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Thesis (doctoral)--University of Cambridge, 1969.

The intent of this thesis is to capitalize the effects of using music as a tool in tandem with English language arts in order for students to improve their ELA skills. Songs are already flooding the Internet and social media; such as Facebook, Instagram, Twitter, and Vine, echoing in the background of television broadcasts and commercials, and blasting across radio stations and in public areas like restaurants and malls, classroom lessons tied to current songs, are more apt to resonate with students in this era. In lieu of subconsciously humming a song by popular artist such as Beyoncé, Kanye West, and Taylor Swift, students could accomplish more in a classroom environment while using music as a tool. This includes using music as a tool for learning through reading, as well as teaching writing processes through song.

nÃo hà / CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / Os trabalhos sobre intertextualidade sÃo em grande nÃmero, entretanto muito do que foi estudado diz respeito Ãs tipologias intertextuais presentes em textos literÃrios. Nesta pesquisa, apresentamos um caminho diferente, pois buscamos investigar aspectos ainda nÃo presentes nas propostas classificatÃrias de Genette (2010), PiÃgay-Gros (1996) e SantâAnna (2003) em textos literÃrios e tambÃm em trabalhos mais recentes, como o de Koch, Bentes e Cavalcante (2007), particularmente sobre variados gÃneros textuais, com o propÃsito de contribuir com as pesquisas intertextuais, destacando, dessa forma, a importÃncia desse fenÃmeno na construÃÃo dos sentidos de um texto, em especial dos verbo-visuais. Uma contribuiÃÃo deste trabalho encontra-se no fato de ir alÃm de estabelecer critÃrios para a classificaÃÃo das manifestaÃÃes intertextuais em textos verbo-visuais, pois o propÃsito maior à investigar se a intertexualidade por derivaÃÃo pode se redefinir a partir da inserÃÃo das relaÃÃes de copresenÃa nas derivacionais. Principalmente, verificamos a hipÃtese de que existem diferentes recursos linguÃsticos e/ou imagÃticos responsÃveis pelas alusÃes, que podem ser citaÃÃes ou referÃncias. TambÃm investigamos a hipÃtese de que as citaÃÃes e referÃncias e alusÃes terminam sendo estratÃgias para um propÃsito maior do locutor de estabelecer parÃdias. Por fim, demonstramos que algumas charges e cartuns guardam entre si uma relaÃÃo de parafraseamento. Trabalhamos com um exemplÃrio formado por textos verbo-visuais publicados na internet como charges, tirinhas e cartuns em que buscamos investigar como as relaÃÃes intertextuais se manifestam nesses textos que se inscrevem na circulaÃÃo de textos informativos e que recuperam notÃcias veiculadas na mÃdia. A anÃlise permitiu constatar atà o momento que as intertextualidades de copresenÃa explÃcitas e implÃcitas como citaÃÃo e alusÃo mostram que sÃo importantes estratÃgias - isoladas ou simultaneamente - para a construÃÃo de parÃdias e de parafraseamentos.

L’étude du fonctionnement des reprises parodiques d’Hernani en 1830 et l’édition de Harnali, N, I, ni et Oh ! Qu’Nenni, établie à partir des manuscrits, des rapports de la censure et de différentes versions imprimées, permettent de constater que les parodies d’Hernani sont à la fois déterminées par la pièce qui sert de modèle référentiel initial et par des intertextes contemporains avec lesquels elles dialoguent. Les conventions des spectacles du temps, le goût du public, font que la parodie sert paradoxalement d’imitation subversive au service d’une norme. En effet, la déconstruction parodique devient une source de construction des pièces qui, à travers les incohérences et les invraisemblances relevées dans Hernani, se positionnent dans un fonctionnement de spectacle qui leur est propre. Au-delà d’une simple critique, satire ou imitation d’une pièce initiale à travers l’écriture, l’intertextualité et les genres, les reprises parodiques renvoient ainsi une image du contexte du temps et des spectacles joués sur les théâtres secondaires. Ces parodies sont donc également des spectacles, qui s’inscrivent dans la contemporanéité de jeux d’acteurs, d’airs et couplets des théâtres secondaires parisiens de 1830. / The study of procedures used in parodies of Hernani in 1830, together with an edition of manuscripts of Harnali, N, I, ni and Oh! Qu’Nenni, of censors’ reports, and of different printed versions, show that parodies of Hernani are at the same time informed by the play that serves as an initial model and by cultural intertexts with which they establish a dialogue. Performance conventions of the time, as well as public taste, create a paradoxical situation in which parodies act as subversive imitation in the service of a norm. Indeed, parodic deconstruction becomes a source of construction of plays which, pointing out the incoherencies and improbabilities in Hernani, create their place in a type of performance that is unique to them. Beyond simple criticism, satire, or imitation of an earlier play through style, intertextuality, and genre, parodies also reflect an image of the context of the times and of plays performed on secondary theatres. These parodies are thus plays in their own right, a part of contemporary style of acting and of the use of airs and refrains in Parisian secondary theatres in 1830.

