Au VIe siècle avant J.-C., Solon a joué un rôle politique important à Athènes. Législateur, il a établi des lois. Législateur, mais aussi poète : des fragments poétiques qui vont du poème complet à un simple vers nous ont été transmis grâce à des auteurs postérieurs. Jusqu’à présent, les études sur Solon ont, pour la majeure partie, cherché à mieux cerner le législateur athénien d’une part, à comprendre la pensée postulée dans les poèmes d’autre part. Ces démarches visent toutes deux à enrichir notre connaissance lacunaire du VIe siècle avant J.-C. Le scepticisme appliqué aux sources de la tradition indirecte, qui nous apporte des informations sur Solon, a ouvert de nouvelles perspectives. Le projet que nous proposons s’inscrit dans cet héritage. Nous nous intéressons aux auteurs des Ve et IVe siècles avant J.-C. pour analyser, dans la lettre du texte, ce qu’ils disent de Solon et surtout, la manière dont ils le disent. Ainsi, il sera possible de saisir les dynamiques de transmission, de mutation et d’appropriation de cette figure d’autorité chez chacun des auteurs de notre corpus, car tirée à hue et à dia, la figure de Solon a servi des causes fort différentes. Puisque la tradition conditionne fortement les interprétations de la poésie solonienne et l’étude de son action politico-législative, il était nécessaire de revenir à la source même de toutes ces interprétations. Dès lors, il sera possible d’enrichir notre connaissance de l’histoire politique et intellectuelle de l’Athènes démocratique du IVe siècle, mieux comprendre le rapport qu’elle entretient avec son propre passé, mais aussi saisir comment se construit une argumentation politique et une idéologie propre à une société donnée à un moment précis de son histoire. / In the 6th century B.C., Solon played an important role in the city of Athens. As a lawgiver, he established laws for the Athenians. But he was also a poet : Solon's poetic fragments – entirely poems or a single verse – have been passed on later by authors. Up until now, scholars have tried, on the one hand to understand the reforms of the lawgiver and one the other hand to study his poems. Both of these approaches aim to improve our incomplet knowledge about the 6th century B.C. But the sources of the indirect tradition have been submit to skepticism. This allows new and fresh perspectives for Solonian studies. The scope of my PhD Thesis follows this skeptic approach : I will analyze most of the authors of the 5th and 4th centuries B.C., what they say and do about Solon. It will allow us to thus understand the dynamics of transmission, of mutation and of appropriation which occur to this authoritative figure in each text of the corpus. Because tradition heavily influences all the interpretations of Solonian poetry and reforms in the field of politic and legislation, it requires us to go back to the first sources of these various interpretations. I hope this study will help us increase our knowledge of the political and intellectual background of the Athenian Democracy of the 4th century B.C., and clarify which kind of connexion exists between the polis and its own past. Last but not least, this study contributes to understand how a political argumentation and a democratic ideology can be shaped by forensic discourses.

Continuous Curatorial Conversations is a practice-led exploration of conversation, both as a medium and as a tool for capturing supplementary histories of the curatorial. The primary question of this research project is how the medium of conversation can be explored to write supplementary histories of the curatorial which thus far have been omitted from extant publications on the subject. Three important sub questions guide this exploration. First, what is and has been the role of conversation within the curatorial? What are the possibilities and limitations within the medium of conversation? What roles do conviviality and hospitality play within the process of conversation? This thesis reflects upon a series of curated projects that explore the sp/pl/ace for curatorial conversation and also reviews a collection of one-to-one recorded conversations conducted by the author, including conversations with Alfredo Cramerotti, Hedwig Fijen, Mel Gooding, William Furlong and Sarah Lowndes. Sites of fieldwork include: the 54th Venice Biennale; Manifesta 8, The European Biennial of Contemporary Art; and Glasgow International Festival of Visual Art 2012. Through these projects and related recordings it unpicks the norms and possibilities of what and when one can record on the subject of the curatorial. The hypothesis of this study is that a great deal of curatorial activity is locked up in conversation, yet a disproportion makes it to the pages of the history of the field. Furthermore, in its clean transcribed form it misrepresents the fragility and nuance of the original exchange. The theoretical context of this research looks at Nicolas Bourriaud’s notion of Relational Aesthetics, the writing of Maria Lind and Paul O’Neill, with a focus on Audio Arts. A new methodology relating to curatorial conversation and its recording has therefore been identified as ‘critical conviviality’. The writing relating to Continuous Curatorial Conversations research takes the form of four books. The book ‘An Introduction’ comprises the PhD thesis and sits next to a bespoke online platform www.continuous-curatorial-conversations.org which hosts a selection of audio recordings collated during the research process. The books ‘Continuous’, ‘Curatorial’, and ‘Conversations’ unpack the lineage and context of Alexandra C.M. Ross’s practice and projects conducted during her research and are to be read in no strict order. The new knowledge resulting from this thesis and relating practice is the attention to the subtleties of conversation and its capture as it relates to the instigation, recording and presentation of semi-private matters in semi-public contexts.

