No ano de 1934, o artista alemão Max Ernst lança em Paris um peculiar conjunto de fascículos intitulado Uma Semana de Bondade ou os Sete Elementos Capitais. Trata-se, segundo o próprio artista, de um romance de colagens. A obra, que fora pensada e produzida por Ernst durante férias na Itália, consiste de 182 colagens feitas a partir da combinação de figuras provenientes de romances folhetinescos do século XIX e de enciclopédias do mesmo período. Em cada uma dessas colagens, há cenas de violência e horror, praticadas por seres estranhos, meio humanos, meio animais. Fora a estranheza já naturalmente causada pelas colagens, é curioso notar o fato de que a obra se apresenta como um romance, tanto na denominação dada pelo autor, quanto pela forma na qual foi lançado, inicialmente por meio de cadernos periódicos, à moda dos folhetins, e posteriormente na forma de um grande volume. Este trabalho procura analisar como duas características caras ao romance se configuram nesta obra de Ernst. São elas a narratividade e os personagens. Para tanto, o trabalho faz uma revisão do movimento surrealista, apresentando a colagem de Max Ernst e a análise da narratividade e dos personagens em Uma Semana de Bondade. / In 1934, the German artist Max Ernst launches in Paris a peculiar set of fascicles entitled A Week of Kindness or the Seven Deadly Elements. It is, according to the artist himself, a \"collage-novel\". The work, which was conceived and produced by Ernst during a holiday in Italy, is consisted of 182 collages made from the combination of pictures from nineteenth-century kitsch novels and encyclopedias of the same period. In each of these collages, there are scenes of violence and horror, practiced by strange beings, half human, half animals. Apart from the strangeness already caused by the collages themselves, it is curious to note the fact that the work presents itself as a novel, in the denomination given by the author and also in the form in which it was launched, initially by means of periodical fascicles, in the style of serial novels, and later in the form of a large volume. This work tries to analyze how two characteristics of the novel are configured in this Ernst\'s work: narrativity and characters. In order to do this, the surrealist movement is reviewed, presenting the collage of Max Ernst and the analysis of narrativity and characters in A Week of Kindness.

Abstract The theoretical basis for this research is alcoholism as a disease. The methodological choices are based on a critical emancipatory perspective. The data consists of individual interviews, group interviews, and written accounts collected from an Alcoholics Anonymous (AA) group, and is analysed through different narrative methods. The principle research question of this doctoral thesis asks, ‘What sort of process of change is the process of recovery from alcoholism as described by eight alcoholic mothers belonging to two generations?’ The secondary research questions are as follows: 1) How do denial of alcoholism in society and societal attitudes towards alcoholic mothers become apparent in dialogue between mothers from two generations? 2) How do mothers in their narration portray the experience of losing control of their drinking? 3) How does the mother-child relationship appear in the narratives of alcoholic mothers? 4) In their narratives, how do mothers describe recovery from alcoholism as a transformative process of change? The results challenge us to examine the expectations placed on motherhood and to scrutinise everything a mother must overcome in order to be a ‘good enough’ mother. Those expectations also set a threshold for applying for and receiving support. This study highlights the stability and stigma of the problems and attitudes faced by alcoholic mothers in our society, strengthening our understanding of the mechanisms of social denial related to alcoholism as a disease. The mothers’ subjective descriptions of losing control of their drinking bring out the nature of alcoholism as a comprehensive, progressive disease associated with a harsh experience as well as negative emotional states. Alcoholism is a disease that traumatises mothers and their children. Issues relating to alcoholism often remain unaddressed in the world of experience of mothers and children for years after a mother becomes sober. This research also highlights the consequences of alcoholism as a disease inherited from one generation to another. The mothers describe their recovery as a liberating, empowering process. The meaningful relationship created with alcohol turns in to meaningful relationship with an abstinent way of life. The significance of telling one’s story and receiving peer support is emphasised. Recovery from alcoholism is, in the longer term, a process leading to transformative change. This research shows that alcoholism is a disease that can be recovered from and that investments should be made to develop support systems for alcoholics with children. / Tiivistelmä Tutkimuksen teoreettisena lähtökohtana on alkoholismi sairautena. Metodologiset valinnat pohjautuvat kriittis-emansipatoriseen näkökulmaan. Aineisto muodostuu Nimettömien Alkoholistien (AA) piiristä kerätyistä yksilö- ja ryhmähaastatteluista sekä kirjoitetuista kertomuksista, ja se analysoidaan erilaisilla kerronnallisilla menetelmillä. Väitöskirjan päätutkimuskysymys tarkastelee