the hypertextuality, the transmutation of genres and the communicative purpose as the operational categories to the analysis. In this research, I tried give an ethnographic character through an intense exercise of participant observation, accessing many chat rooms in the Internet during three years. For obtaining the data, besides the participant observation, I did small interviews with some chatters by e-mail. After the triangulation of the data and its posterior analysis, I arrived to the following results: the constellation of chats assumes a hypertextual nature because such characteristic is what brings chats closer as for the aspect of their communication sphere; chats are genres that share the same formative phenomenon, in other words, everyone of them is formed by the transmutation and the reinterpretation of oral genres from various communication spheres; finally, chats become distinct of each one because they build a web of communicative purposes inside of the constellation in order to serve to several social functions.