Esta pesquisa aborda a trajetória de Dércio Marques (1947-2012) a partir de uma corrente de pensamento disseminada na América Latina e refletida em um repertório pautado na defesa de valores humanistas. Tais ideários são o eixo do fazer artístico deste cantador brasileiro que deixou para a história da música um repertório significativo e que dá voz a um \"Brasil de Dentro\". A partir de narrativas oriundas de entrevistas feitas com outros artistas e pessoas de convívio próximo ao músico, assim como de materiais complementares, buscamos organizar conteúdos biográficos e discográficos em um recorte histórico específico, que perpassa seu encontro com a literatura e a música latino-americanas, suas escolhas de vida e a atuação no campo artístico dentro de um contexto nacional. Aliamos, ainda, a este percurso a escuta do cancioneiro presente em seus discos lançados entre 1977 e 1983, e apresentamos uma sucinta abordagem de cada canção em diálogo com notas biográficas, fatos históricos e temáticas específicas que as permeiam. Pretendemos assim, lançar luz sobre uma parte importante de nossa história musical, sobretudo aquela que ainda transita fora dos cânones. / This research covers the career of musician Dércio Marques (1947-2012), who was part of a current of thought widespread throughout Latin America, that reflected a repertoire characterized by the promotion of humanistic values. Such ideals are the axis of the artistic work of this Brazilian \'bard\' that left to the history of music a distinguished repertoire which gives voice to a Brasil \'from inside\'. Based upon narratives taken from interviews made with other artists and people who were in close contact with him, as well as complementary materials, we sought to organize both biographical and discographical contents from a period in which Dércio had a strong relationship with Latinamerican music and literature, his choices in life, and his acting in the artistic realm within the national context. In addition, we made hearings and discussed aspects of the \'cancioneiro\' present in his albums launched between 1977 and 1983 and for each of the songs we presented a summary that included biographical notes, historical facts and specific themes that relate to them. We intended, thus, to bring light to important aspects of our musical history, specially those that remain outside the official canons.

A historiografia recente da arquitetura experimenta um interesse renovado na obra e pensamento corbu- sianos, principalmente por conta do cinquentenário da sua morte. Entre outras experiências, salientam-se exposições em reconhecidos centros culturais, bem como debates, dissertações e teses produzidas na América e na Espanha. Vários dos seus autores, vindos da América Latina, têm focado na influência dos mestres modernos na arquitetura dos seus países ou na circulação das ideias desses entre arquitetos locais. Esta tese contribui à criação de um contra-relato para a arquitetura latino-americana, questionando a historiografia eurocêntrica, voltada para a produção de Le Corbusier nessa região. Baseada em fontes primárias como planos, cartas e rascunhos, a tese propõe a reconstrução da história do ateliê parisiense do franco-suíço - no n. 35 da Rue de Sèvres - mediante seus colaboradores latino-americanos, que trabal- haram ali durante três períodos diferentes, particularmente desde 1947, atingindo diferentes hierarquias. A chegada massiva de desenhistas e estagiários ao escritório de arquitetura mais importante em nível global evidenciou o caráter universal desse e viabilizou conexões entre eles, em um momento crucial na configuração política e cultural do território latino-americano. Os colaboradores também se alimentaram com experiências paralelas ao interior das correntes intelectuais que envolveram a França do Pós-guerra e que impeliram o progressivo afastamento crítico de Le Corbusier. Como resultado desse processo, esses colaboradores teriam concebido arquitetura consistente e de destaque ao retornarem para seus países. / Recent historiography of architecture lives a renewed interest in Corbusian thinking and works, mainly due to the 50th anniversary of his death. Between other experiences, we highlight exhibits in prominent cultural centers, as well as debates, thesis and dissertations from American and Spanish universities. Several of their graduates come from Latin America and focus on the influence of Modern Masters in their own countries or on the circulation of modern ideas between local architects. This dissertation contributes to the creation of a counter-narrative for Modern Latin American architecture, inquiring Euro-centered histo- riography, turned to Le Corbusier\'s production in that region. Predominantly based on primary sources as plans, letters and sketches, we propose the reconstruction of the history of this French-Swiss architect\'s Parisian studio -at 35, Rue de Sèvres- across its Latin American interns, working in three different periods, especially since 1947, and concerning different hierarchies of employees. The massive arrival of drafts- men and trainees to the most relevant architectural bureau globally, evidenced its universal character and generated connections between them, in a hard moment of cultural and political configuration of Latin American Territory. They also fed with parallel experiences inside the intellectual flow that involved the Postwar France and supported the progressive and critical estrangement from Le Corbusier. As a result of that process, those collaborators would conceived remarkable and consistent architecture when they went back to their countries.

