Orientador: Carlos Cândido de Almeida / Banca: Camila Monteiro Barros / Banca: Brígida Maria Nogueira Cervantes / Banca: Maria Leandra Bizello / Banca: Walter Moreira / Resumo: O conhecimento é um elemento abstrato e individual, cuja manifestação acontece a partir das relações dialógicas estabelecidas em contextos históricos, sociais e culturais que compartilhamos. Organizar e representar conhecimentos, implica em uma tarefa semiótica de reconhecimento dos contextos, das linguagens, não apenas com a ideia de comunicar, mas como parte de processos sociais em transformação. A Semiótica da Cultura, como um campo de estudos da linguagem na cultura, isto é, na semiosfera cultural, nos permite revisitar alguns conceitos como a noção de cultura, linguagem, tradução, modelização e competência semiótica, nos propondo uma síntese destes, antes analisados por áreas como a Linguística, a Sociologia e a Antropologia. Com base nesses conceitos somado às reflexões socioculturais do campo da Organização do Conhecimento, buscamos saber como a Semiótica da Cultura pode colaborar com processos de organização e representação do conhecimento? Para isso sistematizamos as bases da Semiótica da Cultura para Organização do Conhecimento. A pesquisa é teórica, bibliográfica de natureza qualitativa. Partimos do método interpretativo para a análise de um instrumento de representação, o tesauro, tendo em vista que desenvolvemos nossas observações com base na literatura da Semiótica da Cultura e da Organização do Conhecimento. As reflexões elaboradas a partir das bases semióticas e socioantropológicas puderam evidenciar que os processos de representação precisam ser revistos no s... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Knowledge is an abstract and individual element, whose manifestation takes place from dialogical relations established in historical, social and cultural contexts which we share. Organizing and representing knowledge implies a semiotic task of recognizing language contexts not only with the idea of communicating, but also as part of a changing social process. The Semiotics of Culture, as a field of study on language in the culture, that is, in the cultural semiosphere, allows us to review some concepts such as the notion of culture, language, translation, modelling and semiotic competence, proposing a synthesis of them, which were previously analyzed by area such as Linguistics, Sociology and Anthropology. Based on these concepts and on the sociocultural reflections of the Knowledge Organization field, we seek to know how the Semiotics of Culture can collaborate with processes of organization and representation of knowledge. To that end, we summarized the basis of Semiotics of Culture for Knowledge Organization. The research is theoretical, bibliographic of a qualitative nature. We start from the interpretative method for the analysis of an instrument of representation, the thesaurus, considering that we developed our observations based on the literature of the Semiotics of Culture and the Knowledge Organization. The reflections elaborated from the semiotics and socioanthropological bases could prove that the processes of representation need to be reviewed in order to handle ... (Complete abstract click electronic access below) / Doutor

This study examines talk-radio relations in advance of digitisation, testing the continuity of patterns of listener formation, to assess the accuracy of claims that 'interactivity' and individuated informational flows are demand-driven. Australian talk broadcasters are shown discursively creating a living 'thirdspace' or 'real virtuality' of transactional locations. Listener-caller participation arrays varying social orders across this imagined-yet-real terrain. Radio talk thus becomes a 'euphemised' form of social pre-dispositioning power, differentially locating power across communities. Four sets of talk-radio texts are examined in detail, using a socially contextualised form of linguistic analysis. Transcripts from 2UE's 'The Stan Zemanek Show' reveals an openly-gendered and more covertly classed discourse. The address to private rather than to public 'selves' in late-night sex-counselling talkback is examined. The study then examines programming from the community radio sector of volunteer-produced, local radio transmission. Finally, the study examines 'The prison show', a community radio music request and message programme for Aboriginal prisoners. The study concludes by suggesting that talk radio's role within cultural formation is complex in its articulations, but deeply implicated within the major cultural formational activities of contemporary consumer culture, on which are being modelled digital audio broadcasting's newly intensified flows of interactivity / Doctor of Philosophy (PhD)

Doctor of Philosophy / This thesis proposes a model for the description of social practice which analyses social practices into the following elements: (1) the participants of the practice; (2) the activities which constitute the practice; (3) the performance indicators which stipulate how the activities are to be performed; (4) the dress and body grooming for the participants; (5) the times when, and (6)the locations where the activities take place; (7) the objects, tools and materials, required for performing the activities; and (8) the eligibility conditions for the participants and their dress, the objects, and the locations, that is, the characteristics these elements must have to be eligible to participate in, or be used in, the social practice.

