Crenças e quebranças de um corpo que dança: poéticas do benzimento na criação cênica

This work is a discussion of the artistic process of an artist-researcher made from field research with benzedeiras and benzedores the state of Rio Grande do Norte. This is an investigation on the cultural universe of the popular benzeção as poetic element to the artistic dance. To discuss the different stages of the research and the relationships between the artist-researcher, the benzedeiras/benzedores and the creation/composition scenic, the work takes as reference the triangular relationship created by anthropologist Claude Lévi-Strauss, in his discussion on the effectiveness of symbols of healing, adapted to the context of benzeção . For dialogue between tradition, popular knowledge, scientific and artistic knowledge this work approaches as analytical reference the epistemological model of the type rhizome proposed by Deleuze and Guattari, understanding it as a model that seeks to form a network of relations in different paths of research, to establish connections between elements without target them or subordinating them. In the universe of benzeção , benzedeiras and benzedores carry a symbolic power that issued in whispered prayers, in peculiar gestures that form crosses in space, heal those who seek your prayers and blessing. In this research, the mixture of popular knowledge, artistic and academic knowledge, born an artistic work in the context of Performing Arts, more specifically dance, and between branches, saints, candles and conversations the work allowed other looks poetic for our popular culture, (re)asserting their cultural and human values through the art

The principle of least effort within the hierarchy of linguistic preferences: external evidence from English

The thesis is an investigation of the principle of least effort (Zipf 1949 [1972]). The principle is simple (all effort should be least) and universal (it governs the totality of human behavior). Since the principle is also functional, the thesis adopts a functional theory of language as its theoretical framework, i.e. Natural Linguistics. The explanatory system of Natural Linguistics posits that higher principles govern preferences, which, in turn, manifest themselves as concrete, specific processes in a given language. Therefore, the thesis’ aim is to investigate the principle of least effort on the basis of external evidence from English. The investigation falls into the three following strands: the investigation of the principle itself, the investigation of its application in articulatory effort and the investigation of its application in phonological processes. The structure of the thesis reflects the division of its broad aims. The first part of the thesis presents its theoretical background (Chapter One and Chapter Two), the second part of the thesis deals with application of least effort in articulatory effort (Chapter Three and Chapter Four), whereas the third part discusses the principle of least effort in phonological processes (Chapter Five and Chapter Six). Chapter One serves as an introduction, examining various aspects of the principle of least effort such as its history, literature, operation and motivation. It overviews various names which denote least effort, explains the origins of the principle and reviews the literature devoted to the principle of least effort in a chronological order. The chapter also discusses the nature and operation of the principle, providing numerous examples of the principle at work. It emphasizes the universal character of the principle from the linguistic field (low-level phonetic processes and language universals) and the non-linguistic ones (physics, biology, psychology and cognitive sciences), proving that the principle governs human behavior and choices. Chapter Two provides the theoretical background of the thesis in terms of its theoretical framework and discusses the terms used in the thesis’ title, i.e. hierarchy and preference. It justifies the selection of Natural Linguistics as the thesis’ theoretical framework by outlining its major assumptions and demonstrating its explanatory power. As far as the concepts of hierarchy and preference are concerned, the chapter provides their definitions and reviews their various understandings via decision theories and linguistic preference-based theories. Since the thesis investigates the principle of least effort in language and speech, Chapter Three considers the articulatory aspect of effort. It reviews the notion of easy and difficult sounds and discusses the concept of articulatory effort, overviewing its literature as well as various understandings in a chronological fashion. The chapter also presents the concept of articulatory gestures within the framework of Articulatory Phonology. The thesis’ aim is to investigate the principle of least effort on the basis of external evidence, therefore Chapters Four and Six provide evidence in terms of three experiments, text message studies (Chapter Four) and phonological processes in English (Chapter Six). Chapter Four contains evidence for the principle of least effort in articulation on the basis of experiments. It describes the experiments in terms of their predictions and methodology. In particular, it discusses the adopted measure of effort established by means of the effort parameters as well as their status. The statistical methods of the experiments are also clarified. The chapter reports on the results of the experiments, presenting them in a graphical way and discusses their relation to the tested predictions. Chapter Four establishes a hierarchy of speakers’ preferences with reference to articulatory effort (Figures 30, 31). The thesis investigates the principle of least effort in phonological processes, thus Chapter Five is devoted to the discussion of phonological processes in Natural Phonology. The chapter explains the general nature and motivation of processes as well as the development of processes in child language. It also discusses the organization of processes in terms of their typology as well as the order in which processes apply. The chapter characterizes the semantic properties of processes and overviews Luschützky’s (1997) contribution to NP with respect to processes in terms of their typology and incorporation of articulatory gestures in the concept of a process. Chapter Six investigates phonological processes. In particular, it identifies the issues of lenition/fortition definition and process typology by presenting the current approaches to process definitions and their typology. Since the chapter concludes that no coherent definition of lenition/fortition exists, it develops alternative lenition/fortition definitions. The chapter also revises the typology of phonological processes under effort management, which is an extended version of the principle of least effort. Chapter Seven concludes the thesis with a list of the concepts discussed in the thesis, enumerates the proposals made by the thesis in discussing the concepts and presents some questions for future research which have emerged in the course of investigation. The chapter also specifies the extent to which the investigation of the principle of least effort is a meaningful contribution to phonology.

