Cette étude s’intéresse au rapport des Anciens Égyptiens au sable, élément naturel omniprésent dans le paysage et le quotidien. Le problème est abordé d’un point de vue textuel et plus particulièrement lexicographique. Pour cela, les mentions de six termes appartenant au vocabulaire du sable sont examinées dans des textes mythologiques et rituels, sur une période comprise entre l’Ancien Empire et l’époque romaine. L’enjeu est de déterminer la perception du sable en contexte et de mettre en évidence les croyances élaborées autour de l’élément. Il s’agit de saisir les principes d’introduction du sable au discours religieux afin de mettre en lumière un mécanisme de pensée spécifique à la religion égyptienne : l’observation naturaliste. / This study focuses on the relations between Ancient Egyptians and sand, a natural element, ever-present in landscape and daily life. It is seen from a textual and especially lexicographical point of view. Therefore, quotes of six words related to the vocabulary of sand are studied in mythological and ritual texts from Old Kingdom to Roman Period. The aim is to establish the perception of sand depending on the context and to reveal the beliefs associated to sand. The introduction of sand in the religious speech is taken into account in order to highlight a way of thinking specific to the Egyptian religion : naturalistic observation.

Este trabalho teve por objetivo descrever e problematizar a natureza multimodal que o texto dramático (texto escrito para o teatro e texto oralizado/representado) instaura na prática escolar. Assumimos a hipótese de que escolarizar o híbrido constitui-se tarefa complexa, pois que o texto dramático restabelece o vínculo entre estrutura e ação, entre linguagem e corpo, entre saber e prática, exatamente o que a escola denegou como necessidade histórica de se legitimar como forma social autônoma (KRESS, 2000; VINCENT; LAHIRE; THIN, 2001; SOARES, 2002). Para subsidiar este estudo, procedemos a um levantamento de dados que nos aproximou, de forma gradativa, à prática de sala de aula (das representações do que seja ensinar/aprender texto dramático às condições de produção efetivas de ensino e aprendizagem desse gênero discursivo). A investigação das percepções/concepções sobre o ensino de texto dramático foi realizada por meio de análise documental de livros didáticos voltados ao 8º ano e 9º anos do ensino fundamental, publicados entre 2008 e 2010, aprovados pelo Programa Nacional do Livro Didático PNLD (BRASIL, 2010) e pela elaboração e aplicação de questionários a professores da rede pública de ensino, que lecionam língua portuguesa em municípios localizados no norte do Paraná; e alunos de 8os e 9os anos do Colégio Estadual Rodrigues Alves (Maringá-PR). A atuação didática em torno desse gênero correspondeu a uma pesquisa-ação com alunos do 8º ano do ensino fundamental, no contexto de ensino e aprendizagem do texto dramático na disciplina Língua Portuguesa, totalizando 30h/a. O procedimento buscou promover o seguinte percurso de recepção/produção de textos: assistir a uma peça em um teatro da cidade; ler a peça de teatro a que assistiu; escrever, coletivamente, o próprio texto dramático; encenar o texto que escreveu em um teatro da cidade. Para atender a cada um desses itens, foram elaboradas atividades organizadas em cinco (05) módulos didáticos: 1) Presentificação do Objeto de Ensino; 2) Produção de Leitura; 3) Produção Escrita; 4) Produção Oral e Multimodal e 5) Circulação. Para as discussões e análises foram necessárias várias teorias; dentre elas: a concepção bakhtiniana da linguagem (BAKHTIN/VOLOCHÍNOV, 2002[1929]; BAJTIN/MEDEVEDEV, 2003[1928]; BAKHTIN, 2003[1979], 2005[1929]), a contribuição teórico-metodológica dos pesquisadores genebrinos (DOLZ; SCHNEUWLY, entre outros, 2004), os estudos teatrais para concepção de texto dramático como gênero híbrido (MAGALDI, 1997; PAVIS, 2011; RYNGAERT, 1995; CHACRA, 2010; UBERSFELD, 2010), os pressupostos da multimodalidade que nos autorizam pensar texto dramático no ensino de língua materna (COPE; KALANTZIS, 2000; ROJO, 2009, 2013, 2014, DIONÍSIO, 2011, ROJO; MOURA, 2012; ROJO; BARBOSA, 2015) e a proposta modular para apreensão e produção de gêneros discursivos (LOPES-ROSSI, 2002, 2006, 2011, 2012), que nos ajudaram a desenvolver a pesquisa-ação (THIOLLENT, 2005[1985]; FRANCO, 2005). O estudo evidenciou que o texto dramático constitui desafio para o ensino de língua portuguesa, ao