Cette thèse vise à comprendre les pratiques de transmission de deux enseignants de français langue étrangère (FLE), à partir d’un manuel universaliste, utilisé dans un contexte local, ici le contexte libyen. Le rapport des enseignants à la règle, et les motifs qui orientent leurs écarts, sont alors au centre de notre démarche analytique. Située au croisement de la didactique des langues, des sciences du langage et de l’ergonomie de travail, la recherche porte sur la relation entre la prescription comme contrainte institutionnelle, et le style d’agir professoral. Parce que les motifs et les sources de transmission sont pluriels et partagés entre les différents acteurs sociaux de la classe, enseignant et apprenants, et fonctionnent par le biais d’outils sémiotiques spécifiques, tableau et manuel pour n’en citer que les principaux, notre réflexion est nécessairement pluridisciplinaire. La problématique de cette thèse interroge ainsi les stratégies de reformulation des consignes du même manuel par deux enseignants. De telles interrogations permettent d’identifier des styles professoraux particuliers, et de questionner leur efficacité pragmatique dans le processus d’enseignement. Si notre charpente théorique se base de manière privilégiée sur la prescription éducative, la théorie sociologique de l’acteur social dans son rapport à la règle, l’activité de reformulation dans le discours, il n’en demeure pas moins qu’elle puise généreusement dans une bibliographie plus large de l’analyse du discours et des théories de la pensée enseignante. Sur le plan méthodologique notre démarche est qualitative, et nous avons privilégié l’observation non-participante de l’interaction ainsi que l’entretien d’autoconfrontation simple. Notre corpus d’analyse, enregistré, transcrit et enrichit d’observations, relate deux enseignements différents : celui de deux enseignants, travaillant le même cadre universitaire. / This thesis aims to understand the transmission practices of two teachers from a universalist handbook, used in a local context. The teachers' relationship to the rule, and the reasons that guide their differences, are at the core of our analytical approach. Placed at the crossroads of language learning and teaching, language sciences and ergonomics of work sciences, the research focuses on the linkage between prescription as an institutional constraint, and as a teaching method. The motives and the sources of transmission are plural and shared between various social actors of the class, both teachers and learners. Furthermore, they work and interact through specific semiotic tools, board and handbook to name only the main. For those reasons our reflection is necessarily multidisciplinary.The challenge of this thesis thus questions the notions of reformulation and transmission strategies. How do two teachers recast the same instructions, in the same context? By asking, we’re trying to observe and identify signs of the teacher’s action style, and to question their pragmatic effectiveness in the teaching process.Hence, our theoretical framework is mostly based on the study of educational prescriptions, the sociological theory of the social actor, in its relation to the rule, and the activity of reformulation in the discourse. It nonetheless remains that it draws generously in a broader bibliography of discourse analysis and the teacher thinking theories. On the methodological front, our approach is qualitative, based on a non-participant observation of the interaction as well as on the simple self-confrontation interview. Our corpus of analysis, recorded, transcribed and enriched by observations, relates two different teachings: that of Nadia and Fouad.