Gestural communication of music structure during solo classical piano performance

The production and perception of music is a multimodal activity involving auditory, visual and conceptual processing, integrating these with prior knowledge and environmental experience. Musicians utilise expressive physical nuances to highlight salient features of the score. The question arises within the literature as to whether performers’ non-technical, non-sound-producing movements may be communicatively meaningful and convey important structural information to audience members and co-performers. In the light of previous performance research (Vines et al., 2006, Wanderley, 2002, Davidson, 1993), and considering findings within co-speech gestural research and auditory and audio-visual neuroscience, this thesis examines the nature of those movements not directly necessary for the production of sound, and their particular influence on audience perception. Within the current research 3D performance analysis is conducted using the Vicon 12- camera system and Nexus data-processing software. Performance gestures are identified as repeated patterns of motion relating to music structure, which not only express phrasing and structural hierarchy but are consistently and accurately interpreted as such by a perceiving audience. Gestural characteristics are analysed across performers and performance style using two Chopin preludes selected for their diverse yet comparable structures (Opus 28:7 and 6). Effects on perceptual judgements of presentation modes (visual-only, auditory-only, audiovisual, full- and point-light) and viewing conditions are explored. This thesis argues that while performance style is highly idiosyncratic, piano performers reliably generate structural gestures through repeated patterns of upper-body movement. The shapes and locations of phrasing motions are identified particular to the sample of performers investigated. Findings demonstrate that despite the personalised nature of the gestures, performers use increased velocity of movements to emphasise musical structure and that observers accurately and consistently locate phrasing junctures where these patterns and variation in motion magnitude, shape and velocity occur. By viewing performance motions in polar (spherical) rather than cartesian coordinate space it is possible to get mathematically closer to the movement generated by each of the nine performers, revealing distinct patterns of motion relating to phrasing structures, regardless of intended performance style. These patterns are highly individualised both to each performer and performed piece. Instantaneous velocity analysis indicates a right-directed bias of performance motion variation at salient structural features within individual performances. Perceptual analyses demonstrate that audience members are able to accurately and effectively detect phrasing structure from performance motion alone. This ability persists even for degraded point-light performances, where all extraneous environmental information has been removed. The relative contributions of audio, visual and audiovisual judgements demonstrate that the visual component of a performance does positively impact on the over- all accuracy of phrasing judgements, indicating that receivers are most effective in their recognition of structural segmentations when they can both see and hear a performance. Observers appear to make use of a rapid online judgement heuristics, adjusting response processes quickly to adapt and perform accurately across multiple modes of presentation and performance style. In line with existent theories within the literature, it is proposed that this processing ability may be related to cognitive and perceptual interpretation of syntax within gestural communication during social interaction and speech. Findings of this research may have future impact on performance pedagogy, computational analysis and performance research, as well as potentially influencing future investigations of the cognitive aspects of musical and gestural understanding.

