Ph.D. / Evolution of life as a scientific theory was introduced officially into the South African life sciences grade twelve curriculum in 2008. This presented an opportunity to investigate how teachers could incorporate teaching strategies, involving the use of narratives and concept cartoons, into their pedagogical content knowledge to encourage the use of higher-order thinking skills and deep learning about evolution, a new topic in the curriculum. Little research has been done on how narratives and concept cartoons contribute to the development of higher-order thinking skills in teachers and their ability to use these teaching strategies to effect a better conceptualization of evolution. A mixed methods research design was adopted to establish generalizations about the teachers’ higher-order thinking skills as well as to explore their individual worldviews about evolution as a scientific theory and their perceptions about the controversy between science and religion. The quantitative and main part of the study involved a (quasi)experimental format based on interventions focusing on workshop presentations using either narratives or concept cartoons. A pre-test and post-test format was used to measure the effect of the treatments. A rubric, based on the Piagetian levels of concept development, was designed to transform qualitative responses into quantitative data. The responses to five open-ended questions of a questionnaire were analyzed using the Wilcoxon Signed Rank test and the Mann-Whitney U test. The smaller and supportive phase of the study involved categorizing and then analyzing qualitative data, derived from different artifacts and responses to the questionnaire, in order to establish how the teachers’ worldviews influenced their perceptions of the evolution of life, the nature of science and religion. An embedded concurrent mixed methods design allowed for the simultaneous generation and collection of quantitative and qualitative data. The findings were integrated and mixed to give a clearer and more global picture not only of the teachers’ ability to use higher-order thinking skills but also to reflect their conceptual ecologies of evolution.

Le but de cette recherche est la description des formes de fonctionnement diégétique-cognitive des dessins animés de la télévision hertzienne au Chili, et leurs conditions de circulation (offre) et consommation pendant l’année 2000. L’analyse du rapport entre la description de la grille de programmation, l’audience (description statistique), les mondes diégétiques et les conditions cognitives présupposées (analyse qualitatif), nous permettra de constater que les dessins animés japonais sont les plus regardés au Chili, même s’ils ne sont pas les plus programmés.Les dessins animés japonais sont complexes : leur construction narrative ne se fait pas au sein d’une histoire linéaire, ils supposent beaucoup de savoirs pour les comprendre, ils ont des structures que les consommateurs doivent appréhender à travers plusieurs médias et supports différents. Nous pouvons donc affirmer que cette préférence est en corrélation avec l’existence de procès cognitifs complexes chez les téléspectateurs, réalité que nous avons pu découvrir grâce à une enquête appliquée à 300 cas différenciés par strate sociale, genre et âge ; ainsi que grâce à une recherche ethnographique qui nous a permis de découvrir d’autres circuits de circulation des objets culturels (grands magasins et magasins spécialisés liés à l’animation). L'étude sociologique et ethnographique de la réception nous a permis de comprendre, entre autres choses, que les jeunes téléspectateurs construisent leur identité autour des dessins animés japonais. Comme le démontre la recherche que nous avons menée, le goût pour l’anime japonais est lié à sa complexité, et en outre, l’attribution de valeur aux savoirs qui s’y rapportent est repérable chez les enfants âgés de 11 ans ou moins, ainsi que chez les adolescents ayant entre 12 et 15 ans. Alors, à travers de la recherche on a découvert une forme de fonctionnement cognitive complexe basée en comprendre hypertextes qu’ils sont possibles de saisir dans les magasins spécialisés, sur l'écran de télévision, dans Internet, en existant l’émergence de deux espaces d'identification: le non lieu de l'animation même et le lieu des magasins spécialisés, réalité de fonctionnement de la consommation de l’animation japonaise de l'époque. Dans le Chili de l’année 2000 il y a d’Internet dans tous les collèges, mais l'ordinateur et l'Internet n'arrive pas à tout les citoyens, seulement aux strates moyennes et haute, et les jeunes dans cette époque font l’usage du cybercafé pour l’acquisition des information sur l’animation, non Facebook, non Twitter, mais, il s’origine un savoir complexe de fonctionnement hypertextuel, préalable à la société des réseaux d'aujourd'hui, Car, la recherche est une contribution à comprendre une phase de transition préalable à la réalité actuelle, il s’agit de la description d’une partie de notre patrimoine culturel.La méthodologie de travail s’est construite autour de trois axes : des outils statistiques, une analyse