Ce mémoire porte sur la pratique du nom propre dans quatre romans de l'auteure québécoise Suzanne Jacob : Laura Laur (1983), La Passion selon Galatée (1987), Rouge, mère et fils (2001) et Fugueuses (2005). À partir du postulat de Suzanne Jacob qui affirme que la réalité se compose de conventions, cette étude s'efforce de mettre à l'épreuve l'hypothèse selon laquelle le nom propre est une fiction. À l'aide de balises méthodologiques privilégiant la narratologie et la pragmatique, l'analyse, constituée de lectures microtextuelles, s'intéresse aux commentaires des personnages et de la narration sur le nom, en plus de relever les procédés qui encadrent et mettent en lumière le fonctionnement du nom, autant d'un point de vue sémantique que syntaxique. C'est donc dire que le nom est abordé dans le réseau des différents signes du texte et non pas comme un signifiant isolé. L'étude se divise en trois chapitres consacrés à des problématiques structurantes du nom propre chez Jacob : « L'omniprésence du nom », « L'instabilité du nom » et « Le nom performé ? » À partir de ces trois axes, la réflexion ouvre sur des enjeux plus vastes qui concernent autant l'identité que les relations sociales et familiales. / This thesis focuses on the use of names in four novels written by Quebec's author Suzanne Jacob : Laura Laur (1983), La Passion selon Galatée (1987), Rouge, mère et fils (2001) and Fugueuses (2005). Suzanne Jacob thinks that reality is made from conventions. Based on this idea, this thesis confronts the hypothesis that names are fictitious. Using narratological and pragmatical methodologies, this analysis, made of microtext readings, focuses on the characters' and narrators' comments on names, in addition to identifying processes that highlight names functionality on a semantic and syntactic point of view. This means that names will be addressed based on the network of the text’s different signs, and will not be considered as an isolated signifier. The study is divided in three chapters dedicated to structural problems about names in Jacob's novels : « The ubiquity of the name », « The instability of the name » and « The name performed ? » From these three axes, the reflection opens to broader issues concerning identity as well as social and familial relationships.

A research report submitted to the School of Literature, Language and Media in the Faculty of Humanities, University of the Witwatersrand in partial fulfilment of the requirements for the degree of Master of Journalism and Media Studies by combination of coursework and research, Johannesburg, 2016 / This research report examines news media representation of political leadership and governance in South Africa between 2007 and 2013, when President Jacob Zuma served his first terms as ANC leader and later as the head of state. The research sought to find out what themes and ideas exist about political leadership in news media more than 20 years since the advent of democracy. Quantitative manifest content analysis is utilised to analyse newspaper articles from the City Press, Mail & Guardian, the Sunday Independent and the Sunday Times. The results show that media representation of political leadership is most discussed in opinion articles and editorials and relies on key democratic concepts such as freedom of expression and freedom of the media. The key themes and ideas that emerge include the personalisation of leadership, defining leadership, debate on how to lead, Zuma’s own leadership traits versus expectations and it became clear that news media evaluated Zuma as head of state or leader of the nation more often than as president of his party. / XL2018

Made available in DSpace on 2015-03-03T19:29:13Z (GMT). No. of bitstreams: 0 Previous issue date: 27 / Milton Valente / A colonização alemã na Serra dos Tapes, iniciada em 1858, a partir da sociedade entre Jacob Rheingantz e José Antônio de Oliveira Guimarães, não ocorreu de forma pacífica, patriarcal e paradisíaca. Esta premissa opõe-se ao posicionamento laudatório e pouco crítico da história oficial de São Lourenço do Sul sobre a colonização na região, especialmente no que tange à representação sobre Jacob Rheingantz. Através da recuperação de memórias não-oficiais e de documentos esquecidos, a dissertação traz à tona fatos que foram apagados da história, para que um herói fosse criado. A importância do homem, respaldado por escritores e pelo poder estabelecido local, através de diversas homenagens, transformaram Rheingantz em um modelo formador de condutas. Percebe-se no esquecimento proposital e no enaltecimento incondicional, uma intenção de manipulação do presente e de manutenção do status quo. A população, bombardeada por uma série de informações que atestam a grandiosidade do mito - seja nas escolas, nos livros ou nas / The German colonization in the Mountain Chain of Tapes, which began in 1858, from the society between Jacob Rheingantz and José Antônio de Oliveira Guimarães, did not occur in a pacific, patriarchal and ideal way. This premise goes against the little critic report of the official History of São Lourenço do Sul on the colonization of the region, especially regarding the representation about Jacob Rheingantz. Through the recovery of non-official memories as well as documents that have been forgotten, this dissertation brings to light facts erased from History, in order for a hero to be created. The importance of the citizen, supported by writers and the established local power through a lot of homage have made Rheingantz into a behavior-maker model. It is possible to observe, both through the on purpose forgetfulness and unconditional honoring, an intention of manipulation of the present and maintenance of the status quo. The population, influenced by a lot of information which testify the importance of the myt