Formação docente continuada, desenvolvimento de práticas pedagógicas em sala de aula e promoção da saúde do professor: relações necessárias

This article presents an analysis of the results of an action of teacher continuing education in a public Brazilian university. It presents and discusses relations that proved to be necessary between the aforementioned action, the development of classroom pedagogical practices and the promotion of teachers’ health. Its theoretical and methodological foundations consist on a clinic, developmental and dialogic-argumentative character and employ the method of simple and crossed self-confrontation,in order to address professional teaching gestures. The results indicate the necessity of actions related to teachers’ continuing education, focused primarily on the concrete classroom work, which, in addition to allowing the development of pedagogical practices, makes the promotion of teachers’ health itself possible.

Przestrzenne formy upamiętniania Zagłady

This book is a synthesizing reflection on the Holocaust commemoration, in which space becomes a starting point for discussion. The author understands space primarily as an amalgam of physical and social components, where various commemorative processes may occur. The first part of the book draws attention to the material aspect of space, which determines its character and function. Material culture has been a long ignored and depreciated dimension of human culture in the humanities and social sciences, because it was perceived as passive and fully controlled by human will, and therefore insignificant in the course of social and historical processes. An example of the Nazi system perfectly illustrates how important were the restrictions and prohibitions on the usage of mundane objects, and in general, the whole material culture in relation to macro and micro space management — the state, cities, neighborhoods and houses, but also parks and swimming pools, factories and offices or shops and theaters. The importance of things and space was also clearly visible in exploitative policies present in overcrowded ghettos and concentration and death camps. For this very reason, when we study spatial forms of Holocaust commemoration, it should be acknowledged that the first traces, proofs and mementoes of the murdered were their things. The first "monuments" showing the enormity of the destruction are thus primarily gigantic piles of objects — shoes, glasses, toys, clothes, suitcases, toothbrushes, etc., which together with the extensive camps’ space try to recall the scale of a crime impossible to understand or imagine. The first chapter shows the importance of introducing the material dimension in thinking about space and commemoration, and it ends with a question about one of the key concepts for the book, a monument, which can be understood as both object (singular or plural) and architecture (sculptures, buildings, highways). However, the term monument tends to be used rather in a later and traditional sense, as an architectural, figurative form commemorating the heroic deeds, carved in stone or cast in bronze. Therefore, the next chapter reconstructs this narrower line of thinking, together with a discussion about what form a monument commemorating a subject as delicate and sensitive as the Holocaust should take on. This leads to an idea of the counter-monument, the concept which was supposed to be the answer to the mentioned representational dilemma on the one hand, and which would disassociate it from the Nazi’s traditional monuments on the other hand. This chapter clarifies the counter-monument definition and explains the misunderstandings and confusions generated on the basis of this concept by following the dynamics of the new commemorative form and by investigating monuments from the ‘80s and ‘90s erected in Germany. In the next chapter, I examine various forms of the Holocaust commemoration in Berlin, a city famous for its bold, monumental, and even controversial projects. We find among them the entire spectrum of memorials – big, monumental, and abstract forms, like Peter Eisenman’s Memorial to the Murdered Jews of Europe or Daniel Liebeskind’s Jewish Museum Berlin; flat, invisible, and employing the idea of emptiness, like Christian Boltanski’s Missing House or Micha Ullman’s Book Burning Memorial; the dispersed and decentralized, like Renata Stih and Frieder Schnock’s Memory Places or Gunter Demnig’s Stumbling Blocks. I enrich descriptions of the monuments by signaling at this point their second, extended life, which manifests itself in the alternative modes of (mis)use, consisting of various social activities or artistic performances. The formal wealth of the outlined projects creates a wide panorama of possible solutions to the Holocaust commemoration problems. However, the discussions accompanying the building of monuments and their "future life" after realization emphasize the importance of the social component that permeates the biography of the monument, and therefore significantly influences its foreseen design. The book also addresses the relationship of space, place and memory in a specific situation, when commemoration is performed secretly or remains as unrealized potential. Although place is the most common space associated with memory, today the nature of this relationship changes, and is what indicates popularity and employment of such terms as Marc Augé’s non-places or Pierre Nora’s site of memory. I include and develop these concepts about space and memory in my reflections to describe qualitatively different phenomena occurring in Central and Eastern European countries. These are unsettling places in rural areas like glades or parking lots, markets and playgrounds in urban settings. I link them to the post-war time and modernization processes and call them sites of non-memory and non-sites of memory. Another part of the book deals with a completely different form of commemoration called Mystery of memory. Grodzka Gate - NN Theatre in Lublin initiated it in 2000 and as a form it situates itself closer to the art of theater than architecture. Real spaces and places of everyday interactions become a stage for these performances, such as the “Jewish town” in Lublin or the Majdanek concentration camp. The minimalist scenography modifies space and reveals its previously unseen dimensions, while the actors — residents and people especially related to places like survivors and Righteous Among the Nations — are involved in the course of the show thanks to various rituals and symbolic gestures. The performance should be distinguished from social actions, because it incorporates tools known from religious rituals and art, which together saturate the mystery of memory with an aura of uniqueness. The last discussed commemoration mode takes the form of exposition space. I examine an exhibition concerning the fate of the incarcerated children presented in one of the barracks of the Majdanek State Museum in Lublin. The Primer – Children in Majdanek Camp is unique for several reasons. First, because even though it is exhibited in the camp barrack, it uses a completely different filter to tell the story of the camp in comparison to the exhibitions in the rest of the barracks. For this reason, one experiences immersing oneself in all subsequent levels of space and narrative accompanying them – at first, in a general narrative about the camp, and later in a specifically arranged space marked by children’s experiences, their language and thinking, and hence formed in a way more accessible for younger visitors. Second, the exhibition resigns from didacticism and distancing descriptions, and takes an advantage of eyewitnesses and survivors’ testimonies instead. Third, the exhibition space evokes an aura of strangeness similar to a fairy tale or a dream. It is accomplished thanks to the arrangement of various, usually highly symbolic material objects, and by favoring the fragrance and phonic sensations, movement, while belittling visual stimulations. The exhibition creates an impression of a place open to thinking and experiencing, and functions as an asylum, a radically different form to its camp surrounding characterized by a more overwhelming and austere space.