qualitative des séries et une étude ethnographique des lieux de circulation. / The aim of the research is to describe cognitive diegetic operating modes in cartoons transmitted in open access television in Chile, as well as their traffic conditions (supply) and consumption during 2000. The analysis draws correlations between the scheduler’s description of the programming, the audience (statistical description), and the cognitive worlds and proposed diegetic protocols (qualitative analysis). Such description will allow us to detect that Japanese cartoons are the most popular and that this does not correspond to what most Chilean television channels program. Japanese cartoons are complex; there is no linear storytelling, and instead they require a vast amount of knowledge for comprehension, which their consumers acquire through reading in various supports and media. In this context "the most watched cartoons correspond to those where there is presence of complex cognitive processes," which was detected through a survey (300 cases, differentiated by social class, gender and age) and ethnographic research has allowed us to discover other circuits’ circulation of cultural objects (department stores / specialty stores). This sociological and ethnographic study of reception allowed us to understand how some Japanese cartoons’ young viewers build their identity. The consume of Japanese animation how much one knows about the series with the attribution of a value that strengthens them the construction of their identity, which is more developed to less equal age of 11 years and 12-15 years. The significance of the series in relation to the real world (diegetic world’s presuppositions) is not taken into account by the channels. The taste for Japanese animation allows one to link how much one knows about the series with the attribution of a value that strengthens their identity or indeed constructs it. This is more prevalent in groups aged 11 and below and ages 12-15. The significance of the series in relation to the real world (diegetic world’s presuppositions) is not taken into account by the channels. The design of statistical tools league qualitative research and analysis on the series with ethnographic studies of the circulation of such cultural objects. / El objetivo de esta investigación es la descripción de las formas de funcionamiento diegéticas cognitivas de los dibujos animados de televisión abierta (hertziana), y sus condiciones de circulación (oferta) y consumo durante el año 2000. El análisis de la relación entre la parrilla de programación, la audiencia (descripción estadística), los mundos diegéticos y las condiciones cognitivas presupuestas (análisis cualitativo)nos permite constatar que los dibujos animados japoneses son los más vistos en Chile, incluso cuando no son lo más programado.Los dibujos animados son complejos: su construcción narrativa no se desarrolla al interior de una historia lineal, ellos suponen muchos saberes para comprenderlos, conocimientos que los consumidores deben aprehender a través de medios y soportes diferentes.. Nosotros detectamos que esta preferencia está en correlación con la existencia de procesos cognitivos complejos de los jóvenes espectadores, a través de 300 encuestas diferenciadas por estrato social, género y edad, y a través de una investigación etnográfica que nos ha permitido detectar otros circuitos de circulación de los objetos culturales (grandes tiendas y tiendas especializadas ligadas a la animación). El estudio sociológico y etnográfico de la recepción me ha permitido comprender, entre otras cosas, que los jóvenes espectadores construyen su identidad en torno a los dibujos animados japoneses. Como lo hemos demostrado en la investigación, el gusto por la animación japonesa está ligada a la complejidad y a la asignación de un valor cultural respecto a saber sobre los dibujos animados japoneses en aquellos de edad de 11 años y en aquellos que tienes entre 12 y 15 años.En definitiva, a través de la investigación se ha descubierto una forma de funcionamiento cognitiva compleja basada en comprender hipertextos obstenidos tanto en las tiendas especializadas, en la pantalla de televisión, en Internet, existiendo la emergencia de dos espacios de identificación: el no lugar de la animación misma y el lugar de las tiendas especializadas, realidad de funcionamiento del consumo de animación japonesa de la época, el año 2000, donde si bien en Chile Internet está en todos los colegios, el computador e Internet no llega a cada casa, sólo a los estratos medios, y los jóvenes en dicha época usaban el cibercafé para conectarse y obtener información sobre el animé, sin facebook, ni twitter, se va perfilando un saber complejo de funcionamiento hipertextual, previo a la sociedad en redes de hoy, constituyéndose, entonces, en una contribución a comprender una fase de transición previa a la realidad actual, luego una parte de nuestro patrimonio cultural. La metodología de trabajo se ha construido alrededor de tres ejes: herramientas estadísticas, análisis cualitativos de las series y un estudio etnográfico de los lugares de circulación.

