Linguagens expressivas e a formação de professores para a educação infantil: um estudo de projeto pedagógico

Pós-graduação em Educação Escolar - FCLAR

Estudo das construções verbais paratáticas em italiano

The present study aims at the occurrence of a particular type of construction in Italian language, namely the paratactic verbal constructions (henceforth, PVCs), previously named by Rodrigues (2006) as “foi fez constructions” (FFCs). The present study is part of the research project “Gramaticalização de construções em línguas românicas: um estudo comparativo” (2011a), supervised by Professor Dr Angélica Terezinha Carmo Rodrigues, developed in this University. The constructions analized here, accordingly to Rodrigues (2006), are described as a sequence of two or more inflected verbs, connected or not by the conjunction and, such as: “eu fui (e) comprei um carro”, “ele pegou (e) falou”, in Brazilian Portuguese (PB), and “se ne va e piange”, “prendo e me ne vado”, in Italian. The hypothesis sustained here, based on Rodrigues’ project (2011a), is that these constructions are grammaticalized out of coordinated constructions. Herein, the objectives of this research are: (a) present a description and an analysis of the PVCs in Italian (b) compare the constructions in Portuguese and in Italian; and (c) present empirical arguments on the hypothesys that the PVCs derive from coordinate constructions. Besides being part of the research project previously mentioned, we choose to work with the PVCs because of their recurrence in the Romanic languages. Furthermore, the studies related to this type of construction in the Italian language are scarce and these constructions consist as an aspect of the Italian grammar hardly studied. This research is based upon a functional approach of the grammar, seeking for a dialogue with the studies... (Complete abstract click electronic access below)

O Grupo Sobrevento de teatro de formas animadas

Since prehistoric man seeks to dominate play scenes and images of their daily lives, to understand them or dominate. In the theater, the man tried to represent hunting scenes and deities. Since the first creation material representative of the gods, these objects acquire magical powers. After a long time, came the Puppet Theater, which through the use of various materials, the man concocted dolls in his image and likeness, as well as representations of animals. Subsequently, the Theater of Animated FormsVisual involved various props, like the mask, the shadow and the object. Thus, these elements can appear all together or not in the same show and are, therefore, the Theater of Animated Forms. How important human need to understand the world and events around them, the arts were needed to explain the divine and unreachable. Clumping the four languages of art: music, plastic arts, dance and theater, the Theater of Animated Forms of so characteristic of the man in search of the divine and sublime sentiments or not. In Brazil, faced with a multitude of excellent groups Theater of Animated Forms, the Sobrevento Group stands to monitor on an extensive repertoire theoretical foundation for the themes of the pieces created, and the high level of aesthetic sensitivity and artistic creation through is the dummies used in your repertoire. The objective of this study is to describe and analyze the Sobrevento Group considering the process of artistic creation, which led to the understanding of what is Theater of Visual Theater. To this end, guided interpretive anthropological approach, we conducted an ethnograph with the group

Falsos cognatos francês-português entre termos de estatutos sociais

In this article we address the search for equivalents in the elaboration of a model dictionary for sworn translators of terms used in bylaws, in the Portuguese-French translation direction. We present, specifically, some cases in which the morphological similarity between the two languages can lead to errors, for example false cognates.

A nasalidade vocálica em português e em espanhol

Pós-graduação em Linguística e Língua Portuguesa - FCLAR

Línguas de ritmo silábico

One of the most controversial issues in the history of Phonetics is the discussion about the typology of speech rhythm. Out of the Greek and Latin tradition on poetry versification, the notion of rhythm has been misunderstood as speech rate. In the early years of the 20th century, a dichotomy merged classifying the speech rhythm into stress-timed and syllable-timed languages, inspired by the old theory of poetic versification. Following the same old pattern, later on, a third type of language were proposed: the moraic languages, initially attributed only to Japanese. With the facilities to carry on acoustic research, in the second half of the 20th century, the typology of language rhythm came to a dead end. Different types of language were set out. This paper discusses these ideas, showing a great misunderstanding among researchers in relation to the characterization of a syllable-timed language. The notion of mora is revisited and its role in the study of speech rhythm is better defined.