À partir d’une interrogation initiale sur l’Esther de Racine, cette étude repart de la Bible, analyse les sources puis suit le parcours du Livre d’Esther, son devenir religieux, littéraire et artistique au cours des siècles et à travers l’Europe. Cette démarche génétique a permis de dresser un immense tableau des créations les plus diverses. Il s’avère que cette composition biblique doit être comptée parmi les textes fondateurs ayant contribué à créer une culture commune. Rédigée quatre siècles avant notre ère, elle ne s’est pas limitée à alimenter la liturgie. Rapidement, la figure d’Esther a été vue comme un archétype de la Fidèle : on en a fait l’apologie en l’associant par analogie à Marie la médiatrice, et en reconnaissant en cette reine un exemplum édificateur. Plus largement, Esther et Assuérus représentent le modèle parfait d’un couple de souverains. Le Livre d’Esther a inspiré jusqu’à nos jours de multiples artistes et d’écrivains. Parmi l’énorme corpus de réécritures, c’est l’art dramatique qui a été privilégié, proposant des tragédies mais aussi des parodies : si Mardochée y reste digne d’éloges, Aman devient objet de blâme ou de risée. Parce qu’il abolit les frontières géographiques, historiques, politiques et sociales, ce texte appartient à la source d’une grande partie du patrimoine de l’Europe / Starting with a study of Racine's Esther, this thesis analyses the biblical story and its sources and follows its literary, artistic and religious becoming through the centuries and across Europe. This "genetic" approach results in a tableau portraying a wide variety of artistic creations. The biblical story appears to have been counted among a number of founding texts which contributed to a common (European) culture. Composed four centuries before our era, its uses and applications go beyond the religious and the liturgical. The figure of Esther quickly came to be seen as an archetype of the faithful: she is associated by analogy with Mary the mediator and recognised as an exemplary queen. More broadly, Esther and Ahasuerus represent the perfect model of the royal couple. Through the ages, the Book of Esther has inspired many artists and writers. Amidst the huge corpus of re-writings, theatrical adaptations hold a prominent place, made up of both tragedies and parodies. If Mordecai remains worthy of praise, Haman is generally portrayed as an object of rebuke or ridicule. Because it abolishes geographical, historical, political and social borders, this text is at the source of an important part of European heritage.