O objetivo desta tese é analisar, em uma perspectiva comparada, como nascem, evoluem e são frustrados três projetos de democratização radical na América Latina nos primórdios do imperialismo. José Martí (1853-1895) em Cuba, Juan B. Justo (1865- 1928) na Argentina e Ricardo Flores Magón (1874-1922) no México, lideram esforços intelectuais e políticos orientados a superar os constrangimentos à integração nacional legados pela origem colonial, que se expressam em um pensamento que fundamenta a atuação dos partidos que dirigiram. Vivendo no contexto de difusão das relações de produção capitalistas no continente, estes projetos constituem esforços pioneiros de subordinar o desenvolvimento capitalista aos desígnios da sociedade nacional. A incidência que tiveram para o desencadeamento dos processos que objetivaram a guerra da independência em Cuba, a reforma política na Argentina e a Revolução Mexicana - atesta a sintonia de suas propostas em relação aos dilemas que enfrentaram. O malogro do ideário democrático que representavam indica a prevalência de constrangimentos estruturais que obstam a consumação da nação na América Latina naquela circunstância. Partindo da premissa de que os autores analisados constituem expoentes do pensamento e da política radical em suas conjunturas, nossa hipótese é que a aproximação entre os três casos sugere as balizas que referenciavam a máxima consciência possível no campo da militância democrática no continente naquele contexto histórico. / This research aims to analyse, on a comparative perspective, the rising, evolution and eventual frustration of three projects of radical democratization in Latin America in the beginnings of imperialism. José Martí (1853-1895) in Cuba, Juan B. Justo (1865-1928) in Argentina and Ricardo Flores Magón (1874-1922) in México, led intelectual and political efforts aiming to ovecome the constraints inherited from the colonial past as a premise to assert national integration. an effort that was expressed in their thoughts, which in turn have shaped the political parties which they led. This purpose has been expressed on their thought, which in turn has shaped the political parties they conducted. Living in the context of difusion of capitalist production relations in the continent, these projects constitute pioneer attempts to subordinate the capitalist development to the design of national society. The fact that their political activity contributed to unleash the processes which they aimed to the War of Independence in Cuba, political reform in Argentina and the Mexican Revolution attests that their proposals were well tuned to the dilemmas they faced. The failure to impose the democratic ideals which they represented points to the prevalence of structural constrains that hinder the consumation of the nation in Latin America on that circumstance. Assuming as a premise that the authors analysed in this work are exponents of radical thought and politics in their conjunctures, our hypothesis is that the approach of the three cases suggest the boundaries that referred the maximum posible consciousness of democratic militancy in the continent in that historical context.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-04-28T14:48:12Z No. of bitstreams: 1 eduardolacerdafariarocha.pdf: 1475531 bytes, checksum: f22ce528720d6beac168519261e6c7ce (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-05-02T01:11:36Z (GMT) No. of bitstreams: 1 eduardolacerdafariarocha.pdf: 1475531 bytes, checksum: f22ce528720d6beac168519261e6c7ce (MD5) / Made available in DSpace on 2016-05-02T01:11:36Z (GMT). No. of bitstreams: 1 eduardolacerdafariarocha.pdf: 1475531 bytes, checksum: f22ce528720d6beac168519261e6c7ce (MD5) Previous issue date: 2015-10-13 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Nesta dissertação, pretendemos examinar, na Ars grammatica, de Diomedes, os elementos textuais e conceitos gramaticais que possam representar reflexos do bilinguismo greco-latino existente na sociedade em que essa obra se inseria, na região de Constantinopla, antiga capital do Império Romano do Oriente, onde a gramática teria sido publicada por volta do fim do século IV d.C.. A análise das artes grammaticae dos gramáticos latinos, como é o caso de Diomedes e sua ars, faz parte de um conjunto de estudos pertencentes à área da Historiografia Linguística, e que têm como corpus um texto antigo, através do qual, seguindo a proposta de Swiggers (2013, p. 43), busca-se contribuir, modestamente, para a compreensão do ideário linguístico e seu desenvolvimento. Essa contribuição se inicia, neste trabalho, a partir das contextualizações