The ideas that flourished among a small group of former Uppsala students that became the Göthiska förbundet on February 16, 1811, set in motion a process that changed views on why and how Sweden should manage its historic sites. This process of change achieved its goal with the passing of the new antiquities legislation in 1828. Their archeological research also left its mark. In this area, the brotherhood went much further than they themselves had actually imagined possible when they formulated their description of the ideal state consisting of free, independent farmers, which they believed was the case up until the introduction of Christianity into the Nordic countries. It was this period that they attributed the brotherhood’s virtues that they wished to instill in modern Swedes, and it was this image that would become part of the Swedish cultural heritage. Their archeological research, though, took them even further back in time. Geijer’s history books were admirable, but Magnus Bruzelius went the furthest. Starting with a study of historic sites, he extended the time period about which one could comment at great length, going as far back as to a period that did not even have a name, a period he called the Stone Age. As a result of this, their research demonstrated that the region’s oldest historic sites did not belong to sword-wielding free farmers, but rather to primitive Stone Age savages about whose living conditions Magnus Bruzelius could write because he was able to study their material remains and compare his findings with the commentaries by travelers to primitive peoples from other, more inaccessible parts of the globe. Accordingly, both time and research achieved new heights. / digitalisering@umu

Cette étude prend pour son objet la figure de la revenante dans le roman québécois contemporain au féminin, laquelle émane d’une tradition de l’effacement du féminin, que ce soit sur le plan social (valorisation du sacrifice maternel et de la transcendance féminine), créatif (empêchement de la participation des femmes à la production littéraire) ou représentatif (mise en scène de la disparition de la femme). Si cet effacement a longtemps servi d’appui à une économie et à une esthétique patriarcales, la revenante attire l’attention sur celles-ci et en provoque la remise en question. La revenante assume deux avatars dans notre corpus : l’apparition de la femme morte (en tant que fantôme, morte-vivante, figure fantasmatique ou onirique), ou le redoublement de celle-ci dans d’autres personnages féminins (c’est-à-dire que la hantée endosse les traits d’un précurseur spectral féminin). Nous nous intéressons aux enjeux de l’appropriation de ce vieux topos patriarcal dans le roman au féminin après 1980, moment où les femmes interviennent de façon régulière sur la scène littéraire. Ainsi, après avoir situé la revenante dans un contexte québécois et occidental, nous en examinons les instances dans les œuvres d’Anne Hébert, de Suzanne Jacob, d’Élise Turcotte et de Ying Chen. Puisque la revenante est une figure déterminante dans l’œuvre d’Anne Hébert, les deux premiers chapitres d’analyse traitent de textes de cette auteure canonique. « Désir et dés/ordre » identifie les lieux et les origines de la hantise féminine et le désordre qu’elle provoque pour mettre en évidence son rapport au désir; « La pro/création » examine la création artistique ou reproductrice comme médium de la spectralité au féminin. Le dernier chapitre, « Violence et vulnérabilité », présente des analyses de romans de Suzanne Jacob, d’Élise Turcotte et de Ying Chen afin d’y souligner la représentation des deux faces de la violence – l’agression et la vulnérabilité – telles qu’elles se chevauchent avec la revenance. Chacune des quatre écrivaines étudiées met en texte des dichotomies hétéronormatives; selon notre lecture, la revenante constituerait un symptôme de ces structures problématiques. / Thesis (Ph.D, French) -- Queen's University, 2011-02-24 14:12:10.978

