A proposta do presente trabalho é estudar a poesia de Manuel Bandeira, atentando para o diálogo que nela se estabelece entre a lírica medieval e a lírica moderna. A partir da análise de determinadas composições, indica-se as ideias tópicas (os topoi) da Idade Média reinterpretadas e reelaboradas na poética de Bandeira tais como: a inacessibilidade do ser amado, a consagração da submissão absoluta, humilde e paciente e a total entrega bem como se aponta a releitura de certos tópicos, como o senhal e a não-nomeação da amada, no contexto da modernidade e do modernismo brasileiro. / The proposal of this study is to analyse and interpret Manuel Bandeira´s poetic production, focusing on the dialogue entertained between the medieval and the modern poetry. Considering the analysis of certain poems of the Brazilian poet, we aim at eliciting the main ideas from the Middle Age that can be reinterpreted and reelaborated in Bandeira´s poetic works for instance: inacessibility of the loved person, total submission and subservience, and the humble and patient attitude of the troubadour towards the lady as well as the intention is to indicate the different approach to certain procedures, including senhal and the convention that prescribes that the identity of the beloved lady has to be maintained in secret, unveiled all this in the context of modernity and Modernism in Brazil.

Nursery Rhymes are understood as popular demonstrations and express feelings of regionality, ascendancy and originality, reflecting the rooting of acquirements and everyday experiences of the individual and the social group of belonging. Characterized as cultural practices, the nursery rhymes carry elements that cross generations and move in time and space. This research aims to analyze the Social Representations (SR) of teachers and parents of students on the played and sung nursery rhymes within schools that belong to the Sistema Municipal de Educação de Chapadinha, in Maranhão. The Social Representations in this research acquire a main character, because they allow recognizing at the same time the importance of nursery rhymes as a cultural practice and a didactic teaching, which provides the appreciation of the local culture and the rescue of values that tend to disappear on the current modernity in which we live. The exploratory and descriptive research is guided by a plan that gathers as instruments of data collection semi-structured interviews with teachers, meetings with focus groups of parents of students, previously marked and organized according to their availability of time and space, as well as the analysis of official documents that establish the guidelines to be worked in the first and second years of elementary school (Escolas do Campo) of the city of Chapadinha, besides observation reports, resulting from remarks made in situ. The data comprehension was performed by content analysis underneath the theoretical perspective that guides this approach, providing as a result the understanding that nursery rhymes meet childhood needs of the students because as cultural practices where they find the possibilities that can guide their learning, socialization and intersubjective exchanges interests, which, for them, are significant because they see themselves and find themselves within the perspectives of experienced context. / As cantigas de roda, entendidas como manifestações culturais populares, expressam sentimentos de regionalidade, de ascendência e de originalidade, traduzindo o enraizamento dos saberes e das experiências cotidianas do indivíduo e do grupo social de pertencimento. Caracterizadas como práticas culturais, as cantigas de roda carregam elementos que perpassam as gerações e se movimentam no tempo e espaço. Esta pesquisa se propõe a analisar as Representações Sociais (RS) de docentes e de pais de alunos sobre as cantigas de roda brincadas e cantadas no âmbito das escolas pertencentes ao Sistema Municipal de Educação de Chapadinha, no Maranhão. As Representações Sociais, nesta pesquisa, adquirem um caráter central, pois permitem reconhecer, a um só tempo, a importância das cantigas de roda como práticas culturais e didático-pedagógicas, que propiciam a valorização da cultura local e o resgate de valores que tendem ao desaparecimento na atual modernidade em que se vive. A pesquisa exploratória e descritiva orienta-se por um plano, que reúne como instrumentos de coleta de dados as entrevistas semi-estruturadas com os professores, os encontros com os grupos focais dos pais de alunos, previamente marcados e organizados de acordo com suas disponibilidades de tempo e de espaço, bem como a análise dos documentos oficiais que estabelecem os saberes a serem trabalhados nos 1 e 2 anos do ensino fundamental das Escolas do Campo da cidade em questão, além de notas de campo, resultante de observações realizadas in loco. A interpretação dos dados foi realizada por meio da análise de conteúdo, sob a perspectiva teórica que orienta esta abordagem, oferecendo como resultado a compreensão que as cantigas de roda atendem às necessidades lúdicas dos alunos, porque, como práticas culturais, nelas encontram as possibilidades que podem guiar os seus interesses de aprendizagens, de socialização, de trocas intersubjetivas, que, para eles, são significativas, porque se vêem e se encontram dentro das perspectivas do contexto vivenciado.

