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Although concepts are located within individual minds, while word forms are shared across entire language communities, words and concepts are normally deemed to be tightly bound. But in fact, at least to the extent that concepts vary, the relationship between words and concepts may not be as uniform or stable as is often assumed. Nevertheless, language may itself mediate that relationship, through its entrenchment and use. Psychologists have already investigated language use in referential communication, but they have yet to focus in detail on the role of language in conceptual coordination. One of the obstacles has been the theoretical and methodological challenges that arise from seriously abandoning conceptual universals. To that end, an experimental framework was developed based on sorting tasks in which participants freely partition a set of stimuli into categories and an objective measure for comparing two outputs. Four experiments were then conducted to investigate whether people were conceptually coordinated before, during and after linguistic interaction. Experiment 1 consisted of a cross-linguistic study looking at default coordination between native speakers. Participants both sorted items into groups and named them individually. There was a relatively high degree of categorisation agreement among speakers of the same language, but not nearly as high as for naming agreement. Experiments 2-4 inquired into conceptual coordination during or immediately after linguistic interaction. Experimental manipulations involved the form of language use (full dialogue or only category labels), as well as the type of feedback (category groupings, labels, both, or neither). In particular, Experiment 2 investigated the effects of categorising a set of objects together, with or without dialogue, on subsequent individual categorisation. The results were inconclusive and revealed specific methodological issues, but yielded interesting data and were encouraging for the general framework. Experiment 3 modified the designwhile testing and extending the same general hypotheses. Participants carried out a sequence of categorisation tasks in which they tried to coordinate their categories, followed by individual categorisation and similarity tasks. The availability of dialogue and feedback was manipulated in the interactive tasks. During interaction, they also received both kinds of feedback, except in the control condition. Pairs that could talk coordinated much better than the others, but feedback didn’t help. Experiment 4 looked into the effects of the four possibilities for feedback during a longer sequence of interactive tasks. In general, conceptual coordination was found to depend on grouping feedback only. However, by the end of the task, pairs who received both kinds of feedback did best. All three interactive experiments also measured lexical convergence between pairs. The results generally revealed a dissociation, with lexical alignment showingmore convergence and occurring under a wider variety of conditions. Togetherwith previous research, these findings showthat language can bring about conceptual coordination. However, it appears that the richer the form of language use, the more conceptual convergence occurs, and the closer it gets coupled with lexical convergence. The long-term effects, if any, are much weaker. These studies have implications for the general role of language in cognition and other important issues.

O teatro de Gil Vicente traz em si características de um momento de transição portuguesa, assim é marcado por traços que indicam desde elementos medievais até elementos renascentistas. Dentre estes traços um elemento surge, a religiosidade em sua vertente católica que foi dominante para a cultura européia deste período, com mais ênfase na Península Ibérica. A arte, seja ela literária, pictórica, musical, arquitetônica, dentre outras manifestações, serviu, a esta época, em muitas ocasiões, como suporte de um processo didático-catequético. Os três autos vicentinos selecionados, Auto de Mofina Mendes, Auto da Alma e Auto da Barca do Inferno, que destacam o nascimento, o correr da vida e a morte, caracterizam-se, entre outras funções e possibilidades de leitura, como veículos deste processo de ensino aprendizagem religiosa, conseqüentemente, os mesmos são analisados com o intuito de se estabelecer o diálogo com outra linguagem que também exerceu esta função, a pintura, em suas manifestações medievais, renascentistas, barrocas e flamencas. É importante destacar que este processo de análise se vale de uma metodologia mista calcada em pressupostos teóricos advindos de estudos de Bakthin, de Kristeva, da Literatura Comparada e da Gestalt, uma vez que ainda não há um suporte teórico que se ocupe particularmente deste exercício. / Gil Vicente\'s theater brings in itself features of a moment of transition in the Portuguese literature, so it is marked by traces that indicate elements from medieval unti Renaissance elements. Almong these traits, an element arises, the Catholic religion in its side that has been dominant for the European culture of this period, with more emphasis on the Peninsula Iberica.The art, be it literary, pictural, musical, architectural, among other manifestations, served, at that time, on many occasions, as a support to the teaching process-catequetico. The three selected \"autos vicentinos\", Auto de Mofina Mendes, Auto da Alma and Auto da Barca do Inferno, which highlight the birth, the running of the life and death, are caracterized among other functions and possibilities for reading, as vehicles of this process of teaching religious learning. Therefore, they are reviewed in order to establish a dialogue with another language that also exercises this function, the painting, in its medieval, Renaissance, Baroque and flamenco manifestations. It is important to note that this process of analysis uses a mixed methodology based on theoretical assumptions arising from the studies of Bahktin, Kristeva, Comparative Literature and Gestault, since there isn\'t a theoretical support that studies this particular subject.

O teatro de Gil Vicente traz em si características de um momento de transição portuguesa, assim é marcado por traços que indicam desde elementos medievais até elementos renascentistas. Dentre estes traços um elemento surge, a religiosidade em sua vertente católica que foi dominante para a cultura européia deste período, com mais ênfase na Península Ibérica. A arte, seja ela literária, pictórica, musical, arquitetônica, dentre outras manifestações, serviu, a esta época, em muitas ocasiões, como suporte de um processo didático-catequético. Os três autos vicentinos selecionados, Auto de Mofina Mendes, Auto da Alma e Auto da Barca do Inferno, que destacam o nascimento, o correr da vida e a morte, caracterizam-se, entre outras funções e possibilidades de leitura, como veículos deste processo de ensino aprendizagem religiosa, conseqüentemente, os mesmos são analisados com o intuito de se estabelecer o diálogo com outra linguagem que também exerceu esta função, a pintura, em suas manifestações medievais, renascentistas, barrocas e flamencas. É importante destacar que este processo de análise se vale de uma metodologia mista calcada em pressupostos teóricos advindos de estudos de Bakthin, de Kristeva, da Literatura Comparada e da Gestalt, uma vez que ainda não há um suporte teórico que se ocupe particularmente deste exercício. / Gil Vicente\'s theater brings in itself features of a moment of transition in the Portuguese literature, so it is marked by traces that indicate elements from medieval unti Renaissance elements. Almong these traits, an element arises, the Catholic religion in its side that has been dominant for the European culture of this period, with more emphasis on the Peninsula Iberica.The art, be it literary, pictural, musical, architectural, among other manifestations, served, at that time, on many occasions, as a support to the teaching process-catequetico. The three selected \"autos vicentinos\", Auto de Mofina Mendes, Auto da Alma and Auto da Barca do Inferno, which highlight the birth, the running of the life and death, are caracterized among other functions and possibilities for reading, as vehicles of this process of teaching religious learning. Therefore, they are reviewed in order to establish a dialogue with another language that also exercises this function, the painting, in its medieval, Renaissance, Baroque and flamenco manifestations. It is important to note that this process of analysis uses a mixed methodology based on theoretical assumptions arising from the studies of Bahktin, Kristeva, Comparative Literature and Gestault, since there isn\'t a theoretical support that studies this particular subject.