This paper is divided into two broad sections. The first section traces the life and career of John Graas through an examination of the contents of the John Graas Memorabilia and Memorial Library, which contains photo albums, newspaper clippings, records and tapes, approximately one hundred original compositions, and personal correspondence between the author and people who knew and worked with Graas.The second section is an examination and discussion of Graas's original compositions. This discussion traces Graas's compositional development and growth as an acknowledged jazz composer through the melodic analysis of selected original compositions.Findings1. John Graas was a classically-schooled horn player who studied with Max Pottag and Wilhelm Valkanier, and performed with the Indianapolis and Cleveland orchestras.2. He was best known for being the first horn player to achieve prominence in the jazz field. Graas acquired his jazz skills first as a performer with Thornhill, Beneke, and Kenton, and later as a composition student of Lennie Tristano, Shorty Rogers and Dr. Wesley LaViolette. 3. Numbering over one-hundred compositions, Graas’ works range from standard to innovative works for various-sized ensembles, including works for solo horn, solo piano, a television score, and his Jazz Symphony #1, written for full symphony orchestra and nine-piece jazz ensemble.Conclusions1. Graas was acknowledged as the first horn player to achieve prominence in the field of jazz, as recognized by such top, jazz polls as Down Beat, Metronome, and Playboy, from 1955 to 1961.2. His early improvisations helped to open the jazz field to future jazz hornists: Watkins, Amram, Ruff, Varner.3. Graas showed true pioneer spirit by working hard to expand limits placed on the horn by classical tradition, in order to reach a new and different standard of performance. / School of Music

This thesis is an attempt to summarise the extent of the current knowledge concerning the development of the harpsichord in England. This knowledge is derived partly from documentary sources, partly from a review of the modern writers who have treated the subject, but mostly from careful examination, measurement and recording of the surviving instruments. The work is divided into two main parts, of which Part I treats the English harpsichord before the time of Kirkman. The first eleven pages are given over to a brief summary of the instruments before the time of Tabel, the maker to whom Kirkman was apprenticed. Tabel's one surviving harpsichord receives a more detailed treatment as does a double manual harpsichord by another of his apprentices, John Wilbrook. The surviving harpsichords by Joseph Mahoon are also examined, and it is noted that it is quite likely that two harpsichords by Francis Coston are still extant. Patents and other inventions of this period are also treated, and the section ends with an overall survey of the development until the time of Kirkman. The author traces no particular theme in the period until the last quarter of the seventeenth century, influence from Italy, and the Low Countries being found alongside elements of entirely native practice. It is noted however, that probably by the last quarter of the century English makers were beginning to make double manual instruments in imitation of the Flemish harpsichords of the time, but this took place alongside the development of a school of makers producing simple single manual harpsichords with 2.8ft choirs only. These harpsichords also contain elements of continental practice with the use of English case styles, native woods and a particular type of diagonal bracing. These instruments are so similar that they might be called the English school of the period. At the beginning of the eighteenth century this school began to develop double manual harpsichords in the same case style, but also drawing on aspects of design probably introduced to this country by immigrant workmen such as Tisseran. It was at the turn of the century that the dogleg 8ft register was probably first introduced to England. It was to hold sway in all double manual English harpsichords for the next one hundred years. In part II, the work of Kirkman is examined closely. It is noted that the layout of the string band for the 8ft choirs is the same in all Kirkman harpsichords regardless of the presence of a 4ft choir or a lute stop. It is also demonstrated that there was an interesting change in length of the Kirkman harpsichord from 96.75" in 1745 down to about 92.5" in the early 1760s and then increasing back to around 94" in the late 1780s. This change in length was accompanied by a change in the length of the FF string from 71" down to about 68" and then back to about 70". No explanation for this can be offered. Other aspects receiving detailed treatment in this section are the structure of the instruments, the types of roses, the signing of the nameboards (a change in the order of the wording is noted between 1758 and 1760), keyboards, jacks, slides, stringing, voicing etc. There are sections on the other instruments by Kirkman, the Changeable Harpsichord, marquetried harpsichords, Queen Charlotte's harpsichord, the instruments by Faulkner, and a comparison with Shudi harpsichords of the period. The section is terminated by a summary of the patents on musical instruments of the period and a summary of the overall development in the period 1730-1800. The thesis is complemented by a number of Appendices. Of these, the first is a detailed look at the life and times of Kirkman, revealing him to have been a man of some substance and resource. Having acquired a good grounding in his work from Tabel, and having married Tabel's widow when on the threshold of his career, he soon made enough money to start speculating and lending money so that by the 1770s he probably spent little time in harpsichord making and gave himself to pecuniary matters. Other Appendices complement this first appendix, giving further details of such matters as Kirkman's friends, relatives, property, legal dealings and domestic matters. One appendix is given to a report on the way in which the harpsichords seen during the survey have been measured and recorded. Finally, there are nine tables, giving general data on the harpsichords up until the time of Kirkman, surviving harpsichords from the period 1744-1800, chronological development of English furniture styles, a chronological table of events in the development of the harpsichord from 1439-1800, and more specific details and dimensions of Kirkman harpsichords. The thesis ends with some 75 illustrations all of which are original.

