Submitted by admin tede (tede@pucgoias.edu.br) on 2018-02-07T17:10:08Z No. of bitstreams: 1 Izabel de Lourdes Quinta Mendes.pdf: 806665 bytes, checksum: dd233fc592178c224ee4ca53f72a3844 (MD5) / Made available in DSpace on 2018-02-07T17:10:08Z (GMT). No. of bitstreams: 1 Izabel de Lourdes Quinta Mendes.pdf: 806665 bytes, checksum: dd233fc592178c224ee4ca53f72a3844 (MD5) Previous issue date: 2017-12-14 / This work of dissertation presents the deconstruction of borders in O outro pé da sereia (2006), of Mia Couto. The language denotes words that rename names and the own history of characters who live the tradition and/or revisit their roots in Mozambican land. The multiple meanings of the words allow us to affirm that life and death, space and time, and the symbols of nature such as water, fire, earth and air represent the breaking of boundaries. Protagonists seem to be alive and dead, the locus formerly and Vila Longe is the starting and finishing point of the journey which consists in the revelation of the interiority of man. The discourse reflects the zigzag constructed in the fragmented literary narrative between past (1560) and present (2002). The space-time dimension shows the imaginary that emerges in the culture, religiosity and history of Mozambique. The journey to liberation itself contains multiple travelers from various parts of the world. Thus, the memories resize the process of border movement. / Este trabalho de dissertação apresenta a desconstrução de fronteiras em O outro pé da sereia (2006), de Mia Couto. A linguagem denota palavras que ressignificam nomes e a própria história de personagens que vivem a tradição e/ou a revisitação de suas raízes na terra moçambicana. Os múltiplos sentidos dos vocábulos permitem afirmar que vida e morte, espaço e tempo, e os símbolos da natureza como água, fogo, terra e ar figurativizam o rompimento de fronteiras. Protagonistas parecem estar vivos e mortos, o lócus Antigamente e Vila Longe é ponto de partida e de chegada na viagem que consiste na revelação da interioridade do homem. O discurso reflete o ziguezague construído na narrativa literária fragmentada entre passado (1560) e presente (2002). A dimensão espaço-tempo mostra o imaginário que emerge na cultura, religiosidade e história de Moçambique. A viagem rumo à libertação de si contém múltiplos viajantes de várias partes do mundo. Assim, as memórias redimensionam o processo de deslocamento de fronteiras.

A Lei n° 10.639/2003 tornou obrigatório o ensino de História da África e Cultura Afro-brasileira nos estabelecimentos escolares do país. A partir disso, as religiões afro-brasileiras começaram a ser abordadas em sala de aula, como parte de um conjunto de práticas e valores de origem africana importante no desenvolvimento da população negra no Brasil. Este trabalho teve como objetivo estudar o modo como essas manifestações religiosas aparecem nos materiais didáticos, cursos de formação continuada de professores e, por vezes, na própria sala de aula a partir dessa Lei, assim como procurou identificar as tensões e negociações verificadas quando essas religiões saem de seus espaços de manifestação próprios, os terreiros, e adentram a escola. As relações entre a visão de mundo religiosa e do senso comum (presente nos discursos e práticas de professores e alunos praticantes de diferentes denominações religiosas: como o catolicismo, pentecostalismo etc.) com o ensino e aprendizado de valores vistos simultaneamente como religiosos e símbolos culturais étnicos (a serem mobilizados na constituição de identidades diferenciais) constituem, portanto, o foco desta pesquisa. / Law n. 10.639/2003 made the teaching of African and Afro-Brazilian Culture obligatory in Brazilian schools. In this way, the African-Brazilian religions started to be addressed in the classrooms as part of a set of practices and values of African origin important in the historical development of the Brazilian black population. This study aimed at analyzing how these religious expressions are approached in school text books, in continuing education courses for teachers and, in some cases, in the class room since the approval of this Law, as well as tried to identify the conflicts and the negotiations occurring when these religions leave their own traditional places, the terreiros, and move into the schools. The relations between the religious environment and the common sense (present in the discourses and the practices of teachers and students who are followers of different religions as Catholics, Pentecostals and others) and the teaching and learning of values seen at the same time as religious and ethnical cultural symbols (to be mobilized in the building up of differential identities), are, therefore the focus of this research.

