Made available in DSpace on 2014-12-17T15:25:22Z (GMT). No. of bitstreams: 1 GilEAM_DISSERT.pdf: 2115445 bytes, checksum: 1e49b5f3c71287ff3c2ed565ccf0e80a (MD5) Previous issue date: 2014-05-05 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / Iconic historical figure, Ant?nio Vieira (1608-1697) is regarded as an essential character to the Luso-Brazilian history. Between 1646 and 1667, the priest began writing the History of the Future, the first volume of the celebrated "Clavis Prophetarum , political and theological unity that would leverage the process of spread of Christianity across the globe, recognizing Portugal as forefront and center of all millenarian movement. Them, Jesuit represented the "World" in two metaphors: "theater" and "body" responsible for viewing spaces of abstract Christian truth. Starting from the hermeneutical assumptions of analysis, we investigated the historical relations present in the construction of such representations, by which establish the dialogue between politics, theology and seventeenth-century rhetoric. Therefore, the following study supports the hypothesis that beyond a mere stylistic expressions, spatial metaphors of "World" were formulated by Antonio Vieira as a resource that could sharpen the minds of his readers, engaging words into action, become alive and effective use of rhetoric / Emblem?tica figura hist?rica, Ant?nio Vieira (1608-1697) ? considerado um personagem indispens?vel para a hist?ria luso-brasileira. Entre os anos de 1646 e 1667, o padre iniciou a escrita da Hist?ria do Futuro, primeiro volume da c?lebre Clavis Prophetarum , obra que anunciava o surgimento do Quinto Imp?rio , unidade pol?tico-teol?gica que alavancaria o processo de difus?o do Cristianismo por todo o planeta, reconhecendo Portugal como vanguarda e centro de todo o movimento milenarista. Nelas, o jesu?ta representou o Mundo em duas met?foras: teatro e corpo , espa?os respons?veis pela visualiza??o da abstrata verdade crist?. Partindo dos pressupostos hermen?uticos de an?lise, investigamos as rela??es hist?ricas presentes na constru??o de tais representa??es, por meio das quais estabelecemos o di?logo entre a pol?tica, teologia e ret?rica seiscentista. Portanto, o seguinte estudo defende a hip?tese que para al?m de um mera manifesta??o estil?stica, a espacializa??o do Mundo em met?foras foi formulada por Ant?nio Vieira como recurso em que se pudesse agu?ar os ?nimos de seus leitores, empenhar palavras em a??es, tornar vivo e efetivo o uso de sua ret?rica

“The Problem of Immigration and Contemporary Spanish Detective Fiction” examines the viability of the detective genre as a forum to dispute the commonly held perception of contemporary immigration to Spain as a problem. Focusing first on popular series of the Transition and Disenchantment periods that followed the death of Francisco Franco, I identify the detective novel, and in particular the hard-boiled variety on which the Spanish tradition is based, as an ideal space for discussions of otherness. In the 1990s, as large-scale immigration to Spain became an increasing reality, North Africans, Latin Americans, and Eastern Europeans joined minority groups already marginalised within Spain and became the focus of well-known authors such as Jorge Martínez Reverte, Arturo Pérez-Reverte, and Andreu Martín and relative newcomers Yolanda Soler Onís, José Javier Abasolo, Lorenzo Silva, and Antonio Lozano. All use the conventions of the detective genre––suspense, pursuit, intrigue––to address misconceptions about immigration and to reveal that the ultimate culprits in these stories are ill-willed traffickers, corrupt security agencies, and the widespread apathy of parts of the Spanish population and its government. Through the twists and turns of their storylines, these politically committed authors show that while immigrants may be forced to inhabit Spain’s underbelly, they are not single-handedly responsible for Spanish society’s perceived demise. My dissertation is informed by a multi-disciplinary approach that draws on media, cultural, socio-anthropological, and postcolonial studies. The connection between crime literature and the mass media is especially intriguing given the latter’s power of influence over the conceptualisation of immigration. The detective texts juxtapose the media of the post-modern electronic information age, which is by definition frontier-less, with a nation designing ever-stronger borders. While analysing the various borders that divide a national and global society in the entangled tale of immigration to Spain, and the discursive roles they play within the codified genre of crime fiction, I argue that these authors use the conventions of their medium to provide internal views of the process of immigration as an alternative to the voyeuristic daily reporting that otherwise threatens to desensitise the Spanish public to the topic altogether.