sitä, millainen muutosprosessi alkoholismista toipumisen prosessi on kahdeksan kahteen sukupolveen kuuluvan alkoholistiäidin kertomana. Alakysymyksissä kysytään, miten alkoholismiin yhteiskunnassa kohdistuva kielto ja alkoholistiäiteihin kohdistuvat asenteet tulevat esille kahden sukupolven äitien dialogissa, miten äitien kerronnassa tulee esiin juomisen hallinnan menetyksen kokemus, millä tavoin alkoholistiäitien kerronnassa näyttäytyy äidin ja lapsen välinen suhde ja millä tavoin äidit kerronnassaan kuvaavat alkoholismista toipumisen prosessiaan transformatiivisena muutosprosessina? Tulokset haastavat tarkastelemaan äitiydelle asetettuja odotuksia ja sitä, mistä kaikesta äitien tulee selviytyä ollakseen riittävän hyviä äitejä. Odotukset asettavat omat kynnyksensä myös avun hakemiselle ja saamiselle. Äitien kerronta nostaa esiin alkoholistiäitien kohtaamien ongelmien ja asenteiden pysyvyyden ja leimaavuuden vahvistaen käsitystä alkoholismiin sairautena liittyvistä yhteiskunnallisista kiellon mekanismeista. Äitien subjektiivinen kuvaus juomisen hallinnan menetyksestä tuo esiin alkoholismin luonteen kokonaisvaltaisena ja etenevänä sairautena, johon liittyvät rankat pohjakokemukset sekä negatiiviset tunnetilat. Alkoholismi on äitejä ja heidän lapsiaan traumatisoiva sairaus. Asiat ovat käsittelemättöminä äitien ja lasten kokemusmaailmassa usein vielä vuosia äidin raitistumisen jälkeen. Tutkimus nostaa esiin alkoholismin seurauksia myös sukupolvesta toiseen periytyvänä sairautena. Toipumistaan äidit kuvaavat vapauttavana ja voimaannuttavana prosessina. Alkoholiin syntynyt merkityksellinen suhde kääntyy merkitykselliseksi suhteeksi raitista elämäntapaa kohtaan. Kertomisen ja vertaistuen merkitys korostuvat. Alkoholismista toipuminen on pidemmällä aikavälillä transformatiiviseen muutokseen johtava prosessi. Tutkimus osoittaa alkoholismin sairaudeksi, josta voi toipua ja alkoholistit lapsineen asiakasryhmäksi, jonka auttamisjärjestelmien kehittämiseen tulisi panostaa.

Esta tese apresenta estudos interpretativos sobre as obras musicais compostas pelo autor durante seu doutoramento: Introverso (piano), Ao Pó (clarinete em si , trombone, violoncelo, piano), Breviário das Narrativas Absurdas (vibrafone, piano), Coisas Pelo Ar (piano), O Desvão (2 clarinetes em si, clarone, piano), Epopeia Fantástica (oboé, trombone, percussão, violino, contrabaixo). A partir de uma perspectiva teórica hermenêutica, é realizada uma adaptação do conceito de narrativa musical a essas obras, alicerçando-a em extensa revisão bibliográfica sobre o assunto e estabelecendo procedimentos metodológicos para a elaboração de interpretações narrativas desse repertório. O objetivo geral do trabalho é conceber e fundamentar teoricamente interpretações que possam ser consideradas como transformadoras conceituais da música e continuadoras do processo composicional do autor. Esses procedimentos são complementados com definições reflexivas sobre o processo composicional, enfatizando o viés criativo e performático da disciplina ‘análise musical’. Assim, o produto desta tese pode ser dividido em três categorias: reflexão crítica sobre obras musicais compostas durante o curso de doutorado (apresentadas aqui em partitura e gravação audiovisual); interpretação analítica e narrativa dessas obras; fundamentação teórica e metodológica dessa interpretação. As três categorias são consideradas como complementares e imprescindíveis para o cumprimento dos objetivos desta tese, a qual o autor oferece como contribuição a debates pertinentes e correntes nas áreas de composição e teoria da música. / This thesis presents interpretive studies on musical works composed by the author during his doctoral studies. From a hermeneutical perspective, the concept of musical narrative was adapted to the analytical necessities found in these works. This adaptation includes extensive bibliographic review on the issue of musical narrative; it establishes methodological procedures for the elaboration of analytical/narrative interpretations for this repertoire. The overall objective of this thesis is to conceive and substantiate theoretically these interpretations, considering them as conceptual and transformative actions on the music, and therefore a continuation of the author’s compositional process. For this purpose, the abovementioned procedures were complemented with reflexive definitions regarding this compositional process, emphasizing the creative and performing bias of musical analysis. Thus, the product of this thesis may be divided into three categories: publication and critical reflection on the musical compositions created during this doctorate (presented here as scores and audiovisual recordings); analytical and narrative interpretations of these works; implementation of theoretical and methodological foundations for these interpretations. These three categories are seen as complementary and indispensable for the purposes of this thesis, which is meant by its author as a consistent contribution for the current debates on musical composition and musical theory. The following compositions are included in this thesis: Introverso (piano), Ao Pó (B clarinet, trombone, violoncello, piano), Breviário das Narrativas Absurdas (vibraphone, piano), Coisas Pelo Ar (piano), O Desvão (2 B clarinets, bass clarinet, piano), Epopeia Fantástica (oboe, trombone, percussion, violin, double bass).

