Neste estudo, minha proposta foi dirigir-me às pessoas portadoras de neoplasias em seu domicílio, buscando em um primeiro momento apreender o significado para os doentes de seu sendo-no-mundo com câncer, e a partir dessa compreensão, projetar novas possibilidades de cuidado a esses seres. A fenomenologia existencial de Martin Heidegger permitiu-me uma aproximação da existencialidade do doente, contemplando suas vivências com a doença. Para tal, realizei várias visitas aos sujeitos, antes e após a entrevista. A partir dos discursos e de minhas observações feitas durante as visitas, conduzi-me a uma compreensão das percepções dos pacientes sobre o estar-no-mundo com câncer. Da análise compreensiva emergiram duas categorias: A temporalidade do existir com câncer e o Ser-com-ooutro inautêntico no convívio com o câncer, as quais interpretei apropriando-me de algumas idéias de Martin Heidegger. E, finalmente, retomando o caminho percorrido, reflito sobre a assistência dispensada aos doentes e a importância de buscar novos caminhos para contemplar as reais necessidades de cuidados da pessoa com neoplasia. / In this study, my proposal was to direct myself to people who carry neoplasia at their dwellings, aiming, in the first instance, to understand the meaning of the being in world with cancer to the ill, and from this comprehension, to project new care possibilities to these beings. Martin Heidegger’s existential phenomenology allowed me to approximate myself to the ill person’s existentiality, contemplating his experience with the disease. For that, I accomplished several visits to individuals, before and after the interview. From the speeches and my observations fulfilled during the visits, I conducted myself to A comprehension of the ill perceptions of being in the world with cancer. From the comprehensive analysis, two categories emerged: The temporality of being with cancer and the inauthentic being-with the other in living together with cancer, which I interpreted adopting some Martin Heidegger’s ideas. Finally, recapturing the coursed path, I reflect on the exempt assistance to the ill and the importance of searching new to contemplate the real care necessities of the person with neoplasia.

Submitted by PPGE PPGE (pgedu@ufba.br) on 2015-01-09T15:17:34Z No. of bitstreams: 1 dissertação_final.pdf: 1980063 bytes, checksum: b4606e833842f59249ab80b58a8cafe2 (MD5) / Approved for entry into archive by Maria Auxiliadora da Silva Lopes (silopes@ufba.br) on 2015-01-27T16:34:09Z (GMT) No. of bitstreams: 1 dissertação_final.pdf: 1980063 bytes, checksum: b4606e833842f59249ab80b58a8cafe2 (MD5) / Made available in DSpace on 2015-01-27T16:34:09Z (GMT). No. of bitstreams: 1 dissertação_final.pdf: 1980063 bytes, checksum: b4606e833842f59249ab80b58a8cafe2 (MD5) / Os conceitos, Emergência, Caos e Complexidade traduzem o que trago para esta dissertação, uma vez que tais conceitos, ao serem trabalhados ajudam a compreender melhor os movimentos de expansão e as atualizações dos/nos a-con-teceres do/no Curso de Formação de Professores em Nível Superior UFBA/FACED/Irecê. Dimensão presença do Caos, da Complexidade e da Emergência nos a-con-teceres do/no Curso de Formação de Professores em Nível Superior UFBA/FACED/Irecê é o nome desta dissertação que teve como aporte principal as memórias de um curso experiencial. Um estudo referendado por conceitos complementares que trazem no seu bojo o antagonismo, as incertezas, a ordem, a desordem, as imprevisibilidades e atualizações de um curso que foi se formando no seu a-con-tecer. Para analisar compreensivamente a dimensão presença dos três conceitos propostos como fundantes: Emergência, Caos e Complexidade no a-con-tecer pedagógico do/no Curso de Formação de Professores em Nível Superior UFBA/Irecê usei a pesquisa qualitativa, estruturada na etnopesquisa. Como principio metodológico foi usado o dia-gnóstico por possuir o caráter longitudinal cíclico e experiencial e considerá-lo de base hermenêutica fenomenológica. / ABSTRACT Concepts, Emergency, chaos and Complexity translate what I bring to this dissertation, since such concepts, when they worked help better understand the movements of expansion and updates developments in teacher training Course in Top-level UFBA/FACED/Irecê. Dimensão presença do Caos, da Complexidade e da Emergência nos a-con-teceres do/no Curso de Formação de Professores em Nível Superior UFBA/FACED/Irecê is the name of this dissertation that had as main theme of the initial course experiences. A study by complementary concepts and referendums that bring content antagonism, the uncertainties, the order, disorder, the unpredictabilities and updates a course that was forming on your case. To analyze sympathetic consideration the dimension presence of three concepts proposed as wrote: Emergency, chaos and Complexity happen over the course of pedagogic teacher training in Top-level UFBA/Irecê used qualitative research, structured in ethno search. As methodological principle was used the diagnosis for possessing character longitudinal cyclic and experiential and consider it basic hermeneutic phenomenological.

