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Introduction: The development of thinking skills is increasingly evolving as the one most important goals of formal primary and secondary education. Storybook reading is a well-established routine in early learning classrooms ranging from early preschool to foundation phase. As these interactions can typically be quite rich in exchanges and inquiry, the impact of book reading routines is significant, particularly as reading to young children plays a significant role in preparing them for later schooling. Aim: To describe how teachers interact during storybook reading with Grade R children. Methods: This study investigated five teacher’s interactions during storybook reading with their grade R (reception) classes in rural Zululand. The teachers were videotaped during 3 storybook reading sessions, these interactions were translated, transcribed and coded. Results and analysis: The results indicated that all five teachers interacted with the children throughout the storybook reading procedure. The teachers used a number of techniques that were suggested by researchers to increase oral language gains, emergent literacy gains and high cognitive thinking skills. Although teachers mainly used low cognitively challenging utterances, it was found that the teachers who gave the children the focus of control in the session, produced more high cognitively challenging utterances. The unfamiliar book was found to produce a higher percentage of high cognitive level utterances and teachers, who focused, not only on the story itself but on other concepts, produced more high level cognitive utterances. In general teachers seemed to favor requesting of information as a method of interaction and the highest percentage of high cognitive utterances, were found during the after reading period. Directions for intervention and for future research are discussed in light of the results. / Dissertation (MA)--University of Pretoria, 2008. / Centre for Augmentative and Alternative Communication (CAAC) / Unrestricted

La recherche porte sur les distances qui s’établissent entre les visiteurs et les œuvres exposées au sein de l’exposition muséale d’art, précisément celles qui, tout à la fois, sont périphériques aux artefacts, sont imposées par les règlements et consignes de visite, sont délimitées par des barrières, des cordons, des socles, des rubans adhésifs au sol, entre autres choses, sont souvent maintenues par les visiteurs, sont généralement reconnues comme étant vouées à la protection des biens patrimoniaux présentés et qualifiées de « bonnes distances », de « distances respectueuses », de « limites à ne pas franchir », de « zones de sécurité », par exemple. Considérant qu’elles s’inscrivent au sein d’un dispositif médiatique, il s’agit de comprendre de quelle manière elles contribuent à ce dernier. L’étude théorique des tracés régulateurs et des marges des médias du texte soutient la construction du concept de « marges péri-opérales » permettant de qualifier les distances entre les œuvres et les visiteurs et d’émettre l’hypothèse qu’elles participent à l’exposition en remplissant plusieurs fonctions et rôles d’ordre sémiotique. L’étude théorique de l’exposition muséale d’art conduit à une approche communicationnelle des marges péri-opérales consistant à les appréhender depuis les trois processus énonciatifs au cours desquels elles sont produites et dotées de sens – soit la réglementation de la visite de l’exposition muséale, la mise en espace de l’exposition muséale, la saisie visuelle des œuvres exposées lors de la visite de l’exposition muséale. L’étude des marges péri-opérales est alors pensée en trois enquêtes dédiées respectivement à chacun des processus identifiés et reposant sur l’analyse d’ « objets » qui sont inhérents à ces processus et qui préfigurent, configurent et actualisent les marges péri-opérales – soit les règlements de visite et les interdits comportementaux, les outils de mise à distance et les marges expographiques, les comportements et les alignements des visiteurs. La première enquête permet d’établir que, telles qu’elles apparaissent dans la réglementation de la visite de l’exposition muséale, les marges péri-opérales remplissent les fonctions de mesures de protection des biens et des personnes et d’accès aux œuvres dans certaines limites physiques et le rôle de règles constitutives de la visite de l’exposition muséale d’art. La deuxième enquête permet d’avancer que, telles qu’elles se concrétisent lors de la mise en espace de l’exposition muséale, les marges péri-opérales assurent les mêmes fonctions que les signes-vecteurs d’attention et d’interprétation et les rôles de repères signalétiques et de traces matérielles d’énonciation. La troisième enquête permet de déterminer que, telles qu’elles se manifestent lors de la saisie visuelle des œuvres exposées, les marges péri-opérales endossent les fonctions des signes d’engagement dans la situation d’interaction et des propriétés situationnelles et les rôles d’indices posturaux de co-énonciation et de figures rituelles. En somme, l’étude des marges péri-opérales révèle que ces dernières participent, du fait de leurs multiples fonctions et rôles sémiotiques, au fonctionnement communicationnel et à l’opérativité socio-symbolique de l’exposition muséale d’art. / The research focuses on the distances between visitors and the works exhibited in the art exhibition, specifically those that are both peripheral to the artifacts, imposed by visitor rules and regulations, bounded by barriers, cords, pedestals, floor tapes, among other things, are often maintained by visitors, are generally recognized as being destined toConsidering that they are part of a media device, it is important to understand how they contribute to the latter. The theoretical study of the regulating lines and margins of the text's media supports the construction of the concept of "peri-operative margins", making it possible to qualify the distances between works and visitors and to make the hypothesis that they participate in the exhibition by fulfilling several semiotic functions and roles. The theoretical study of the museum art exhibition leads to a communicative approach to the peri-operative margins, which consists of understanding them from the three enunciating processes in which they are produced and endowed with meaning - that is, the regulation of the visit to the museum exhibition, the setting up of the museum exhibition, and the visual capture of the works exhibited during the visit to the museum exhibition. The study of peri-operative margins is then thought out in three surveys dedicated respectively to each of the processes identified and based on the analysis of "objects" that are inherent in these processes and that prefigure, configure and update the peri-operative margins - i. e. visit regulations and behavioural prohibitions, distance tools and expographic margins, visitor behaviours and alignments.The first survey makes it possible to establish that, as they appear in the regulations governing the visit to the museum exhibition, the peri-operative margins fulfil the functions of measures for the protection of property and persons and access to works within certain physical limits and the role of rules governing the visit to the art museum exhibition. The second survey suggests that, as they materialize when the museum exhibition is set up, the peri-operal margins perform the same functions as the vector signs of attention and interpretation and the roles of signposts and physical traces of enunciation. The third survey makes it possible to determine that, as manifested in the visual capture of the exhibited works, the peri-operative margins assume the functions of signs of engagement in the interaction situation and situational properties and the roles of postural clues of co-enonciation and ritual figures.In sum, the study of the peri-operative margins reveals that, because of their multiple semiotic functions and roles, they participate in the communicational functioning and socio-symbolic operability of the art museum exhibition.