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Made available in DSpace on 2016-04-28T19:59:16Z (GMT). No. of bitstreams: 1 Carmen Medeiros Lima.pdf: 519662 bytes, checksum: d51759ec63182922fe78af52212a68e2 (MD5) Previous issue date: 2009-05-13 / Secretaria da Educação do Estado de São Paulo / The purpose of this Master dissertation is to apprehend the Manuel Bandeira s process of lyric poetry in Belo Belo work. The emphasized poems are: Poema só para Jaime Ovalle , O Homem e a Morte , Tempo-será , A Mário de Andrade ausente , O lutador , Esparsa Triste , A realidade e a imagem , Visita Noturna , Nova poética , Unidade , Arte de amar and Infância . Those poems are divided in two thematic nucleus: death and alumbramento. Inside them, this study tries to explore the elements that effect like resources in Manuel Bandeira s poetics and how the self lyric, before death, connects the alumbramento with that theme. The Phenomenology as a method helps the understanding of the being-in-world and of the finite existence, explainning the feeling regarding to death. Observ itself the similarity between alumbramento and Epiphany connectinning to the biography, to the experience of death, to the childhood and to the body.To the poems analysis we bring Davi Arrigucci Jr., Antonio Candido, Paul Zumthor, Cristovão Tezza, Alfredo Bosi, Olga de Sá, Georges Bataille and others. From analysis, we can conclude, the rhythm is the most important element in Manuel Bandeira s poetry because it establishes connections with the humble poetry, the childhood memory, the body and with the world. What seems connected to the death theme is exactly what leads to alumbramento. The death theme to Manuel Bandeira, acquired another meaning: the motto that ligthed up the fear of death / O propósito desta dissertação é apreender o processo da lírica de Manuel Bandeira na obra Belo Belo. Os poemas enfatizados são: Poema só para Jaime Ovalle , O Homem e a Morte , Tempo-será , A Mário de Andrade ausente , O lutador , Esparsa triste , A realidade e a imagem , Visita noturna , Nova poética , Unidade , Arte de amar e Infância . Esses poemas estão agrupados em dois núcleos temáticos: morte e alumbramento. Dentro deles, procura-se resgatar os elementos que operam como recursos na poética de Manuel Bandeira e como o eu lírico, diante da morte, relaciona o alumbramento com esse tema. A Fenomenologia como método auxilia o entendimento do ser-no-mundo e da existência finita, traduzindo os sentimentos em relação à morte. Observa-se a semelhança entre alumbramento e epifania relacionando-os ao item biográfico, à experiência marcada pela morte, à infância e ao corpo. Para as análises dos poemas trazemos Davi Arrigucci Jr., Antonio Candido, Paul Zumthor, Cristovão Tezza, Alfredo Bosi, Olga de Sá, Georges Bataille e outros. Das análises, conclui-se que o ritmo é um dos elementos mais importantes na poesia de Manuel Bandeira, pois estabelece conexões com a poesia humilde, com a memória da infância, com o corpo e com o mundo. O que parece estar ligado ao tema da morte é justamente o que conduz ao alumbramento. O tema da morte, para Manuel Bandeira, adquiriu outro significado: o motor que iluminou o medo da morte

Disputes concerning the origin of the term bambuco persist among scholars in Colombia, as well as controversies regarding the process of notating the traditional bambuco (3/4 or 6/8), when it penetrates the written tradition of popular music. Composers writing popular and salon bambucos increasingly perceived the advantage of notating it in 6/8. This study investigates the traditional bambuco and its assimilation into nineteenth and twentieth-century cultivated tradition, with emphasis on piano pieces by representative Colombian composers of art music. I include specific analyses of Cuatro preguntas (ca. 1890) by Pedro Morales Pino (1863-1926), ChirimÍa y bambuco (1930) by Antonio MarÍa Valencia (1902-1952), Bambuco en si menor by Adolf o MejÍa (1905-1970), El bambuco by Manuel MarÍa Párraga (c. 1826-1895), and Trozos Nos. 6 and 158 (1927-1970) by Guillermo Uribe HolguÍn (1880-1971).

O grande tempo revela o potencial inesgotável da voz conceitual, ensaística, ficcional, a vitalidade inerente, que reitera e transcende o próprio contexto de produção, que reitera e transcende o próprio berço investigavo, sobre o qual concentra o teórico suas divagações filosófico-conceituais. Assim, neste estudo, regressa ao campo estético-literário, o visionário alcance dos pressupostos teóricos de Mikhail Bakhtin, uma vez inovadores no romance, agora, também, excêntricos no campo da poesia. Imbuídos dessa perspectiva, de tendência evolutiva e renovadora, através de uma releitura dos princípios bakhtinianos, da dialogia, da polifonia e dos gêneros discursivos, postos em diálogo com a renovação formal, deflagrada pelo Modernismo Brasileiro, observaremos, sobretudo, a percepção de características comuns que promovam, enfim, o feliz encontro entre a prosa e a poesia, na promoção das vozes do verso. Em seguida, ao centro da escuta, por intermédio de poetas e da própria poesia, o chamado da voz que se desprende da criação, para melhor poder avaliar os meandros da composição, ou, ainda, que, de dentro, reflete o próprio método, ou, ainda, que, totalmente de fora do ambiente criativo, na condição de crítico experimentado do texto literário, reflita acerca do trabalho da arte, do fazer poético, inspiração de todo-o-dia, impasse subjetivo, entre recusa e aceitação, o ‘eu-outro’ da escritura. Só, então, partiremos, aquecidos, para a escuta polifônica, em poesias representativas: vozes da rua, entre cantigas e risos, as nebulosas recordações d’ Evocação do Recife e