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Este trabalho visa a análise dos livros didáticos brasileiros de química de ensino médio em relação à temática de História e Filosofia da Ciência (HFC), e a inserção da História da Ciência em sala de aula, no tópico de tabela periódica. Para esta pesquisa num primeiro momento, foram selecionados os livros de química do Programa Nacional do Livro Didático de Ensino Médio (PNLEM) e para analisá-los foram utilizados critérios propostos por Niaz em uma pesquisa realizada na Venezuela em livros didáticos de química geral do Ensino Superior. Após esta etapa, foi realizada uma pesquisa em sala de aula para verificar como os alunos percebem a História da Ciência quando utilizada como estratégia de ensino para melhorar o entendimento do conteúdo de tabela periódica. Na análise dos livros didáticos percebemos que eles trazem informações sobre a história da ciência, porém, estas são apresentadas de uma forma desintegrada do conteúdo específico, as informações que se encontram nos livros são meramente ilustrativas, não sendo utilizadas como recurso didático. Em sala de aula percebemos que os alunos demonstraram receptividade por conhecer a origem da tabela periódica, mas não demonstram acreditar que isso interfere no seu aprendizado. No entanto foi verificado nos questionários realizados após o estudo de sala de aula, utilizando o contexto histórico de construção da tabela periódica que os alunos demonstraram facilidade na compreensão nos estudos sobre a estrutura da tabela periódica. / The aim of this work is to analyze Brazilian didactic books for intermediate education concerning the subject of History and Philosophy of Science (HPC) and the insertion of History of Science in the classroom within the periodic table topic. The first part of this research was the selection of chemistry books from the “Programa Nacional do Livro Didático de Ensino Médio” (PNLEM) (National Didactic Book Program for High school) and as analysis criteria it was used Niaz’s from a research carried out in Venezuela on chemistry didactic books used in Higher Education. Subsequently, that stage, a research was conducted out in classroom to assess how students perceive History of Science when it was used as a teaching strategy to improve understanding of the periodic table. From the analysis of the didactic books, it can be seen that they show information concerning history of science, however it is presented in a way that is detached from the specific content, all pieces of information found in the books are merely for illustrative purposes and are not used as a didactic resource. In the classroom it can be perceived that students show receptiveness in knowing the origin of the periodic table, but do not seem to believe that it interferes with their learning. However, it was found through questionnaires applied after the study in classroom, using the historic context of the construction of the periodic table, that students showed (more) gabbiness when studying the structure of the periodic table.

Este trabalho visa a análise dos livros didáticos brasileiros de química de ensino médio em relação à temática de História e Filosofia da Ciência (HFC), e a inserção da História da Ciência em sala de aula, no tópico de tabela periódica. Para esta pesquisa num primeiro momento, foram selecionados os livros de química do Programa Nacional do Livro Didático de Ensino Médio (PNLEM) e para analisá-los foram utilizados critérios propostos por Niaz em uma pesquisa realizada na Venezuela em livros didáticos de química geral do Ensino Superior. Após esta etapa, foi realizada uma pesquisa em sala de aula para verificar como os alunos percebem a História da Ciência quando utilizada como estratégia de ensino para melhorar o entendimento do conteúdo de tabela periódica. Na análise dos livros didáticos percebemos que eles trazem informações sobre a história da ciência, porém, estas são apresentadas de uma forma desintegrada do conteúdo específico, as informações que se encontram nos livros são meramente ilustrativas, não sendo utilizadas como recurso didático. Em sala de aula percebemos que os alunos demonstraram receptividade por conhecer a origem da tabela periódica, mas não demonstram acreditar que isso interfere no seu aprendizado. No entanto foi verificado nos questionários realizados após o estudo de sala de aula, utilizando o contexto histórico de construção da tabela periódica que os alunos demonstraram facilidade na compreensão nos estudos sobre a estrutura da tabela periódica. / The aim of this work is to analyze Brazilian didactic books for intermediate education concerning the subject of History and Philosophy of Science (HPC) and the insertion of History of Science in the classroom within the periodic table topic. The first part of this research was the selection of chemistry books from the “Programa Nacional do Livro Didático de Ensino Médio” (PNLEM) (National Didactic Book Program for High school) and as analysis criteria it was used Niaz’s from a research carried out in Venezuela on chemistry didactic books used in Higher Education. Subsequently, that stage, a research was conducted out in classroom to assess how students perceive History of Science when it was used as a teaching strategy to improve understanding of the periodic table. From the analysis of the didactic books, it can be seen that they show information concerning history of science, however it is presented in a way that is detached from the specific content, all pieces of information found in the books are merely for illustrative purposes and are not used as a didactic resource. In the classroom it can be perceived that students show receptiveness in knowing the origin of the periodic table, but do not seem to believe that it interferes with their learning. However, it was found through questionnaires applied after the study in classroom, using the historic context of the construction of the periodic table, that students showed (more) gabbiness when studying the structure of the periodic table.