Notre thèse a pour ambition de faire émerger un niveau linguistique supérieur à la phrase et dont la prise encompte est indispensable à toute caractérisation et compréhension de ce qu’est un texte. A ce titre, lapragmatique, comme science du dire, est sans doute la plus à même de fournir une caractérisationsatisfaisante de ce niveau. Dans sa conception gricéenne, elle a mis en avant un principe de coopération etl’existence de maximes conversationnelles, sans approfondir, ni même discuter, le niveau auquel ce principeet ces maximes seraient attachés, celui-là même de contribution, alors que c’est précisément cette notion-ciqui, a priori, et quand on considère la maxime de quantité, est de fait un ensemble de phrases (ou mêmed’énoncés), ensemble qui certes peut à l’occasion se réduire à un(e) seul(e) énoncé (phrase) mais qui, dansla plupart des cas, définit un niveau langagier intermédiaire entre l’énoncé et la totalité de ce qui est dit dansl’échange.La thèse montre alors principalement que ces contributions sont des ensembles de phrases satisfaisant descontraintes pragmatiques, avec, entre autres, une contrainte de complétude forte, issue de la maxime dequantité, que l’on pose comme heuristique. De fait, les textes sont des contributions (plus précisément desmacro-contributions constituées de micro-contributions) et doivent être décrits comme tels. L’étudeempirique, appliquée au roman de formation, de la pertinence textuelle, de l'intégration textuelle et de ladisposition textuelle met à jour un certain nombre de phénomènes qui caractérisent le texte en tant que tel. / The main purpose of our thesis is to study and uncover a linguistic level superior to sentence’s level andwhich must inevitably be considered before any determination and understanding of the nature of a text. IfPragmatics (the science of saying and meaning) is undoubtedly the key to reach this goal, due to theemergence of the notion of contribution in the formulation of conversational maxims by Paul Grice, the thesisshows that this rather clandestine emergence and the consequent confusion between utterance’s level andthe level of contribution must be replaced among other things : i) by a full recognition of contributions as setsof utterances satisfying pragmatic constraints, among which is the constraint of completeness (maxim ofquantity); ii) by the recognition of the fact that texts are contributions and must be described as such; iii) bythe recognition of the fact that (macro-)contributions may include (micro-)contributions; iv) by the empiricalstudy of contributional and textual relevance, textual integration and textual organization.This thesis combines thus a contribution to the linguistics of contributions and a contributional approach toboth text theory and Bildungsroman.