Includes bibliographical references (leaves 254-281) / Using a text-immanent multi-dimensional methodology that combines impulses from both synchronic and diachronic reading of a text, this study focuses on understanding the spirituality embedded in ‘seeing him as he is’ in 1 John 3:2. Discourse analysis has provided the structure of the entire research by identifying the different semantic networks that enhance better understanding and dynamic interaction between text and reader.it has also helped in determining the argument and rhetoric of the Elder, assisting in constructing the bigger picture by means of semantic networks that create coherent mind maps and also relating what has been read with what is still to be read. The environs of the pericope under investigation have been used as a backdrop in order to arrive at an understanding of this envisaged eschatological phenomenon. These environs include the window provided by Judaism through the Old Testament, Hellenistic and Palestinian Judaism, extra-biblical literature, the Graeco-Roman world, mystery religions, philosophies, and the New Testament. These environs have pointed to the use of intermediaries in the visio-Dei. While ‘seeing him as he is’ in 1 John 3:2 involves both the Father and the Son, this eschatological expectation is weaved into a matrix of discourse that the Elder used to cushion the adherents in view of the pending apostasy. The adherents’ status as ‘children of God’ is the axis from which the Elder builds his entire discourse. They will experience love (1 Jn 4:16), his purity (1 Jn 3:3), his righteousness (1 Jn 2:1), his truth (1 Jn 5:20), and his glory (Jn 17:24). Although the adherents were already experiencing all these, it would be experienced completely after the Parousia, when they ‘see him as he is’. This study contributes towards a Johannine understanding of perceiving the divine, and reveals the climactic involvement of the Son in both the past and future perceptions including ‘seeing him as he is’ in 1 John 3:2. This study has identified the object of the Visio-Dei as Christ. It is He through whom believers will see the Father. / Christian Spirituality, Church History and Missiology / D. Phil. (Christian Spirituality)

Thesis (M.A.)--Miami University, Dept. of Theatre, 2005. / Title from first page of PDF document. Document formatted into pages; contains [1], iv, 57 p. Includes bibliographical references (p. 56-57).