Neste estudo, minha proposta foi dirigir-me às pessoas portadoras de neoplasias em seu domicílio, buscando em um primeiro momento apreender o significado para os doentes de seu sendo-no-mundo com câncer, e a partir dessa compreensão, projetar novas possibilidades de cuidado a esses seres. A fenomenologia existencial de Martin Heidegger permitiu-me uma aproximação da existencialidade do doente, contemplando suas vivências com a doença. Para tal, realizei várias visitas aos sujeitos, antes e após a entrevista. A partir dos discursos e de minhas observações feitas durante as visitas, conduzi-me a uma compreensão das percepções dos pacientes sobre o estar-no-mundo com câncer. Da análise compreensiva emergiram duas categorias: A temporalidade do existir com câncer e o Ser-com-ooutro inautêntico no convívio com o câncer, as quais interpretei apropriando-me de algumas idéias de Martin Heidegger. E, finalmente, retomando o caminho percorrido, reflito sobre a assistência dispensada aos doentes e a importância de buscar novos caminhos para contemplar as reais necessidades de cuidados da pessoa com neoplasia. / In this study, my proposal was to direct myself to people who carry neoplasia at their dwellings, aiming, in the first instance, to understand the meaning of the being in world with cancer to the ill, and from this comprehension, to project new care possibilities to these beings. Martin Heidegger’s existential phenomenology allowed me to approximate myself to the ill person’s existentiality, contemplating his experience with the disease. For that, I accomplished several visits to individuals, before and after the interview. From the speeches and my observations fulfilled during the visits, I conducted myself to A comprehension of the ill perceptions of being in the world with cancer. From the comprehensive analysis, two categories emerged: The temporality of being with cancer and the inauthentic being-with the other in living together with cancer, which I interpreted adopting some Martin Heidegger’s ideas. Finally, recapturing the coursed path, I reflect on the exempt assistance to the ill and the importance of searching new to contemplate the real care necessities of the person with neoplasia.

Sedan höstterminen 2018 står det inskrivet i läroplanen att programmering ska finnas som en del i teknik- och matematikundervisningen i grundskolan. Trots det så var få lärare förberedda på ändringen vilket gjort det svårt för lärarna att fullfölja kraven i läroplanerna.  Då det krävs kompetens hos lärarna inom programmering för att kunna fullfölja skolverkets kursplaner och att få lärare hade fått den kompetensen innan höstterminen 2018 har det under denna studies gång tagits fram en prototyp av ett verktyg som är avsett att underlätta undervisningen av programmering för högstadieelever. Tanken med verktyget är att det ska användas för att programmera BBC micro:bit med microPython. BBC micro:bit är en mikrodator som används i undervisningen i bland annat Kronobergs län där det även pågår ett projekt vid namn Make it happen för att stärka den digitala kompetensen. Resultatet indikerar att ett molnbaserat verktyg som innehåller både en utvecklingsmiljö och dokumentation på svenska möjligen kan underlätta undervisningen. Dock behövs verktyget utvecklas mera, lägga till mer funktionalitet och information samt göra fler tester för att undersöka användbarheten. / As of 2018 the Swedish Government has decided that there should be programming in elementary school. The programming should take place in the subjects of mathematics and technics There weren’t a lot of prepared teachers when the law took effect which has made it difficult for the teachers to follow it. In this project I have made a prototype to try to increase the competence in programming for the teachers. Since there is another project in Kronobergs län, Make it happen, that focuses on the use of BBC micro:bit in school I chose to make the prototype for BBC micro:bit and microPython programming to keep in line with that project. The results indicate that a cloud-based tool that contains both an editor and a Swedish documentation might ease the teaching in elementary schools. For more reliable results however I would need to keep developing the prototype to give it more functionalities and a better documentation that contains more information about microPython. There is also need for more user-testing on the targeted group to make the instrument more reliable.