promover: i) a ampliação dos saberes convocados para produção/recepção desse gênero discursivo e de seus modos de apropriação (do escritural para o oral e destes para o multimodal); ii) a experimentação de práticas discursivas engendradas pela esfera teatral (ir ao teatro, efetuar leituras dramáticas, escrever peça, produzir cartazes de divulgação, encenar etc.) e iii) o desenvolvimento de competências relacionadas a esse objeto de ensino (linguístico-discursiva, interacional, comunicativa e expressiva). Nessa direção, o trabalho buscou contribuir para o aprofundamento dos estudos voltados à Linguística Aplicada no que concerne à correlação Arte e ensino de língua portuguesa. / This thesis had as its objective describing and problematizing the multimodal nature that dramatic texts (theater-aimed texts and texts to be read aloud/acted out) bring to school practices. The hypothesis of this work in that transforming what is hybrid in a teaching topic is a complex task, since dramatic texts reestablish the bond between structure and action, between language and body, between knowledge and practice, that is, precisely what the school has refused as historical need to legitimate itself as an autonomous social form (KRESS, 2000; VINCENT; LAHIRE; THIN, 2001; SOARES, 2002). In order to make this study possible, data was gathered in a way that has led to the gradual approach to classroom practices (from the representations of what teaching/learning dramatic texts is to the actual requisites for the teaching and learning of this discourse genre). The investigation of the perceptions/conceptions of dramatic text teaching was carried out by means of documental analysis of textbooks published between 2008 and 2010, approved by the National Program of Textbooks (Programa Nacional do Livro Didático PNLD), and aimed at elementary school 8th and 9th graders. Besides that, quizzes were created, to which Portuguese teachers from cities in the north of Paraná and students in the 8th and 9th grades of Rodrigues Alves School (located in Maringá-PR) were asked to provide answers. The didactic practice regarding this genre led to a 30-hour action research sequence involving elementary school 8th graders, in the context of the teaching and the learning of dramatic texts in Portuguese. This procedure sought to promote the following course of action regarding the reception and production of texts: seeing a play in a city theater, reading the play that was seen, writing a dramatic text collectively, and stage it in a city theater. In order to cater for each of those steps, activities were created and organized in five modules: 1) Presentification of the Teaching Topic; 2) Reading; 3) Writing; 4) Oral and Multimodal Production; and 5) Circulation. The discussion and analysis required several theories, among which: Bakhtins concept of language (BAKHTIN/VOLOCHÍNOV, 2002[1929]; BAJTIN/MEDEVEDEV, 2003[1928]; BAKHTIN, 2003[1979], 2005[1929]), the theoretical and methodological contribution of the Genevan researchers (DOLZ; SCHNEUWLY, and others, 2004), the theatrical studies for the conception of dramatic texts as a hybrid genre (MAGALDI, 1997; PAVIS, 2011; RYNGAERT, 1995; CHACRA, 2010; UBERSFELD, 2010), the theoretical assumptions on multimodality which make it possible to relate dramatic texts and mother language teaching (COPE; KALANTZIS, 2000; ROJO, 2009, 2013, 2014, DIONÍSIO, 2011, ROJO; MOURA, 2012; ROJO; BARBOSA, 2015), and the modular proposal for the apprehension and production of discourse genres (LOPES-ROSSI, 2002, 2006, 2011, 2012), which was one of the bases for the development of the action research sequence (THIOLLENT, 2005[1985]; FRANCO, 2005). This study made it evident that dramatic texts pose a challenge to the teaching of Portuguese as it promotes: i) the increment of the knowledge necessary to the production/reception of this discourse genre and its modes of appropriation (from written to oral language and from those to multimodality); ii) the experience with discursive practices inherent to the theater (going to the theater, reading and writing plays, creating posters, acting etc.), and iii) the development of competences related to this teaching topic (linguistic-discursive, interactional, communicative and expressive). This work has intended to contribute to the expansion of Applied Linguistics studies as far as the relationship between Art and Portuguese teaching is concerned.