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Made available in DSpace on 2017-06-01T18:24:48Z (GMT). No. of bitstreams: 1 cristiane_renata_silva_cavalcanti.pdf: 1090141 bytes, checksum: bc3886a20ac9553d5ad0b113f63f5847 (MD5) Previous issue date: 2013-06-14 / This work focuses on discourse analysis of cartoons in the newspapers with a circulation of Pernambuco, O Globo and Folha de São Paulo, during the second round of the elections for President of the Republic of Brazil in 2010, from the theoretical methodological and Discourse Analysis. Its aim is to show how the effects of meaning of the charges are given from the relationship between the conditions of production (historicity) and discursive memory that, as an element, traverse the discursive object in their level of development of verbal/não- verbal nature and constitution, comprising well as discursive memory is important to understand the process of production of meaning in these discourses. As a starting point for creating the discursive corpus, we consider the major journalistic events of this period, which led us to cut for analysis only cartoons that circulated during the election campaign in the 2nd round of elections. The analysis focuses on the discovery that memories are mobilized in discourse chargístico and how they are involved in the mobilization of the senses and are essential to understanding Paraphrase and polysemic movements, producing other senses in these discursive practices. For recognition of the corpus, 12 were selected charges from three newspapers subdivided into thematic paths that were more evident in the media, in the period from 01 to 31 October 2010. We have seen throughout the analysis that the charges, although they occupy different places to say, parafrásticos produce meanings that guarantee the formation of a memory that holds the words, because there is only sense because had ever felt before, allowing it go up and sliding turning when in circulation in different producing the externality, which is present in the discourse, deriving other senses. Thus, we observe that the work assumes the perennial incompleteness of language, including the mean will always point drift to other senses. Then through the recollection of facts and speeches, materialized in words pictures, research can help to think of the importance of movement memories: discursive and social, that interferes with the production of meaning in charges. / Este trabalho tem como foco a análise do discurso de charges com circulação nos jornais Diário de Pernambuco, O Globo e Folha de São Paulo, no período do segundo turno das eleições para Presidente da República do Brasil no ano de 2010, a partir dos pressupostos teóricos e metodológicos da Análise de Discurso. O seu objetivo é mostrar como os efeitos de sentido das charges se dão a partir da relação entre suas condições de produção (historicidade) e a memória discursiva que, enquanto elementos constitutivos, atravessam o objeto discursivo em seu nível de formulação de natureza verbal/nãoverbal e de constituição, compreendendo, assim, como a memória discursiva é importante para se entender o processo de produção de sentidos nesses discursos. Como ponto de partida para a composição do corpus discursivo, consideramos os principais acontecimentos jornalísticos desse período, que nos levaram a recortar para análise somente charges que circularam durante a campanha eleitoral do 2º turno das eleições. As análises centram-se na verificação de que memórias são mobilizadas no discurso chargístico e como elas intervêm na mobilização de sentidos e são essenciais para entender os movimentos parafrásticos e polissêmicos, produzindo sentidos outros nessas práticas discursivas. Para constituição do corpus, foram escolhidas 12 charges dos três jornais subdivididas em trajetos temáticos que mais foram evidenciados na mídia, no período de 01 a 31 de outubro de 2010. Vimos ao longo das análises, que as charges, embora ocupem lugares diferenciados de dizer, produzem sentidos parafrásticos que garantem a constituição de uma memória que sustenta os dizeres, pois só há sentido porque antes já havia sentido, possibilitando que o mesmo vá se deslizando e se transformando quando se encontra em circulação na exterioridade produzindo o diferente, que se faz presente no discurso, derivando outros sentidos. Assim, observamos que o trabalho pressupõe a perene incompletude da linguagem, compreendendo que o dizer sempre será ponto de deriva para outros sentidos. Então através da rememoração dos fatos e dos discursos, materializados em palavras-imagens, a pesquisa pode contribuir para pensarmos na importância da circulação de memórias: discursiva e social, que interferem na produção de sentidos nas charges.

