Made available in DSpace on 2017-07-21T14:53:59Z (GMT). No. of bitstreams: 1 Julia Kalva.pdf: 1356702 bytes, checksum: 76cf64a1012e994eeff176a3503f938d (MD5) Previous issue date: 2012-02-24 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / In this work we discuss Brazilian students/teacher national identity in a context of foreign language studies and the way English as a Lingua Franca is approached in the classroom. The research focus on student identity and the teaching-learning English as a Lingua Franca approach, once they are related to each other, because when it is learned-taught a new language, new identities are also presented in the classroom. With globalization, identities before seen as stables are now passing through a changing. Thus it is more difficult to say exactly who we are, that is why everything depends on where and the moment we are living. Therefore, we have as a main objective verify how English students and teacher consider themselves in a context where national identity is expressed by the language; process in which many times has the target language identity more emphasized than the local identity. This fact leads us to think about the process of teaching English as a Lingua Franca. The theoretical basis of this work is formed by Jenkins (2006), Seidlhofer (2004), Rajagopalan, regarding to English as a Lingua Franca (2003,2004), Hall (1999, 2005), Woodward (2005), Anderson (2008), talking about national identity and Pennycook (1994), Phillipson (1992), Canagarajah (1999) focusing at linguistic imperialism. The research is conducted in an English course, and participants are an English teacher and his students (intermediated level) from Universidade Estadual de Ponta Grossa; methodological procedures are basically qualitative, including a case study. Data gathered demonstrate that national identity, besides not being seen throughout the materials used for teaching, is emphasized by the teacher, situation that seems to help including teacher and students local identity in the teaching-learning process. However myths concerning teaching English as a foreign language are present in the classroom, and so, teacher and students still keep the need for following a native speaker model. / Nesse trabalho é discutida a questão da identidade nacional de alunos/professores brasileiros de língua estrangeira (inglês) e como a formação desses professores aborda ou não essa questão. A pesquisa tem como foco a formação da identidade do aprendiz de língua inglesa e o ensino de inglês como língua franca, posto que as duas questões se mostram correlacionadas, uma vez que, aprendendo uma nova língua, também tenho contato com outras identidades que irão permear o ensino. Com a globalização, as identidades, que antes até poderiam ser consideradas como “fixas”, agora passam por um processo de mutação, o que torna difícil dizer, com clareza, o que somos; tudo depende do momento em que vivemos ou do lugar em que estamos. Assim, temos como objetivo geral verificar como alunos e os professores de língua inglesa se veem dentro do contexto onde a identidade nacional é expressa através da língua. Esse processo, muitas vezes, tem a identidade da língua-alvo sendo privilegiada em detrimento da língua local, fato que nos leva a refletir também sobre o ensino de inglês como língua franca. O referencial teórico que embasa a pesquisa é formado por Jenkins (2006), Seidlhofer (2004), Rajagopalan (2003,2004), Hall (1999, 2005), Woodward (2005), Anderson (2008), Pennycook (1994), Phillipson (1992), Canagarajah (1999), entre outros. A pesquisa acontecerá na Universidade Estadual de Ponta Grossa/PR, em um curso de idiomas realizado pelo Centro de Línguas Estrangeiras para a Comunidade (CLEC), e os participantes serão os professores e os alunos de nível intermediário desse curso. A forma de avaliação da pesquisa é predominantemente qualitativa, isso em função dos procedimentos técnicos empregados, e a pesquisa pode ser classificada como um estudo de caso. Até o momento, vejo que a identidade nacional de professor e alunos, apesar de não ser vista no material didático utilizado em sala, é bastante reforçada pelo professor, fato que parece colaborar para que os alunos se sintam contemplados com relação à sua identidade local. Entretanto crenças pertinentes ao ensino de inglês como língua estrangeira ainda perpassam a sala de aula, fazendo com que os alunos, e mesmo o professor, sintam necessidade de seguir o modelo do falante nativo.