Metamorfoses musicais em concerto

Uma transcrição musical consiste numa composição adaptada de uma obra original para outra instrumentação, que não a inicialmente definida pelo compositor. Nestas, o conteúdo original tende a permanecer o mais fiel possível (De Vente, 2005). A partir do século XIX esta prática tornou-se corrente e prolífica. Atualmente, o uso de transcrições é bastante comum, especialmente quando destinado a instrumentos musicais com uma história recente devido à sua falta de repertório canónico. Um instrumento característico deste último grupo é o saxofone para o qual se tem transcrito uma grande quantidade de obras com especial ênfase nos períodos barroco e romântico. Nesta monografia detalho uma abordagem metodológica à transcrição musical que visa expandir o repertório para saxofone para além dos períodos barroco e romântico, assim como instrumentações e desafios diversos no processo de adaptação tais como: adaptar obras polifónicas para um instrumento monofónico, transcrever gestos técnicos e específicos de um instrumento de corda e criar continuidades sonoras típicas do uso do pedal no piano no saxofone. O processo de transcrição descrito nesta monografia impõe uma metamorfose timbrica às obras originais e oferece ao ouvinte uma perspectiva diferente sobre o conteúdo musical assim como questiona conceitos de autenticidade e autoria. Quatro composições que seguem a atual proposta de transcrição são apresentadas e documentadas. De ressaltar a diversidade de escolhas do repertório transcrito em termos de estilo, e instrumentação que se traduzem num grande desafio na adaptação ao saxofone, entre estas: Dream, John Cage, Chaccone em Sol menor, Tomaso Vitali, Fratres, Arvo Pärt e o Inverno das Quatro Estações, Antonio Vivaldi.

Ruchy gałek ocznych i gesty jako korelaty przetwarzania języka w tłumaczeniu konsekutywnym i symultanicznym