Cunhantã, de Manuel Bandeira; vozes beirando ao asfalto, na relutância insistente, núcleo tenso e dramático d’O operário no mar, distensão vociferante de Caso do vestido, de Carlos Drummond de Andrade; vozes da roça, na fluidez da pedra, d´Morte e vida severina, de João Cabral de Melo Neto. Por fim, via abertura estética do Modernismo Brasileiro, sinalizaremos, com Mikhail Bakhtin, a legitimidade de um novo gênero literário, então nomeado ‘poesia polifônica’, núcleo tenso e dramático, a ressonância lírica da multidão que fala, clama e protesta, a voz poética, na vida, submersa! - Toc-toc, ao chamado do ‘outro’, o ‘eu’ do discurso, mais especificamente, Bakhtin, via Bandeira-Drummond-Cabral. / The great time reveals the inexhaustible potential of the conceptual, essayistic, and fictional voice, the inherent vitality, which reiterates and transcends the very context of production, which reifies and transcends the researcher's own cradle, on which the philosopher-centered theorist concentrates. Thus, in this study, he returns to the aestheticliterary field, the visionary reach of the theoretical presuppositions of Mikhail Bakhtin, once innovative in the novel, now, also, eccentric in poetry. Imbued with this perspective, with an evolutionary and renewing tendency, through a re-reading of Bakhtin's principles, dialogue, polyphony and discursive genres, put in dialogue with the formal renewal, triggered by Brazilian Modernism, we will observe above all the perception of common characteristics to promote, finally, the happy encounter between prose and poetry, in promoting the voices of verse. Then, to the center of listening, through poets and poetry itself, the call of the voice that comes from creation, in order to be able to better evaluate the intricacies of composition, or even, from within, reflects the method itself, who, totally outside the creative environment, as experienced critic of the literary text, reflects on the work of art, of poetic making, of all-day inspiration, of subjective impasse, between refusal and acceptance, the 'other-self 'of writing. Only then will we leave, heated, for polyphonic listening, in representative poetry: street voices, between songs and laughter, the nebulous memories of Manuel Bandeira, of Evocação do Recife and Cunhantã; voices bordering on the asphalt, in the insistent reluctance, tense and dramatic nucleus of the worker at sea, vociferous distension of the Caso do Vestido, by Carlos Drummond de Andrade; voices of the countryside, in the fluidity of the stone, of Morte e Vida Severina, by João Cabral de Melo Neto. Finally, through the aesthetic opening of Brazilian Modernism, we will signal, with Mikhail Bakhtin, the legitimacy of a new literary genre, then called 'polyphonic poetry', a tense and dramatic nucleus, the lyrical resonance of the multitude that speaks, cries out and protests, poetic, in life, submerged! - Toc-toc, to the call of the 'other', the 'I' of the speech, more specifically, Bakhtin, via Bandeira-Drummond- Cabral.

Made available in DSpace on 2015-04-14T13:38:40Z (GMT). No. of bitstreams: 1 136667 B.pdf: 6018897 bytes, checksum: 83005330f74355ae60417efc4d8b929c (MD5) Previous issue date: 1996-03-29 / The question that pervades this work is: why would a work so poorly received at the time of its publication may become a successful model some decades later? . This study ? which focuses on the analysis, reading and critical reception of a work ? is based on the theory of the aesthetics of reception. Hans Robert Jauss theoretical work analyzes the reception of the book Mem?rias de um Sargento de Mil?cias through the history of literature, the horizon of expectations and aesthetic distance. The studies of Wolfgang Iser focuses on the interaction between the text and the reader, what provides the foundations for the analysis of indeterminations and gaps that allowed the transformation of the narrative into a aesthetic object. As it was said earlier, the objective that guides this study is to analyze the transformation of the novel, from stranded to one of the most successful Brazilian books. To achieve this objective, this work is divided into five chapters which focuses on the production, reading and reception of the work. Thus, the aim is to demonstrate the reasons why the novel that took shy responsiveness throughout the 19th century became so prestigious in the 20th century. / A quest?o que permeia este trabalho ?: Por que uma obra t?o mal recebida na ?poca de sua publica??o pode tornar-se um modelo de sucesso algumas dezenas de anos mais tarde?. Para realizar tal estudo ? cujo foco ? a an?lise, a leitura e a recep??o cr?tica de uma obra ? optou-se pela teoria denominada est?tica da recep??o. Para a realiza??o do estudo da recep??o e da an?lise de Mem?rias de um sargento de mil?cias, do trabalho te?rico de Hans Robert Jauss, o introdutor da mencionada linha, aproveitou-se, principalmente, o que diz respeito ? hist?ria da literatura, ao horizonte de expectativas e ? dist?ncia est?tica. Os estudos de Wolfgang Iser, centrados na intera??o entre o texto e o leitor, fornecem os fundamentos para a an?lise das indetermina??es e lacunas que permitiram a transforma??o da narrativa em objeto est?tico. Como j? se disse anteriormente, a quest?o que norteia este estudo ? a transforma??o do romance, antes encalhado, em uma das obras brasileiras com maior sucesso de p?blico. Para atingir esse objetivo, o trabalho est? dividido em cinco cap?tulos que d?o conta da produ??o, da leitura e da recep??o da obra. Desse modo, visa-se demonstrar os motivos pelos quais o romance obteve t?mida receptividade ao longo do s?culo XIX e foi t?o prestigiado no s?culo XX.