Made available in DSpace on 2016-03-15T19:46:50Z (GMT). No. of bitstreams: 1 Micaela Deyust dos Santos Pincinato.pdf: 614922 bytes, checksum: e79dec7b44c5db88dcba87f19082dc39 (MD5) Previous issue date: 2006-08-30 / Nowadays, the work with the written word in school follows a methodology and searches overshot conceptions of teaching-learning and, therefore, the results reached in composition classes seem to be different from the expected ones: that the student may organize a proficient, organized and united written text. Experience in classroom enhances the reflection that teacher must have according to teaching of student s texts production practice. Such reflexive action allows us, teachers, to improve native language and our interference in student s written process. One of these interferences concerns to the work this researcher makes with drafts written by students of 2nd and 3rd grades of High School level in a private school in Jundiaí SP. The drafts show the experience students get in their written learning. Moreover, drafts show worries about linguistics unquietness and the ways they choose in the rewriting of a text which must be coherent and concise. The methodology used provides both, teacher and student, an interactive work whose changing of texts / drafts among students in classroom is constant and followed by the teacher who explains such drafts until the final text. Some results can be deducted from this work. When we analyse the student s draft and final text, we notice that not always their immediate worry concerns to corrections of orthography and punctuation. Later, when the teacher interferes on the draft, with observations related specially to the text organization and cohesion, students show to be worried about the ideas and clauses chaining: final product evidences the choices the student makes to keep coherent his thinking organization by the writing. / Atualmente, o trabalho com a palavra escrita na escola segue uma metodologia e explora concepções ultrapassadas de ensino-aprendizagem e, por isso, parecem ser os resultados alcançados nas aulas de redação diferentes daqueles esperados: que o aluno consiga produzir um texto escrito de forma proficiente, organizada e coesa. A vivência na sala de aula intensifica a reflexão que o professor deve fazer quanto ao ensino da prática de produção de textos dos alunos. Tal ato reflexivo permite a nós, professores, aprimorar nossa própria prática de ensino de redação em língua materna e nossa interferência no processo de escrita do aluno. Uma dessas interferências diz respeito ao trabalho que esta pesquisadora faz com os rascunhos elaborados pelos estudantes de 2ª e 3ª séries do Ensino Médio em uma escola particular de Jundiaí-SP. Estes rascunhos mostram a maturidade que os jovens adquirem em sua aprendizagem de escrita. Além disso, evidenciam as preocupações deles quanto às suas inquietações lingüísticas e os caminhos escolhidos na reescritura de um texto que se quer coerente e coeso. A metodologia utilizada proporciona, ao professor e ao aluno, um trabalho interativo, cuja troca de textos/rascunhos entre os alunos em sala de aula é constante e acompanhada pelo professor que comenta tais rascunhos até o texto final. Alguns resultados podem ser extraídos deste trabalho. Ao analisarmos o rascunho e texto final dos alunos, percebemos que nem sempre a preocupação imediata deles diz respeito às correções ortográficas e de pontuação. Posteriormente, à medida que o interfere no rascunho, cujas observações referem-se especialmente à organização do texto e coesão, os estudantes demonstram preocupar-se muito mais com o encadeamento das idéias o produto final evidencia as escolhas que o jovem faz para manter coerente a organização de seu pensamento pela escrita.