<p>The aim of this study is to analyse the archetypical patterns and symbols in Susan Cooper’s The Dark is Rising. An archetype is, in literary studies, a concept used to describe an image, symbol or narrative pattern which is very frequently occurring , for example the Hero archetype. Archetype theories today are mainly based on the work of psychiatrist C.G. Jung or literary theorist Northrop Frye.</p><p>The Dark is Rising is a series of five fantasy books for children, in which an old struggle between two cosmic forces, Light and Dark, is about to reach its final battle. This study shows how The Dark is Rising follows an archetypical narrative pattern in which the aim is to create a whole – the Self, in Jungian theory. The conception of the world in The Dark is Rising is an archetypical one. The world was once whole, but later divided in two opposing forces – Light and Dark. In the final book, when the Dark is defeated and the Light leaves Earth to the humans, the world is whole again. The life of main character Will Stanton also follows this pattern, making him an archetypical Hero. His development can be seen as the process of individuation, which in Jungian theory is the process of creating a whole, unified Self by integrating the conscious and the unconscious. Also the Mandala, which is a very important symbol in the books, is an archetypical symbol for unity and the Self.</p>

The aim of this study is to analyse the archetypical patterns and symbols in Susan Cooper’s The Dark is Rising. An archetype is, in literary studies, a concept used to describe an image, symbol or narrative pattern which is very frequently occurring , for example the Hero archetype. Archetype theories today are mainly based on the work of psychiatrist C.G. Jung or literary theorist Northrop Frye. The Dark is Rising is a series of five fantasy books for children, in which an old struggle between two cosmic forces, Light and Dark, is about to reach its final battle. This study shows how The Dark is Rising follows an archetypical narrative pattern in which the aim is to create a whole – the Self, in Jungian theory. The conception of the world in The Dark is Rising is an archetypical one. The world was once whole, but later divided in two opposing forces – Light and Dark. In the final book, when the Dark is defeated and the Light leaves Earth to the humans, the world is whole again. The life of main character Will Stanton also follows this pattern, making him an archetypical Hero. His development can be seen as the process of individuation, which in Jungian theory is the process of creating a whole, unified Self by integrating the conscious and the unconscious. Also the Mandala, which is a very important symbol in the books, is an archetypical symbol for unity and the Self.

A wide range of additional forward chaining applications could be realized with deductive databases, if their rule formalism, their immediate consequence operator, and their fixpoint iteration process would be more flexible. Deductive databases normally represent knowledge using stratified Datalog programs with default negation. But many practical applications of forward chaining require an extensible set of user–defined built–in predicates. Moreover, they often need function symbols for building complex data structures, and the stratified fixpoint iteration has to be extended by aggregation operations. We present an new language Datalog*, which extends Datalog by stratified meta–predicates (including default negation), function symbols, and user–defined built–in predicates, which are implemented and evaluated top–down in Prolog. All predicates are subject to the same backtracking mechanism. The bottom–up fixpoint iteration can aggregate the derived facts after each iteration based on user–defined Prolog predicates.