FERREIRA, Elaine Cristina Forte. O espetáculo vai começar... estudo da oralidade através de improvisações teatrais. 2009. 106f. Dissertação (Mestrado em Linguística) – Universidade Federal do Ceará, Departamento de Letras Vernáculas, Programa de Pós-Graduação em Linguística, Fortaleza-CE, 2009. / Submitted by nazareno mesquita (nazagon36@yahoo.com.br) on 2012-07-09T15:06:23Z No. of bitstreams: 1 2009_diss_ECFFerreira.pdf: 823679 bytes, checksum: ba6dcfefe8cd5f790abc9733c3d929fa (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-08-02T15:24:04Z (GMT) No. of bitstreams: 1 2009_diss_ECFFerreira.pdf: 823679 bytes, checksum: ba6dcfefe8cd5f790abc9733c3d929fa (MD5) / Made available in DSpace on 2012-08-02T15:24:04Z (GMT). No. of bitstreams: 1 2009_diss_ECFFerreira.pdf: 823679 bytes, checksum: ba6dcfefe8cd5f790abc9733c3d929fa (MD5) Previous issue date: 2009 / Language is one of the main resources for thought construction for playing and for human being immersion in this world Thus it plays an important role in this paper specially the oral language This thesis aims at investigating how children enrolled in the 5th grade of the Ensino Fundamental in a public school in Fortaleza build stratetegies for meaning formulation on the dicoursive topic through the perspective of orality They were asked to perform a fairy tale role playing improvisation The qualitative research had the participation of 24 children with age between 10 and 11 The data collection process which was carried out in September and October 2008 presented the following phases: classroom observation and interaction with children in dynamic activities stoytelling – “witch Salomé” short story discussion and role playing improvisation The data was recorded in audio and video The improvisation of the scenes consists of microplays in which children elaborated dilaogues based on 7 triggering situations two of them following no instructions from the researcher and 5 were driven activities From these role playings improvisations a corpus consisting of 9 microplays was analized concerning discoursive topic introduction, the strategies for recapturing it and the repetitions used for the topic progression in the process of oral text construction in groups The results showed that the participants introduced the discoursive topic used textual strategies with the purpose of reformulating and recapturing the topic assumed sociocultural elements as authorial marks for textual progression These results assure that the language use stimulate its development and school appears to be a fertile environment to the orality development once it offers a huge potential for discoursive linguistic playful and creative ampliation In this regard theatrical activities reinforce the learning progress through art inclusion in the education / A linguagem um dos principais recursos de construção do pensamento da atuação e da imersão do ser humano no mundo é o foco desse trabalho em especial a modalidade oral Essa dissertação objetiva investigar como as crianças do 5° ano do Ensino Fundamental da rede pública de Fortaleza constroem estratégias de formulação de sentidos do tópico discursivo na perspectiva da oralidade quando expostas ao trabalho de encenação improvisada de um conto de fadas A pesquisa de natureza qualitativa contou com a participação de 24 crianças de 10-11 anos de idade O processo de coleta de dados desenvolvido nos meses de setembro e outubro de 2008 apresentou os seguintes momentos: visita à escola observação em sala de aula e interação com as crianças a partir de dinâmicas contação da história A bruxa Salomé discussão do conto e encenações improvisadas Os dados foram registrados em áudio e vídeo As encenações improvisadas são constituídas de micropeças nas quais as crianças elaboraram diálogos a partir de sete situações desencadeadoras sendo duas livres sem instrução da pesquisadora e cinco atividades direcionadas A partir dessas encenações improvisadas levantamos um corpus de nove micropeças cujos principais objetivos foram analisar a introdução do tópico discursivo as estratégias de reformulação para retomá-lo e as repetições utilizadas para a progressão tópica no processo de construção coletiva de um texto oral A leitura de nossos dados evidenciou que os participantes introduziram o tópico discursivo utilizaram estratégias textuais com intuito de reformular e retomar o tópico apropriaram-se de elementos socioculturais como marcas de autoria para progressão textual Esses resultados asseguraram que o uso da linguagem impulsiona o seu desenvolvimento e que a instituição escolar constitui-se um ambiente fértil ao desenvolvimento da oralidade uma vez que dispõe de um potencial para a ampliação discursiva linguística lúdica e criativa Neste aspecto as atividades teatrais corroboram para um progresso na aprendizagem por meio da inclusão da arte na educação