This dissertation is about the work of love songs in Hargeysa, Somaliland. In a setting where music and expressions of love are conspicuously absent from public soundscapes, I explore the lives and labour of a genre as it moves and is moved across time and space, the singing and speaking voices that animate these songs, and the entanglement of love songs in the mediation of intimacy and the shaping of contested post-war soundscapes. What, I ask, is a love song? In a setting marked by war, where music-making and expressions of love are contested, what do love songs do? And how do they do what they do? In answering these questions, I take love songs in motion as my primary ethnographic object and investigate the "labour" of love songs in two senses: the intimate human labour by which love songs are made, circulated, heard, performed and put to assorted uses, and the social-aesthetic-affective labour that a genre itself performs. Based on eighteen months of field-research with poets, musicians, singers, music-lovers and love-suffering audiences in Hargeysa, I track love songs through various stages of their multi-faceted lives: as they first come into the world through the collaboration of a poet and his muse, a musician and a singer; as they circulate and are re-animated alongside stories of singers and stories of encounters; as they are re-figured by the ears and voices of attentive listeners; as their sounding is learned by musicians; and as their live performance is negotiated and received in contested urban terrain. I show the primary labour of love songs to be the distillation, performance and creation of intimate social relations: intimate relations predicated on "dareen-wadaag" ("feeling-sharing") that transcend everyday cleavages and prohibitions, and that have the power to shape both individuals' personal intimate lives and the socio-political worlds in which songs move and do their work. I argue that love songs' ability to distill and open space for intimacy rests on an ideology of voice that figures the voice as a deeply personal mode of self-expression and the simultaneously multi-vocal practices of voicing by which love songs are animated. In other words, the "voice" is made - and made intimate - by its multi-faceted multi-vocal sociality. In so doing, this dissertation contributes to understandings of the workings and power of popular culture in Africa and beyond, recent anthropological efforts to hold together the sonic and social dynamics of the "voice", and broader anthropological conversations about the mediated, multi-vocal making of persons and social worlds.

My doctoral thesis, "Producing Piers Plowman to 1475: Author, Scribe, and Reader," charts a new material history of William Langland's fourteenth-century dream vision, Piers Plowman, from its earliest composition to the onset of print in England. The study is divided into three sections, which examine the production of Piers from three perspectives: textual history, manuscript circulation, and medieval reception. The first section of the thesis conducts a study of Langland's revisionary process, presenting a new theory of authorial revision from the A to B version that has important implications for our understanding of authorship in Piers Plowman and for the future editing of the poem. The second section transitions into an examination of the early circulation of the Piers manuscripts in various geographical and social milieux. It examines two case studies of manuscript circulation in the Southwest Midlands and East Anglia, linking them to regionalized networks of scribes and patrons. Finally, Section III moves into a discussion of the literary contexts in which Piers circulates, particularly in multi-text manuscripts, examining how the poem's reception by a medieval audience affected its development as a literary text. This section treats production from a more theoretical standpoint, investigating the relationship between the poem's audience and the "production" of meaning in a social and historical context. As I will argue, each of these sections acts as an important frame of reference for understanding the multifaceted formation of Piers Plowman as a literary text and cultural landmark. In particular, the thesis emphasizes the importance of Piers's various contexts, from its textual genesis in the author's composition and revision to its circulation and reception in an unstable manuscript culture. It suggests that the people and the places that surrounded Piers Plowman in its early development fundamentally shaped the poem we have today.

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This paper explroes the notion that the human body plays a predominant role in the act of writing, and examines how Gloria Anzaldua's concept of writing from the body, which she calls conocimiento (Spanish term for consciousmess), is manifested in Alanis Morissette's lyrics.

The thesis presents named-entity recognition in Czech historical newspapers from Modern Access to Historical Sources Project. Our goal was to create a specific corpus and annotation manual for the project and evaluate neural networks methods for named-entity recognition within the task. We created the corpus using scanned Czech historical newspapers. The scanned pages were converted to digitize text by optical character recognition (OCR) method. The data were preprocessed by deleting some OCR errors. We also defined specific named entities types for our task and created an annotation manual with examples for the project. Based on that, we annotated the final corpus. To find the most suitable neural networks model for our task, we experimented with different neural networks architectures, namely long short-term memory (LSTM), bidirectional LSTM and CNN-BiLSTM models. Moreover, we experimented with randomly initialized word embeddings that were trained during the training process and pretrained word embeddings for contemporary Czech published as open source by fastText. We achieved the best result F1 score 0.444 using CNN-BiLSTM model and the pretrained word embeddings by fastText. We found out that we do not need to normalize spelling of our historical texts to get closer to contemporary language if we use the neural network model. We provided a qualitative analysis of observed linguistics phenomena as well. We found out that some word forms and pair of words which were not frequent in our training data set were miss-tagged or not tagged at all. Based on that, we can say that larger data sets could improve the results.