Nombreux sont ceux qui pensent que la dissolution de la Yougoslavie commence et finit au Kosovo. Il s’agit d’une suite logique de l’éclatement yougoslave une fédération fragile composée des différentes nationalités. Province autonome sous l’ère de Tito de 1974 - 1989, le Kosovo avait des prérogatives similaires à une république. Le régime de Milosevic supprima cette autonomie déclenchant ainsi des violences et des tensions. Face aux incessantes violations de leurs droits fondamentaux, les Albanais du Kosovo ont d’abord opté pour une résistance pacifique, toutes en boycottant les institutions serbes et yougoslaves. Ils ont réussi à crée une véritable société parallèle, une sorte d’Etat dans l’Etat. Les guerres yougoslaves ont initié la création des nouveaux Etats, il s’agit d’un processus de redéfinition des identités nationales de l’ex-Yougoslavie qui met en relation plusieurs conceptions de la nation et de la citoyenneté. Il y a de bonnes raisons de penser que la naissance d’un Etat du Kosovo peut amener la création d’une nouvelle Nation, cependant la création de cette nation suppose une conscience partagée et des circonstances politiques favorables. L’objectif de cette recherche était d’argumenter les causes de l’effondrement violent de l’ex-Yougoslavie et de tirer les enseignements d’une accession mouvementée et parfois tragique du Kosovo à l’indépendance et consistait aussi à analyser les difficultés, pour une société composite et fragmentée, d’accéder au XXIème siècle à la souveraineté nationale. Il ressort de cette thèse que la cause principale de l’effondrement violent de l’ancienne Yougoslavie était le programme national serbe qui cherchait à créer la Grande Serbie et que l’indépendance du Kosovo, au lendemain de la désintégration yougoslave, était la seule solution possible qui pouvait assurer la paix et la stabilité dans la région. / Many people believe that the dissolution of Yugoslavia begins and ends in Kosovo. This is a logical continuation of the Yugoslav breakup a fragile federation composed of various nationalities. Autonomous province under the Tito’s era of 1974 - 1989, Kosovo had similar powers to a republic. Milosevic 's regime abolished Kosovo’s autonomy triggering violence and tensions. Faced with constant violations of their human rights, Kosovo Albanians opted for a peaceful resistance, all by boycotting Serbian and Yugoslav institutions. They managed to create a real parallel society, a kind of State in the State. The Yugoslav wars initiated the creation of new States, it is a process of redefining of the national identities of the former Yugoslavia which connects several conceptions of nation and citizenship. There are good reasons to belive that the birth of Kosovo State can cause the creation of a new nation, however, the creation of this nation requires a shared awareness and favorable political circumstances. This thesis aims to argue the causes of the violent collapse of the former Yugoslavia and to learn of a turbulent and sometimes tragic accession of Kosovo to independence and also to analyze the challenge and difficulties for a composite and fragmented society, to access in the 21st century to national sovereignty. This research showed that the main cause of the violent collapse of the former Yugoslavia was the Serbian national program that sought to create a Greater Serbia and that Kosovo's independence after the disintegration of Yougoslavia was the only possible solution that could ensure peace and stability in the region.

Made available in DSpace on 2016-04-27T18:15:44Z (GMT). No. of bitstreams: 1 Sheila Cristina Panigassi Tamburo Ortega Rumi.pdf: 1324744 bytes, checksum: 752cad29764c510e3aeaca0c9c55f0a0 (MD5) Previous issue date: 2014-04-25 / This paperwork investigates the use of the arts, more specifically, the music, in the construction of the national Brazilian Identity. It does so by tracking two distinguished historical moments known by profound transformations in the country: Heitor Villa-Lobos´s musical Project based on the introduction of orpheon choirs in public schools under the Getúlio Vargas´s leadership (1930 to 1945). This musical project aimed to build an idea of nationalism and the feeling of belonging to the Brazilian territory. The second moment, we have the military dictatorship (1964 to 1985), and the musical style known as Tropicalista examined through ironic lyrics and dubious connotations of its composers, whom aimed to address (considering the censorship of the moment) a Brazilian social and political position of inequality, although the economical scenario presented progress and growth through its industrialization. The geographical interpretations are the guideline for the whole research / Este trabalho investiga o papel das artes, mais especificamente da música, na construção da identidade nacional brasileira. Para isso, utiliza-se de dois momentos históricos marcados por profundas transformações no país: o projeto do maestro Heitor Villa-Lobos de implementar o canto orfeônico no currículo escolar nacional sob o governo do presidente Getúlio Vargas (1930 a 1945). Esse projeto de ensino musical nas escolas buscava imbuir os alunos do espírito cívico brasileiro, despertando e construindo a identidade nacional e a noção de pertencimento ao território. No segundo momento, encontramos a Ditadura Militar (1964 a 1985) e o movimento musical Tropicalista que é examinado através das letras irônicas e de dupla conotação de seus compositores, que buscaram denunciar (ao mesmo tempo que são censurados e perseguidos) um Brasil marcado pelas desigualdades sociais, embora o crescimento econômico do país demonstrasse progresso e desenvolvimento através do fortalecimento de sua industrialização. A leitura geográfica é o meio de interpretação e o fio condutor dos acontecimentos