VASCONCELOS JÚNIOR, Raimundo Elmo de Paula. O Limoeiro da educação: a história da criação da Diocese e a ação educacional de Dom Aureliano Matos em Limoeiro do Norte (1938-1968). 2006. 279f. Tese (Doutorado em Educação) – Universidade Federal do Ceará, Faculdade de Educação, Programa de Pós-Graduação em Educação Brasileira, Fortaleza-CE, 2006. / Submitted by Maria Josineide Góis (josineide@ufc.br) on 2012-07-13T13:16:15Z No. of bitstreams: 1 2006_Tese_REPVASCONCELOSJUNIOR.pdf: 3271060 bytes, checksum: b52e3e026b6235662a66347b9661e830 (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-07-17T13:36:15Z (GMT) No. of bitstreams: 1 2006_Tese_REPVASCONCELOSJUNIOR.pdf: 3271060 bytes, checksum: b52e3e026b6235662a66347b9661e830 (MD5) / Made available in DSpace on 2012-07-17T13:36:15Z (GMT). No. of bitstreams: 1 2006_Tese_REPVASCONCELOSJUNIOR.pdf: 3271060 bytes, checksum: b52e3e026b6235662a66347b9661e830 (MD5) Previous issue date: 2006 / The centralization’s process of the Catholic Church’s leadership in Santa Sé in Rome, mainly after Republic’s Proclamation IN 1889 and the end of the clergyman in Brazil, produced the creation’s possibilities of more dioceses in the national territory, turning possible a better Brazilian ecclesiastic province’s administration. That process named Romanization. In this perspective, in 1938, was created one more diocese in Ceará. The history of the creation ant the choice of Limoeiro do Norte as the headquarter municipality of this new episcopate and the educational project of its first bishop, remain us to a local history’s research starting with a referential, that has as a grounding analysis a micro-history and the biography in historygraphical production; the oral history and the written source as methodological resources in the production of the historical knowledge, in a recognition’s contribution relationship of each other as a methodology and alternative or supplement one by another, don’t forgetting the reality of the world that surrounded the diocese. The thesis is structured in three chapters: in the firs, a general view about the instructional reality of Limoeiro do Norte city as the bishopric’s creation; the history of Limoeiro do Norte diocese’s creation and Dom Aureliano Matos biography. In the second chapter an analysis of the main written source: the six ministerial letters, most of them written by hand by Dom Aureliano Matos. The third chapter relates about an instructional action of Dom Aureliano Matos in Limoeiro do Norte, analyzing each institution created by himself. It’s an analysis point in this same chapter, in an evaluative spatial perspective, the changing of the municipality, in educational reference, in a downtown-suburb relationship with the other municipalities of Vale do Jaguaribe. Therefore the church and its alliances with other society sections, from the diocese’s creation in the Vale do Jaguaribe, turned possible the “Limoeiro of the Education.” / O processo de centralização do comando da Igreja Católica na Santa Sé em Roma, principalmente depois da Proclamação da República em 1889 e o término do Padroado no Brasil, viabilizaram a criação de mais dioceses no território nacional, possibilitando uma melhor administração da província eclesiástica brasileira. Processo este, denominado de Romanização. Dentro desta perspectiva, em 1938, foi criada mais uma diocese no Ceará. A história da criação e da escolha do município de Limoeiro do Norte como sede deste novo episcopado e o projeto educacional do seu primeiro bispo, nos remete a uma pesquisa da história local, a partir de um referencial, que tem como base de análise a micro-história e a biografia na produção historiográfica e da história oral e das fontes escritas como recursos metodológicos na produção do conhecimento histórico, numa relação de contribuição e reconhecimento de cada uma como metodologia e de alternativa ou complemento uma da outra, não esquecendo a realidade do mundo que cercava a diocese. A tese está estruturada em três capítulos: no primeiro, uma visão geral da realidade instrucional da cidade de Limoeiro do Norte quando da criação do bispado; a história da criação da diocese em Limoeiro do Norte e a biografia de Dom Aureliano Matos. No segundo capítulo uma análise da principal fonte escrita: as seis Cartas Pastorais, a maioria escritas à mão por Dom Aureliano Matos. O terceiro capítulo versa sobre a ação instrucional de Dom Aureliano Matos em Limoeiro do Norte, analisando cada instituição criada por ele. É ponto de análise, neste capítulo também, numa perspectiva espacial evolutiva, a transformação do município em referência educacional, numa relação centro-periferia com os outros municípios do Vale do Jaguaribe. Portanto, a partir da criação da Diocese no Vale do Jaguaribe e a aliança da Igreja com outros setores da sociedade, viabilizaram o “Limoeiro da Educação.”

Esta dissertação discute o fenômeno da autoria – compreendido como procedimento que organiza e controla o discurso, conceito extraído da obra de Foucault – e suas possíveis relações com a natureza material do discurso. Analisa os meios através dos quais os discursos ganham corpo, as modificações culturais que eles introduziram na cultura ocidental e os procedimentos de autoria que esses mesmos meios justificam. Descreve a autoria sob as culturas oral, manuscrita, impressa e digital e investiga a relação entre a materialidade de que se reveste o discurso e alguns procedimentos de autoria observados. Conclui que, dentre os procedimentos gerados por fatores sociais, históricos e ideológicos que compõem o contexto de produção mais amplo do discurso, há procedimentos de autoria que só podem ser compreendidos no âmbito da cultura midiática em que o discurso se produz. / This dissertation discusses the authorship phenomenon - understood as a procedure that organizes and controls the discourse, a concept extracted from Foucault's work - and its possible relations with the material nature of the discourse. It analyses the media through which discourses reach consistency, the cultural modifications they have introduced in the ocidental culture and the procedures of authorship these very media justify. It describes authorship under oral, handwritten, printed and digital cultures and investigates the relationship between the materiality that overlays the discourse and some procedures of authorship observed. It concludes that, among the procedures generated by social, historical and ideological factors that compose the wider context of discourse production, there are authorship procedures that can only be understood in the ambit of the mediatic culture in which the discourse is produced.