This dissertation is a study of Islamist ideas on and visions of the Islamic state. It begins with the observation that although a growing amount of research explores Islamism; few studies closely investigate Islamist ideas. The aim of this dissertation is to empirically and theoretically contribute to the understanding and interpretation of contemporary Islamism and its intellectual origins. Sayyid Qutb, Abu al-Ala al-Mawdudi and Ruhollah Khomeini are generally considered as sources of inspiration to Islamists currently active. Their ideas are analysed and compared to those of two Islamist parties; the Jamaat-e-Islami (JI) in Pakistan and the Front Islamique du Salut (FIS) in Algeria. Islamism is part of a global religious resurgence that has taken many politicai and other social scientists by surprise. According to modernization and secularisation theories, such a resurgence was not to be expected. The focus in this study is therefore on the relationship between visions of the Islamic state and modernity. In this respect, two theoretical positions are critically assessed; one stating that we should understand Islamism in terms of a rejection of modernity and the other that Islamism can be understood and interpreted as an expression of there being multiple or alternative modernities. A key issue in this regard revolves around the question of how modernity is alternative and what that means. A content-oriented analysis of ideas — based on a social constructivist approach and anchored in practical hermeneutics - is utilized in the reconstruction and analysis of Islamist texts. A framework for analysis is developed in which dimensions of modernity are constructed. Islamist ideas on and visions of the Islamic state are analysed in terms of what is rejected, accepted or possibly added to these dimensions. The empirical contribution to research on Islamism is the content-oriented analysis of Islamist ideas. This analysis also helps to explore similarities and differences between the ideas of Qutb, Mawdudi and Khomeini and those of the JI and the FIS. The comparisons show that Islamist ideas are under evolution; there are important differences between the two contemporary parties and their sources of inspiration. Moreover, the content-oriented analysis reveals the complexity of the relationship between modernity and visions of the Islamic state. The theoretical contribution involves both theory-testing and theory-development. It is concluded that theories of multiple or alternative modernities, with some reservations, can be applied to Islamist ideas on and visions of the Islamic state. / digitalisering@umu

This dissertation considers the language socialization of law students. One message that the law students encounter is that legal Swedish is an entirely new language. The main aim is to investigate what linguistic norms are conveyed to the students through the teachers’ comments on the students’ texts and through various forms of writing instructions. The material consists of student texts with teacher comments and documentation on various phases of instruction with a focus on writing. Teacher comments on texts written during the first year of the law programme are analyzed and categorized. The analysis stems from two models. The first model is based on different text levels, like formal conventions of writing, sentence construction, text structure, word choice and style, and content. The second model distinguishes different linguistic norms based on three layers: The first layer consists of written language norms in general language practice, the second of academic language norms and the third of norms that are specific to the use of legal language. The results show that word choice and style is the most common category for the teachers’ comments in the first term of the law programme and content is the most common in the second term (with word choice and style the second most common). Formal conventions of writing, sentence structure and different types of grammatical constructions are some of the things the teachers criticize. Surprisingly few of the teachers’ comments concern more overarching aspects such as text structure or the aim and genre of the text. Comments are made on local features in the text, but rarely on more global features. The teaching practice that the writing of law students belongs to entails, among other things, that the students’ texts are assessed anonymously for the sake of fairness. This means that there is not much opportunity for a student to discuss the text with the teacher who commented on and assessed it. The construction of the teachers’ text comments is particularly important when dialogue between student and teacher on the text draft and final version is not an integral part of instruction. The teachers’ written comments are usually brief and do not allow much space for a consideration of linguistic norms and text patterns, which reduces the opportunities for the teachers and the law programme to contribute to a deeper linguistic awareness in the law students.