本研究，基於分辨非賓存現動詞及瞭解二語學習者如何讓習得此類動詞之需求，旨在分析一個高頻率之非賓格存現動詞 HAPPEN與其三個同義字(OCCUR，APPEAR，與EXIST)和中文同義字「發生」從語言使用者角度作比較。採用了母語語料庫 (英文採用英國國家語料庫 BNC；中文採用十億詞語料庫 GW 2.0)及學習者語料庫(含語言訓練與測驗中心學習者語料庫the LTTC，國際英語學習者語料庫the ICLE，及政治大學外語學習者語料庫the NCCU)作為第一部分的語料庫分析。此外，為了探索二語英文錯誤及母語中文遷移的關係，我們也進行了以語料庫為基礎的心理語言學實驗(兩個關於中英文HAPPEN句子結構的接受度判斷測驗)。 本研究結果發現，其一，就語料庫中的文法形式(Grammatical form)來分析HAPPEN、OCCUR、APPEAR與EXIST，英文母語語料庫中的高頻文法形式(例如：happened或happen)與學習者語料庫中有相同的現象。然而大部份的高頻文法形式都是二語學習者經常誤用之處，且容易與兩個常見非賓動詞錯誤—過度被動化錯誤(Overpassivization)和及物化錯誤(Transitivization)—共現(Collocated)。其二，從語料庫錯誤分析各種錯誤類型得知， HAPPEN與OCCUR較常出現過度被動化錯誤；APPEAR與 EXIST較常有及物化錯誤。此結果顯示每個非賓存現動詞可能會犯不同錯誤，也因此造成其錯誤的原因有所不同。其三，從分析心理語言實驗結果得知，我們發現母語中文文法句型(L1 Chinese grammatical patterns)，例如：「V-了」－「出現了」；抑或是「V+N」－「發生車禍」、「發生戰爭」、「存在缺失」，都影響了二語學習者對英文非賓動詞之文法形式的正確判定。由此揭示了母語中文大多都對二語英文非賓動詞習得有所干擾。 基於所得結果，我們提出「完成體」(Perfectivity)及「及物性」(Transitivity)之不同來探討中英文間存現動詞用法之異同，並試著解釋造成二語非賓動詞學習複雜化的原因。 此研究克服了過去文獻中比較非賓存現動詞之困難也透過語料庫結合心理實驗研究法提供對非賓動詞習得之解釋方法。這些發現可進一步作為詮釋非賓動詞的假說，並將其應用於語言教材設計或被視為未來跨語言分析研究之基石。 / Owing to the necessity to identify unaccusative existence/appearance verbs and realize how they are acquired by L2 learners, this present thesis aims to analyze a highly frequent English unaccusative verb HAPPEN and compare it with its three other synonyms (OCCUR, APPEAR, and EXIST), as well as its Chinese counterpart發生 fāshēn ‘happen.’ Native speaker corpora (the British National Corpus (BNC) for English and Chinese Gigaword 2 Corpus (GW 2.0) for the Chinese), and L2 learner corpora (the Language Training and Testing Learner Corpus (the LTTC), International Corpus of Learner English 2.0 (the ICLE), and the National Chengchi University Foreign Language Learner Corpus (the NCCU)) are utilized to analyze the unaccusative verbs in the first main section. In addition, in order to discover the relationship between L2 English errors and L1 Chinese transfer, psycholinguistic experiments (two acceptability judgments tasks with comparable Chinese and English HAPPEN sentence constructions) based on the corpora data were conducted in this thesis. The results in this thesis showed that, first, the highly frequent grammatical forms of unaccusative verbs (e.g., happened or happen) in the English native speaker corpus share some similarities with those of L2 learner corpora. However, these grammatical forms were usually misused by L2 learners and were frequently collocated with the two common unaccusative errors (overpassivization, e.g., *What is happened? and trasitivization, e.g., *I happen a car accident.). Second, as for the distributions of unaccusative error types, HAPPEN and OCCUR were found to mainly co-occur with overpassivization errors, whereas APPEAR and EXIST were found to mainly co-occur with transitivization errors. This indicates that each unaccusative verb may have different potential for L2 unaccusative errors, and therefore the causes of these errors with different verbs may vary. Third, from the analysis of psycholinguistic experiments, we discover that the L1 Chinese grammatical patterns, such as the V-le grammatical pattern (e.g., 出現了chūxiànle ‘appear-le’) and the V+N grammatical pattern (e.g., 發生車禍fāshēngchēhuò ‘The car accident happened’, 發生戰爭 fāshēngzhànzhēng ‘The war occurred’, and存在缺失 cúnzàiquēshī ‘The pitfalls existed’) may influence L2 learners’ correct judgment as to the grammatical forms of unaccusative verbs. This reveals that generally L1 Chinese might have some interference with L2 unaccusative acquisition. Based on the results, we proposed that the perfectivity and transitivity differences between English and Chinese unaccusative existence/appearance verbs could distinguish the uses among the English HAPPEN and the Chinese發生 fāshēn ‘happen’ with their synonyms. These differences could also provide a possible reason for the cause of the problematic L2 unaccusative acquisition. This thesis overcomes the difficulties of comparing unaccusative existence/appearance verbs in the previous studies and attempts to unravel the enigma of acquiring this verb type from the integrated corpus-based and empirical findings. These findings in turn serve as the suggested assumptions to interpret unaccusative verbs, which can be applied to the design of language teaching materials or can be viewed as the basis of cross-language analysis in the future studies.