O professor e a prática telecolaborativa no teletandem

The new technologies have increasingly provided access to foreign languages and cultures and also to authentic communication. If we consider that the foreign languages teaching/learning process and teachers’ education can be enriched by telecollaboration, I believe it is necessary to observe the roles played by language teachers. Based on an ethnographic qualitative study carried out with Brazilian and foreign university students, this paper focuses on teletandem practice, a distance tandem modality carried out by audio and video conferences with resources such as Windows Live Messenger, Skype or ooVoo, to investigate roles played by language teachers in telecollaborative practice. The data were collected from (a) e-mails exchanged between the partners and between partners and the mediator-teacher; (b) DVDs of interaction sessions recordings; (c) written teletandem sessions recordings; (d) recordings of interviews between the partners and the researcher at ooVoo; (e) fi eld notes taken at Teletandem Laboratory at UNESP- Assis; and (f) participants’ written reports. The data analysis, from the hermeneutic interpretative perspective, revealed that the teacher is not ignored but is given new roles to maximize the process towards meaningful and intercultural learning.

Aplicação da gestão de processos em uma universidade pública do estado de São Paulo

Pós-graduação em Engenharia de Produção - FEB

Contextos comunicacionais adequados e inadequados à inclusão de alunos com deficiência visual em aulas de termologia

This article represents a continuation of the results of a research presented in Camargo and Nardi (2007). It is inserted in the study that seeks to understand the main student’s inclusion barriers with visual impairment in the Physics classes. It aims to understand which communication context shows kindness or unkindness to the impairment visual student’s real participation in thermology activities. For this, the research defines, from the empirical - sensory and semantics structures, the used languages in the activities, as well, the moment and the speech pattern in which the languages have been used. As result, identifies a strong relation between the uses of the interdependent empirical structure audio-visual language in the non-interactive episodes of authority; a decrease of this structure use in the interactive episodes and the creation of education segregation environments within the classroom.

Mídia-educação: da criatividade à livre expressão na escola

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

As unidades heterogenéricas em dicionários bilíngues de espanhol para aprendizes brasileiros: análise do tratamento lexicográfico

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Constraint handling rules. Compositional semantics and program transformation