Made available in DSpace on 2016-04-26T18:13:28Z (GMT). No. of bitstreams: 1 Cyntia Gomes Calhado.pdf: 942230 bytes, checksum: 4ee1f69e3ea23a676facdbe05033fd86 (MD5) Previous issue date: 2013-10-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation examines the re-elaboration of the national identity, especially in the form of the dualism city-countryside, performed in the film Central do Brasil (Walter Salles, 1998), from the postmodern theory. Acknowledges the centrality of the concept of national identity and the development of the dualism city-countryside in modern Brazilian culture to the incorporation of the subject at different times of national cinema. The study of the recurrence of this dualism in the texts and films about national identity is realized based on Nísia Lima (1999), Mauricio Gonçalves (2011), Celia Tolentino (2001), Ivana Bentes (2007), Ismail Xavier (2007, 2012) and Lúcia Nagib (2006). To spot the similarities between the film and the postmodern esthetic, reflections of Frederic Jameson (1983, 1996, 1998), David Harvey (2005), Renato Pucci Jr. (2008), Lúcia Santaella (2000, 2003), Robert Stam (2005, 2010) and Ronaldo Brito (2001, 2005) are used. A semiotic analysis of the corpus is based on the definitions of Ismail Xavier (2003), Luiz Zanin Oricchio (2003), Lucia Nagib (2003, 2006) and Ivana Bentes (2007). The following aspects are identified: the postmodern aesthetic procedures that the object articulates, as the profusion of quotes with direction reversal that work as trademarks of distancing anti-illusionist, the overburden resource, metalinguistic aspects, negation of the dichotomy erected by modernism between high culture and mass culture - the Great Divide theorized by Andreas Huyssen (1986) - in addition to its stylistic hybridity, as the film blends social drama, melodrama, documentary aspects and road movie in a plot that follows the codes of a moral parable of biblical inspiration. Among the postmodern thematic aspects of Central do Brasil, this dissertation focuses on the way the film draws the parameters of denial of totalization, the utopias and teleology in script and in character development that occur, for example, in the approach that values the individuality instead of collectivity and not explicitly thematizes the sociopolitical forces that focus on the characters, assuming it only as subtext / Esta dissertação analisa a reelaboração da identidade nacional, especialmente na forma do dualismo cidade e campo, realizada pelo filme Central do Brasil (Walter Salles, 1998), a partir da teoria pós-moderna. Admite-se a centralidade do conceito de identidade nacional e a elaboração do dualismo cidade e campo na cultura moderna brasileira até a incorporação e ressignificação do tema em diversas épocas do cinema nacional. O estudo da recorrência do dualismo cidade e campo nos textos e filmes sobre a identidade nacional é realizado com base em Nísia Lima (1999), Mauricio Gonçalves (2011), Célia Tolentino (2001), Ivana Bentes (2007), Ismail Xavier (2007, 2012) e Lúcia Nagib (2006). Para traçar os pontos de contato entre o filme e a estética pós-moderna são buscadas as reflexões de Frederic Jameson (1983, 1996, 1998), David Harvey (2005), Renato Pucci Jr. (2008), Lúcia Santaella (2000, 2003), Robert Stam (2005, 2010) e Ronaldo Brito (2001, 2005). A análise semiótica do corpus se apoia nas definições de Ismail Xavier (2003), Luiz Zanin Oricchio (2003), Lúcia Nagib (2003, 2006) e Ivana Bentes (2007). São identificados os procedimentos estéticos pós-modernos que o objeto articula, como a profusão de citações com inversão de sentido que funcionam como marcas de distanciamento anti-ilusionistas, o recurso da sobrecarga, os aspectos metalinguísticos, a negação da dicotomia erigida pelo modernismo entre alta cultura e cultura de massa - o Great Divide teorizado por Andreas Huyssen (1986) -, além de seu hibridismo estilístico, já que o filme mescla drama social, melodrama, aspectos documentais, road movie em um enredo que segue os códigos de uma parábola moral de inspiração bíblica. Entre os aspectos temáticos pós-modernos de Central do Brasil, este trabalho detém-se na forma como o longa elabora os parâmetros de negação à totalização, às utopias e à teleologia no roteiro e construção de personagens, que se verificam, por exemplo, na opção por abordagem que valoriza as individualidades em vez da coletividade e não tematiza explicitamente as forças sociopolíticas que incidem sobre os personagens, pressupondo-as apenas como subtexto

