Children's metalinguistic activity in the construction of linguistic existence

In this paper we examine the construction of first entities in narratives produced by children of 5, 7, 10 years and adults1 . The study demonstrates that when children reformulate they try to construct entities detached from the situation of enunciation, which means that they construct a detached or a translated plane and they construct linguistic existence of entities. Entities must first be introduced into the enunciative space and then comments will be made in subsequent utterances. Constructing existence supposes extraction. This consists of “singling out an occurrence, that is, isolating and drawing its spatiotemporal boundaries” (Culioli, 1990, p. 182) . Once the occurrence of the notion is constructed (which means it has become a separate occurrence with situational properties), children can predicate about it. However, there are children who do not construct the linguistic existence of entities. I hypothesize that the mode of task presentation influences the success of constructing linguistic existence. Sharing the investigator’s knowledge about the stimulus images, children do not ascribe an existential status to the occurrence of the notional domain.

Word learning and text organisation: an intervention case

In the present study we focus on the interaction between the acquisition of new words and text organisation. In the acquisition of new words we emphasise the acquisition of paradigmatic relations such as hyponymy, meronymy and semantic sets. We work with a group of girls attending a private school for adolescents in serious difficulties. The subjects are from disadvantaged families. Their writing skills were very poor. When asked to describe a garden, they write a short text of a single paragraph, the lexical items were generic, there were no adjectives, and all of them use mainly existential verbs. The intervention plan assumed that subjects must to be exposed to new words, working out its meaning. In presence of referents subjects were taught new words making explicit the intended relation of the new term to a term already known. In the classroom subjects were asked to write all the words they knew drawing the relationships among them. They talk about the words specifying the relation making explicit pragmatic directions like is a kind of, is a part of or are all x. After that subjects were exposed to the task of choosing perspective. The work presented in this paper accounts for significant differences in the text of the subjects before and after the intervention. While working new words subjects were organising their lexicon and learning to present a whole entity in perspective.

Tudo no lugar certo: trabalho de projecto

Trabalho de Projecto submetido à Escola Superior de Teatro e Cinema para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Teatro - especialização em Teatro e Comunidade.

Derek Jarman’s allegories of spectacle: inter-artistic embodiment

ABSTRACT - Derek Jarman was a multifaceted artist whose intermedial versatility reinforces a strong authorial discourse. He constructs an immersive allegorical world of hybrid art where different layers of cinematic, theatrical and painterly materials come together to convey a lyrical form and express a powerful ideological message. In Caravaggio (1986) and Edward II (1991), Jarman approaches two european historical figures from two different but concomitant perspectives. In Caravaggio, through the use of tableaux of abstract meaning and by focusing on the detailing of the models’ poses, Jarman re-enacts the allegorical spirit of Caravaggio’s paintings through entirely cinematic resources. Edward II was a king, and as a statesman he possessed a certain dose of showmanship. In this film Jarman reconstructs the theatrical basis of Christopher Marlowe’s Elizabethan play bringing it up to date in a successfully abstract approach to the musical stage. In this article, I intend to conjoin the practice of allegory in film with certain notions of existential phenomenology as advocated by Vivian Sobchack and Laura U. Marks, in order to address the relationship between the corporeality of the film and the lived bodies of the spectators. In this context, the allegory is a means to convey intradiegetically the sense-ability at play in the cinematic experience, reinforcing the textural and sensual nature of both film and viewer, which, in turn, is also materially enhanced in the film proper, touching the spectator in a supplementary fashion. The two corporealities favour an inter-artistic immersion achieved through coenaesthesia.