Este trabalho visa a análise dos livros didáticos brasileiros de química de ensino médio em relação à temática de História e Filosofia da Ciência (HFC), e a inserção da História da Ciência em sala de aula, no tópico de tabela periódica. Para esta pesquisa num primeiro momento, foram selecionados os livros de química do Programa Nacional do Livro Didático de Ensino Médio (PNLEM) e para analisá-los foram utilizados critérios propostos por Niaz em uma pesquisa realizada na Venezuela em livros didáticos de química geral do Ensino Superior. Após esta etapa, foi realizada uma pesquisa em sala de aula para verificar como os alunos percebem a História da Ciência quando utilizada como estratégia de ensino para melhorar o entendimento do conteúdo de tabela periódica. Na análise dos livros didáticos percebemos que eles trazem informações sobre a história da ciência, porém, estas são apresentadas de uma forma desintegrada do conteúdo específico, as informações que se encontram nos livros são meramente ilustrativas, não sendo utilizadas como recurso didático. Em sala de aula percebemos que os alunos demonstraram receptividade por conhecer a origem da tabela periódica, mas não demonstram acreditar que isso interfere no seu aprendizado. No entanto foi verificado nos questionários realizados após o estudo de sala de aula, utilizando o contexto histórico de construção da tabela periódica que os alunos demonstraram facilidade na compreensão nos estudos sobre a estrutura da tabela periódica. / The aim of this work is to analyze Brazilian didactic books for intermediate education concerning the subject of History and Philosophy of Science (HPC) and the insertion of History of Science in the classroom within the periodic table topic. The first part of this research was the selection of chemistry books from the “Programa Nacional do Livro Didático de Ensino Médio” (PNLEM) (National Didactic Book Program for High school) and as analysis criteria it was used Niaz’s from a research carried out in Venezuela on chemistry didactic books used in Higher Education. Subsequently, that stage, a research was conducted out in classroom to assess how students perceive History of Science when it was used as a teaching strategy to improve understanding of the periodic table. From the analysis of the didactic books, it can be seen that they show information concerning history of science, however it is presented in a way that is detached from the specific content, all pieces of information found in the books are merely for illustrative purposes and are not used as a didactic resource. In the classroom it can be perceived that students show receptiveness in knowing the origin of the periodic table, but do not seem to believe that it interferes with their learning. However, it was found through questionnaires applied after the study in classroom, using the historic context of the construction of the periodic table, that students showed (more) gabbiness when studying the structure of the periodic table.

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Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

This lecture recital seeks to prove that Sergei Taneyev's only piano concerto is a valuable addition to the piano concerto repertoire for historical and theoretical examination. Taneyev's biographical background proves he was one of the major figures in Russian musical life during the late nineteenth century. For one who had such an important role in music history, it is an unfortunate that his music has not been popular. Through letters to contemporary composers and friends, Taneyev's master teacher Tchaikovsky revealed why his music and piano concerto were not as popular as they should have been. This lecture recital examines Taneyev's compositional style and illustrates his influence in the works of his famous student Sergei Rachmaninoff through examples from Taneyev's Piano Concerto in E-flat Major and Rachmaninoff's Piano Concerto No. 2. Taneyev's Piano Concerto and Tchaikovsky's Piano Concerto No. 1 have both similarities and differences that resulted from the composers' close relationship. Letters between the teacher and student enlighten readers to the compositional process of the two piano concertos and demonstrates the value of Taneyev's Piano Concerto. A detailed theoretical analysis is included in this dissertation. The principal themes and motifs are presented with a detailed analysis of the structure of the concerto's first movement as the themes, motifs, and variations are woven into a unified piece of music. The second movement of the concerto is remarkable for its harmonic progressions. This research substantiates that Taneyev's Piano Concerto is valuable to the current piano repertoire and worthy of performances throughout the world. The concerto occupies an important role in music history and theory and is useful for piano students to study.