É possível falar em identidade nacional em tempos de globalização? Tendo como problemática esta pergunta e a telenovela como narrativa da nação, buscamos perceber a interpretação e a construção de novos significados sociais do produto audiovisual no ciberespaço através dos tipos de comunidades existentes e das discussões promovidas por brasileiros residentes em Portugal, no ciberespaço, em relação à telenovela Caminho das Índias, de Gloria Perez, da Rede Globo, transmitida pela SIC. Para desenvolvermos este estudo, foi necessário à presente dissertação a revisão de conceitos e procedimentos metodológicos, uma vez que a pesquisa no espaço virtual traz novos desafios à metodologia da pesquisa em geral, e da Comunicação, em especial. / Is it possible to talk about national identity in times of globalization? With this question as the issue and also the telenovela as the nation narrative, we intend to perceive the interpretation and the shaping of new social meanings for the audiovisual product in cyberspace through existant communities and discussions promoted by brazilians living in Portugal about Gloria Perez\'s telenovela Caminho das Índias (Rede Globo) broadcasted by SIC. For us to develop this study, this dissertation highlights yetst the need to review concepts and methodological procedures, once the research on virtual space brings us new challeges to methodology of research and especially Comunication methodology.

A l’opposé des spectacles traditionnels iraniens qui sont un sujet exploré depuis des années par la recherche théâtrale notamment à l’extérieur des frontières iraniennes, l’étude du« théâtre en Iran » est encore à ses balbutiements. La présente étude se concentre sur une période cruciale de l’histoire contemporaine iranienne où dans un contexte très agité les efforts sincères de trois initiés : Mir Seyfeddin Kermanshahi, Abdolhossein Noushin et Shahin Sarkissian parviennent au lancement d’un théâtre qui se réclamant de l’art, dépasse le cadre du simple divertissement ou de la pure propagande et est capable de méditer sur les interrogations fondamentales du peuple iranien notamment la question de l’identité.Le facteur déterminant à prendre en considération dans leur parcours est sans doute leur formation on Occident, en Russie et en France, et leur rencontre avec le mouvement européen du Théâtre d’Art. / While the traditional Iranian performances have been, in the late years, an object for theatre studies, notably outside of Iran, research on « Theatre in Iran » is still to be developed.This study zooms on a crucial period in contemporary Iranian history, when in a verycomplex context the earnest endeavours of three specialists, Mir Seyfeddin Kermanshahi, Abdolhossein Noushin and Shahin Sarkissian, succeeded in launching a theatre that, claiming the status of art, out passed the boundaries of plain entertainment or pure propaganda and wasable to consider the fundamental questionings of the Iranian people and notably the question of identity.The determining factor to be considered in their enterprise is doubtlessly their Occidental formation, in Russia and in France, and their confrontation with the European movement of Art Theatre.

This thesis examines the use of design in the construction of Poland's national identity at the international exhibitions in the Cold War period. It is the first comprehensive study of Polish design discourse in any language that rests at the crossroads of design studies and cultural history. Based on original archival material, both written and visual, and oral interviews this thesis tracks the process of construction of Imagined Poland alongside the development of the design discipline during the three post-war decades. It charts the trajectory of these two narratives and examines their critical reception. In doing so this research casts new light on the relationship between design and political history in the Cold War Europe. However, it is not a thesis about designed objects or spaces per se, but rather about their discursive qualities and the way that they were put in work to narrate the nation. Versatile and embedded in the cultural, economic and social contexts, design understand here in its broadest sense proved to be well suited to this role: it allowed political authorities, trade representatives and creative intelligentsia to address timely issues on their agendas. This thesis closely examines eight exhibitions organised in the Soviet Union, Italy, Belgium and Poland. The narratives of these events, as the thesis argues, reflected the state's changing self-understanding towards international public opinion. It indicates that although Polish exhibitions were occasionally adjusted to the particular location, their themes were largely shaped in response to the political developments at home and in the Eastern Europe. By using exhibitions as a framework, this thesis offers a new perspective to study Polish international modernism and suggests a limited impact of ideology on the development of professional networks. Subsequently it provides a nuanced reading of Poland's relationship with the Soviet Union, the Eastern Bloc and the rest of Europe beyond reductive paradigm of totalitarianism.