La drépanocytose, pathologie génétique de l'hémoglobine la plus fréquente en France, se caractérise par des crises douloureuses paroxystiques, dont la survenue apparaît souvent depuis la plus jeune enfance. La majorité des individus rencontrés en métropole française sont issus de la migration, provenant de départements d'Outre-Mer et de pays d'Afrique Sub-Saharienne.Par une méthodologie qualitative, nous observons les répercussions des crises douloureuses pathognomoniques de la drépanocytose, que nous considérons comme traumatogènes, sur la dynamique identitaire de sujets adultes. D'une part, nous suggérons que ces crises se figurent tel un évènement déstructurant, menaçant l'équilibre identitaire du sujet, de par l'imprévisibilité de leur survenue et leur risque létal. D'autre part, au vu de cette potentialité traumatique, nous les envisageons comme structurant la dynamique psychique du sujet, au travers des modalités singulières que ce dernier entretient avec son corps. La confrontation au Réel de la Mort, le vécu d’effroi, la menace d’annihilation psychique causée par la douleur, ainsi que leur répétitivité et le sentiment d’incertitude quant à leur soulagement, inscrivant parfois le sujet dans un temps dissociatif long, dévoilent un risque de développer un syndrome psychotraumatique. Pour autant, de par leur récurrence, elles engendrent une relation au corps où le sujet anticipe le surgissement de la douleur, laquelle apparaît tel un repère sensoriel, même latent, auquel il se fie pour se mouvoir dans son environnement.Dans cette visée exploratoire, nous appréhendons le sentiment et la construction identitaire des sujets, notamment au regard des étiologies plurielles affiliées à la drépanocytose, relatives aux savoirs profanes de la culture d’origine et aux savoirs médicaux disponibles. Ces diverses explications causales génèrent des représentations et des désignations socio-culturelles du sujet drépanocytaire, particulièrement dans le pays d’origine. Le processus identitaire semble malmené par les contraintes liées à la maladie, contribuant au sentiment d’être différent des autres, lequel est également alimenté par ces spécificités socio-culturelles. Au-delà des bouleversements identitaires liés à la migration, l’analyse met en exergue les réactions et les ressources employées face à la maladie, et illustre les mouvements de distanciation des sujets face à une identité parfois vécue comme « subie ».En outre, nous avons recueilli des données quantitatives concernant l’observance thérapeutique, les niveaux d’anxiété, de fatigue, de catastrophisme, ainsi que les croyances et les perceptions associées à la douleur. En moyenne, les sujets déclaraient être observants quant à leur traitement. Les niveaux moyens d’anxiété et de catastrophisme se sont avérés modérés. La fatigabilité s’orienterait sur une dimension sensorielle et affective plutôt que comportementale et cognitive. Concernant leur douleur, les sujets avaient tendance à l’appréhender comme mystérieuse et pérenne, ne se percevaient que peu coupables quant à sa présence et semblaient hésitants sur son caractère intermittent ou continu.Le premier axe d’étude de l’hypnose et de la pratique de l’autohypnose s’attachait à les estimer en tant que facteurs d’atténuation des symptômes mesurés par le biais des échelles d’évaluation. Le deuxième intéressait la nécessaire dimension intersubjective de l’hypnose. Aucune différence significative n’a été retrouvée entre les deux temps de mesures qui suggérerait une efficacité symptomatique de l’hypnose. Au travers du discours des sujets, l’influence de l’hypnose résiderait dans la (ré)appropriation du vécu du corps et de l’histoire subjective grâce à l’investissement relationnel sécurisant au praticien. Enfin, la pratique de l’autohypnose se révélerait efficace en tant que réactualisation de cette relation, mobilisant le sujet dans un engagement à lui-même. / Sickle-cell disease, the most common genetic pathology of haemoglobin in France, is characterized by painful paroxysmal pain attacks, often occurring since early childhood. The majority of the individuals met in the French metropolis are migrants, coming from overseas departments and countries in Sub-Saharan Africa.Using a qualitative methodology, we observe the repercussions of painful pathnomonic crisis in sickle-cell disease, which we consider traumatogenic, on the identity dynamic of adult subjects. On one hand, we suggest that these crises appear as a destructuring event, threatening the subject's identity balance, due to the unpredictability of their occurrence and their lethal risk. On the other hand, in view of this traumatic potentiality, we consider them as structuring the psychic dynamics of the subject, through the peculiar modalities that he maintains with his