histórica e sociolinguística do texto sob análise, a fim de ilustrar a dinâmica instaurada em um texto gramatical antigo da coexistência das línguas grega e latina na sociedade da época. Com base nesse contexto, apresentamos e avaliamos os indícios no texto que decorrem do caráter bilíngue sociorregional, levando, também em consideração a língua do potencial leitor da gramática e a própria metalinguagem utilizada pelo autor. / In this dissertation we intend to examine, in the Ars grammatica of Diomedes, the textual elements and grammatical concepts that could represent reflections from the Greek and Latin bilingualism in the society in which this work was inserted, more specifically in the region of Constantinople, the late capital of the Eastern Roman Empire, where the grammar might have been published around the last years of the 4th century AD. The analysis of the artes grammaticae of Latin grammarians, such as Diomedes and his ars, is constituent of a combination of studies belonging to the field of Historiography of Linguistics, which have ancient texts as corpus. Through this corpus, according to the approach of Swiggers (2013, p. 43), we look for providing a modest contribution to the comprehension of the linguistic ideas and their development. This contribution initiates in this work from the historical and sociolinguistic contextualization of the text under analysis, in order to illustrate the dynamics of the coexistence of the Greek and Latin languages established in an ancient grammatical text at that time. Based on this context, we demonstrate and evaluate the traces in the text which originate from the socio-regional bilingual features, taking as well into consideration the language of the potential reader of the grammar and the metalanguage itself used by the author.

Submitted by isabela.moljf@hotmail.com (isabela.moljf@hotmail.com) on 2017-02-21T13:34:34Z No. of bitstreams: 1 joaomarcosreisdefaria.pdf: 5409540 bytes, checksum: 9845fb08a12d67a481b48fd95616eb8e (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-02-21T13:59:37Z (GMT) No. of bitstreams: 1 joaomarcosreisdefaria.pdf: 5409540 bytes, checksum: 9845fb08a12d67a481b48fd95616eb8e (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-02-21T13:59:48Z (GMT) No. of bitstreams: 1 joaomarcosreisdefaria.pdf: 5409540 bytes, checksum: 9845fb08a12d67a481b48fd95616eb8e (MD5) / Made available in DSpace on 2017-02-21T13:59:48Z (GMT). No. of bitstreams: 1 joaomarcosreisdefaria.pdf: 5409540 bytes, checksum: 9845fb08a12d67a481b48fd95616eb8e (MD5) Previous issue date: 2009-11-27 / FAPEMIG - Fundação de Amparo à Pesquisa do Estado de Minas Gerais / Ao observarmos a inserção de Julio Cortázar no debate intelectual que movimentou a esquerda latino-americana após a revolução socialista em Cuba, podemos identificar as questões levantadas pelo escritor no Libro de Manuel (1973) como autênticas respostas aos desafios do fazer literário no contexto político e cultural dos anos sessenta e setenta. Através de diálogos com o corpus crítico dedicado a Cortázar, buscamos explorar os diferentes significados gerados pelo projeto escritural deste romance, bem como o impacto de sua publicação no conjunto da obra cortazariana. Entendemos o Libro de Manuel, portanto, não como representativo de um desvio desde uma concepção criativa fortemente marcada pela experimentação estética rumo a um engagement que se choca com a máquina narrativa de Cortázar, mas como uma proposta de reflexão permanente sobre a práxis revolucionária, em que adquirem papel central o jogo e o erotismo, elementos fundamentais de toda a sua poética. / Al observar la inserción de Julio Cortázar en el debate intelectual que animó la izquierda latinoamericana tras la revolución socialista en Cuba, podemos identificar las cuestiones que el escritor propone en su Libro de Manuel (1973) como auténticas respuestas a los desafíos del quehacer literario en el contexto político y cultural de los años sesenta y setenta. A través de diálogos con el corpus crítico dedicado a Cortázar, buscamos explorar los diferentes significados generados desde el proyecto escritural de esta novela y el impacto de su publicación en el conjunto de la obra cortazariana. Comprendemos, pues, que el Libro de Manuel no es representativo de un desvío desde una concepción creativa fuertemente marcada por la experimentación estética hacia un engagement que se choca con la máquina narrativa de Cortázar, sino que actúa como una propuesta de reflexión permanente sobre la praxis revolucionaria, donde adquieren un rol central el juego y el erotismo, elementos fundamentales de toda su poética.