Made available in DSpace on 2016-12-08T16:52:01Z (GMT). No. of bitstreams: 1 117119.pdf: 876523 bytes, checksum: 2d928883296ff247ee2657fcf27780b6 (MD5) Previous issue date: 2014-04-09 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present dissertation have as objective investigate the theatrical phenomenon from the ideas of Martin Heidegger. For this, understands the theater as a work of art, because there is only poetic happening in this condition. The essence of art is, according perspective of Heidegger, poetry and she unveils the truth of being. For better understanding of what is the poetic happen in theater this question was separated into three responses. The first one refers to the ontic condition of the scene through an outline of your story, where it shows, in this way, what is and isn´t art. The second response intends to overcome the ontic characteristics presented before but not deny them, because the being is not without the entity and, thus, show what is the art. And from this, deepen the layers of "poetic happen", once admit several layers: the opening , glade, technique, originating , time, presence , truth, World and Earth, home , entity and being. The third chapter cares to think about how do to arrive the work of art in the viewer , in another words, how it happens the "poetic happen" in the staging in instance of experience. Here is investigate the availability of the actor while the work of art server, because he is the immediate link in relation of work of art, artist and viewer. Questions such as listening, serenity and donation - three items that Heidegger considers fundamental to the artist let strengthen the work of art and not himself here are focused. As a final reflection the current theater is analyzed and the possibilities and the necessities (or not) of a theater as work of art too, a theater that has as path the sense of being, since art has to unveil and contribute to understanding the current historical time. / A presente dissertação tem como objetivo investigar o fenômeno teatral a partir das ideias de Martin Heidegger. Para tanto, toma o teatro enquanto obra de arte, pois só há acontecimento poético nessa condição. A arte por essência é, segundo a perspectiva heideggeriana, poesia e ela pode desvelar a verdade do ser. Para melhor compreensão do que é o acontecer poético no teatro, tal questão foi desmembrada em três partes. A primeira refere-se à condição ôntica da cena, através de um esboço de sua história, onde se evidencia o que, nesse percurso, é e não é arte. A segunda resposta pretende problematizar as características ônticas antes apresentadas e não negá-las, pois o ser não se dá sem o ente e, assim, revelar indícios do que pode vir a ser arte. E, a partir disso, descamar o acontecer poético, uma vez que admite várias camadas: abertura, clareira, técnica, originário, tempo, presença, verdade, Mundo e Terra, repouso, ente e ser. O terceiro capítulo se ocupa em pensar o modo, o como fazer para a obra chegar ao espectador, ou seja, como se dá o acontecer poético na encenação enquanto experiência. Aqui é investigada a disponibilidade do ator enquanto servidor da obra, pois é o elo imediato na relação entre obra, artista e espectador. Questões tais como escuta, serenidade e doação três quesitos que Heidegger considera fundamentais para que o artista deixe vigorar a obra de arte e não ele próprio são aqui enfocadas. Como reflexões finais são analisados o teatro atual e as possibilidades e necessidades (ou não) de um teatro enquanto obra arte, um teatro que tem como vereda o sentido do ser, uma vez que a arte desvela e contribui para a compreensão do tempo histórico atual.