body. The confrontation with the Reality of Death, the experience of dread, the threat of psychological annihilation caused by pain, as well as their repetitiveness and the feeling of uncertainty as to their relief, sometimes placing the subject in a long dissociative time, reveal a risk of developing psychotraumatic syndrome. However, because of their recurrence, they generate a body relationship where the subject anticipates the onset of pain, which appears as a sensory reference point, even latent, which he relies on to live in his environment.In this exploratory aim, we apprehend the feeling and identity construction of subjects, particularly in regard of the plural etiologies affiliated with sickle-cell disease, related to the secular knowledge of the culture of origin and the medical knowledge available. These various causal explanations generate socio-cultural representations and designations of the sickle cell disease subject, particularly in the country of origin. The identity process seems to be mishandled by disease related constraints, contributing to the feeling of being different from others, which is also fuelled by these socio-cultural specificities. Beyond the identity changes linked to migration, the analysis highlights the reactions and resources used in dealing with illness, and illustrates the movement of subjective distanciation subjects from an identity that is sometimes experienced as "undergone".In addition, we collected quantitative data on adherence, anxiety, fatigue, catastrophizing, and beliefs and perceptions associated with pain. On average, subjects reported being observant about their treatment. Average levels of anxiety and catastrophizing were moderate. Tiredness would tend to a sensory and emotional dimension rather than a behavioural and cognitive one. Regarding their pain, subjects tended to perceive it as mysterious and lasting, don’t feel guilty about its presence and seemed hesitant about its intermittent or continuous nature.The first axis of study of hypnosis and the practice of self-hypnosis focused on estimating them as mitigating factors for symptoms measured through assessment scales. The second concerned the necessary inter-subjective dimension of hypnosis. No significant differences were found between the two measurement times that would suggest symptomatic efficacy of hypnosis. Through the subjects' words, the influence of hypnosis could be seen in the (re)appropriation of the body's experience and subjective history thanks to the practitioner's secure relational investment. Finally, the practice of self-hypnosis would prove to be effective as an update of this relationship, mobilizing the subject in a commitment to himself.

This diploma thesis deals with a prosaic text from Czech writer and philosopher Ladislav Klíma The Suffering of Prince Sternenhoch from the narratogical point of view. Firstly, it introduces its metodology. Thereafter, the thesis will try to bring nearer The Suffering of Prince Sternenhoch and to quote the informations about the genesis of the text, about its former reception and its latter adaptations. The main part of this thesis is a narratological analysis with the main focus on characters, narrator, focalization, time and space. The thesis concludes, that the focalization is the most important in the narrative of The Suffering of Prince Sternenhoch. This focalizations is also the reason why the text shows some similarities with the modern texts.

This master thesis focuses on topics of narrativity, stories and the art storytelling, while fixing the biggest attention on the storytelling method - as a narratively-dramatical field of arts. The storytelling method stands in the very focal point of this thesis and its potentiality in the field of didactics and education are being examined - concerning specifically the school subject of the Civics. In this master thesis, two chapters have been designed - a philosophical one, and a didactics-concerning one. In the first chapter, narrativity has been analysed as an anthropological and philosophical phenomenon and viewed from the phenomenological perspective. In this part of the master thesis, the essential significance of narrativity, stories and storytelling for the human life, human experience and the capabilities of education have been expressed and emphasized. In the second chapter, the variety of narrative forms has been outlined and the storytelling method has also been introduced. The methodology has been presented and the process of the preparations for a storytelling performance has been described in this part of the master thesis. As a follow-up to this, a possible application of the storytelling mehtod in the education process has been analysed, while focusing specifically on the Civics....