Orientador: Francisco Foot Hardman / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-23T01:28:04Z (GMT). No. of bitstreams: 1 Guerra_BrunaTella_M.pdf: 1281442 bytes, checksum: 03ca81a82ade5bc6bffa8816adb45df4 (MD5) Previous issue date: 2013 / Resumo: A síntese deste trabalho é a ressignificação da detective fiction em Los detectives salvajes, de Roberto Bolaño. O ponto de partida são os vários textos do autor que têm a figura do detetive na intitulação, sendo esse apenas um dos vários aspectos que recorre na obra bolañiana. Entendendo que a enorme rede de relações que existe em seus textos é sugestiva de seu projeto literário, coerentemente será assumida uma visão transtextual para a análise da narrativa: através de textos críticos de Bolaño, de sua obra ficcional geral e do histórico da detective fiction, algumas interpretações serão traçadas para que se perceba de que forma novos sentidos deste gênero podem ser atribuídos a Los detectives salvajes. Para isso, será feita uma análise conjectural, num nível fragmentário, e nunca totalizante / Abstract: The synthesis of this work is the resignification of the detective fiction in Roberto Bolaño's Los detectives salvajes. The starting point is the various texts of the author that have the figure of the detective in the entitlement, being this aspect only one of the many others that resort in bolañian work. Understanding that the huge network of relationships that exist in his texts is suggestive of his literary project, it will coherently be assumed a transtextual vision for analyzing the narrative: through Bolaño's critical texts, his general fiction and the history of the detective fiction, some interpretations shall be outlined for the perception of how new meanings of this genre can be attributed to Los detectives salvajes. To achieve this aim, it will be assumed a conjectural analysis, in a fragmentary level, and never totalizing / Mestrado / Teoria e Critica Literaria / Mestra em Teoria e História Literária

Submitted by Fabiano Vassallo (fabianovassallo2127@gmail.com) on 2017-04-27T18:44:49Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Tese Valterlei_abr 2016_ FINAL ficha catalografica.pdf: 1850061 bytes, checksum: 0f178309829d32f93cd70200759b0659 (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-05-08T17:18:36Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Tese Valterlei_abr 2016_ FINAL ficha catalografica.pdf: 1850061 bytes, checksum: 0f178309829d32f93cd70200759b0659 (MD5) / Made available in DSpace on 2017-05-08T17:18:36Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Tese Valterlei_abr 2016_ FINAL ficha catalografica.pdf: 1850061 bytes, checksum: 0f178309829d32f93cd70200759b0659 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Tendo como objeto de análise a obra do compositor e escritor gaúcho Vitor Ramil, a pesquisa busca apontar, a partir do conceito de construção de identidade e das perspectivas contemporâneas do multiculturalismo, a produção musical de Ramil como produto cultural representativo da geração dos anos 90. Identificamos nessa década o surgimento de alguns importantes movimentos musicais (organizados ou não). Dois desses movimentos são: o Mangue Beat, em Recife, liderado por Chico Science; e A estética do frio, no Rio Grande do Sul, liderado por Vitor Ramil. A estética do frio, assim como os demais movimentos musicais surgidos na década de 90, apresentam algumas propostas em comum, a saber: o interesse e o resgate pela memória da cultura local/regional; a necessidade de afirmação cultural e geográfica na produção musical; o resgate da produção musical local/regional com a qual se afiliavam; a busca e a tradução do passado cultural local/regional com os quais se sentiam conectados para a atualidade; a intencionalidade de colocar em contato propostas musicais e temporalidades diferentes. Nota-se, portanto, uma necessidade dessa geração em fortalecer seus laços locais/regionais e em conectar a tradição com o mundo contemporâneo. Essas necessidades de afirmação estão vinculadas especialmente a dois momentos históricos: o início da redemocratização do país na segunda metade dos anos 80; e o medo da homogeneização cultural representada pela maior entrada de produtos culturais massivos no período pós-ditadura, geralmente oriundo dos Estados Unidos. Lançado em 1993, A estética do frio (2004) é um ensaio reflexivo de Ramil, no qual o autor tenta reformular sua produção musical e sua inserção enquanto músico gaúcho dentro da MPB. Além disso, também busca analisar as relações de afiliação da música gaúcha com as músicas argentina e uruguaia, e os possíveis vínculos culturais entre os três países / Analysing the work of Vitor Ramil, composer and writer from Rio Grande do Sul/Brazil, the research aims to identify, from the concept of identity construction and contemporary perspectives of multiculturalism, Ramil’s music production as a