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This thesis concerns with media models of preschool child resilience. The theoretical part summarizes knowledge about developmental period of preschool child, social learning, imitation and human resilience. Further it is devoted to the media issue, especially media communication influence, child viewer and model learning per television transmission. The empirical part contains qualitative research of eighteen child animated cartoons. There were demanding situations and the coping strategies explored in the analysis. After their evaluation we recommended advisable child cartoons from the perspective of potential influence on resilience development of preschool child in the sense of self-efficacy, and comparison of Czech and foreign production. KEY WORDS Resilience, self- efficacy, imitation, media, television, animated cartoons, qualitative research

A presente tese, inserida no campo de estudos da Comunicação e das Linguagens em suas relações com o processo de produção de sentido nas mídias, investigou as relações entre os diferentes formatos do conto O enfermeiro, de Machado de Assis, modelizados por meio de diversos mecanismos semióticos. O estudo possibilitou o resgate da vida cotidiana brasileira do século XIX, suas características e transformações sociais. Comprovou como foram construídos estes processos de produção textual por meios e tempos-espaços diferenciados como jornal (1884), livro (1896), produção cinematográfica (1998) e histórias em quadrinhos (2005). Analisar as modelizações deste texto da cultura implicou um processo de conhecimento de códigos, tecidos significantes que interagem em específica produção de cultura, além de compreender e interpretar as possibilidades de semioses geradas por este texto da cultura em várias épocas e o que comunicavam como diálogo entre mídias. Por esta razão, o raciocínio teórico foi baseado nos estudos da semiótica da cultura, que se orientam pela compreensão de códigos culturais e de sua interação, transformação e transmutação. Especificamente, nos conceitos de Iuri Lotman (1996) sobre a traduzibilidade e sua perspectiva geral sobre cultura, de modo a ressaltar as diferenças e as singularidades de cada um dos sistemas de signos (comunicados) e o efeito estético produzido. Partimos da hipótese de ser este conto literário um texto da cultura roteiro apropriado para as transposições em história em quadrinhos e fílmica, o qual se presentica como um artefato condensado, criado a partir de um método planejado, que se revela como matriz - propensa a percorrer novos meios. A análise revelou que os novos textos modelizados reproduziram a linearidade da narrativa literária, ou seja, não houve mudanças na estrutura e no fio narrativo condutor específico dos diferentes sistemas, apenas surgiram características de diferentes códigos e geração de novas semioses. / The current proposition, introduced in the field of communication studies and languages in their relations with the meaning production process in the media, investigated the relationship between different shapes of the short story O Enfermeiro, from Machado de Assis, modeled by several semiotic mechanisms. The study allowed recovering the Brazilians daily life from nineteenth century, their characteristics and social changes. It confirmed how these textual production processes through elements and time-differentiated spaces have been built as newspaper (1884), book (1896), movie (1998) and cartoons (2005). The analysis of the modeling text raised a code knowledge process, woven significantly that interact in specific culture production, as well as understand and interpret the possibilities of semiosis generated by the text of the culture at several times and what they have spread as dialogue between medias. For this reason, the theoretical reasoning was established on the culture of semiotics studies, which are led by the understanding of cultural codes and their interaction, transformation and transmutation. Specifically, in the Yuri Lotmans (1996) concept related to the translatability and his general outlook on culture, in terms of highlighting the differences and peculiarities of each system of signs (reported) and the aesthetic effect produced. Considering the assumption for this short story, as a text of culture - appropriate itinerary moving to cartoons and movie, that appears as a condensed product, created from a planned method that is disclosed as a matrix - suitable to drive new ways. The analysis showed that the new modeled texts repeated the linearity of the literary narrative, i.e., no changes in the structure and no changes in the specific driver for different systems, emerging only characteristics of different codes that will generate new semiosis.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