This thesis intends to investigate two aspects of Constraint Handling Rules (CHR). It proposes a compositional semantics and a technique for program transformation. CHR is a concurrent committed-choice constraint logic programming language consisting of guarded rules, which transform multi-sets of atomic formulas (constraints) into simpler ones until exhaustion [Frü06] and it belongs to the declarative languages family. It was initially designed for writing constraint solvers but it has recently also proven to be a general purpose language, being as it is Turing equivalent [SSD05a]. Compositionality is the first CHR aspect to be considered. A trace based compositional semantics for CHR was previously defined in [DGM05]. The reference operational semantics for such a compositional model was the original operational semantics for CHR which, due to the propagation rule, admits trivial non-termination. In this thesis we extend the work of [DGM05] by introducing a more refined trace based compositional semantics which also includes the history. The use of history is a well-known technique in CHR which permits us to trace the application of propagation rules and consequently it permits trivial non-termination avoidance [Abd97, DSGdlBH04]. Naturally, the reference operational semantics, of our new compositional one, uses history to avoid trivial non-termination too. Program transformation is the second CHR aspect to be considered, with particular regard to the unfolding technique. Said technique is an appealing approach which allows us to optimize a given program and in more detail to improve run-time efficiency or spaceconsumption. Essentially it consists of a sequence of syntactic program manipulations which preserve a kind of semantic equivalence called qualified answer [Frü98], between the original program and the transformed ones. The unfolding technique is one of the basic operations which is used by most program transformation systems. It consists in the replacement of a procedure-call by its definition. In CHR every conjunction of constraints can be considered as a procedure-call, every CHR rule can be considered as a procedure and the body of said rule represents the definition of the call. While there is a large body of literature on transformation and unfolding of sequential programs, very few papers have addressed this issue for concurrent languages. We define an unfolding rule, show its correctness and discuss some conditions in which it can be used to delete an unfolded rule while preserving the meaning of the original program. Finally, confluence and termination maintenance between the original and transformed programs are shown. This thesis is organized in the following manner. Chapter 1 gives some general notion about CHR. Section 1.1 outlines the history of programming languages with particular attention to CHR and related languages. Then, Section 1.2 introduces CHR using examples. Section 1.3 gives some preliminaries which will be used during the thesis. Subsequentely, Section 1.4 introduces the syntax and the operational and declarative semantics for the first CHR language proposed. Finally, the methodologies to solve the problem of trivial non-termination related to propagation rules are discussed in Section 1.5. Chapter 2 introduces a compositional semantics for CHR where the propagation rules are considered. In particular, Section 2.1 contains the definition of the semantics. Hence, Section 2.2 presents the compositionality results. Afterwards Section 2.3 expounds upon the correctness results. Chapter 3 presents a particular program transformation known as unfolding. This transformation needs a particular syntax called annotated which is introduced in Section 3.1 and its related modified operational semantics !0t is presented in Section 3.2. Subsequently, Section 3.3 defines the unfolding rule and prove its correctness. Then, in Section 3.4 the problems related to the replacement of a rule by its unfolded version are discussed and this in turn gives a correctness condition which holds for a specific class of rules. Section 3.5 proves that confluence and termination are preserved by the program modifications introduced. Finally, Chapter 4 concludes by discussing related works and directions for future work.

Language and Embodiment: sensory-motor and linguistic-social experience. Evidence on sentence comprehension

In this work I address the study of language comprehension in an “embodied” framework. Firstly I show behavioral evidence supporting the idea that language modulates the motor system in a specific way, both at a proximal level (sensibility to the effectors) and at the distal level (sensibility to the goal of the action in which the single motor acts are inserted). I will present two studies in which the method is basically the same: we manipulated the linguistic stimuli (the kind of sentence: hand action vs. foot action vs. mouth action) and the effector by which participants had to respond (hand vs. foot vs. mouth; dominant hand vs. non-dominant hand). Response times analyses showed a specific modulation depending on the kind of sentence: participants were facilitated in the task execution (sentence sensibility judgment) when the effector they had to use to respond was the same to which the sentences referred. Namely, during language comprehension a pre-activation of the motor system seems to take place. This activation is analogous (even if less intense) to the one detectable when we practically execute the action described by the sentence. Beyond this effector specific modulation, we also found an effect of the goal suggested by the sentence. That is, the hand effector was pre-activated not only by hand-action-related sentences, but also by sentences describing mouth actions, consistently with the fact that to execute an action on an object with the mouth we firstly have to bring it to the mouth with the hand. After reviewing the evidence on simulation specificity directly referring to the body (for instance, the kind of the effector activated by the language), I focus on the specific properties of the object to which the words refer, particularly on the weight. In this case the hypothesis to test was if both lifting movement perception and lifting movement execution are modulated by language comprehension. We used behavioral and kinematics methods, and we manipulated the linguistic stimuli (the kind of sentence: the lifting of heavy objects vs. the lifting of light objects). To study the movement perception we measured the correlations between the weight of the objects lifted by an actor (heavy objects vs. light objects) and the esteems provided by the participants. To study the movement execution we measured kinematics parameters variance (velocity, acceleration, time to the first peak of velocity) during the actual lifting of objects (heavy objects vs. light objects). Both kinds of measures revealed that language had a specific effect on the motor system, both at a perceptive and at a motoric level. Finally, I address the issue of the abstract words. Different studies in the “embodied” framework tried to explain the meaning of abstract words The limit of these works is that they account only for subsets of phenomena, so results are difficult to generalize. We tried to circumvent this problem by contrasting transitive verbs (abstract and concrete) and nouns (abstract and concrete) in different combinations. The behavioral study was conducted both with German and Italian participants, as the two languages are syntactically different. We found that response times were faster for both the compatible pairs (concrete verb + concrete noun; abstract verb + abstract noun) than for the mixed ones. Interestingly, for the mixed combinations analyses showed a modulation due to the specific language (German vs. Italian): when the concrete word precedes the abstract one responses were faster, regardless of the word grammatical class. Results are discussed in the framework of current views on abstract words. They highlight the important role of developmental and social aspects of language use, and confirm theories assigning a crucial role to both sensorimotor and linguistic experience for abstract words.