La relation entre les peintures chinoise et occidentale apparait comme une rencontre entre l’eau et l’huile. Mélanger les deux étant impossible, comment, dès lors, un artiste entre deux cultures, peut-il faciliter leur dialogue et devenir un passeur ? Cette recherche tente d’associer la technique des matériaux occidentaux avec l’expression du pinceau et de l’encre liés au concept du plein et du vide afin d’explorer des oppositions complémentaires, en créant une réalité diluée dans un contraste harmonisé. La réflexion s’est concrétisée par des peintures en trois formats : la série, le rouleau et l’album, intitulées Musée en peinture. Formats qui permettent d’aborder aussi bien les questions de l’écoulement du temps, de la circulation du regard, de la dynamique spatiale, que celles de l’extension et de la suggestion. Ces peintures interrogent le phénomène du musée en portant un regard ironique, critique et empathique sur les spectateurs et leurs travers. Elles témoignent aussi de la conversation avec les maîtres anciens et d’un cheminement dans les musées. La réalisation de ce musée des musées consiste en un processus de transfert de la photographie vers la composition photographique, puis vers la peinture. Ce processus se rapproche de la structure cinématographique, à partir du montage filmique d’Eisenstein, et de la notion de continuité et de discontinuité de Raoul Ruiz. Avec la boîte de Poussin numérique, on joue à la fois le rôle de peintre, de metteur en scène et de documentariste. Exploré, le passé se mue en espace, en reconstituant le passage du monde réel au monde virtuel, du ça-a-été de Roland Barthes à la notion du ça n’a pas été. / The relationship between Chinese and Western painting appears as a meeting of water and oil. Mixing the two seems impossible, so how can an artist create a dialogue between two cultures and media, effectively becoming a cultural conduit ? This research attempts to combine the techniques of Western materials with the expression of Chinese brush and ink, which is linked to the concept of fullness and tangible versus emptiness and abstract. From here, we explore the complementary opposition, create a “diluted reality” in a harmonized contrast. This reflection, entitled Museum in Painting, is represented in three different formats: the series, the scroll, and the album. These formats allow us to explore ideas of the flow of time, the circulation of the gaze, the spatial dynamics, as well as the topic of Extension and Suggestion. From the satirical, critical, and empathic point of views, we investigate the audience and their quirks, questioning the phenomenon of museum. These works exhibit my intellectual journey through the museum, and the conversation with the old masters. The realization of this museum of museums is a transfer process from photography to digital composition, and then to the painting. It takes the concepts of Eisenstein's film montage and Raoul Ruiz’s continuity and discontinuity to explore its relevance to the cinematographic composition and structure. With the “Digitized Box of Poussin”, we played the role of painter, director and documentary filmmaker to explore the idea of past events becoming a space to re-create a pathway from the real world to the virtual world, from Roland Barthes’ concept of “what happened” to the concept that is put forward that “it didn’t happen”.