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-11-26T10:52:44Z No. of bitstreams: 1 Áurea Rodrigues Nunes.pdf: 1218149 bytes, checksum: e4eeb4803905d5f9c4b16a01ae01d3f5 (MD5) / Made available in DSpace on 2018-11-26T10:52:44Z (GMT). No. of bitstreams: 1 Áurea Rodrigues Nunes.pdf: 1218149 bytes, checksum: e4eeb4803905d5f9c4b16a01ae01d3f5 (MD5) Previous issue date: 2018-09-10 / The present work refers to the "More Education São Paulo" Program, an educational policy that was implemented in 2014 in the city of São Paulo and promoted the reorganization of the Fundamental Education in learning cycles, with the objective of verifying the perception of teachers as well as the possible contributions of this practice to the transition from the fifth to the sixth year of elementary education, the theme of this production. It was developed from a qualitative approach, and presents as theoretical basis the studies of Freire (1996), Perrenoud (2000), Moll (2004), Rios (2010), Libâneo (2011), Fazenda (2008-2011-2013) , Beyer (2013), Tardif (2014) and André (1983), the latter being the basis for the analysis of the data obtained in the field research, which, together with a documentary research, compose this production. Such research indicates that the transition from the fifth to the sixth grade is still a difficult time for both students and teachers and that Shared Teaching is a way to mitigate this process and that its greatest contribution is in the fact that it makes possible the establishment of an initial bond between the teachers and the future students of the 6th grade. In addition, the research reveals that there is a need for investment in continuing education to guarantee the quality of teaching practice in this modality, as well as the perception and understanding of interdisciplinarity as the guiding thread of the teaching and learning process. It also reveals that the lack of time and space for planning presents itself as an impediment for Shared Teaching to be properly developed and effectively incorporated into the school project / O presente trabalho faz referência ao Programa “Mais Educação São Paulo”, política educacional que, implementada em 2014 no Município de São Paulo, promoveu a reorganização da Educação Fundamental em ciclos de aprendizagem, sendo realizado com objetivo de verificar qual a percepção de professores(as) especialistas acerca do Ciclo Interdisciplinar e da prática da Docência Compartilhada que nele está inserida, bem como acerca de possíveis contribuições dessa prática para a transição do quinto para o sexto ano do Ensino Fundamental, temática dessa produção. Foi desenvolvido a partir de uma abordagem qualitativa e, apresenta como base teórica os estudos de Freire (1996), Perrenoud (2000), Moll (2004), Rios (2010), Libâneo (2011), Fazenda (2008-2011-2013), Beyer (2013), Tardif (2014) e André (1983), sendo este último o que fundamenta o processo de análise dos dados obtidos na pesquisa de campo que, juntamente com uma pesquisa documental compõe essa produção. Tal pesquisa indica que a passagem do quinto para o sexto ano ainda continua sendo um momento difícil tanto para alunos(as) como para professores(as) e que, a Docência Compartilhada é um meio de atenuar esse processo e que, sua maior contribuição está no fato dela possibilitar o estabelecimento de um vínculo inicial entre professores(as) especialistas e os futuros alunos de 6ºs anos. Além disso, a pesquisa revela que existe a necessidade de investimento em formação continuada para garantir a qualidade da prática docente nessa modalidade, bem como a percepção e compreensão da interdisciplinaridade como fio condutor do processo de ensino e aprendizagem. Revela também que a falta de tempo e espaço para planejamento se apresenta como um impedimento para que a Docência Compartilhada seja devidamente desenvolvida e efetivamente incorporada ao projeto escolar

“The Problem of Immigration and Contemporary Spanish Detective Fiction” examines the viability of the detective genre as a forum to dispute the commonly held perception of contemporary immigration to Spain as a problem. Focusing first on popular series of the Transition and Disenchantment periods that followed the death of Francisco Franco, I identify the detective novel, and in particular the hard-boiled variety on which the Spanish tradition is based, as an ideal space for discussions of otherness. In the 1990s, as large-scale immigration to Spain became an increasing reality, North Africans, Latin Americans, and Eastern Europeans joined minority groups already marginalised within Spain and became the focus of well-known authors such as Jorge Martínez Reverte, Arturo Pérez-Reverte, and Andreu Martín and relative newcomers Yolanda Soler Onís, José Javier Abasolo, Lorenzo Silva, and Antonio Lozano. All use the conventions of the detective genre––suspense, pursuit, intrigue––to address misconceptions about immigration and to reveal that the ultimate culprits in these stories are ill-willed traffickers, corrupt security agencies, and the widespread apathy of parts of the Spanish population and its government. Through the twists and turns of their storylines, these politically committed authors show that while immigrants may be forced to inhabit Spain’s underbelly, they are not single-handedly responsible for Spanish society’s perceived demise. My dissertation is informed by a multi-disciplinary approach that draws on media, cultural, socio-anthropological, and postcolonial studies. The connection between crime literature and the mass media is especially intriguing given the latter’s power of influence over the conceptualisation of immigration. The detective texts juxtapose the media of the post-modern electronic information age, which is by definition frontier-less, with a nation designing ever-stronger borders. While analysing the various borders that divide a national and global society in the entangled tale of immigration to Spain, and the discursive roles they play within the codified genre of crime fiction, I argue that these authors use the conventions of their medium to provide internal views of the process of immigration as an alternative to the voyeuristic daily reporting that otherwise threatens to desensitise the Spanish public to the topic altogether.