Esta pesquisa abre uma trajetória de leitura a partir de André Gide, centrando-se majoritariamente em dois de seus livros: Les Faux-monnayeurs, o único romance do autor, e Ainsi soit-il ou les jeux sont faits, livro de memórias e uma de suas últimas publicações em vida. A questão que guia a trajetória de leitura é primeiramente a escuta, de modo a entrelaçar o ensaio de Jean Luc-Nancy, À lécoute, o livro de Philippe Lacoue-Labarthe, Lécho du sujet e o texto de Jean Starobinski, La relation critique. Esse tecido teórico ajuda a investigar mais a fundo as seguintes perguntas: o que significa escutar um texto? Que implicações a escuta carrega para a crítica? Que tipo de fronteiras e divisões esse gesto é capaz de desfazer ou de reorganizar? Guiar-se pela escuta é possível segundo os pressupostos de escrita de uma tese acadêmica? Tais perguntas desencadeiam uma série de experimentos de leitura e escrita que diluem a nítida separação entre sujeito e objeto em meu texto, fazendo com que eu, como leitora, também me implique na narrativa a ser construída pela tese e dê a ver as experiências que funcionam como suas condições de enunciação (como, por exemplo, a discotecagem). Essa trajetória me conduzirá por fim às potenciais implicações políticas desse gesto por assim dizer experimental no interior da tese de doutorado. / This research opens a reading path based on André Gide, focused majorly on two of his books: Les Faux-monnayeurs, his only novel, and Ainsi soit-il ou les jeux sont faits, a memoir and one of his last publications in life. The main issue which guides this reading path is, first of all, listening itself, in a way to entwine Jean Luc-Nancys À lécoute, Philippe Lacoue- Labarthes Lécho du sujet, and Jean Starobinskis La relation critique. This theoretical tissue supports a deeper investigation around these questions: what does it mean to listen to a text? What implications listening conveys to critics? What kind of borders and divisions is this gesture capable of undoing or reorganizing? Is it possible to guide oneself through listening according to writing assumptions inside an academic thesis? These questions triggers a series of both reading and writing experiments that dilutes clear separations between subject and object in my text, enabling myself, as a reader, to enter this thesis narrative and manifest experiences that work as its utterance conditions (for example, DJing). This path ultimately guides me into potential political implications of the so to speak experimental gesture within this thesis.

The multiple authorship view for film is the claim that multiple authors exist for almost any given film. This view is a recent development in opposition to the longstanding single authorship view which holds that there is only one author for every film, usually the director. One of the most often-cited reasons in support of the multiple authorship claim is that multiple authorship views more successfully explain the following fact about filmmaking better than single authorship views: filmmakers’ intentions sometimes conflict with each other during the production of a film. However, since multiple authorship views cannot adequately explain how a single filmic utterance can result from conflicting intentions, I want to argue that the single authorship view should be reinstated in those special cases where two or more agents are involved in the production of a filmic utterance and where the intentions of those agents are incompatible.

Svariati contributi comparsi negli ultimi decenni hanno avviato la parziale rilettura del pensiero linguistico di Aristotele. Su queste premesse, lo studio si propone, a partire dall’analisi dei testi più significativi, di ricostruire una teoria della metafora coerente con il resto del sistema filosofico aristotelico. Aristotele concepisce la metafora come un fatto di lingua, e ne delinea le principali caratteristiche e funzioni all’interno della comunicazione. Per Aristotele, tuttavia, la metafora è anche il segno del processo mentale che l’ha prodotta. Il pensiero metaforico, che soggiace alla metafora intesa semplicemente come tropo, è un’attività cognitiva che si fonda sulla capacità umana di cogliere la somiglianza. A sua volta, il vedere ciò che è simile è una capacità che precede il linguaggio, ma tuttavia si connette inevitabilmente ad esso sul piano sia analogico che logico, nel momento del concepimento di un giudizio. Il processo metaforico è dunque uno strumento di conoscenza che, procedendo dal pensiero al linguaggio, permette all’uomo di cogliere le relazioni tra gli enti, mettendolo a sua volta in relazione con il mondo. / Several studies have recently started a partial reinterpretation of Aristotle’s linguistics. Moving from these premises, this work tries to rebuild Aristotle’s theory of metaphor, in conformity with his philosophy and the analysis of his most relevant papers. Aristotle conceives metaphor a fact of language, and defines metaphor most important features and functions in relationship with communication. Nevertheless Aristotle means metaphor as a sign of the psychical process that produces it. Metaphorical thought, which is in our mind and which we can understand looking through the trope of metaphor, is a cognitive process, based on the human capability of catching similarity. Seeing what is similar is a capability that precedes utterance, but nevertheless it is connected to the language in an analogical and logical way every time we make an assertion. Metaphorical action is a cognitive appliance that, proceeding from thought to utterance, makes man capable of understanding relationships between things, and brings man himself in relationship with the world.