representative cultural product of the generation of the 90s. We identify in this decade the emergence of some important musical movements (organized or not). Both of these movements are: Mangue Beat, in Recife, led by Chico Science, and A estética do frio (The aesthetics of the cold), in Rio Grande do Sul, led by Vitor Ramil. A estética do frio (The aesthetics of the cold), as others musical movements that emerged in the 90s, have some proposals in common, namely: the interest and the rescue by the memory of local / regional culture; the need for cultural and geographical affirmation in music production; the rescue of local / regional musical production with which they were affiliated; the search and the translation of local / regional cultural past with which they felt connected to the present; the intention of establishing contacts between musical proposals and different times. Note, therefore, a need for this generation to strengthen their local / regional ties and connect the tradition with the contemporary world. Those needs of affirmation are linked especially to two historical moments: the beginning of Brazil’s democratization in the second half of the 80s; and the fear of cultural homogenization represented by a higher input of massive cultural products in the post-dictatorship period, usually coming from the United States. Released in 1993, A estética do frio (The aesthetics of the cold) is a Ramil’s reflective essay, in which the author tries to reshape his musical production and his role as a gaúcho (born in Rio Grande do Sul) musician within the Brazilian Popular Music (MPB). It also seeks to analyze the relations of affiliation with the Argentine and Uruguayan music, and possible cultural ties between the three countries

La recherche se propose d'étudier des représentations cinématographiques de l'Indien et du monde indien en Colombie, depuis les origines en 1929-1930 et jusqu'à l'époque contemporaine. Elle identifie, répertorie, décrit et analyse une série d'éléments constitutifs des rapports que cette production cinématographique entretient avec les réalités sociales, culturelles ou ethnoculturelles de l'histoire colombienne, et, en particulier, avec le phénomène d'invisibilisation de l'Indien. Elle établit une périodisation en trois temps de l'histoire de cette production cinématographique en Colombie : 1] Période initiale ou de « découverte » de l'Indien et du monde indien par le cinéma colombien [1929-1964] ; 2] Période de redécouverte cinématographique de l'Indien [1968- 1980] ; 3] Période d'appropriation du cinéma et de l'audiovisuel par les cultures indiennes [1980-aujourd'hui]. La première est définie pour l'essentiel par les films d'évangélisation et de « civilisation », qui participent à la reproduction d'un imaginaire national excluant toute référence positive aux cultures indiennes ; la deuxième est caractérisée par la diversification des regards sur le monde indien, et, notamment, par l'utilisation du cinéma comme langage critique des formes de domination politique, économique, sociale et culturelle sur le monde indien ; la troisième est marquée par l'arrivée d'un nouveau support technique [la vidéo], l'auto-appropriation de son image par l'Indien et l'apparition de nouvelles pratiques cinématographiques en lien avec l'appropriation du cinéma et de la vidéo par les cultures indiennes. / This dissertation proposes to study cinematographic representations of the Indian and the Indian world in Colombia since the origins in 1929-1930 until the contemporary era. It identifies, classifies, describes and analyses a series of constituent elements of the relations that cinematographic production holds with social, cultural or ethno-cultural realities of the Colombian history and, in particular, with the phenomenon of the invisibilization of the Indian. It establishes three stages of the history of that cinematographic production in Colombia: 1] Initial period or “discovery” period of the Indian and the Indian world by the Colombian cinema [1929-1964] 2] Period of cinematographic rediscovery of the Indian [1968-1980] 3] Appropriation period of the cinema and the audiovisual by Indian cultures [1980-today]. The first period is defined essentially by films of evangelization and that of the “civilization”, which participates in the reproduction of a national imagery while excluding all positive reference to Indian cultures; the second is characterized by the diversification of the perspectives on the Indian world and notably, by the utilization of cinema as a critical language of political, economical, social and cultural forms of domination on the Indian world; the third is marked by the coming of a new technical support [the video], the auto-appropriation of their image by Indians and the apparition of new cinematographic practices in relation with the appropriation of cinema and video by the Indian cultures.