The topic of this dissertation focuses on the functioning of the sense of Brazilianness in the CELPE-Bras exam. We try to understand the movement of senses produced in the relationship among official certification, Brazilian culture and the circulation of brazilian portuguese abroad. We first observe how and why Brazil joins some regional and local blocs for economical or linguistic reasons, such as the case of its entry into MERCOSUL in 1991 or CPLP (Comunidade dos Países de Língua Portuguesa) in 1996. We understand that CELPE-Bras plays an essential role in the context in which all these subjects are related. From this presupposition, we try to recall the senses on which the discourse of Brazilianness (ORLANDI, 1998) is based, as well as understand what legitimates CELPE-Bras to take these senses as a representation of Brazil and Brazilians, to spread them abroad. We intend to investigate what the place of CELPE-Bras is in this representation. We retake the periodization established by Guimarães (1996) for the process of grammatization of portuguese in Brazil, dividing it into four phases, besides the fifth period defined by Zoppi-Fontana (2007) from the reformulation of the notion of space of enunciation . We understand that this exam has a special place in the History of Linguistic Ideas (HLI) because it integrates the process of Brazilian instrumentalization by the diffusion of brazilian portuguese to transnational spaces. Last, we consider these assumptions to analyze two pieces of audio of the Collective Test of CELPE-Bras from 2010/1 and 2009/1. Moreover, we have taken the perspective of the Semântica do Acontecimento which consider historicity in the composition of senses and thus to pay attention to the marks of Brazilianness that integrate these textualities, such as beans and rice and cachaça . We analyze these considering their rewriting (GUIMARÃES, 2002b) which, under different views, promotes the derivation of senses of these names. The reconstruction of the different moments of this work allowed us to see that these marks of Brazilianness, which characterize Brazil and Brazilians, perpetuate a vision of brazilian portuguese and rewrite a version of the Brazilian history legitimized and spread abroad by CELPE-Bras. / A temática desta dissertação centra-se sobre o funcionamento do sentido sobre a brasilidade no exame CELPE-Bras. Assim, buscamos compreender o movimento de sentidos produzido na relação entre certificação oficial, cultura brasileira e circulação no exterior. Dessa forma, primeiramente, observamos como e porque o Brasil integra alguns blocos regionais ou globais, que obedecem a motivações políticas, econômicas ou linguísticas, como, por exemplo, sua entrada no MERCOSUL em 1991 ou na CPLP (Comunidade dos Países de Língua Portuguesa) em 1996. Compreendemos que o CELPE-Bras cumpre uma função fundamental nesse contexto em que todas essas questões estão imbricadas. A partir desse pressuposto, buscamos rememorar os sentidos que fundam o discurso da brasilidade (ORLANDI, 1998), bem como, compreender o que legitima o CELPEBras a tomá-los como representação do Brasil e do brasileiro, para então difundi-los no exterior. Assim, procuramos investigar qual o papel do CELPE-Bras nessa representação. Para isso, retomamos a periodização estabelecida por Guimarães (1996) para o processo de gramatização do português no Brasil, dividindo-o em quatro fases, assim como, o quinto período de gramatização do português no Brasil , definido por Zoppi-Fontana (2007), a partir da reformulação da noção de espaço de enunciação . Compreendemos, então, que esse exame ocupa um lugar especial na História das Ideias Linguísticas (HIL), pois integra o processo de instrumentalização brasileira pela difusão do português do Brasil para espaços transnacionais . Por fim, consideramos esses pressupostos ao analisar dois áudios da Prova Coletiva do CELPE-Bras de 2010/1 e de 2009/1. Além disso, assumimos a perspectiva da Semântica do Acontecimento, que considera a historicidade na constituição dos sentidos, sendo que, atentamos às marcas da brasilidade das textualidades: feijão com arroz e cachaça . E as analisamos considerando sua reescrituração (GUIMARÃES, 2002b), que, sob diferentes recortes, promove a deriva de sentidos desses nomes. A reconstrução dos diferentes momentos deste trabalho nos permite observar que essas marcas de brasilidade, que significam o Brasil e o brasileiro, perpetuam uma visão do português brasileiro, e assim, reescrevem uma versão da história brasileira legitimada e difundida no exterior pelo CELPE-Bras.

