Les politiques éducatives au Sénégal et en France ont intégré dans leurs systèmes éducatifs des enseignants non titulaires de français. Il se pose alors dans ces deux pays la problématique des compétences professionnelles de ces enseignants qui n'ont pas été initialement formés, contrairement aux titulaires. Notre recherche a consisté à regarder s'il leur était possible de développer des compétences professionnelles dans l'activité. Pour mener à bien notre recherche nous nous sommes fondés sur l'approche comparative comme méthodologie, en nous basant sur l'hypothèse que les enseignants non titulaires développeraient des compétences professionnelles effectives et incorporées dans l'activité, similaires à celles des enseignants titulaires. Cette approche comparative s'explique parce que notre idée a été de comparer les enseignants non titulaires aux titulaires qui bénéficient a priori d'une « légitimité professionnelle », et sont considérés comme compétents et professionnels, pour voir si leurs manières de faire et d'agir dans l'activité sont plus ou moins similaires, selon les critères du triplet de genèses. Au terme de l'analyse, nous avons pu valider l'hypothèse selon laquelle les enseignants non titulaires et titulaires développent effectivement des compétences professionnelles incorporées dans l'activité, similaires à celles des enseignants titulaires, même si en France la similarité est moins grande. Néanmoins, tout en notant l'importance de la formation initiale, nous avons préconisé la formation continue et la validation des acquis de l'expérience comme des moyens de professionnaliser les enseignants non titulaires de français. / The educational authorities in Senegal and France have integrated within their educational systems non qualified teachers of french. Therefore, it remains the problem of professional competence of those teachers who have not been trained before contrary to qualified teachers. Our research will consist on showing whether it is possible for them to develop professional competence within the job. To better conduct our research, we will use the comparative approach as methodology, basing on the idea that non-qualified teachers would develop effective professional competence within the practice as well as the qualified teachers. Thus, our task is to compare non-qualified teachers to qualified teachers who have been trained before practicing effectively. The latter have benefited from the "professional legitimacy" and are considered to be professional and competent. We aim also at seeing if their methodologies (ways of doing and acting) are similar, according to the idea of he genesis triplet. By the end of our work, we have adopted the idea according to which the non qualified and temporary teachers develop indeed professional competence within the practice similar to that of the qualified teachers, even though in France, the similarity is less important. Nonetheless, despite the initial training remains important, we have then recommended the continuous training (the follow up practice) and the validation of the experience achievements as means to make professional the non-qualified teachers.

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This study explores Sibelius's last and, perhaps, most enigmatic Symphony from historical (source-critical), Schenkerian, and transtextual perspectives. Through a detailed study of its genesis, musical architecture, and meaning, the author maintains that the Seventh, its composer, and its generative process, can best be understood as a series of verges: conceptual points of interaction between two or more forces. Verges between Sibelius's nature mysticism and the dramatic biographical circumstances of the period (1914-1924), between inspired and reasoned modes of composition, between genres (symphony and fantasy), between various form types, between tragic despair and hopeful yearning, between innovation and classicism, and between a host of other seeming oppositions, all define the Seventh Symphony and illuminate various facets of the composer's life and thought.

TITTLE: Influencing a narrow practice of Visual Arts Education in pre-school AUTHOR: Milena Menčíková DEPARTMENT: Art Education Department SUPERVISOR: Mgr. Helena Kafková ABSTRACT: This thesis describes the practice of Visual Arts Education in one particulal pre-school. It presents hypothesis on genesis and establishing certain practice, using the tools of case study. Its integral part is to offer the participant a relatively wider conception of Visual Arts Education. The text is divided into two parts. The first part is concerned with teoretical findings, it consists of propositions of the whole thesis, which are: the current and older conceptions of Visual Arts Education for pre-school and the elementary level. Grounding Visual Arts Education as specific area of education, which can be found in RVP PV. The second part consists of data accumulated and analyzed through hybrid approach using the tools of action research and case study. It presents hypothesis on the genesis and establishing the Visual Arts Education practice of the participant. KEYWORDS: stereotype, genesis of practice, routine, action research, participation, Visual Arts Education on pre-school level

Canadian composer Istvan Anhalt (1919-2012) wrote four operas: La Tourangelle (1975), Winthrop (1986), Traces (Tikkun) (1996), and Millennial Mall (1999). The overarching thematic structure of these works represents the composer’s historical and personal exploration of identity construction and the immigrant experience. This thesis focuses on the first opera in the cycle, La Tourangelle, which premiered at the MacMillan Theatre in Toronto in 1975. Specifically, it builds a chronology of the opera’s history from a study of previously unpublished primary source documents (mainly folder E,32 from Library and Archives Canada, containing personal correspondences and professional correspondences, with the addition of other folders containing source materials, and libretto manuscripts) dated 1970 to 1975. In addition to revealing budding friendships and professional respect, the documents provide invaluable insights into the various phases of Anhalt’s creative process. The thesis chronicles each phase of the process, from both personal and musical points of view, from contract negotiations, monastery visits, lending of resources, humble requests for feedback, recording of multimedia components, and rehearsals, to the premiere and its initial reception. The chronicle reveals Anhalt’s non-linear creative process for La Tourangelle which involves multiple collaborations and reciprocal influences.

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