Orientador: Gladis Massini-Cagliari / Banca: Luiz Carlos Schwindt / Banca: Cristina Martins Fargetti / Resumo: Esta Dissertação tem como objetivo principal analisar o estatuto prosódico das palavras aumentativas e diminutivas no Português Arcaico (PA) como formas simples ou compostas, a partir da observação dos fenômenos prosódicos desencadeados pelo processo morfofonológico da adjunção dos sufixos de grau -inno e variações, para o diminutivo, e -on(a), para o aumentativo, no galego-português, século XIII. As formas aumentativas e diminutivas em PA foram analisadas por meio de um corpus constituído pelas 420 cantigas religiosas em louvor à Virgem Maria, denominadas Cantigas de Santa Maria (CSM), compiladas pelo Rei Sábio de Castela, Afonso X (1221-1284), e pelas 431 cantigas de escárnio e maldizer, contidas nos cancioneiros profanos. A metodologia deste estudo é similar à proposta por Massini-Cagliari em seus trabalhos de 1995 e 2005 - por meio da escansão dos versos em que se encontram as ocorrências mapeadas pudemos localizar o acento poético e, consequentemente, o acento nas palavras, facilitando a investigação da estrutura prosódica dos nomes aumentativos e diminutivos no período arcaico de nossa língua. Após o mapeamento das ocorrências, foram investigadas algumas propriedades dos diminutivos e dos aumentativos sob a ótica da Fonologia Lexical (FL) e da Fonologia Prosódica. A partir disso, pudemos concluir que tanto as formas aumentativas como as formas diminutivas em -inn(o,a) são formas simples, uma vez que a Regra de Atribuição de Acento nessas formas ocorre em seu interior e, devido a isso, pode-se afirmar que os aumentativos e os diminutivos em -inn(o,a) correspondem a apenas uma palavra fonológica com um único acento, que é formada no léxico. Por outro lado, os diminutivos em -cinn(o,a) apresentam comportamento prosódico um tanto diferenciado dos aumentativos e diminutivos em -inn(o,a). Constatou-se que o padrão acentual destas formas aponta... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This dissertation aims to analyse the prosodic status of augmentative and diminutive words in Archaic Portuguese (AP) as simple or compound forms, through the observation of prosodic phenomena produced by the morphophonological process of grade suffixes attachment: -inno and its variations for the diminutive, and -on(a), for the augmentative, in Galician Portuguese, 13th century. The augmentative and diminutive forms have been analysed from a corpus composed by 420 religious cantigas in honor of Virgin Mary, called the Cantigas de Santa Maria (CSM), compiled by the wise king of Castile, Alfonso X (1221-1284), and 431 satirical cantigas, called "cantigas de escárnio e maldizer", contained in the compilations of secular poems. The methodology is similar to that proposed by Massini-Cagliari in her studies (1995 and 2005): through the metrified verses where the mapped words appear we can find the poetic stress and, consequently, the word stress, making the investigation of prosodic structure of augmentative and diminutive forms in Archaic Portuguese easier. Thereafter the mapping of these forms some properties of diminutive and augmentative were investigated by way of Lexical Phonology (LP) and Prosodic Phonology. From this, we conclude that not only the augmentative but also the diminutive words in -inn(o) are simple forms, because the Stress Attribution Rule in these nouns occur in the limits of the word and, due to this, it is possible to state that augmentatives and diminutives in -inn(o) correspond to only one phonological word with only one stress, which is formed in the lexical level. On the other hand, the diminutives in -cinn(o) have a prosodic behavior rather differentiated. We noticed that the stress pattern of these forms point to the existence, like in Brazilian Portuguese (BP), of two prosodic prominences. Therefore, the Stress Attribution Rule is applied between... (Complete abstract click electronic access below) / Mestre

This research project explores an area which had been touched only tangentially, being a comparative analysis of the idea and interpretations of friendship which emerge from the three vernacular collections attributed to the supervision of King Alfonso X of Castile (1252-1284): namely the Marian songs Cantigas de Santa María, the law code known as the Siete Partidas and the chronicle Estoria de España. These sources have been examined by adopting a thematic approach which has highlighted the existence of categories such as spiritual, religious and political friendships, as well as other forms of amicable relationships, including those between representatives of different religious, ethnic and social groups. Additionally, this study demonstrates that there was a conscious adoption of a specific lexicon of amicitia which contributed to reinforce either the opposition or the coincidence between friendship, companionship and counsellorship. Despite the undeniable inheritance of both classical eastern and western traditions, the works of the ‘Learned’ King present a peculiar idea of friendship which was deeply affected by contemporary historical contingencies and by the political and cultural projects of a sovereign who wanted to be regarded as a friend of his people, without denying, however, the unbridgeable gap which existed between different social groups. Interestingly, even if the Alfonsine works display a complicated range of relationships which envisage clear differences, they still outline a perfectly-balanced system within which the general and untouchable rules of friendship predominated, although in some cases certain variants were allowed in order to adapt such general requirements to contemporary social and political situations.