[EN] This PhD in Fine Arts is the introduction to a Yantric Theory of Drawing as a result of researching plastic forms from the universal principles present in perceptive reality. Based on the yantra as an active element in the drawing of a integral mandalic vision, Drawing re-presents a vision of the world based on aesthetic distance, in which the sum and multiplication of all the parts is contemplated from one point of view, a naked eye. This perspective is transdimensional, whereby co-creative man is capable of making his own vision real, enjoying the aesthetic experience through the practice of Art. Art is the fifth element in which contact with Beauty takes place in a disinterested way. This thesis in its Form and Consciousness explores the fundaments of these aesthetic formulations through its most yogic roots in India. We will add a metaphor to such aesthetic formulations and explain them through the voice of the artist, in which the process of transmutation of the matter, the transformation of the Nature into Art takes place. The shilpi yogi is the inspiration and aspiration of the being which indwells the imagery artist who develops images of himself, the imprints of personal consciousness transcended through transpersonal art forms. Its being, its Presence, can be modulated through plasticity, from the purest abstraction to the finest figurative art. This thesis represents a plastic voyage to the very heart of India, in which an artist and a sadhu go hand in hand as a symbolic encounter between indosophy and the sublime plastic representative of the tragedy of duality, sunk in life under the weight of chiaroscuro. Light is the Great Symbolic Metaphor and the primordial object of the mystery of Science. The space of the heart is the fifth plastic element on which we base our Yantric Theory of Drawing. We use this to reintegrate the coherence of Art from all times and places, reinterpreting it from an optimistic historical standpoint. Drawing gives us the power to make this real (maya-magic), through the yantric vision. This thesis is the foundational preface to a way to make real the dream of the imagined, a function which Art, the original inoculant, has had throughout history. Such a possibility of form-function-power is endorsed by the most ancient foundations of civilization: the great symbolic potential which was crystalised in Man, the complex system of ancient times which doesn't respond to limits, but rather to constellations, the tantra, inspiration and aspiration of quantic meta-physics. / [ES] Esta tesis doctoral en Bellas Artes es la introducción de una Teoría Yántrica del Dibujo como resultado de una investigación de la forma plástica desde principios universales presentes en la realidad perceptiva. Basada en el yantra como elemento activo dibujístico de una visión mandálica integral, el Dibujo viene a re-presentar una visión del mundo basada en la distancia estética, en la que la suma y multiplicación de todas las partes es contemplada desde un punto de vista y un ojo genuino, transdimensional, en el que el hombre co-creativo es capaz de realizar su propia visión y disfrutar de la experiencia estética a través de la práctica del Arte. El Arte es el quinto elemento en el que el contacto con la Belleza de modo desinteresado tiene lugar. Esta tesis, como Forma y Consciencia explora los fundamentos de estas formulaciones estéticas, a través de sus raíces más yóguicas, en India. A tales formulaciones estéticas les añadimos una metáfora y las explicamos a través de la voz del artista, en el que se da el proceso de transmutación de la materia, la transformación de la Naturaleza en Arte. El silpi yogui es la inspiración y aspiración del ser que habita en el artista imaginero, quien desarrolla sus propias imágenes o la huella de la consciencia personal que se supera a sí misma a través de la plástica de lo trans-personal. Su ser, solo Presencia, se deja modular en el vehículo plástico desde la más pura abstracción a la más fina figuración. Esta tesis representa un viaje