This dissertation focuses on the function of human bodies in articulations of the nation in contemporary British multicultural fiction, more specifically in novels by Salman Rushdie, V. S. Naipaul, Hanif Kureishi, and Monica Ali. Combining the Andersonean claim that narrative fiction is an especially sensitive medium for imagining the nation with Daniel Punday‘s assertion that the human body is the basic organizing principle of narrative structure, this study examines the ways in which corporeal representations in novels negotiate dominant paradigms of the national imaginary. Each chapter focuses on a key text from which it opens up the discussion to the authors‘ oeuvre. The study establishes the palimpsest as a mode of representation and interpretation of cultural and national identities showcased in Rushdie‘s The Moor‘s Last Sigh. The fragmentation of narrative and human subjectivity via the trope of the palimpsest in this novel is central to conceptualizations of the nation in Rushdie‘s oeuvre as well as in the other texts in this study. Based on the make-up of Rushdie‘s palimpsests, the characters‘ bodies manifest not a mixture of different elements but a conglomerate of often mutually exclusive, yet intrinsically combined alternatives. For V. S. Naipaul, the function of corporeality is the negotiation of the national imaginary via representations of narrative space. In The Enigma of Arrival as in his other novels, Naipaul uses circuitous movement and palimpsestic layering of the kinetic space to complicate agency for his characters, to emphasize the illusory nature of narrative authority, and to call attention to the ambiguous operations of national and postcolonial discourse. Hanif Kureishi‘s The Body among his other novels shows a ground-breaking attitude toward the possibilities of narrativity in the age of transmutable corporeality. His characters‘ diminishing corporeal presence is the source of their agency and their increasingly complex cultural identifications. In Brick Lane, Monica Ali‘s keen attention to kinetic space creates unexpected ripples in the narration and the protagonist‘s cultural identification, which shift the meaning of the novel from an optimistic ethnic/gender emancipation narrative to claiming agency by resisting cultural affiliations. / English

The purpose of this essay is to explore the construction of character in Naomi Novik’s 2018 fantasy novel Spinning Silver. As the story unfolds in the first-person perspectives of several characters, a stylistic approach is assumed in order to examine the linguistic features unique to each narratorial voice of the novel. Using Roger Fowler’s concept of mind style, these narratorial voices are then analysed through their distinct uses of syntax and lexis, deixis, and figurative language. The essay argues that Novik shapes the characters of Spinning Silver by crafting unique mind styles through which she conveys each individual character’s identity and background. Moreover, it is argued that this is reflected in a range of idiosyncratic linguistic patterns present in the individual narrations, which in turn constitute an integral part of the way character is constructed in the novel.

This thesis investigates the role of the term plot in mediating relations between architecture and narrativity. Examining organisational strategies in the creation of real and virtual spaces, it identifies literary works by novelists who have resisted, or subverted, plot conventions in fiction (Joris-Karl Huysmans, Edmond de Goncourt, Xavier de Maistre and Neal Stephenson), and introduces architectural spaces such as Thomas Edison’s film-studio Black Maria, and the plotless productions of early cinematography, to juxtapose concepts of plot and spatiality in a study of the production and consumption of pre-digital virtual spaces. Plot here relates therefore both to narrative sequentiality and spatial organisation – from "storyline" to "ground plan". The "plotless" narrative structure of Huysmans, Goncourt and de Maistre focuses on the interaction between man – the "writerin- residence" – and his domestic interior, functioning as an excitant or stimulant for the production of both material and imagined spaces. The media culture of late 19th century society saw the first significant attempts at moving image technology and its related spatialities – the Black Maria, the kinetoscope, the kinetograph, and the films produced by these, which had yet to find a narrative form. The architecture of the plotless novels and the proto-cinematic experiments of the late 19th century modulate between physical reality and fiction. They are ripe in their descriptive narrativity, expanding in the imagination of the consumer. Stephenson’s imaginative transposition of book media into a "Primer" – a new form of narrative media that develops its narrative content directly from the environmental context of its reader – concludes the discussion of the thesis, highlighting interrelations between fictive and real space, influencing both writer and reader. The refusal of narrative plot deprives the reader of causality, but emphasises the fictitious spatial creation in which the reader becomes immersed. These spaces, by virtue of their disengagement from plot, allow us to revisit the possibilities of virtual space without common preconceptions concerning the creation or experience of digital mediating technology.

