Made available in DSpace on 2016-07-27T13:54:20Z (GMT). No. of bitstreams: 1 Elaine Cristina de Almeida Sleiman.pdf: 9124346 bytes, checksum: 7b3a36944ed58f3c47804b18b139b9f5 (MD5) Previous issue date: 2009-03-30 / The purpose of this research is to investigate a methodological proposal of music teaching, whereas it s one of the art s languages to be applied to educators as an exercise with no specific formation. The theme election was motivated by research s reports where is evidenced that Art educators, in many cases, doesn t have a specific formation in the area. In this manner, taking into consideration the relevance of Art in school curriculum and the concrete reality of nonqualified educators, this paper consists of the application of a Musical Education methodology at the classroom, preceded by a preparing of the class educator program. The research was conducted according to characteristics of a didacticeducative trial, derived of Vygotsky searches, that consists of keep up with the educator s work, with a 4º year students group on primary school of private Goiania education system. The trial was based on a teaching plan with music activities, within a period of seven weeks, elaborated jointly by the researcher and the group s educator. The methodological proposal had its theoretical supports on A. M. Barbosa work, geared towards the Art and Education teaching, on Maria T., O. Fonterrada and Koellreutter with their theorization of music teaching, as the theoretical-methodological orientations of historic-cultural theory, mainly on L.S. Vygotsky and V. Davydov formulation. Besides the didactic-educative trial, including class observation, other procedures were realized as the educator s interview, observation of the school and analysis of episodes referring to educator s mind development. The data analysis was orientated with the purpose to verify effects of the researcher s action on preparing the educator based on the teaching methodology and the educator performance on the development of students mind process. / O propósito desta pesquisa foi investigar uma proposta metodológica de ensino de música, enquanto uma das linguagens das aulas de arte a ser aplicada a educadores em exercício sem formação específica. A escolha deste tema foi motivada por relatos de pesquisa em que se constata que educadores que trabalham com o ensino da Arte, em muitos casos, não têm formação específica nessa área. Dessa forma, considerando-se a relevância da presença da Arte nos currículos escolares e a realidade concreta de existência de educadores não habilitados, este trabalho consistiu da aplicação de uma metodologia de ensino de Educação Musical na sala de aula, precedida de um programa de preparação da educadora da classe. A pesquisa foi conduzida conforme as características de um experimento didático-formativo, derivado das pesquisas de Vygotsky, que consiste do acompanhamento assistido do trabalho de uma educadora, numa classe de educandos do 4º ano do ensino fundamental da rede privada de ensino de Goiânia. O experimento teve por base um plano de ensino com atividades de música, num período de sete semanas, elaborado conjuntamente pela pesquisadora e pela educadora da classe. A proposta metodológica teve como suporte teórico a obra de A. M. Barbosa direcionada ao ensino da Arte e Educação, de Marisa T. de O. Fonterrada e de Koellreutter, na teorização do ensino da Música, bem como as orientações teórico-metodológicas da teoria histórico-cultural, principalmente na formulação de L.S.Vygotsky e V. Davydov. Além do experimento didático-formativo, que inclui a observação de aulas, foram utilizados outros procedimentos como a entrevista com a educadora da classe, observação da escola e análise de episódios referentes ao desenvolvimento mental dos educandos. A análise dos dados foi orientada para verificar os efeitos da ação da pesquisadora de preparação da educadora na metodologia de ensino e da atuação da educadora no desenvolvimento dos processos mentais dos educandos.

<p>This thesis examines usage of English colour terms in context, based on an extensive computerised text corpus, the Bank of English. It describes the ways in which English colour terms may be used to refer to nuances outside their normal area of designation and to attributes outside the colour domain. Usage patterns are analysed on three different levels: with regard to the overall frequency of occurrences, nominal domains and individual tokens, respectively. </p><p>Cognitive linguistics supplies the theoretical framework employed in the analyses of the observed patterns. The study identifies three types of usage where colour terms refer to peripheral colour nuances or to concepts outside the colour domain: classifying, figurative and marked usage. </p><p>When a colour term has a classifying function, it can be used outside the normal area of designation. This usage is analysed as a type of reference-point construction where a term referring to a salient point in the colour domain is used to subcategorise an entity whose actual colour may be only a peripheral member of the category named by the colour term. An analysis of the OED and the Bank of English shows that this type of usage is primarily restricted to a few of the most salient basic terms. </p><p>This study points to the close affinities between classifying and figurative usage. Figurative expressions of colour terms frequently have a classifying function. I argue that figurative meanings are derived through two types of metonymy: +SALIENT ATTRIBUTE FOR OBJECT+ and +SALIENT CONCRETE ATTRIBUTE FOR SALIENT ABSTRACT ATTRIBUTE+. </p><p>Marked usage arises when specific colour terms are used in nominal domains where the specificity is not expected. This phenomenon is consequently confined to non-basic colour terms. </p><p>On the basis of the established patterns of usage and the frequency of occurrences, this thesis suggests that the colour category may be analysed as a radial category, with the basic colour terms forming the centre. </p>