Au Yémen, et spécialement à Sanaa et dans les régions avoisinantes, la zaffah est à la fois une cérémonie collective et un rite de passage, dont l'organisation marque la célébration et la reconnaissance par la communauté du changement de statut de l'un de ses membres (mariage, mise au monde d'un enfant, obtention d'un diplôme...). Animée et interprétée par des spécialistes, la zaffah maintient dans la mémoire du groupe un répertoire de poésies chantées, dont la forme et le contenu véhiculent des traditions très anciennes, tout en s'adaptant aux mutations sociales et culturelles les plus récentes. / In Yemen, and especially in Sanaa and in the neighbouring regions, zaffah is both a collective ceremony and a rite of passage. Its organization marks the celebration and the recognition by the community of a change of status (marriage, birth, graduation…) of one of its members. Led and interpreted by specialists, zaffah maintains in the memory of the group a repertory of sung poetry, whose shape and contents transmit very old traditions, while adapting to the most recent social and cultural transformations.

Ce travail vise à comprendre pourquoi et comment l'accordéon diatonique breton a connu une profonde transformation organologique et stylistique au cours des dernières décennies. L'évolution de l'instrument est ici le témoin des dynamiques historiques et sociales, que l'accordéon présente la particularité d'avoir intégrées dans sa forme-même du fait de sa rare plasticité, et qu'il permet d'éclairer. Statut des musiciens professionnels au sein d'une pratique restée massivement amateur, rôles et mécanismes de l'apprentissage d'un savoir traditionnel initialement basé sur l'oralité, fluctuation des attentes sociales à travers les générations successives, sont quelques-uns des aspects qui se dévoilent au fil de l'étude et qui se relient.À partir du constat d'une mutation organologique progressive, nous chercherons à comprendre les modifications profondes des fonctions sociales jouées par l'instrument. Un retour historique permettra de définir les intentions et le statut des « pionniers » du renouveau de l'accordéon diatonique breton dans les années 1970. En nous appuyant sur ce socle, nous montrerons comment l'accordéon en tant qu'outil est en interaction étroite et permanente avec le geste du musicien et avec son intention (produire des notes – et dans quelle fonction sociale), et combien le passage des générations a renouvelé le contexte d'exposition de l'accordéon et le statut des musiques bretonnes dites « à danser ». Ainsi, nous verrons que la modification progressive de l'intention a conduit à une modification de l'instrument, mais que celle-ci, en retour, fragilise l'efficacité des intentions antérieures. / This work aims to understand why and how the Breton diatonic accordion has undergone a profound organological and stylistic transformation during the last decades. The evolution of the instrument here reflects the historical and social dynamics, that the accordion has integrated into its very form because of its rare plasticity, bringing them into light. The status of professional musicians in a largely amateur context, the roles and mechanisms of learning traditional knowledge initially based on orality, the fluctuation of social expectations through successive generations, are some of the aspects that unfold over the course of the study and connect with one-another.Starting from the observation of a progressive organologic change, we will seek to understand the profound changes of the social functions played by the instrument. A historical overview will allow to define the intentions and the status of the "pioneers" of the revival of the Breton diatonic accordion in the 1970s. Based on this foundation, we will show how the accordion as a tool is in close and permanent interaction with the musician's gesture and with his intention (producing notes – and in what social function), and how much the passage of generations has renewed the context of use of the accordion and the status of Breton music said "to be danced". Thus, we will see that the progressive modification of the intention led to a modification of the instrument, but that this, in turn, weakens the effectiveness of the previous intentions.

Through two books and a series of video documentations of live performances Mette Ingvartsen makes choreography into a territory of physical, artistic and social experimentation. The Artificial Nature Series focusses on how relations between human and non-human agency can be explored and reconfigured through choreography. By investigating and creating a ‘nonhuman theater’ questions regarding material agency, ecology, natural disasters, the Anthropocene and non-subjective performativity are posed. The resulting reflections are closely related to the poetic principles utilized to create the performances, while also drawing connections to territories outside theater. By contrast, 69 positions inscribes itself into a history of human performance with afocus on nudity, sexuality and how the body historically has been a site for political struggles. By creating a guided tour through sexual performances – from the naked protest actions of the 1960’s, through an archive ofpersonal performances into a reflection on contemporary sexual practice – this solo work rethinks audience participation and proposes a notion of soft and social choreography. The contrasting performative strategiesarticulate a twofold notion of expanded choreography: on the one hand movement is extended beyond the human body by including the agency of nonhuman performers, and on the other hand, movement is expanded into animaginary and virtual space thanks to ‘language choreography’. / <p>LINKS</p><p>https://vimeo.com/164552586</p><p>https://vimeo.com/164558381</p>