對以英語為外語學習的台灣學生而言，傳統的發音輔助系統在國中階段是以K.K.音標為主，而目前國小階段的發音輔助系統是藉由字母拼讀法，本研究旨在探討字母拼讀法與K.K.音標對台灣六年級學生在單字發音效益比較之研究。 研究對象為台北市一所公立小學六年級二個班共62位學生，兩班隨機分成實驗組與控制組，實驗組施予K.K.音標教學，而控制組則施以字母拼讀法教學。實驗研究共進行一學期，實驗前給予兩組學生單字發音的口試測驗，實驗後再進行同一份口試測驗，並採用三種統計方法進行資料分析:敘述性統計、獨立樣本T 檢定與卡方檢定。資料分析結果顯示K.K.音標與字母拼讀法教學在單字發音上有顯著差異，受試者對於K.K.音標教學在整體單字發音的表現較有成效；在單音節與多音節以及規則與不規則字的發音上也較字母拼讀法教學有成效。此外，二組受試者在子音、母音、重音與音節的錯誤率比較上，僅在母音上呈現顯著差異，受試者輔以字母拼讀法教學在母音的錯誤率較K.K.音標教學高，而錯誤似乎是受到字母拼讀法規則類化的影響。 最後，由此研究結果提出對國小六年級學生在單字發音教學的建議，期盼對國小六年級英語教師與學生在單字發音的教與學上有所助益。 / To facilitate word pronunciation for EFL students in Taiwan, K.K. phonetic symbols have been used in junior high schools for decades whereas phonics has been introduced in elementary schools. The purpose of the study is to examine which method, phonics or K.K. phonetic symbols, is more effective in teaching word pronunciation for sixth graders who have had three years of formal English education at public schools. The participants in this study were two classes of 62 sixth graders in Taipei city. Two classes were randomly assigned to the experimental group who received the instruction of K.K. phonetic symbols for a semester while the control group who received the instruction of phonics. The oral task of students’ production abilities on word pronunciation designed by the researcher was used as the instrument to collect the data. The data collected was analyzed by three statistical methods, including descriptive statistics, independent sample t-test and chi-square. The results showed that students receiving K.K. phonetic symbols instruction outperformed those who received phonics instruction on overall, monosyllabic, polysyllabic, regular and irregular word pronunciation. Additionally, it is found that students with the instruction of phonics made more vowel errors. The segmental errors in the phonics group may result from the effect of phonics generalization. Based on the findings, this study proposes some pedagogical implications for sixth grade English teachers to better facilitate students’ learning on English word pronunciation.

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The literature contains conflicting ideas about the effectiveness of diagrams, and their constituent symbolism as teaching and learning tools. In addition, only limited research has been specifically conducted on the presentation and interpretation of arrow symbolism used in biology diagrams, let alone on the nature, source and remediation of student difficulties caused by arrows. On the basis of this limited research and 30 years of experience of teaching biology at secondary-level, the author suspected that students might have difficulties interpreting arrow symbolism in diagrams used as explanatory tools and decided to thoroughly investigate this issue. The hypothesis, 'Secondary-level students have difficulty with the use of arrow symbolism in biology diagrams' was formulated and the following broad research questions defined to address the hypothesis: 1. How much of a problem is arrow symbolism in diagrams? 2. How effectively is arrow symbolism used in diagrams to promote the communication of intended ideas? 3. To what extent does the design of arrow symbolism in diagrams influence students ' interpretation and difficulties? 4. How can the emerging empirical data and ideas from literature be combined to illustrate the process of interpretation of arrow symbolism? 5. What measures can be suggested for improving the presentation and interpretation of arrow symbolism in biology diagrams at secondary-level? To address Research question 1, a content analysis of all arrow symbolism in seven popular secondary-level biology textbooks was undertaken. This revealed a wide diversity of arrow styles, spatial organisations, purposes and meanings that could be confusing to students. These results suggested the need for an evaluation of the effectiveness of arrow symbolism (Research question 2). As there was no definitive set of guidelines available for specifically evaluating arrows, general guidelines from the literature on diagrams were used to develop a set of 10 criteria, to evaluate the syntactic, semantic and pragmatic dimensions of arrow symbolism, which were validated by selected educators, students and a graphic design expert. Application of the criteria (which constituted expert opinion) to the arrow symbolism used in 614 realistic, stylised and abstract diagram types, revealed a relatively high incidence (30%) of inappropriately presented arrow designs that could mislead students. To establish whether this problem could be the cause of student difficulties, and to thereby address Research question 3, a stylised and an abstract diagram were selected and evaluated according to the criteria. The results of the evaluation were compared to the responses given by 174 students to a range of written and interview probes and student modified diagrams. In this way, student performance was correlated with expert opinion. The results confirmed that students experience a wide range of difficulties (26 categories) when interpreting arrow symbolism, with some (12 categories) being attributable to inappropriately presented arrow symbolism and others (14 categories) to student-related processing skills and strategies at both surface- and deeper-levels of reasoning. To address question 4, the emerging empirical data from the evaluation and student studies was combined with a wide range of literature, to inform the development of a 3-level, non-tiered model of the process of interpretation of arrow symbolism in diagrams. As this model emphasised the importance of both arrow presentation in diagrams and arrow interpretation by students, it could be used as an effective explanatory tool as well as a predictive tool to identify sources of difficulty with the use of arrow symbolism. This model was, in turn, used to inform the compilation of a range of guidelines for improving the presentation and interpretation of arrow symbolism, and so target Research question 5. These, and other guidelines grounded in the data and relevant literature, were suggested for all role players, including students, educators, textbook writers, graphic artists and researchers, to use as remedial tools. Future research should focus on the implementation of these guidelines and studying their effectiveness for improving the presentation and interpretation of diagrams with arrow and other types of symbolism. / Thesis (Ph.D.)-University of KwaZulu-Natal, Pietermaritzburg, 2006.