Submitted by Maria Bernadete Dos Santos (mariabpds@id.uff.br) on 2017-09-27T17:53:27Z No. of bitstreams: 3 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação Alexandre L. Torres.pdf: 2113771 bytes, checksum: e92b2eb0221ae3372965ba2accb94702 (MD5) Produto Final - Alexandre L. Torres.pdf: 357939 bytes, checksum: 0c6eccc1f4a85d82d3cd61292b293898 (MD5) / Approved for entry into archive by Biblioteca Central do Valonguinho Biblioteca Central do Valonguinho (bcv@ndc.uff.br) on 2017-10-03T17:14:22Z (GMT) No. of bitstreams: 3 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação Alexandre L. Torres.pdf: 2113771 bytes, checksum: e92b2eb0221ae3372965ba2accb94702 (MD5) Produto Final - Alexandre L. Torres.pdf: 357939 bytes, checksum: 0c6eccc1f4a85d82d3cd61292b293898 (MD5) / Made available in DSpace on 2017-10-03T17:14:22Z (GMT). No. of bitstreams: 3 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação Alexandre L. Torres.pdf: 2113771 bytes, checksum: e92b2eb0221ae3372965ba2accb94702 (MD5) Produto Final - Alexandre L. Torres.pdf: 357939 bytes, checksum: 0c6eccc1f4a85d82d3cd61292b293898 (MD5) / Este trabalho relata uma metodologia ativa para o Ensino de Ligações Químicas: Composição de paródias musicais como uma proposta de potencializar a aprendizagem significativa. Trata-se de uma pesquisa de natureza qualitativa, do tipo pesquisa-ação, e utilizou, para o levantamento de dados e para a tomada de decisões no decorrer do processo de pesquisa, questionários, observações da atividade orientada, depoimento dos educandos durante e após a elaboração das paródias musicais, fotos, vídeos e análise das letras das paródias. A pesquisa foi realizada no Colégio Pedro II, Campus Niterói, Rio de Janeiro e aplicada no 1º. ano do Ensino Médio Regular do ano letivo de 2016. Os resultados obtidos indicam que a construção de paródias musicais favoreceu o processo de ensino-aprendizagem, sendo esse recurso didáticos visto pelos alunos como alternativa para facilitar a aprendizagem. Consideramos que este trabalho pode ser replicado, abrindo possibilidades de novas criações e pesquisas sobre o emprego de estratégias de metodologias ativas no ensino de Ciências da Natureza. Com o intuito de incentivar esta aplicação, elaboramos, como produto dessa dissertação, uma videoaula onde é mostrada a aplicação da metodologia e com orientações sobre a forma de utilização. / This paper reports an active methodology for the Teaching of Chemical Bonds: Composition of musical parodies as a proposal to potentiate meaningful learning. For this purpose we used a qualitative methodology and, for data collection and decision making during the research process, questionnaires, observations of the activity oriented, testimony of the students during and after the elaboration of the musical parodies, photos, videos and analysis of the letters of the parodies. The research was carried out at Pedro II School, Niterói, Campus, Rio de Janeiro and applied in the 1st. Year of Regular High School during the academic year of 2106. The results indicate that the construction of musical parodies favors facilitate the teaching-learning process. We consider that this work can be replicated and open possibilities of new creations and research on the use of active methodologies for teaching of Natural Sciences. In order to stimulate this application, we elaborate, as a product of this dissertation, a videoconference showing the application of the methodology and guidelines on how to use it.

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François-Antoine-Valentin Riccoboni (1707-1772) représente un paradigme de la rencontre des cultures théâtrales italienne et française au XVIIIe siècle, du point de vue des pratiques scéniques, de la dramaturgie, de la poétique et de la théorie du jeu. Son travail d’acteur participe de l’esthétique italienne visant un jeu plus simple et naturel, qui aura plusieurs échos dans la réforme de la pratique scénique française, la critique contemporaine et la théorie du jeu. Son œuvre se développe dans le sillon de la tradition de la Comédie-Italienne de Paris, démontrant la persistance des processus de composition poétique typiques du savoir artistique italien. Danseur et maître de ballet, François expérimente les possibilités du ballet-pantomime au carrefour des influences choreutiques anglaises, foraines, et du jeu pantomimique italien. Son Art du Théâtre (1750) représente la translation de sa pratique scénique dans le domaine théorique et esthétique. Manuel à l’usage des aspirants acteurs, il revendique aussi une théorie fondée exclusivement sur la pratique du plateau. Aussi, définit-il pour la première fois une théorie du jeu qui repose sur les qualités rationnelles et imitatives de l’acteur, laquelle influencera notamment le Diderot du Paradoxe. Divisé en quatre parties, notre travail reconstruit la vie de Riccoboni (I Partie) ; essaie de saisir son jeu scénique en italien à l’impromptu, en français, dans le chant et dans la danse (II Partie) ; analyse son œuvre dramatique (III Partie) ; étudie l’Art du Théâtre (IV Partie). Deux volumes d’annexes rassemblent des documents d’archives inédits, le répertoire raisonné et l’édition des œuvres inédites de François. / François Antoine Valentin Riccoboni (1707-1772) exemplifies the intersection between Italian and French theatrical cultures in the 18th century in terms of staging practices, dramaturgy, poetics, and the theory of acting. Rooted in the Italian aesthetic, his acting aimed to achieve a style that was simpler and more natural and would be echoed in a number of ways in the reform of French stagecraft, contemporary criticism and the theory of acting. His work develops in alignment with the tradition of the Comédie Italienne in Paris, thus demonstrating the longevity of the process of poetic composition characteristic of the Italian artistic expertise. Dancer and ballet master, Riccoboni experiments with the possibilities of the ballet-pantomime at the juncture of influences from English dance, fairgrounds, and Italien pantomime. His Art du Théâtre (1750) proposes the transposition of his stage techniques in the areas of theory and aesthetics. A practical handbook designed for aspiring actors, it claims also to be a theory based solely on stage experience. It articulates, for the first time, a theory of acting based on the rational and imitative qualities of the actor, which will influence notably Diderot in Le Paradoxe. Divided in four parts, this doctoral dissertation retraces Riccoboni’s life (Part I); attempts to understand his stage craft in Italian all’improvviso, in French, in song and dance (Part II); analyzes his dramatic works (Part III); and studies his Art du Théâtre (Part IV). Two volumes of appendices offer previously unpublished archival sources as well as the annotated inventory and edition of previously unpublished texts by Riccoboni. / François Antoine Valentin Riccoboni (1707-1772) rappresenta un paradigma dell’incontro tra la cultura teatrale italiana e francese nel XVIII secolo, dal punto di vista della pratica scenica, della drammaturgia, della poetica e della teoria della recitazione. La sua arte attoriale partecipa dell’estetica italiana, tesa ad una recitazione più semplice e naturale, che avrà delle eco importanti nella riforma della pratica scenica francese, nella critica contemporanea e nella teoria della recitazione. La sua opera si sviluppa nel solco della tradizione della Comédie Italienne di Parigi, dimostrando la persistenza di processi compositivi tipici del sapere artistico italiano. Ballerino e maître de ballet, François sperimenta anche le possibilità del ballet-pantomime all’incrocio delle influenze coreutiche inglesi, foraines, e dell’arte scenica e pantomimica italiana. Il suo Art du Théâtre (1750) rappresenta la traslazione della sua pratica attoriale nel dominio teorico ed estetico. Manuale pratico all’uso degli aspiranti attori, esso rivendica inoltre una teoria fondata esclusivamente sulla pratica del palcoscenico e definisce per la prima volta un processo interpretativo basato sulle qualità razionali e imitative dell’attore, teoria che influenzerà particolarmente il Diderot del Paradoxe. Diviso in quattro parti, il nostro lavoro ricostruisce la vita di Riccoboni (I Parte); cerca di restituirne la pratica scenica nella recitazione all’improvviso, in francese, nel canto e nella danza (II Parte); analizza la sua opera (III Parte); studia l’Art du Théâtre (IV Parte). Due volumi di appendici raccolgono documenti d’archivio inediti, il repertorio ragionato e l’edizione delle opere inedite di François.