plástico al corazón de la India, en el que van de la mano una artista y un sadhu como encuentro simbólico de la indosofía y el sublime representante plástico de la tragedia de la dualidad, sumido en la vida y el peso del claroscuro. La Luz es la Gran Metáfora simbólica y el objeto de misterio primordial de la Ciencia. El espacio del corazón es el quinto elemento plástico en el que se basa nuestra Teoría Yántrica del Dibujo para reintegrar la coherencia del Arte de todos los tiempos y lugares, desde un punto de vista histórico optimista que está en nuestras manos hacer real (magia-maya), a través de la visión yántrica para el Arte, a que da pie el Dibujo. Esta tesis es el prolegómeno fundacional de una vía de hacer real el sueño de lo imaginado, como ha venido haciendo el Arte como inóculo original a lo largo de la Historia. Tal posibilidad de forma-función-poder está avalada por los más antiguos fundamentos de la civilización, el gran potencial simbólico que fue posible cristalizar en el Hombre, el sistema complejo de la antigüedad que no responde a límites, sino a constelaciones, el tantra, inspiración y aspiración de la meta-física cuántica. CLARA M. SEVILLA SEGUÍ / [CA] Aquesta tesi doctoral en Belles Arts és la introducció d'una Teoria Iàntrica del Dibuix com a resultat d'una investigació de la forma plàstica des de principis universals presents en la realitat perceptiva. Basada en el iantra com a element actiu del dibuix d'una visió integral del mandala, el Dibuix vindria a re-presentar una visió del món basada en la distància estètica, en què la suma i multiplicació de totes les parts és contemplada des d'un punt de vista i un ull genuí, "transdimensional", en què l'home co-creatiu és capaç de realitzar la pròpia visió i gaudir de l'experiència estètica a través de la pràctica de l'Art. L'Art és el cinquè element en què el contacte amb la Bellesa hi té lloc de forma desinteressada. Aquesta tesi, en tant que Forma i Consciència, explora els fonaments d'aquestes formulacions estètiques mitjançant unes arrels basades en sistema del ioga, pel que fa a l'Índia. A aitals formulacions estètiques els afegim una metàfora, i les expliquem per mitjà de la veu de l'artista, l'individu en qui es produeix el procés de transmutació de la matèria, la transformació de la Natura en Art. El silpi iogui és la inspiració i aspiració de l'ésser que habita en l'artista imaginer, qui desenvolupa les seves pròpies imatges o l'empremta de la consciència personal que se supera a si mateixa a través de la pràctica d'allò trans-personal. El seu ésser, tan sols Presència, es deixa modular en el vehicle plàstic des de la més pura abstracció fins a la figuració més fina. Aquesta tesi representa un viatge plàstic al cor de l'Índia, en què una artista i un sadhu, plegats, conflueixen de manera simbòlica en la indosofia i el sublim representant plàstic de la tragèdia de la dualitat, immers en la vida i el pes del clarobscur. La Llum és la Gran Metàfora simbòlica i l'objecte primordial de la ciència. L'espai del cor és el cinquè element plàstic en què es basa la nostra Teoria Iàntrica del Dibuix, el propòsit del qual consisteix a reintegrar la coherència de l'Art de tots els temps i llocs, des d'un punt de vista històric i optimista, que tenim a les nostres mans convertir en real (màgia-maia) a través de la visió iàntrica per a l'Art, a què dóna peu el Dibuix. Aquesta tesi és el prolegomen fundacional d'una via per tal de materialitzar el somni respecte d'allò imaginat, com ha vingut fent l'Art com a inòcul originari al llarg de la Història. Aquesta possibilitat de forma-funció-poder és avalada pels més antics fonaments de la civilització, el gran potencial simbòlic que fou possible cristal·litzar en la figura de l'Home, el sistema complex de l'antiguitat que no respon a límits, sinó a constel·lacions, el tantra: inspiració i aspiració de la meta-física quàntica. / Sevilla Seguí, CM. (2016). Forma y Consciencia: Fundamentos para una Teoría Yántrica del Dibujo [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/63259