Letteratura postmoderna e comunicazione pubblicitaria, problemi teorici e analisi testuali

Premise: In the literary works of our anthropological and cultural imagination, the various languages and the different discursive practices are not necessarily quoted, expressly alluded to or declared through clear expressive mechanisms; instead, they rather constitute a substratum, a background, now consolidated, which with irony and intertextuality shines through the thematic and formal elements of each text. The various contaminations, hybridizations and promptings that we find in the expressive forms, the rhetorical procedures and the linguistic and thematic choices of post-modern literary texts are shaped as fluid and familiar categories. Exchanges and passages are no longer only allowed but also inevitable; the post-modern imagination is made up of an agglomeration of discourses that are no longer really separable, built up from texts that blend and quote one another, composing, each with its own specificities, the great family of the cultural products of our social scenario. A literary work, therefore, is not only a whole phenomenon, delimited hic et nunc by a beginning and an ending, but is a fragment of that complex, dense and boundless network that is given by the continual interrelations between human forms of communication and symbolization. The research hypothesis: A vision is delineated of comparative literature as a discipline attentive to the social contexts in which texts take shape and move and to the media-type consistency that literary phenomena inevitably take on. Hence literature is seen as an open systematicity that chooses to be contaminated by other languages and other discursive practices of an imagination that is more than ever polymorphic and irregular. Inside this interpretative framework the aim is to focus the analysis on the relationship that postmodern literature establishes with advertising discourse. On one side post-modern literature is inserted in the world of communication, loudly asserting the blending and reciprocal contamination of literary modes with media ones, absorbing their languages and signification practices, translating them now into thematic nuclei, motifs and sub-motifs and now into formal expedients and new narrative choices; on the other side advertising is chosen as a signification practice of the media universe, which since the 1960s has actively contributed to shaping the dynamics of our socio-cultural scenarios, in terms which are just as important as those of other discursive practices. Advertising has always been a form of communication and symbolization that draws on the collective imagination – myths, actors and values – turning them into specific narrative programs for its own texts. Hence the aim is to interpret and analyze this relationship both from a strictly thematic perspective – and therefore trying to understand what literature speaks about when it speaks about advertising, and seeking advertising quotations in post-modern fiction – and from a formal perspective, with a search for parallels and discordances between the rhetorical procedures, the languages and the verifiable stylistic choices in the texts of the two different signification practices. The analysis method chosen, for the purpose of constructive multiplication of the perspectives, aims to approach the analytical processes of semiotics, applying, when possible, the instruments of the latter, in order to highlight the thematic and formal relationships between literature and advertising. The corpus: The corpus of the literary texts is made up of various novels and, although attention is focused on the post-modern period, there will also be ineludible quotations from essential authors that with their works prompted various reflections: H. De Balzac, Zola, Fitzgerald, Joyce, Calvino, etc… However, the analysis focuses the corpus on three authors: Don DeLillo, Martin Amis and Aldo Nove, and in particular the followings novels: “Americana” (1971) and “Underworld” (1999) by Don DeLillo, “Money” (1984) by Martin Amis and “Woobinda and other stories without a happy ending” (1996) and “Superwoobinda” (1998) by Aldo Nove. The corpus selection is restricted to these novels for two fundamental reasons: 1. assuming parameters of spatio-temporal evaluation, the texts are representative of different socio-cultural contexts and collective imaginations (from the masterly glimpses of American life by DeLillo, to the examples of contemporary Italian life by Nove, down to the English imagination of Amis) and of different historical moments (the 1970s of DeLillo’s Americana, the 1980s of Amis, down to the 1990s of Nove, decades often used as criteria of division of postmodernism into phases); 2. adopting a perspective of strictly thematic analysis, as mentioned in the research hypothesis, the variations and the constants in the novels (thematic nuclei, topoi, images and narrative developments) frequently speak of advertising and inside the narrative plot they affirm various expressions and realizations of it: value ones, thematic ones, textual ones, urban ones, etc… In these novels the themes and the processes of signification of advertising discourse pervade time, space and the relationships that the narrator character builds around him. We are looking at “particle-characters” whose endless facets attest the influence and contamination of advertising in a large part of the narrative developments of the plot: on everyday life, on the processes of acquisition and encoding of the reality, on ideological and cultural baggage, on the relationships and interchanges with the other characters, etc… Often the characters are victims of the implacable consequentiality of the advertising mechanism, since the latter gets the upper hand over the usual processes of communication, which are overwhelmed by it, wittingly or unwittingly (for example: disturbing openings in which the protagonist kills his or her parents on the basis of a spot, former advertisers that live life codifying it through the commercial mechanisms of products, sons and daughters of advertisers that as children instead of playing outside for whole nights saw tapes of spots.) Hence the analysis arises from the text and aims to show how much the developments and the narrative plots of the novels encode, elaborate and recount the myths, the values and the narrative programs of advertising discourse, transforming them into novel components in their own right. And also starting from the text a socio-cultural reference context is delineated, a collective imagination that is different, now geographically, now historically, and from comparison between them the aim is to deduce the constants, the similarities and the variations in the relationship between literature and advertising.