Wydział Anglistyki

O ato de agradecimento nas interações comerciais : contributo para o seu estudo

O presente estudo, no âmbito da Pragmática Linguística, resulta de uma investigação, que observa a realização dos atos ilocutórios expressivos de agradecimento nas interações comerciais. O objetivo é tentar compreender os processos linguísticos subjacentes à realização dos referidos atos ilocutórios, nomeadamente através do recenseamento dos diferentes tipos de agradecimento, da descrição dos atos de fala predominantes e das funções semântico-pragmáticas do agradecimento. Um dos aspetos mais importantes será o recensear dos tipos de agradecimento mais usados nas interações comerciais. Para tal, parte-se da observação detalhada de um corpus recolhido no âmbito específico de interações comerciais que ocorreram entre 10 de fevereiro de 2014 a 30 de setembro de 2014. Os resultados obtidos convergem no sentido de que o agradecimento é um ato expressivo reativo que pode ser verbal ou não verbal, com a finalidade de estabelecer a relação custo-benefício entre locutor e ouvinte, tendo em conta e respeitando os vários contextos socioculturais. De facto, o ato de agradecer, tal como os restantes atos ilocutórios expressivos, depende da forma como é expressado, dos gestos que o acompanham e das emoções que lhe são inerentes.

The incorporation of violence by women video artists

This paper examines the way in which women video artists embodied violence in their video pieces as a strategy of critique of the patriarchal regime. Since the 1960s several generations of women artists used different strategies of self-harm or explored the physical and mental limits of their bodies to express the anguish of those who are excluded from the patriarchal society on sexist and/or racist grounds. Considering the guiding line that covers three fields – art, gender, and feminist social movements – as well as their key thinkers and scholars in Sociology, Fine Arts and the Humanities, we have built the object of study of this essay, namely, the relationship between women's video art focused on the body, violence and gender along with feminist social movements in the period ranging from 1967 to 2007, in a Western context. The methodology used had as its primary goal to create a link between the micro-sociological level of expressions, body gestures and behaviours in the videos and the macro-sociological level of broader, institutionalized social forces that are at the origin of inequalities, such as dimensions of gender and «race». This study concluded that at least since the 1960s there is the denunciation by women video artists of the general circumstances women live under, while enduring violence of various kinds, such as socio-cultural, psychological and sexual violence against women.

Self determination, embodied languages and landscapes in women's video art.

This paper addresses how, since the 1960s to the present, part of women's video art has broken the traditional representation of women’s body and proposed new forms of recording women's images, explicit or symbolic, using body part close-ups, and not sparing any efforts to ensure the prevention of the cataloguing of women’s bodies according to normative categories, such as gender, race and age, and in this way challenging the Western representation codes that objectify women. The methodology employed had as its primary purpose the examination of the association existing between the micro-sociological level of body gestures and performances in women's videos and the macro-sociological level of social forces such as the dimensions of gender and sexuality. This study concluded that narratives of identity and self-determination are present in women's video pieces contributing to women's empowerment through visual discourses that could possibly point to the production of new signs and symbols, new values and models, but also for the formation of new types of social roles and even a new type of interpersonal relationships.

Crenças e quebranças de um corpo que dança: poéticas do benzimento na criação cênica

This work is a discussion of the artistic process of an artist-researcher made from field research with benzedeiras and benzedores the state of Rio Grande do Norte. This is an investigation on the cultural universe of the popular benzeção as poetic element to the artistic dance. To discuss the different stages of the research and the relationships between the artist-researcher, the benzedeiras/benzedores and the creation/composition scenic, the work takes as reference the triangular relationship created by anthropologist Claude Lévi-Strauss, in his discussion on the effectiveness of symbols of healing, adapted to the context of benzeção . For dialogue between tradition, popular knowledge, scientific and artistic knowledge this work approaches as analytical reference the epistemological model of the type rhizome proposed by Deleuze and Guattari, understanding it as a model that seeks to form a network of relations in different paths of research, to establish connections between elements without target them or subordinating them. In the universe of benzeção , benzedeiras and benzedores carry a symbolic power that issued in whispered prayers, in peculiar gestures that form crosses in space, heal those who seek your prayers and blessing. In this research, the mixture of popular knowledge, artistic and academic knowledge, born an artistic work in the context of Performing Arts, more specifically dance, and between branches, saints, candles and conversations the work allowed other looks poetic for our popular culture, (re)asserting their cultural and human values through the art

A study of culture specific items and translation strategies in Bahram Beyza'i’s play “Marionettes”