L’objectif de cette recherche est d’étudier la coordination temporelle entre l’organisation de la performance maternelle (chant et gestes des mains), les variations de l’attention visuelle et la vocalisation du bébé à 3 mois et à 6 mois au cours de la ‘chanson-action’ française ‘les marionnettes’. Le terme ‘chanson-action’ désigne des routines interactives associant une ‘mise en scène’ des mains (ici de la mère) coordonnée à un chant pour bébé. Le ‘chanter-bébé’ fait partie des premières stimulations musicales du bébé. Des recherches expérimentales ont mis en évidence qu’il possède plusieurs fonctions et qu’en particulier il maintient l’attention du bébé au cours des échanges. Les ‘chansons-actions’ apparaissent dans le cours des interactions précoces un peu avant le milieu de la première année du bébé. Or des expériences ont montré qu’à cet âge précoce le bébé semble déjà capable de partager son attention entre la mère et un autre centre d’intérêt dans certaines conditions, en particulier lorsque la mère manipule un objet familier. Les ‘chansons-actions’ apparaissent alors comme une situation naturelle permettant d’étudier l’aptitude du bébé à partager son attention. Nous avons donc cherché à tester l’hypothèse centrale selon laquelle l’organisation hiérarchisée de la performance maternelle et en particulier du chant devait fournir un cadre organisant les variations dynamiques de l’attention visuelle du bébé. Nous pensions de plus que l’organisation temporelle de ses vocalisations devait refléter sa sensibilité à cette organisation musicale et qu’il devait vocaliser à des moments saillants de la chanson-action. Nous avons choisi d’étudier les échanges de mêmes dyades à 3 mois et à 6 mois car ces âges sont périphériques à l’émergence spontanée des ‘chansons-actions’ dans le répertoire des routines interactives de la mère et du bébé. Nous voulions ainsi explorer l’évolution de la coordination entre l’organisation temporelle de la performance maternelle et les variations de l’attention du bébé.Nous avons étudié les échanges de 20 dyades à 3 mois (12 dyades ‘mère-garçon’ et 8 dyades ‘mère-fille’) et de 18 de ces mêmes dyades à 6 mois (10 dyades ‘mère-garçon’ et 8 dyades ‘mère-fille’). L’originalité de notre recherche est d’explorer l’évolution dynamique des variations de l’attention du bébé au cours de la chanson-action... / The aim of this study was to analyze the temporal coordination between the organization of the maternal performance (singing and hand gesturing), the visual attention and vocalization of the infant at 3- and 6-months during sequences of the French ‘action-song’ ‘les marionnettes’. The word ‘action-song’ is used to refer to interactive routines that combine hand gestures coordinated with a baby song. Infant-directed singing has been shown to be among the first musical stimulations addressed infants. Experimental studies have demonstrated that it possesses several functions and that one of them is maintaining the infant’s attention. Action-songs emerge in interactions at about 4-months. Experimental studies have proved that the infant exhibits the ability to share her attention between the mother and another object of interest, in particular when it is a familiar object that the mother holds in her hands. Actions-songs appear to be a natural situation that allows us to study this ability. We tested the central hypothesis that the hierarchical levels of maternal singing performance would provide a frame that would organize the dynamic variations of the infant’s visual attention. Moreover the infant would vocalize at specific moments of the musical structure of maternal singing. We studied the exchanges of the same dyads at 3- and 6-months to explore the developmental trajectory of the coordination between the temporal organization of the maternal performance and the infant’s visual attention.We studied the interactions of 20 dyads at 3 months (12 boys and 8 girls) and of 18 of those dyads at 6 months (10 boys and 8 girls). We performed both video and acoustic microanalyses to study the dynamic variations of infant’s attention during the action-song. Thus, each gaze orientation of the infant was associated with a specific element of the maternal singing. Our results showed that maternal singing was articulated at three hierarchical temporal levels (verse, line, pulse) both at 3- and at 6-months. At 3 months the infant’s attention was oriented mainly towards the mother’s face. The variations of the infant’s attention were coordinated with the phrasing of maternal singing and the infant reoriented her attention towards the hands just before the end of the verse. Infants’ vocalizations also occurred at the end of the verse. At 6-months, infants were more attentive to the mother’s hands. Six-month-olds reoriented her attention towards the mother’s face at the end of the verse. Infants’ vocalizations were synchronized with pulse of the maternal singing. Furthermore our results exhibited gender differences at 3- and at 6-months. The performance of mothers of boys was more regular than the performance of mothers of girls. We suggest that actions-songs provide a frame that scaffolds the ability of the infant to share her attention between the mother’s face and hands.