This thesis examines usage of English colour terms in context, based on an extensive computerised text corpus, the Bank of English. It describes the ways in which English colour terms may be used to refer to nuances outside their normal area of designation and to attributes outside the colour domain. Usage patterns are analysed on three different levels: with regard to the overall frequency of occurrences, nominal domains and individual tokens, respectively. Cognitive linguistics supplies the theoretical framework employed in the analyses of the observed patterns. The study identifies three types of usage where colour terms refer to peripheral colour nuances or to concepts outside the colour domain: classifying, figurative and marked usage. When a colour term has a classifying function, it can be used outside the normal area of designation. This usage is analysed as a type of reference-point construction where a term referring to a salient point in the colour domain is used to subcategorise an entity whose actual colour may be only a peripheral member of the category named by the colour term. An analysis of the OED and the Bank of English shows that this type of usage is primarily restricted to a few of the most salient basic terms. This study points to the close affinities between classifying and figurative usage. Figurative expressions of colour terms frequently have a classifying function. I argue that figurative meanings are derived through two types of metonymy: +SALIENT ATTRIBUTE FOR OBJECT+ and +SALIENT CONCRETE ATTRIBUTE FOR SALIENT ABSTRACT ATTRIBUTE+. Marked usage arises when specific colour terms are used in nominal domains where the specificity is not expected. This phenomenon is consequently confined to non-basic colour terms. On the basis of the established patterns of usage and the frequency of occurrences, this thesis suggests that the colour category may be analysed as a radial category, with the basic colour terms forming the centre.

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À partir d’un dispositif théorique et méthodologique emprunté au structuralisme figuratif de Gilbert Durand, ce mémoire propose une exploration du Mythe de la Fin du Monde dans quelques unes de ses manifestations romanesques et théâtrales. Les postulats de base qui fondent notre démarche sont au nombre de trois : a) l’œuvre littéraire possède toujours un substrat mythique ; b) un mythe représente un noyau de mythèmes, dont le trait définitoire est la redondance ; c) il n’y a pas de version privilégiée ou primitive du mythe, qui doit être vu comme une constante de l’esprit humain. Au niveau des applications pratiques, notre travail s’articule en deux démarches complémentaires, reprises d’une section à l’autre. Dans un premier temps, en nous appuyant sur le corpus romanesque – où le mythe nous semble abondant et complet – nous identifions les redondances internes et génériques que nous qualifions de «mythèmes». Dans un second temps, nous vérifions la présence et le fonctionnement de ces mythèmes dans le corpus dramatique. / Within the theoretical and methodological framework of the figurative structuralism devised by Gilbert Durand, this work sets out to explore the Myth of the End of the World based on two corpora: five novels and two plays. Three main postulates underlie our research: a) the literary work is always based on a mythical substratum; b) myth is an aggregation of mythemes, whose defining characteristic consists in their redundancy; c) myth is a constant of the human spirit and therefore none of its versions takes precedence over another. As far as the applications of the theory are concerned, our work is articulated in two distinct phases, repeated form one section to another. Based on the body of novels, where the myth manifests itself in its most complete and abundant form, phase 1 is devoted to the identification of redundancies, both internal to each work and generic, that are categorized as mythemes. Phase 2 verifies their presence in the body of plays.

In Paleolithic cave art, geometric signs tend to outnumber figurative images and yet, they remain relatively understudied. To address this gap in our knowledge, I compiled a digital catalogue of all known geometric signs found in parietal art in France, and then trended the results looking for patterns of continuity and change over time and space. I focused on parietal art, as I could be certain of its provenance, and picked France as my region due to its abundance of decorated sites and its natural boundaries of water and mountain ranges. The database is searchable by a variety of criteria such as sign category, method of production, date range, site type, geographical coordinates and region. It is now being converted into an online resource. To provide a visual dimension, it includes a selection of linked photographs and reproductions of the different signs. In this thesis, I detail the chronological and regional patterning in sign type and frequency and the implications of these patterns for understanding where, when and why the making of these signs was meaningful to the Pleistocene peoples who created them.

The thesis deals with a metaphor and its place in philosophy. It engages in a concept of metaphor as a transference with a help of Aristotle, Nietzsche, Ricoeur, and others, and explores consequences which follow from such a concept in the perspective of truth conditions. Firstly, it focuses on an exploration of a nature of the metaphor with a relation to an earlier philosophical tradition. Secondly, it examines categories of similarity, reference and imagination as fundamental constituents of metaphorical utterances. Furthermore, it also re-evaluates the distinction between literal and figurative meaning and living and dead metaphors to uncover the metaphor as a creative principle of language, which is characteristic by its actualizing and approaching power.