Made available in DSpace on 2016-03-15T19:43:46Z (GMT). No. of bitstreams: 1 Marcia Maria Arco e Flexa Ferreira da Costa.pdf: 3141394 bytes, checksum: 4b8df58cbf92dbada6024e7c6b4e5010 (MD5) Previous issue date: 2010-05-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation aims to examine three episodes of the cartoon The Jetsons, from 1968, interrelating its various themes and images with the aphorisms of the philosopher Guy Debord in his book The Society of the Spectacle, 1967. This review sought to reflect on the cartoon as a spectrum of society, understanding spectrum as a ghostly image, shadow or reflection of reality. In the context of this work is indistinguishable from the real spectrum, therefore, overlapping, recreate the relationships in society. Reifying everything and everyone. Showing the relationship of the consumer audience, the fictional character that leaves in a society where relations are mediated by images. Seeking understanding between the individual and an alienated image of a man who is reified, while, in fact, is connected through the world by images that he thinks are real, but that lead for the individuals, their history and their relations in society overstepping themselves. We question how cartoons are seen from an outthought and generalist point of view many times. Naively seen by parents, teachers, educators and children - without proper interpretation and dialogue about the images, where themes are consumed through the television screen in a variety of ways and behaviors. Facing the relevance of the cartoon in culture, education and in children training, we point out through the decoupage of the episodes, the relationship of many attributes of the cartoon that were already described by Debord's understanding of the society and that, in another sense, prefigures the society to come. As for the insertion of the term "multicultural industry", this happened by assuming a step beyond the cultural industry, in the sense that the cartoon in this context is a product to be consumed in many countries in order to be profitable, therefore, has to be purchased by various cultures. The nature of the different subjects covered in the cartoon seems very relevant to society as growing students and futures citizens throughout history. For that reason, scored-issues such as technology, consumption, violence and alienation among the other topics are addressed in this dissertation through the cartoon. / A presente dissertação se propôs a analisar criticamente três episódios do desenho animado The Jetsons, de 1968, inter-relacionando seus diversos temas e imagens com os aforismos do filósofo Guy Debord, em sua obra A Sociedade do Espetáculo, de 1967. Essa análise crítica buscou refletir acerca do desenho animado como espectro da sociedade, compreendendo espectro como imagem fantasmagórica, sombra ou reflexo do real. No contexto deste trabalho o real se confunde com o espectro, pois, imbricados, recriam as relações na sociedade, reificando tudo e todos, trazendo à tona a relação do espectador consumidor, do personagem fictício criado na relação social mediada por imagens. Buscando a compreensão entre o sujeito ou o indivíduo que se assevera enquanto tal, mas é imagem alienada de um homem reificado que, enquanto mercadoria, se relaciona através de um mundo de imagens que ele pensa serem reais, mas que conduzem sua história e suas relações em sociedade. Problematizamos o modo como os desenhos são vistos de forma pouco reflexiva, de maneira geral vistos ingenuamente por pais, professores, educadores e crianças , sem a devida interpretação ou diálogo acerca das imagens e temas consumidos através da tela da televisão nos mais variados objetos e comportamentos. Frente à relevância do desenho animado na cultura, educação e formação infantil, pontuamos, através da decupagem dos episódios, a relação de diversos atributos do desenho à leitura que Debord já fazia da sociedade e que, noutro sentido, prefigura a sociedade ainda por vir. Quanto à inserção do termo indústria multicultural , este se deu por supor um passo além da indústria cultural, no sentido de que o desenho animado, neste contexto, é um produto a ser consumido em muitos países para ser rentável, sendo, portanto, comprado por diversas culturas. A natureza dos inúmeros temas tratados nos desenhos animados pareceu muito relevante frente à sociedade e ao cidadão em formação e, por esta razão, pontuaram-se questões como tecnologia, consumo, alienação e violência, entre os temas tratados no desenho e tão pertinentes ao desenvolvimento dos educandos cidadãos formados ao longo da história.