Arte e design in Italia dalla metà degli anni Sessanta alle ultime tendenze

Il lavoro di ricerca è rivolto ad indagare l’emersione di schemi di variazione comuni all’arte e al design, limitatamente al contesto italiano e in un arco di tempo che va dalla metà degli anni Sessanta del secolo scorso a oggi. L’analisi vuole rintracciare, mediante l’applicazione della metodologia fenomenologica, un sentire condiviso tra le due discipline e, nel pieno rispetto dei relativi linguaggi e con nessuna volontà di sudditanza degli uni rispetto agli altri, individuare i rapporti di corrispondenza omologica capaci di mettere in luce lo spirito del tempo che le ha generate. La ricerca si pone l’obiettivo di estendere gli studi sul contemporaneo attraverso un’impostazione che intende applicare gli strumenti metodologici della critica d’arte all’evoluzione stilistica delle tendenze del design italiano. Non si è voluto redigere una “storia” del design italiano ma, considerata anche l’ampiezza dell’argomento, si è necessariamente proceduto a delimitare il territorio di applicazione scegliendo di prendere in considerazione il solo settore del design dell’arredo. Si è dunque optato per una visione globale delle vicende del design del prodotto, tesa ad indagare gli snodi principali, concentrando pertanto l’analisi su alcuni protagonisti della cultura del progetto, ossia su quelle figure risultate dominanti nel proprio tempo perché capaci con il loro lavoro di dare un contribuito determinante alla comprensione delle fasi evolutive del design italiano. Gli strumenti utili a condurre l’analisi provengono principalmente dalla metodologia binaria individuata dallo storico dell’arte Heinrich Wölfflin e dagli studi di Renato Barilli, il cui impianto culturologico ha fornito un indispensabile contributo al processo di sistematizzazione dei meccanismi di variazione interni alle arti; sia quelli di tipo orizzontale, di convergenza reciproca con gli altri saperi, che di tipo verticale, in rapporto cioè con le scoperte scientifiche e tecnologiche della coeva cultura materiale.