Thesis (M.A.P.S.)--Catholic Theological Union at Chicago, 2008. / Vita. Includes bibliographical references (leaves 72-74).

It has become something of a truism to contend that David Foster Wallace was concerned with irony; both its challenge to ethical conviction and the ability of the author to enact sincere communication in the millennial United States. However, this privileging of sincerity within Wallace Studies has resulted in neglect being shown to the first half of Polonius’ famous dialectic – ‘to thine own self be true’ – precluding analysis of Wallace that focuses on his relationship with authenticity. Similarly, critics have often sought to argue for Wallace’s panhuman universalism, to the detriment of the overtly nationalistic strain in his writing. This thesis aims to address these underrepresented areas within Wallace scholarship, arguing that his writing is fundamentally engaged with a debate over what it means to be ‘real American’. The phrase is taken from a 1996 interview with Salon.com’s Laura Miller, during which Wallace averred that his intention when writing Infinite Jest was to capture ‘something real American, about what it’s like to live in America around the millenium’ (Conversations with David Foster Wallace 59). This comment is central to an understanding of Wallace’s oeuvre, as it introduces his historical specificity and his pragmatic desire to explore ‘what it’s like to live’, whilst also alluding to his constant negotiation with epistemological and ontological questions over the ‘real’, all framed within an expressly nationalistic paradigm. The word ‘real’ is used in this sense both as an adverb to connote something that is authentically or intrinsically ‘American’, whilst it also serves as an intensifier – to denote something that is very American – implying a hierarchy of things that can be more ‘American’ than others. With regards to his immediate historical context, this entrenches Wallace firmly within the Culture Wars of the 1990s, and yet it also gestures further back in history, situating him within a fundamentally American literary tradition: the American Jeremiad. Wallace’s challenge was to attempt to engage with ideas of the real and the really American, despite the challenges to authenticity (and indeed the idea of a nation) that resulted from the permeation of myriad contemporary discourses into the national psyche, including advertising jargon, postmodern/poststructural ‘theory’, the language of psychotherapy, the discourse of political correctness, and the partisan rhetoric of politicians. The first two chapters will focus on Wallace's engagement with ostensible challenges to the 'authentic' subject, and the difficulty of authentically representing the self. Chapter one will focus on 'Octet' and Wallace's uneasy place within the so-called 'New Sincerity' paradigm, highlighting Wallace’s attempt to counter the discourse of ‘postmodern irony’ with an ‘other-directed’ sincerity, and yet exposing his conservative project of self-preservation. Chapter two will examine Wallace's often fraught relationship with psychotherapy; in particular the way that psychotherapeutic discourse has infiltrated American culture, precluding the singularity and authentic representation of individual experience. Chapter three will continue this exploration of the widespread adoption of specialist discourses, although this time focusing on the abstractions of postmodern/poststructural theory, and Wallace’s attempt to find ‘real American’ replacement cultural symbols that could be applied to both individuals and the nation as a collective. Chapter four will be concerned with Wallace's search for an efficacious philosophical model that is suitably 'American'; whilst also capable of incorporating the singularity of individual experience within a national collectivity. Finally, chapter five will focus on Wallace's more explicit engagement with politics, tracing the development of his political ideas. In doing so a picture of Wallace will emerge that highlights some of his contradictions; contradictions that he himself was aware of and drew attention to, as well as contradictions that run to the very heart of 'the idea of America'.