Made available in DSpace on 2016-04-28T14:16:13Z (GMT). No. of bitstreams: 1 Armando Pereira Loreto Junior.pdf: 1989486 bytes, checksum: b270828c0f687f19dacbba6800156d40 (MD5) Previous issue date: 2001-06-26 / This research investigates which were the mathematical contents, sequence and manner of exposition taught in the sphere class of Colégio de Santo Antão-OVelho, in Lisbon, during the second half of the 18th century. The current work describes, within the context of that time, the most relevant features of the compendium Trigonometria Plana e Esferica com o Canon Trigonometrico, Linear e Logarithmico, published in 1737. Its author is the Jesuit priest Manoel de Campos, who was one of the teachers of that class. This study reveals interesting approaches made by him, which led to important results, like the correction of the Canon Trigonometrico, and the generation of the logarithmic curve. It was verified that the trigonometry presented by Campos had as its first objective the application to the Nautical Science and Astronomy. However, the author did not present these applications in his book, but promised to show them in another publication, which existence we did not find register of. Because of that, some examples of those applications, included in Arte de Navegar of Manoel Pimentel, were selected and presented in this work / Esta pesquisa investiga quais eram os conteúdos de matemática ensinados, sua ordem seqüencial e a forma de exposição, na aula da esfera do Colégio de Santo Antão-O-Velho da cidade de Lisboa, na primeira metade do século XVIII. O presente trabalho descreve, dentro do contexto científico daquela época, os aspectos mais relevantes do compêndio Trigonometria Plana e Esferica com o Canon Trigonometrico, Linear e Logarithmico, publicado em 1737, cujo autor é o padre jesuíta Manoel de Campos, que foi um dos professores daquela aula. Este estudo revela abordagens interessantes por ele efetuadas, que conduziram a resultados importantes, como a correção do Canon Trigonometrico e a geração da linha logarítmica. Ficou constatado que a trigonometria apresentada por Campos tinha como primeiro objetivo a sua aplicação à náutica e à astronomia. Contudo, o autor não apresentou tais aplicações no seu compêndio, prometendo mostrá-las oportunamente em outra publicação, de cuja existência não encontramos registro. Em virtude disso, alguns exemplos dessas aplicações, contidos na Arte de Navegar de Manoel Pimentel, contemporâneo de Campos, foram selecionados e apresentados neste trabalho

L'utilisation quotidienne du fauteuil roulant manuel (FRM) entraîne chez certaines personnes âgées, tout comme chez les jeunes et/ou les athlètes handicapés, un surmenage de la structure anatomique des épaules. Ce fait est responsable à la longue de phénomènes dégénératifs et douloureux entraînant des dépenses de santé supplémentaires. Dans un but préventif, les recherches présentées ci-dessous visent à réduire le travail de la ceinture scapulaire au cours de la propulsion du FRM. Une étude épidémiologique préliminaire a révélé l'étendue de ce problème. Par ailleurs l'étude anatomo-pathologique a montré l'inefficacité des soins destinés à diminuer les douleurs d'épaules. La revue bibliographique a aussi révélé les lacunes de la littérature concernant les aspects de la propulsion du FRM par la population âgée et amputée. Dans un premier temps, une chaîne de mesure destinée à appréhender les aspects dynamique, cinématique et électromyographique de la propulsion du FRM, a été développée et validée. Ce dispositif a permis d'étudier la technique de propulsion du FRM par les personnes âgées souffrant ou non de douleurs d'épaules. Les résultats ont révélé certaines causes et conséquences probables de ces douleurs. Ils permettront aux cliniciens d'améliorer la conduite d'un processus de prévention. Ces investigations ont abouti à la mise au point et à la validation d'un prototype de propulsion peu coûteux et adaptable à tous les types de FRM. Ce dispositif innovant met en œuvre une liaison élastique entre la main courante et la roue motrice. Les analyses expérimentales et les résultats cliniques ont révélé l'intérêt de cette invention dans l'amélioration du confort d'utilisation du FRM et dans la réduction des contraintes articulaires du membre supérieur. Les retombées de ce travail sont à caractère scientifique et technologique mais aussi médical, humain et économique.