Typically developing Spanish-English bilingual children's production of twelve grammatical morphemes was analyzed for accuracy and described as a function of their English mastery, as indexed by mean length of utterance (MLU). Results revealed positive trends in morpheme accuracy as MLU increased. Despite a large degree of between subject variability, the data demonstrated general patterns that were consistent with previous literature, namely that the rate and trajectory of morpheme acquisition differs from monolingual norms, and that particular morphemes are predictably more and less challenging for bilingual children to produce accurately. MLU "cut-points" were suggested based on functional breaks in accuracy for several morphemes. / text

Esta tese consiste em um estudo da composição musical como resposta a estímulos e motivações, a partir de reflexões sobre um grupo de peças compostas durante o doutoramento. O intuito é compreender e exemplificar o modo como vivências do compositor motivam suas intenções composicionais e expressivas e como o percurso criativo é responsivo a elas. A reflexão sobre a produção artística e teórica de outros compositores, bem como de pesquisas na área de teoria e da performance musical, contribui com a construção argumentativa do estudo. A tese está organizada em três capítulos. O primeiro capítulo aborda a composição musical como resposta, à luz do conceito de enunciado, segundo o entendimento de Mikhail Bakhtin, para quem a enunciação é delineada pela intenção do sujeito em um contexto específico, como parte de uma cadeia responsiva contínua. O segundo apresenta o conceito de intenção expressiva, o qual é compreendido como as primeiras conjecturas, reflexões e planejamentos do conteúdo sonoro da composição, a partir de escritos de Roger Reynolds. No terceiro capítulo, é focalizado o conceito de imaginário sonoro para abordar vivências e experiências musicais do compositor como motivação de suas intenções composicionais e expressivas. Neste capítulo, a concepção de imaginário sonoro apresentada por Fernando Cerqueira contribui para o entendimento do conceito. As conclusões traçam uma revisão sobre esta tese, evidenciam a realização dos objetivos e indicam possibilidades de desenvolvimentos futuros do estudo da composição musical como resposta. Constata-se que a composição musical como resposta ao imaginário sonoro do compositor é constituinte das diversas facetas que se desdobram do processo criativo do portfólio, colaborando para o entendimento da composição musical em âmbito mais abrangente. / This thesis consists in a study of musical composition as response to stimuli and motivations using a set of pieces composed during the doctorate as the starting point for the reflections. The purpose of this study is to understand and exemplify how the composer’s experiences motivate their compositional and expressive intentions, and how the creative process is responsive. The reflection on the artistic and theoretical production of other composers as well as researches in the music theory and performances field contributes to the argumentative construction of the study. The thesis is organized in three chapters. The first chapter approaches the musical composition as response in the light of the concept of utterance according to the understanding of Mikhail Bakhtin, for whom the utterance is delineated by the subject’s intents in a specific context as part of a continuous responsive chain. The second chapter introduces the concept of expressive intent which is understood as the first adumbration, reflections and planning of the content on the composition according to the writings of Roger Reynolds. The third chapter refers to the composer’s musical and affective experiences that motivate his compositional and expressive intent, by the concept of sound imagery. In this section Fernando Cerqueira’s ideas on sound imagery contributes to understanding the concept. The conclusions give a review of this thesis, demonstrate the accomplishment of the objectives and point to further developments in the study of musical composition as response. This reflection ascertains that the approach of musical composition as a response to the composer’s sound imagery is constitutive of various facets which make up the creative process of the portfolio, contributing to the understanding of musical composition on a broader scope.