Although tourism has been recognised as an important subfield in nation branding little research have focused on its role in the nation branding process. A managerial perspective was assumed to examine what role tourism has in nation branding. This study adopts a deductive approach reviewing existing literature on nation branding, brand management strategies and tourism stakeholders. A case study on how tourism is integrated in nation branding strategies and how stakeholders operating in the tourism sector perceive their own influence on the nation-brand was conducted in Sweden using a qualitative method. Data was collected through interviews with managers in organisations that directly or indirectly work with tourism while being involved in the strategic nation branding of Sweden. A conceptual framework was developed to illustrate how the nation-brand is created and communicated through tourism. The study concludes that tourism can have a significant role in nation branding and affect other subfields if the right circumstances are given. Strong collaborations are a prerequisite for effective nation branding and strategies should incorporate national identity and country-of-origin for authenticity. Future research could focus on comparing the role of tourism in nation branding with other subfields as well as comparing how organisations on the same level work with nation branding strategies.

Cette recherche se concentre sur l'analyse des modélisations de l'imaginaire national dans la France contemporaine. A la lumière du processus de mondialisation et de ses multiples dimensions, la forme nationale semble être prise dans l'alternative entre une uniformisation au mépris des « cultures » nationales, et d'autre part une exacerbation des singularités culturelles nationales, la forme nationale étant associée à une valeur positive dans un monde en « crise ». Face à l'alternative entre une loi de succession des formes de groupement et l'essentialisation d'une réalité nationale irréductible, cette recherche aborde la question nationale par l'étude de contenus contemporains de formes symboliques d'objectivation de l'imaginaire national. A partir de l'observation de matérialisations de l'idée de nation, il s'agit de s'attacher aux opérations concrètes de représentation nationale et leur intégration dans des contextes d'énonciation de la « réalité »nationale. Dans un premier temps, l'étude des mots de la nation aborde la construction de la forme nationale comme objet sociologique et les modalités contemporaines de son énonciation, particulièrement les investissements autour de la question de l'identité nationale. Ensuite, à partir de l'image comme forme symbolique d'énonciation des groupes sociaux, nous avons étudié une matérialité particulière de l'imaginaire national, la production philatélique nationale, permettant d'observer les modulations de l'image sociale de la nation. Enfin, l'étude empirique des cérémonies d'accueil dans la citoyenneté française permet d'observer les contenus et frontières contemporaines de l'identification nationale à partir de sa mise en pratique. / This study is focused on the analysis of the modellings of the national imagination in contemporary France. With the globalization and its multiple dimensions, the national existence seems to be taken in this alternative: on one hand a standardization in defiance of the national "cultures", and on the other hand an exacerbation of the national cultural peculiarities, the national shape being associated with a positive value in a world in "crisis". Contrary to the alternative between a law of succession of the groups and an essentialisation of an inflexible national reality, this study approaches the national question by the study of contemporary contents of the national imagination symbolic forms. From the observation of the contemporary modulations of their contents, this study is based on the observation of concrete operations of national representation and their integration in contexts of the national "reality" statement. At first, the studyof nation's words approaches the construction of the national shape as sociological object and the contemporary modalities of the national shape statement, particularly the investments around the national identity. Then, from the image as a symbolic shape of social groups statement, we studied a particular materiality of the national imagination, the national philatelic production, which allows to observe the modulations of the nation's social image. Finally, the empirical study of citizenship ceremonies allows to observe the contemporary contents and borders of the national identification from its application.

This work deals with Latvian Song Festivals as an important phenomenon in Latvian history which started in Latvia in 1873. Their basis lays in choir singing developed in Latvia on a massive scale in 2nd half of 19th century. The festivals probably continued old tradition of singing - so-called teicamās dziesmas which had a similar structure as modern choirs. The development of choir singing is connected with Herrnhuterian schools and pedagogical colleges. The personality playing an important role in this process was a chief pedagogue in Valmiera Jānis Cimze whose collection Dziesmu rota launched a discussion about the future of Latvian culture from the point of view of national identity. Although the structure of Latvian Song Festivals was taken over from the Baltic Germans the idea of national identity has been involved since the beginning. Forming of Latvian national identity was in its beginnings influenced by J. G. Herder's philosophy and his idea of Volkslied and Volksgeist and it is closely connected with Latvian folk songs. It corresponds with Latvian self-determination as the nation of singers. In four historic periods defined by socio-political changes on Latvian territory these ideas together with a strong national element is found exactly in Latvian Song Festivals. The festivals become a...