Esta tesis doctoral tiene como objetivo principal el estudio de las veintidós obras sinfónicas del compositor Manuel Berná, (Albatera, Alicante-España 22/ agosto/ 1915). Se subraya la importancia de su estilo propio, encuadrado en la armonía tonal alterada, que huye de la duplicación de la octava, prefiriendo sextas y séptimas alteradas. Asimila el impresionismo, con gran dominio del color de la orquesta; el puntillismo, donde tienen valor las notas individualmente, fragmentando mucho las melodías; y el simbolismo, buscando la representación de la esencia del objeto o la psicología del personaje. Esto unido a una mentalidad contemporánea, elevando la música popular a la categoría de sinfónica. Predomina el tono sobre el modo: dentro de la politonalidad e incluso de una pantonalidad, aportando la idea estética de la influencia del semitono.Atento a las nuevas corrientes, vivo ejemplo de tenacidad, sabiendo evolucionar y aportar su estética a futuras generaciones, como compositor clásico. - / The aim of this thesis is to study the twenty-two symphonic works of the composer Manuel Berná, (born Albatera, Alicante, Spain, 22/08/1915).It emphasises the importance of his style within the framework of altered tonal harmony, which avoids doubling the octave, rather using altered sixths and sevenths. It assimilates Impressionism with its command of the orchestral colours; Pointillism, in which every note has equal importance, producing fragmentation in the melodies; and Symbolism, with its search for the representation of the essence of the objects or the psychology of the characters. These techniques and his contemporary mentality raise Popular Music to the category of Symphonic Music. Key takes precedence over mode within polytonality and even pantonality, contributing the aesthetic idea of influence of the semitone. As a classical composer, he was up to date with new trends, a living example of tenacity, evolving and contributing his aesthetics to new generations.

La tesis está estructurada en dos partes. En la primera parte establecemos el marco teórico-analítico para analizar las partituras y textos elegidos. Este marco es la dramaturgia musical de la que aclaramos conceptos y establecemos tipologías que nos sirvan para el análisis de la música en las obras de teatro. También hacemos un repaso histórico de las intervenciones musicales para teatro.En la segunda parte describimos la interrelación entre el director de escena Cayetano Luca de Tena y el director musical Manuel Parada de la Puente mediante escritos que lo demuestran, dentro del Teatro Español de Madrid en los comienzos del Régimen Franquista. También realizamos un análisis de la música incidental de las diecinueve obras de teatro elegidas como muestra, conjuntamente con el análisis de los elementos de dramaturgia musical de sus textos correspondientes para la reconstrucción de su puesta en escena. / The thesis has two parts. In the first one we establish the theoretical-analytical frame in order to analyze the chosen scores and texts. This frame is the musical dramatical, from which we define concepts and we establish a classification so that it can help us to analyze the music in the plays. We also make a historical evaluation of the music in the plays. In the second part we make a description of the interactive relationship between Cayetano Luca de Tena, Scene Director, and Manuel Parada de la Puente, Musical Director, with documents with prove it, in the Spanish Theatre of Madrid at the beginning of the Franquism Regime. We also do an analysis of the incidental music of the nineteen theatre plays chosen like a sample, as well as the analysis of the elements of musical dramatical from its texts in order to reconstruct the plays.