The 1910 polemic on the “crisis of Symbolism” began when the Symbolist poet Viacheslav Ivanov read a lecture entitled the “Precepts of Symbolism.” This lecture initiated a lively debate on the status of this prominent literary movement, to which many of the leading literary figures of the Silver Age contributed. Although the “crisis of Symbolism” has garnered a great deal of scholarly interest, an important aspect of this debate has remained unexplored. Ivanov’s lecture contained an attack on the notion of clarity, which he interpreted as the word’s “transparency” to reason. He argued that language is neither an adequate expression of thought, nor an accurate representation of “reality.” The lecture was itself a polemical response to a brief article written by Ivanov’s friend, Mikhail Kuzmin, and entitled “On Beautiful Clarity: Notes on Prose.” Published a few months before Ivanov’s lecture, this essay urged respect for the word, advocated such Classical values as precision, economy of means and clarity of expression. Both “On Beautiful Clarity” and the “Precepts of Symbolism” appeared at a time when pervasive loss of faith in the communicative power of language combined with the sense of social and cultural malaise led to a profound crisis that far exceeded the ranks of the Symbolists. Between 1910 and 1917, a number of Russian writers and thinkers proclaimed the word “dead” and offered programs for its revival. For Ivanov, clarity was an Enlightenment notion that he associated with rationalism and blamed for the ills of his age. For Kuzmin, however, clarity represented poetic rather than empirical meaningfulness and had little to do with the kind of empirical “transparency” that Ivanov had in mind. Both poets were after the same goal: a poetics that would bridge the perceived divide between the word and “reality.” Even as Ivanov argued for a language of mystical obscurity in the hope that such an idiom would restore the mystery and meaning of which he believed his age was sapped, he replaced clarity with a kind of Symbolist intelligibility and so a clarity of his own. This dissertation examines Viacheslav Ivanov’s, Mikhail Kuzmin’s and Osip Mandelshtam’s distinct approaches to the concept of clarity as poetic sense, formulated by these poets independently as well as in response to each other. I argue that for all three poets the notion of clarity applies to the specific relationship between the poet and the word, between the image and the word, and between the semantic content and the sound within the word. Since for all three poets, clarity is associated not only with the poetic logos in general, but specifically with the heritage of European Classicism, the Classical ideal works its way into these relationships as the “image” of sense to which the poet must aspire. For each poet, poetic clarity is an explicit concept as well an individual “model” implicit in his poetic identity.

Cette étude aborde le thème de la quête de vérité menée par l’acteur. Partant du « paradoxe de l’acteur » qui met en lumière la tension qui se joue entre Forme et Spontanéité, ainsi que sa difficulté à être simultanément artiste et œuvre d’art. Or une recherche comparative sur le théâtre Occidental/Oriental, et d’autres sources telles que les pensées de Georges Gurdjieff et de François Delsarte nous ont conduit à considérer le travail du comédien d’un point de vue trinitaire, en prenant en compte les trois éléments essentiels que sont son corps, son émotion et son esprit. La quête de vérité que mène l’acteur tout au long de sa vie doit s’enraciner dans une compréhension de sa propre nature trinitaire et d’un éventuel manque d’harmonie qui peut résulter dans des comportements automatiques et stéréotypés. Cette vision nous a servi de base pour mener une étude de la pensée de certains grands réformateurs du théâtre du XXe siècle. Ainsi, les méthodes de Jerzy Grotowski et d’Etienne Decroux sont analysées à partir des approches de l’organicité et de l'artificialité selon la perspective de Grotowski. Notre but est de trouver une possible complémentarité entre les travaux de ces deux investigateurs, dans la quête de l’équilibre du trinôme corps-émotion-esprit. Finalement, l’acteur doit cultiver simultanément ses trois centres pour unifier le créateur, l’artisan et la matière de son œuvre, et retrouver ainsi sa vraie Présence sur scène. / This study begins with the actor’s quest for truth. Starting from the « actor’s paradox » which shines light on the tension that plays between Form and Spontaneity, and the difficulty of being simultaneously artist and work of art. A comparative research of Occidental/Oriental theatre, and other sources such as the thoughts of George Gurdjieff and François Delsarte led us to consider the work of the actor from the point of Trinitarian view, taking into account the three essential elements that are his body, his emotion and his mind. The quest for the truth that drives the actor has to begin with the comprehension of his own nature of this human trinity; before the understanding of its fragmentation, that is, the lack of harmony that can exist between these three principle functions and the danger of falling into automatic and stereotypic behaviors and reactions. This study allows us to observe the thought of certain great theatre reformers of the 20th century. Therefore, methods of Jerzy Grotowski and Etienne Decroux are analyzed using approaches of organicity and artificiality from the perspective of Grotowski. Our objective is to find a possible complementarity between the works of these two researchers in the quest for balance of the trinity body/emotion/intellect. Finally, the actor must simultaneously cultivate the three centers in order to unify the creator, the artisan and the matter of his work, and find his true presence on stage.