xiii, 322 p. : col. ill. / Before Spain encountered the Americas, it first encountered the sea. This dissertation explores the roots of that encounter by examining perceptions of the sea in late medieval Castile-Leon reflected in art, literature, and law. It analyzes the changing attitudes of the Castilians towards the sea through an examination of its perceived place in their world, underscoring the complexity of Castilian attitudes toward the dangers and opportunities presented by the marine environment. Conceptual separation and union serve as the two foundational concepts employed for the analysis of evidence from each of the three genres under examination. Each genre highlights in various ways either the strong contrast drawn between land and sea or their seeming union conceptually. These complexities are manifest in a broad variety of sources, from collections of miracle tales to fifteenth century romances. Analysis of legal distinctions between land and sea reveal significant differences in perception regarding the nature of each environment and the rights and responsibilities of Castilians acting in either. Findings include that artistic sources reveal that a fearful attitude toward the sea accentuated by helplessness before its power dominated thirteenth century imagery, contrasting with the greater unity of land and sea reflected in miniatures from fifteenth century sources. A similar pattern of separation and union emerges in the literary evidence, where fear of the loss of agency when traveling at sea in early sources gives way to fifteenth century examples that praise its value. A comparison of the laws contained in the Siete Partidas with the late medieval records of the Cortes of Castile-Leon reveals that while the Castilian monarchs tended to consider the sea as firmly outside of their realm throughout the majority of the period of this study, strategic necessity led to an inexorable growth in the importance of the sea in the affairs of the kingdom generally. Together, the evidence supports the conclusion that by the mid-fourteenth century the view of the sea as other, typical of all early Castilian sources, gave way to a fifteenth century perspective that welcomed it in many respects, laying the foundation for the development of a great maritime empire. / Committee in charge: Lisa Wolverton, Chairperson; Robert Haskett, Member; David Luebke, Member; David Wacks, Outside Member

Made available in DSpace on 2014-06-11T19:32:48Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-08-20Bitstream added on 2014-06-13T20:43:48Z : No. of bitstreams: 1 costa_ds_dr_arafcl.pdf: 4693120 bytes, checksum: ac0e9a0c46593fd4bab80819608c224c (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta tese de doutorado tem por objetivo confirmar a possibilidade de uma conexão entre a música e a linguística no desenvolvimento de uma nova metodologia para o estudo da prosódia de línguas mortas ou de períodos anteriores de línguas vivas. Tal metodologia baseia-se, resumidamente, na observação das proeminências musicais de textos poéticos musicados, na observação das proeminências linguísticas do texto dos poemas, junto com a observação da estrutura métrica dos mesmos. Sendo assim, partiu-se da ideia de que o tempo forte do compasso musical (o primeiro tempo) marca preferencialmente uma proeminência no nível linguístico, podendo servir de base para a localização das sílabas tônicas das palavras do texto, o que poderia fornecer pistas para o estudo do acento lexical de palavras em línguas que já não possuem falantes, nem registros orais. O corpus utilizado na pesquisa que sustenta essa tese constitui-se de um recorte das cem primeiras Cantigas de Santa Maria de Afonso X, tomadas a partir das suas versões transcritas por Anglés (1943) para a notação musical atual. Os dados foram coletados por meio da elaboração de fichas de análise, as quais mostram, de maneira clara, as coincidências entre proeminências nos níveis musical e linguístico. Vale ressaltar que foram coletadas trinta e oito mil e dezoito palavras, por meio das quais foi possível analisar a atribuição do acento lexical nas três pautas prosódicas existentes no português arcaico (oxítonas, paroxítonas e proparoxítonas), além e abrirmos uma discussão a respeito da tonicidade de monossílabos e o status prosódico de clíticos; também foi possível analisar a ocorrência do acento secundário, uma das maiores contribuições deste trabalho para a descrição da prosódia dessa língua. Dialogando com os trabalhos de... / This thesis aims to confirm the possibility of a connection between Music and Linguistics on the development of a new methodology applied to the study of the prosody of dead languages or ancient periods of living languages. This methodology is based on the observation of musical prominences of poetic texts with musical notation, and on the observation of linguistic prominences of the texts, considering their metrical structure. There is a great probability of the musical stresses (the