Postcolonial language : rejection and subversion

Postcolonial literature is often depicted as a form of cultural translation, a privileged space from which to rewrite history and retroactively reflect upon the colonial experience. Based on this notion of cultural translation, the article seeks to examine, respectively, Aimé Césaire’s Une Tempête (1969) and J. M. Coetzee’s Foe (1986) as regards the “written-back” characters Caliban and Friday. Both characters will be compared and contrasted concerning their peculiar use of language as an instrument of power, subversion, and rejection of the European ruling.

O fio de Ariadne : a formação contínua do PNEP e desenvolvimento da competência da leitura no 1.º CEB

Afirmando-se como uma necessidade premente, a qualidade da formação contínua de professores tem evoluído nos últimos anos. Esta urgência surge a partir das exigências que cada vez mais se sentem, quer a nível nacional, quer internacional, de um ensino e aprendizagem que acompanhe as mudanças sociais, tecnológicas e multiculturais. O Programa Nacional de Ensino do Português (PNEP), que surgiu pela necessidade de aumentar os níveis de literacia dos alunos portugueses, foi o objeto de estudo desta investigação. Nesta perspetiva, pretendeu-se identificar de que forma a formação de professores se articula com as dinâmicas da formação centrada nas escolas, no âmbito do PNEP, no desenvolvimento de competências de leitura dos alunos do 1.º CEB. Embora a aprendizagem do português padrão passe pelo ensino e aprendizagem de vários domínios, focalizou-se o estudo na relação entre a atitude reflexiva do professor e o desenvolvimento das capacidades leitoras dos alunos, através do ensino explícito de estratégias de compreensão de textos. O estudo empírico sustentou-se em autores como Alarcão (2002), Colomer & Camps (2008), García (1992), Lomas (2003), Pawlas, & Oliva, (2007), Sim-Sim (2007), entre outros. No estudo optou-se por uma metodologia mista, qualitativa e quantitativa. O caso em estudo, sobre o PNEP e a sua influência na formação docente, concretizou-se em contexto escolar e circunscreveu-se ao cenário profissional da investigadora. Durante o ano letivo 2009/10 sete professoras/formandas, sob a supervisão da investigadora/formadora, desenvolveram a sua prática pedagógica, num Agrupamento de Escolas na área de Gondomar. Assim, foram analisadas as reflexões contidas nos portefólios formativos das docentes. Em extensão, foi aplicado um inquérito por questionário, a cento e vinte e um professores dos Núcleos Regionais do Porto e Minho. Segundo os resultados obtidos, concluiu-se que a frequência do PNEP contribuiu para formar professores reflexivos que, ao mudarem práticas, potenciaram o desenvolvimento da competência de leitura dos alunos do 1.º CEB, o que se refletiu na melhoria dos resultados escolares, em todas as áreas do saber.

The sight of silence : the conceptualisation of silence in the visual cultures of sign language communities

Deaf people are perceived by hearing people as living in a silent world. Yet, silence cannot exist without sound, so if sound is not heard, can there be silence? From a linguistic point of view silence is the absence of, or intermission in, communication. Silence can be communicative or noncommunicative. Thus, silence must exist in sign languages as well. Sign languages are based on visual perception and production through movement and sight. Silence must, therefore, be visually perceptible; and, if there is such a thing as visual silence, how does it look? The paper will analyse the topic of silence from a Deaf perspective. The main aspects to be explored are the perception and evaluation of acoustic noise and silence by Deaf people; the conceptualisation of silence in visual languages, such as sign languages; the qualities of visual silence; the meaning of silence as absence of communication (particularly between hearing and Deaf people); social rules for silence; and silencing strategies.

Universal Museum - universal language? Art historian - curator

Marshal McLuhan’s prophetic vision of the global village is about to be realized. If we are aware of the fact that mass communication reduces the dimensions of our world and makes it more unified and universal, we should take this into consideration when planning the Universal Museum and the language that should be used in it. As curators, educators and museum staff we should not ignore the fact that the spectator/viewer is drawn to the exhibits not only by their own merit, but also guided and assisted by verbal messages, i. e. Labels, brochures. Catalogues etc. Hence, the crucial question is what we, the museologists, use as a means of communication when preparing for a Universal Museum. Should we use pictorial semiotics? This may be a partial solution, which is mainly restricted to objects that can be manipulated and moved by the visitor, as is the case in most of the technological museums. But since the range of objects on display at museums is vast and varied - fine art, archaeological finds, ethnographic objects etc., it may not be the answer to the whole spectrum of exhibits. Dr. Ludwig Lazarus Zamenhof, being an optimist, hoped that by introducing Esperanto to the multi-lingual world population, humanity would be able to bridge and diminish the gap of linguistic differences, thus creating a better understanding between the international communities. Unfortunately this vision was not realized. Esperanto was and still is an utopian and esoteric phenomenon. The barriers between nations still exist although, as mentioned earlier, mass media do help, in some ways, to reduce them.