Abstract The purpose of this thesis is to investigate the way George W. Bush used moral metaphors to intensify the language in his statements on Operation Iraqi Freedom. Three moral metaphors are presented within two different models that are applied on the data. The collected material for the metaphors is constituted of cognitive linguistic books from prominent linguists, such as George Lakoff, Alan Cruse and William Croft, and the data is collected from the official White House website. The scientific method used in this study has been qualitative text analysis where the hermeneutic approach has been an essential part of it. The main question: In what way did George W. Bush use moral metaphors in his statements to justify Operation Iraqi Freedom?, resulted in use of moral metaphors that sermons people’s moral values, depict Saddam Hussein’s characteristics as immoral, activate people’s moral priorities to help the Iraqi people, and addresses both conservatives and liberals in America. The conclusion of my study is that President Bush deliberately intensified the language in his statements through moral metaphors to justify Operation Iraqi Freedom. Keywords: Cognitive Linguistics, Metaphor, Figurative Language, Operation Iraqi Freedom, War on Terror, George W. Bush, Saddam Hussein, USA, Iraq, Qualitative Text Analysis, Hermeneutics.

De quelle mise en discours procède l’ensemble des récits pluriels qui narrent les « origines » dans le livre de la Genèse de la littérature biblique pour composer ce qui est présenté comme un « cycle » ordonné ? Cette question conduit à formuler l’hypothèse selon laquelle le premier récit de création ou « septénaire des jours » constitue, tel un paradigme, un système apte à ordonner le déploiement des récits suivants (Gn 2 à 11). Surtout, l’originalité de ce système est de mettre en place des mécanismes d’orientation vers une instance d’énonciation, constituant ainsi une « empreinte ». Et la mise en discours des textes qui suivent dispose, par les parcours discursifs, des « formants-signifiants » d’ordre « figural » propres à rappeler cette empreinte et à fonctionner comme autant d’indicateurs de l’instance d’énonciation. Enfin, au terme du livre biblique, le septénaire des « sceaux » (Apocalypse 5-8) vient réexposer le paradigme, récapituler le « figural », renouveler l’indication de l’instance d’énonciation et redéfinir l’orientation vers cette instance. La mise en discours opère ainsi, par le figural, un véritable « nouage » entre les grandeurs figuratives et l’instance d’énonciation. En son figural, la figure devient achoppement balisant la lecture, orientant le lecteur pour le conduire au plus près des postures des sujets de l’instance d’énonciation. / What procedure of discursivization makes it possible to present the ensemble of varied narratives recounting “origins,” in the book of Genesis of the biblical literature, as an orderly “cycle”? This question leads to the formulation of the hypothesis that the first story of creation, the “septenary of days,” constitutes, as a paradigm, a system capable of structuring the deployment of the following narratives (Gn 2 – 11). The originality of this system consists, above all, in putting in place mechanisms of orientation toward an instance of enunciation which constitutes a “footprint.” Then, the discursivization of the subsequent texts, by means of the discursive path, employs “formant-signifiers” of the “figural” order, likely to recall this footprint and to function as so many indicators of the instance of enunciation. Finally, at the end of the biblical literature, the “septenary of seals” in the book of Revelation (Apocalypse 5-8) reexposes the paradigm, recapitulates the figural, renews the indication of the instance of enunciation, and redefines the orientation toward this instance. Thus, by means of the figural, discursivization ties a veritable “knot” between figurative values and instance of enunciation. In its figural, the figure becomes a stumbling stone along the path of the reading which orients the reader, leading him as close as possible to the positions of the subjects of the instance of enunciation.

This study explores the manner in which Anne Michaels uses figurative language, particularly metaphor, in her poetry and prose. In her first novel, Fugitive Pieces, and in certain of her poems, Michaels demonstrates the powers of language to destroy and to recuperate. For her, metaphor is not simply a literary device; it is an essential mechanism in the creation of an authentic story or poem. Moreover, in contrast to other figurative language such as euphemism, which she feels can be used to conceal the truth and make moral that which is immoral, metaphor in her view can be used to gain access to the truth and is therefore moral. Thus, as this study demonstrates, Michaels proposes as well as utilises the moral power of language. The ideas of four language theorists provide the basis of this study, and prove highly useful in application to Michaels’s work. With the aid of Certeau and Bourdieu, we examine Michaels’s participation in and literary presentation of the relationship of domination and subordination in which people seem to interact and which takes place partly through language. In the light of Ricoeur’s explication of the precise functions of metaphor, we discuss Fugitive Pieces as a novel whose engagement with the topic of the Holocaust in intensely emotive and figurative language makes it controversial in terms of what may or may not constitute the appropriate manner of Holocaust literary representation. Klemperer’s meticulous, first-hand study of the Nazis’ use of the German language during the period of the Third Reich proves illuminating in our exploration of the works of Michaels that feature themes of oppression and dispossession. In certain of her poems, Michaels stands in for real people and speaks in their voices. This is also a form of metaphor, this study suggests, as for the duration of each poem Michaels requires us to imagine that she is the real-life person who expresses him- or herself in the first person singular, which she patently is not. We could see this as appropriation and misrepresentation of those people’s lives and thoughts; however, with the aid of the notion of empathic identification we learn that Michaels’s approach is always empathic – she imaginatively places herself in various situations and people’s positions without ever losing her sense of individuality and separate identity, and her portrayal of their stories is always respectful and carefully considered. / Thesis (DLitt)--University of Pretoria, 2011. / English / unrestricted