first beat of the measure) to coincide with the stressed syllable of the words. This fact provides clues for the study of lexical stress in past periods of the language. The corpus used for this research is composed by the first hundred Cantigas de Santa Maria, which were compiled by Alfonso X and transcribed for the contemporary musical notation by Anglés (1943). The data were collected by means of the elaboration of boards which show the coincidences between prominences at musical and linguistic levels. It is important to point out that thirty eight thousand and eighteen words were collected; this fact enabled the analysis of the attribution of the lexical stress in Medieval Portuguese. Moreover it was possible to discuss the prominence grade of monosyllables and to analyze the occurrence of secondary stresses, maybe the largest contribution of this research in the description of the prosody of that language. Dialoguing with previous researches such as Massini-Cagliari (1995, 1999, 2005) and Costa (2006) - regarding the attribution of the lexical stress in Medieval Portuguese - and Collishonn (1994) - regarding the secondary stress in Brazilian Portuguese - we could verify that the methodology developed in this thesis brought significant contributions for the description of the Medieval Portuguese phonological component as it allowed the analysis of... (Complete abstract click electronic access below)

A dança e a música dos Cocos e Sambas de Caboclo, do Samba rural e das Cirandas e cantigas de roda, por suas características próprias de ludicidade e de significação cultural, são o território das experiências estéticas e saberes dos jogos rapsódicos. Esta pesquisa propõe uma pedagogia das artes cênicas através de uma educação corporal e musical que integra tais saberes e experiências da dança popular e da música nos processos de criação e aprendizagem do atuante. Deste modo, os jogos rapsódicos são brincadeiras cantadas, dançadas, tocadas e contadas que colocam em movimento as vozes poéticas e corporeidades do narrador e do brincante das nossas celebrações e práticas culturais, para complementar as teorias e métodos da pedagogia das artes cênicas ensinados no Brasil. / Dance and music of Coco and Caboclo\'s Samba, from rural Samba and from Cirandas, Northeastern Brazilian circle dances, for their own playful features and their cultural meaning, are territory for aesthetic experiments, and knowledge for the rhapsodic games. This research proposes performimg art pedagogy by means of body and musical education, which integrates such knowledge and experience of popular dance and music into the actor\'s processes of learning and creation. Thus, rhapsodic games are sung, danced, played and told games, which prompt the poetic voices and corporeity of narrators and players from our celebrations and cultural practices, in order to complement the theories and methods of the performing art pedagogy taught in Brazil.

Made available in DSpace on 2016-04-28T18:23:37Z (GMT). No. of bitstreams: 1 Ulisses Tadeu Vaz de Oliveira.pdf: 516269 bytes, checksum: 0844816fc09b2fcd6b0196adc281a80d (MD5) Previous issue date: 2008-02-19 / The galego-portuguese chants have been traditionally studying by brilliant philologists that been made huge advances in terms of understanding what was the galego-portuguese language and its production context. However, the galegoportuguese chants have a lot to offer to any researcher interested to investigate its particularities. In fact, the traditional methodologies and proceedings applied in the medieval texts analysis, specially in the galego-portuguese chants, could not examining appropriately the implications of the context in the text; as: ideology, courtesy, education, formation, ways of production, etc. Admitting this reflection and presenting a new purpose, this research develops a multifunctional critic analysis (Fairclough, 1992) of D.Dinis galego-portuguese chants (a great king and troubadour, c.f. Vasconcelos, 1943), trying to identify a collection of ideas arose from education, ethic, esthetic, courtesy and a knight ideal (Ceschin, 1998) inside these texts through the standings of: fegnedor (or aspirant), precador (or suppliant), entendedor (or suitor) and drut (or lover) (Spina, 1996:363). Since the analysis focus the lyrical chants, we re only going to talk about the standings of fegnedor, precador and entendedor; intending to understand: (a) how the linguistic analysis can contribute to reveal the ideological complexes that permeate the speech of fegnedor in love chants and precador in friend chants. (b) how fegnedor and precador can behave linguistically in this context? To achieve these objectives and make a multifunctional analysis (a method of textual linguistic analysis associate with a social theory of the language functioning in ideological processes), we mainly adopt the theoretical framework of Systemic-Functional Linguistics (Halliday, 1985, 1994) specially the ideational and interpersonal