This thesis investigates the English versions of the Grimms’ Kinder- und Hausmärchen (= KHM) published between the years 1823 and 1884, i.e. from the first translation by Edgar Taylor and David Jardine, German Popular Stories (1823 and 1826), to the first complete edition of the Grimms’ collection of stories and notes by Margaret Hunt, Grimm’s Household Tales (1884). Each of the first eleven chapters deals with a specific English edition and gives an analysis of one or more stories from that edition together with the texts of the German original. The two versions, German and English, are placed alongside each other in parallel columns to facilitate comparison. The twelfth chapter takes the final paragraph of one story, ‘Sneewittchen’ (KHM 53), and examines the seven different English versions of it in the editions discussed in the previous chapters. The final chapter compares the quality of English translations of the KHM in the nineteenth century with that of the Grimms’ sole venture in translating tales in the English language into German, viz. Wilhelm Grimm’s Irische Elfenmärchen (1826). Included as an appendix is a tabulated concordance of the contents of the twelve major editions discussed in this thesis. The investigation shows that the areas deemed to be sensitive ones by English translators were those which had to do with what Darton (Children’s Books in England, 1982, p.99) has singled out as ‘a deep-rooted sin-complex’ in England. Any story that touched on the issues of religious belief and superstition, the human body and its physical nature, violence and evil, and the intense emotions felt by human beings which prompt them to commit violent and destructive acts, was inevitably viewed with concern and mistrust, especially by purveyors of children’s literature in the nineteenth century. All these issues, as well as the element of fantasy which so readily admits and entertains them, were prone to considerable revision by successive translators of the KHM. / Also published (in shorter form) as Sutton, Martin James (1996). The sin-complex : a critical study of English versions of the Grimm's Kinder- und Hausmärchen in the nineteenth century. Kassel Germany: Brüder Grimm-Gesellschaft.

Qu’est-ce que la littérature océanienne ? Cette question liminaire et peut-être naïve veut lever tout risque de malentendu, mais aussi indiquer le projet fondateur de cette recherche : écouter et reconnaître les voix du grand « océan d’îles » d’Epeli Hau’ofa1 dans leur pleine originalité. Il est en effet difficile d’imaginer une situation plus paradoxale que celle de la région Pacifique et de ses habitants, qui ont fait couler tant d’encre occidentale depuis le XVIIIe siècle, mais dont la voix propre n’est, aujourd'hui encore, que très rarement entendue en dehors de la région, mais aussi à l’intérieur.2 Le champ littéraire océanien Les corpus littéraires désignés comme « océaniens » varient selon les auteurs : ainsi dans une conférence de 2002 intitulée « Tahiti ou l’atelier d’une invention littéraire »,3 Daniel Margueron utilisait la dénomination « littérature océanienne » pour évoquer les premiers écrits européens sur le Pacifique et plus précisément Tahiti, réservant aux littératures contemporaines produites par des écrivains maohi les dénominations « littérature polynésienne francophone dite d’émergence » ou littérature « tahitianophone » pour les écrits en langue maohi. Cependant, dans la plupart des anthologies, actes de colloques ou articles publiés à ce jour, la dénomination « littérature océanienne » vient plutôt désigner les littératures émergentes produites en Océanie par des auteurs qui y vivent de façon permanente. On observe toutefois des différences notables lorsqu’il s’agit de délimiter le champ exact des littératures océaniennes. Les anthologies disponibles aujourd'hui peuvent fournir des indications précieuses sur les représentations dominantes de ce que sont ces littératures. Elles distinguent de fait, à travers les sélections sur lesquelles elles s’appuient, plusieurs grands ensembles. -- from Introduction

Thesis (M.Ed.)--Memorial University of Newfoundland, 2004. / Bibliography: leaves 194-205.

Thesis (M.A.) - Simon Fraser University, 2005. / Theses (Faculty of Education) / Simon Fraser University. Also issued in digital format and available on the World Wide Web.

Thesis (Ph. D.)--University of Washington, 2001. / Vita. Includes bibliographical references (leaves 498-531).

Thesis (Ph.D.)--Victoria University of Wellington, 2009. / Accompanying DVD contains dictionary, sound files and transcripts. Includes bibliographical references.

This report investigates the use of authentic readings and videos to teach Portuguese language and culture in the foreign language classroom. It starts with a discussion of the current state of the field about definitions of culture, their pedagogical implications and some approaches to teaching culture in the foreign language classroom. This discussion is followed by a review of recent research supporting the use of authentic videos and films to teach the target language and culture concomitantly, and a thorough description of the Brazilian literary genre of crônica, based upon the works of preeminent Brazilian literary critics and historians. The report ends with a unit design proposal based on the literature reviewed and grounded in second language acquisition theories and research. The proposed innovative approach that incorporates authentic non-scripted videos and literary readings, such as crônicas, provides a strong support to teachers that seek to teach cultural perspectives as well as products and practices in the foreign language classroom. / text