L'objectif de cette recherche est de fournir une analyse de la pièce de théâtre perse ''Marionettes'' de Bahrām Beyzā'ī (1963) ainsi que de sa traduction anglaise (1989) afin de comparer et de mettre en contraste les traits propres à la culture «Culture-specific items» (CSI) et des stratégies de traduction. Les formes problématiques pertinentes des différences culturelles seront étudiées et les procédés suggérés par Newmark (1988) seront examinés afin de déterminer dans quelle mesure ils sont pertinents dans la traduction des différences culturelles du perse à l'anglais. La pièce a été traduite par une équipe de traducteurs: Sujata G.Bhatt, Jacquelin Hoats, Imran A. Nyazee et Kamiar K. Oskouee. (Parvin Loloi et Glyn Pursglove 2002:66). Les oeuvres théâtrales de Beyzā'ī sont basées sur les traditions ainsi que sur le folklore iranien. L'auteur aborde la réalité sous une perspective philosophique. « (Un point de vue) enveloppé dans une cape de comparaisons complexes à tel point que nombre des personnages de son oeuvre errent entre des symboles de la mythologie et de l’histoire, ou sociaux» (M.R. Ghanoonparvar, John Green 1989, p.xxii notre traduction). La classification des éléments culturels de Newmark (1988) va comme suit: «Écologie, culture matérielle, culture sociale, organisations, coutumes / moeurs, gestes et habitudes» (Newmark 1988:95). La recherche mettra l’accent sur les procédés suggérés pour traduire les CSI ainsi que sur les stratégies de traduction selon Newmark. Ces procédés comprennent : «traduction littérale, transfert, équivalent culturel, neutralisation, équivalent fonctionnel, équivalent descriptif, synonymie, par le biais de la traduction, transposition, modulation, traduction reconnue, étiquette de traduction, compensation, analyse componentielle, réduction et expansion, paraphraser, distique, notes, additions, gloses» (Newmark 1988:81-93). L'objectif ici est de déterminer si les procédés suggérés sont applicables à la traduction des CSIs du perse à l'anglais, et quels sont les procédés les plus fréquemment utilisés par les traducteurs.

A study of culture specific items and translation strategies in Bahram Beyza'i’s play “Marionettes”

L'objectif de cette recherche est de fournir une analyse de la pièce de théâtre perse ''Marionettes'' de Bahrām Beyzā'ī (1963) ainsi que de sa traduction anglaise (1989) afin de comparer et de mettre en contraste les traits propres à la culture «Culture-specific items» (CSI) et des stratégies de traduction. Les formes problématiques pertinentes des différences culturelles seront étudiées et les procédés suggérés par Newmark (1988) seront examinés afin de déterminer dans quelle mesure ils sont pertinents dans la traduction des différences culturelles du perse à l'anglais. La pièce a été traduite par une équipe de traducteurs: Sujata G.Bhatt, Jacquelin Hoats, Imran A. Nyazee et Kamiar K. Oskouee. (Parvin Loloi et Glyn Pursglove 2002:66). Les oeuvres théâtrales de Beyzā'ī sont basées sur les traditions ainsi que sur le folklore iranien. L'auteur aborde la réalité sous une perspective philosophique. « (Un point de vue) enveloppé dans une cape de comparaisons complexes à tel point que nombre des personnages de son oeuvre errent entre des symboles de la mythologie et de l’histoire, ou sociaux» (M.R. Ghanoonparvar, John Green 1989, p.xxii notre traduction). La classification des éléments culturels de Newmark (1988) va comme suit: «Écologie, culture matérielle, culture sociale, organisations, coutumes / moeurs, gestes et habitudes» (Newmark 1988:95). La recherche mettra l’accent sur les procédés suggérés pour traduire les CSI ainsi que sur les stratégies de traduction selon Newmark. Ces procédés comprennent : «traduction littérale, transfert, équivalent culturel, neutralisation, équivalent fonctionnel, équivalent descriptif, synonymie, par le biais de la traduction, transposition, modulation, traduction reconnue, étiquette de traduction, compensation, analyse componentielle, réduction et expansion, paraphraser, distique, notes, additions, gloses» (Newmark 1988:81-93). L'objectif ici est de déterminer si les procédés suggérés sont applicables à la traduction des CSIs du perse à l'anglais, et quels sont les procédés les plus fréquemment utilisés par les traducteurs.