metafunctions, complemented by proposes of Critical Discourse Analysis, Register and Genre Theory (Eggins & Martin, 1997), Appraisal (Martin, 2000, 2003), and the concepts of Logogenesis (Halliday, 1994) and Resonance (Thompson, 1998). The Systemic-Functional Linguistics is distinguishable from other relate theories because it views language as a social semiotic, including the cultural and situational contexts implications. Therefore, by its perspective, we determine some obrigatory and optional stages in D.Dinis lyrical chants, as well examine the interface between social context and ideological issues on Middle Ages and the chants language (fegnedor and precador stances), we are able to map some social regulations and the ability of troubadours to compose these texts / As cantigas galego-portuguesas têm sido estudadas tradicionalmente por ilustres filólogos, e seus estudos avançaram muito na compreensão do que foi a língua galego-portuguesa e seu contexto de produção, porém as cantigas galegoportuguesas ainda têm muito a oferecer ao pesquisador que nelas se debruça, bem como aos estudantes que por elas se interessam. De fato, as ferramentas metodológicas e procedimentais utilizadas nas análises tradicionais dos textos medievais, em especial as cantigas galego-portuguesas, não conseguiram analisar satisfatoriamente as implicações do contexto no texto; a saber: ideologia, cortesia, educação, formação, meio de produção, etc. Partindo desta reflexão, de forma inédita até então, esta pesquisa realiza uma análise crítica multifuncional (Fairclough 1992) das cantigas líricas galego-portuguesas de D.Dinis (grande rei e trovador, c.f. Vasconcelos, 1943), buscando identificar um ideário inspirado na educação, ética, estética, cortesia e cavalaria (Ceschin, 1998) e presentes nas cantigas galego-portuguesas através dos posicionamentos de: fenhedor (ou suspirante), precador (ou suplicante), entendedor (ou namorado) e drudo (ou amante) (Spina; 1996: 363). Como a análise se restringe apenas aos cantares líricos, trataremos apenas dos posicionamentos de fenhedor, precador e entendedor, visando compreender: (a) como a análise lingüística pode contribuir para revelar os complexos ideológicos que permeiam a fala do fenhedor nas cantigas de amor e do precador nas cantigas de amigo?; (b) como podem se comportar lingüísticamente o fenhedor e o precador considerando esse contexto. Para atingir esses objetivos e realizar uma análise crítica multifuncional (um método de análise lingüística textual com uma teoria social do funcionamento da linguagem em processos ideológicos), adotamos prioritariamente os pressupostos teóricos da Lingüística Sistêmico-Funcional (Halliday, 1985, 1994) e as metafunções ideacional e interpessoal, complementada pelas propostas da Análise Crítica do Discurso, a Teoria de Gêneros e Registros (Eggins & Martin, 1997), as propostas de avaliatividade (Appraisal), de Martin (2000, 2003), e os conceitos da Logogênese (Halliday, 1994) e Ressonância (Thompson, 1998). O que distingue a Lingüística Sistêmico-Funcional é que ela estuda o caráter social da língua, relacionando-a ao contexto cultural e situacional. Portanto, através dela, conseguimos delinear alguns estágios obrigatórios e opcionais nas cantigas líricas de D.Dinis, bem como, mapear a cátedra e o engenho do trovador, examinando a interface entre o contexto social e implicações ideológicas da Idade Média com a linguagem das cantigas e o contraste entre os posicionamentos de fenhedor e precador

A dança e a música dos Cocos e Sambas de Caboclo, do Samba rural e das Cirandas e cantigas de roda, por suas características próprias de ludicidade e de significação cultural, são o território das experiências estéticas e saberes dos jogos rapsódicos. Esta pesquisa propõe uma pedagogia das artes cênicas através de uma educação corporal e musical que integra tais saberes e experiências da dança popular e da música nos processos de criação e aprendizagem do atuante. Deste modo, os jogos rapsódicos são brincadeiras cantadas, dançadas, tocadas e contadas que colocam em movimento as vozes poéticas e corporeidades do narrador e do brincante das nossas celebrações e práticas culturais, para complementar as teorias e métodos da pedagogia das artes cênicas ensinados no Brasil. / Dance and music of Coco and Caboclo\'s Samba, from rural Samba and from Cirandas, Northeastern Brazilian circle dances, for their own playful features and their cultural meaning, are territory for aesthetic experiments, and knowledge for the rhapsodic games. This research proposes performimg art pedagogy by means of body and musical education, which integrates such knowledge and experience of popular dance and music into the actor\'s processes of learning and creation. Thus, rhapsodic games are sung, danced, played and told games, which prompt the poetic voices and corporeity of narrators and players from our celebrations and cultural practices, in order to complement the theories and methods of the performing art pedagogy taught in Brazil.