Née d’un esprit critique qui la rapproche du Nouveau Roman français, l’oeuvre de l’écrivain argentin Juan José Saer (1937-2005) constitue l’une des tentatives de renouvellement des formes narratives les plus importantes dans la littérature latino-américaine de la deuxième moitié du XXe siècle. Ce renouvellement concerne tous les aspects du récit, en particulier celui de la fonction narratrice et, à l’intérieur de celle-ci, la figure du narrateur sous toutes ses formes. Le présent travail a pour objectif d’étudier les différentes manières dont cette instance est mise à l’épreuve d’un questionnement et d’une recherche intenses, donnant comme résultat des textes d’une grande complexité. Divisé en trois parties, il s’occupe, dans la première, de quelques cas de narrateurs impersonnels, en mettant l’accent sur leur rapport à la convention de l’omniscience, tandis que dans la deuxième il analyse des narrateurs personnels en les reliant à des expériences de voyage et d’immobilité. Enfin la troisième partie aborde quelques exemples de narrateur au second degré, considérés comme l’un des multiples moyens dont l’auteur se sert pour construire une réflexion autoréférentielle à l’intérieur de l’oeuvre. Dans tous les cas, le narrateur se trouve redéfini comme un outil privilégié de l’exploration du réel qui est au coeur du projet littéraire de l’auteur. / Arising from a form of critical thought that approximates him to the french Nouveau Roman, the work of the Argentine writer Juan José Saer (1937-2005) demonstrates one of the most important attempts to renew the narrative form in Latin-American literature within the second half of the twentieth-century. While this renewal concerns all aspects of the story, this dissertation will closely analyze the narrative function in particular and within this, the figure of the narrator in all of his forms. The present work aims to study the ways in which intense questioning and investigation have put this body of work to the test—a practice that has resulted in highly complex texts in which the narrator is redefined as a valuable tool to explore the idea of reality that is at the heart of the author’s literary project. The work is divided into three sections: the first deals with impersonal narrators by focusing on their relationship to the conventions of omniscient narration. The second section analyzes the personal narrators by studying their experiences with travel and immobility. The third section studies some of the many cases of second-degree narrators by treating them as one of the several means used by the author to construct a self-referential reflection within the work itself.

This longitudinal study examined the role maternal responsiveness had on shaping Spanish and English language development in bilingual two year-old children. Because children who are bilingual language learners are oftentimes coming from low socioeconomic families it is essential that we investigate the ways in which they develop language in order to better serve this population. Maternal responsiveness is one source in which we can examine early language development of young bilingual children. Eight Latino mother-child dyads were observed and assessed at three time points. Each observation was coded for maternal responsive behaviors. Regression and multilevel modeling was used in order to assess which maternal responsive behaviors impacted Spanish and English language outcomes. Results indicated joint topic focus as being overwhelmingly impactful across Times 2 and Times 3 in both languages. Additionally, prohibition was found to be negatively influencing English language outcomes at Times 2 and Times 3. Interestingly, focus shift was found to have a positive impact on English language outcomes at Time 2. Given the findings, this work sheds light on the similarities and differences between cultures and the need for further research surrounding this population.