In the age of digitalization several new ways of creating immaterial property have sprung up due to the resurgence of artificial intelligence (AI). This has paved the way for different kinds of tech including the assistance of AI in a more normalized way. A prominent variation of this tech is called "deepfake". Deepfakes are a technology that essentially places your face, likeness, mannerisms, and voice onto new situations that the creator then steers to make the deepfake do or say things that the person whose deepfake is based on hasn't done or said. This technology has been used in a myriad of ways all from humourous content to extorsion and revenge porn. The aim of this master thesis is to analyse how immaterial law protection is achieved through current Swedish immaterial law principles and how these fit within the context of heavily based AI-tech such as deepfakes. This is done through a dogmatic lens meaning that a systematization and mapping of both Swedish and EU based laws and praxis are done as well as discussing the current thoughts on AI-assistance throughout the creative process. Another subject that is touched upon is the parody exception in immaterial law and the concept of adaptation and how these work with and apply to AI-based creations. Part of the problems that we face right now is that we have no existing legal parameters to solve the problem of larger AI-involvement in creative processes, this is certainly going to change how we view copyright law today. When comparing and using EU as well as Swedish praxis to analyze the AI-problem a common denominator is that all copyright law and praxis is based around the presumption that there needs to be a human involved in the majority of the creative process. AI already exists as a part of many creative processes today without any questions asked, however when the AI-part is more significant in the process the question becomes complicated when paired with traditional copyright law perspectives. Howevwer, some discussions have been going on in both Swedish and EU legal spheres, mostly in the EU who are going to legislate more in the field of AI. In Sweden there have been no legislative processes when it comes to AI in copyright law however there have been some governmental organisations and essays that have shed a light on the matter. I conclude this master thesis by writing about the findings of each question as has been mentioned above, namely that AI becomes a significant factor in deciding if a deepfake achieves copyright protection or not and the same can be said about parodies. After this I make a concluding analysis of the urgency of a need for laws that tackle AI in the area of immaterial laws listing other areas that might need it more than immaterial laws as has been explored throughout this thesis as well and that Sweden need to take part in every discussion about this to form a sustainable legal framework for AIs in the context of immaterial laws. This will open up for a clear framework when assessing different technologies that use AI like deepfakes as well.