Ce mémoire porte sur la pratique du nom propre dans quatre romans de l'auteure québécoise Suzanne Jacob : Laura Laur (1983), La Passion selon Galatée (1987), Rouge, mère et fils (2001) et Fugueuses (2005). À partir du postulat de Suzanne Jacob qui affirme que la réalité se compose de conventions, cette étude s'efforce de mettre à l'épreuve l'hypothèse selon laquelle le nom propre est une fiction. À l'aide de balises méthodologiques privilégiant la narratologie et la pragmatique, l'analyse, constituée de lectures microtextuelles, s'intéresse aux commentaires des personnages et de la narration sur le nom, en plus de relever les procédés qui encadrent et mettent en lumière le fonctionnement du nom, autant d'un point de vue sémantique que syntaxique. C'est donc dire que le nom est abordé dans le réseau des différents signes du texte et non pas comme un signifiant isolé. L'étude se divise en trois chapitres consacrés à des problématiques structurantes du nom propre chez Jacob : « L'omniprésence du nom », « L'instabilité du nom » et « Le nom performé ? » À partir de ces trois axes, la réflexion ouvre sur des enjeux plus vastes qui concernent autant l'identité que les relations sociales et familiales. / This thesis focuses on the use of names in four novels written by Quebec's author Suzanne Jacob : Laura Laur (1983), La Passion selon Galatée (1987), Rouge, mère et fils (2001) and Fugueuses (2005). Suzanne Jacob thinks that reality is made from conventions. Based on this idea, this thesis confronts the hypothesis that names are fictitious. Using narratological and pragmatical methodologies, this analysis, made of microtext readings, focuses on the characters' and narrators' comments on names, in addition to identifying processes that highlight names functionality on a semantic and syntactic point of view. This means that names will be addressed based on the network of the text’s different signs, and will not be considered as an isolated signifier. The study is divided in three chapters dedicated to structural problems about names in Jacob's novels : « The ubiquity of the name », « The instability of the name » and « The name performed ? » From these three axes, the reflection opens to broader issues concerning identity as well as social and familial relationships.

Zugl.: Wien, Univ., Diss.

O estudo sobre a vida e o trabalho profissional dos professores que desenvolveram sua prática pedagógica no ano de 2005, no Colégio Estadual Jacob Arnt, município de Bom Retiro do sul/RS, aborda como os principais aspectos da vida e do trabalho profissional desse grupo de professores se desenvolveram no contexto municipal, estadual e nacional, de que forma estão relacionados com as políticas educacionais brasileiras e como ocorreu o desenvolvimento das contradições no trabalho profissional desses professores, especialmente aquelas que se relacionam à formação e desempenho profissional. Esse é um estudo de caso que é a análise de um fenômeno em profundidade e sua natureza é qualitativa, com uma abordagem com base teórica no materialismo histórico e dialético e na economia política. Os objetivos propostos nesse estudo se referem ao conhecimento dos principais aspectos da vida e do trabalho profissional dos professores que desenvolveram sua prática pedagógica no CEJA – BRS/RS, no ano de 2005, do desenvolvimento histórico desses aspectos, de sua relação com a legislação educacional e do desenvolvimento das contradições que se manifestam no trabalho profissional desses professores, especialmente aquelas relacionadas à formação e desempenho profissional; também está estabelecido, como segundo objetivo, trazer novos elementos para o debate sobre esse tema contribuindo para a melhoria de alguns aspectos da vida e do trabalho profissional dos professores. A hipótese principal que orientou o trabalho se refere ao condicionamento do trabalho profissional dos professores pela economia, considerando que o movimento histórico possibilita que na escola exista espaço onde outras formas de trabalho possam ser gestadas. O estudo permitiu perceber o professor comprometido com o ser humano, mas, através de um processo de trabalho, sobre o qual ele não tem controle e que é necessário à reprodução do modo de produção capitalista, e da legitimação no espaço da escola da cultura própria a esse processo, o professor coloca seu trabalho e seu conhecimento a serviço do capitalismo. Mas o trabalho do professor tem possibilidade de ser transformador, pois o movimento histórico do qual surge o condicionamento traz também possibilidades de transformação.