Une comparaison des journaux non structurés et des journaux structurés rédigés par les étudiants en hygiène dentaire

The Canadian Dental Hygienists Association (CDHA) has indicated that there is a need for research in education in the field of dental hygiene. It seems that when compared to the nursing profession, the profession of dental hygiene is only in the earliest stages of investigating ways of teaching critical thinking. The faculty of the dental hygiene program at John Abbott College has always valued the skill of self-assessment in the students, yet there are few specific learning activities provided whereby the students can learn how to perfect and work on this invaluable skill of self-reflection in order to better self-assess. Although self-assessment is required of the students upon the completion of each clinical experience in Clinic 1, 2 and 3, a modest amount of clinical time is allotted to reflect upon this most important skill. It appears that more could be done to prepare our students to assess their learning and clinical practice. Self-reflection as an essential element of practice has a valid place in professional education. The purpose of conducting this study was to find out whether unstructured or structured self-reflective journal writing is a sound pedagogical technique to encourage dental hygiene students’ self-assessment through self-reflection. The research design for the project was a single case study. The paradigm for the study was chosen with a purposeful selection of participants, involving twenty-seven, third-year dental hygiene students at John Abbott College. The students were arbitrarily enrolled in two sections, which for the purpose of this study were referred to as Group A and Group B. Three duplicated coded anonymous journal entries from each student were collected over a ten-week period during the Fall 2009 semester. To examine the students’ level of self-reflection, two methods were used. First a content analysis of reflective journals was used to ascertain the level and substance of the reflections from their clinical experiences with the intent of looking more specifically at the students’ self-assessment. The journal entries were coded and analyzed after the grades were submitted at the end of the school term. This was followed by the distribution of an anonymous questionnaire to the students in both sections. The responses of the questionnaire were tabulated and analyzed. An analysis was done on the data collected in order to determine whether age, education and or mother tongue of the students in both Groups A and B had an influence on their perceptions of journal writing, as well as the student’s opinions about the value of journal writing. This questionnaire included two open-ended questions to assist in gathering additional data on the student’s thoughts on writing journals. A content analysis of the qualitative data collected from the open-ended questions in the questionnaire was also analyzed. Results indicated there were very few differences in the level of self-reflection leading to self-assessment. However, students in Group B who were assigned structured journals showed more evidence of deeper learning. Taken as a whole, the journal entries clearly showed the students were involved in ‘reflection-on-action’ of their clinical experiences (Schon 1987, as cited in Asadoorian & Batty, 2005). The quality of the responses for the most part indicated the students took the time and effort to record their perceptions of their clinical experiences. It is important to note that the results do indicate that students did show a need to self-reflect and assess. The students did in fact validate the importance of reflection through journal writing, even though they did not particularly like it as an added assignment. The journals were found to be very helpful to the research in getting to know what the issues were that held the students’ attention. They explained how and to what extent the students developed relationships with their clients. It was obvious that clinicians have an impact and influence on student learning. The students value the help, role modeling, patience, encouraging words and or gestures, positive reinforcement, and understanding provided by their clinicians. This research provides some evidence that students do believe that self-reflection through structured journal writing helped them better prepare for future clinical sessions with their clients. Our goal as educators should be to encourage dental hygiene students to self-assess through written self-reflection as an established practice for deeper learning.

A DISCURSIVE STUDY ON STATEMENTS THAT ROCKED THE BRAZIL IN 2013 YEAR

This paper aims to take a discursive study upon two widely repeated statements in the streets of Brazilian cities in June, 2013, when the rise of urban transportation costs caused popular demonstrations to begin. However, this rise of rates seems to have served as a mere trigger to mobilize citizens to add up other agendas to the demonstrations, such as the right to health, education, good public safety, as well as the corruption installed in the country. Thus, we sought to verify the effects of erupted in the statements “Come to the streets” and “The Giant has woken up”, used to summon the citizens subject to the fight and to leave the state of moral inertia to them history. From our point of view, these statements are a discursive event, because slip of a discursive domain to another and produce effects of citizenship and that another country was possible. In addition, they attest to the ideology material character in the language and operation of discursive memory, which enables not only the memory and repetition, but also the refutation and oblivion. By this bias, we take the city not as territorial extension, but as a large text that is given to read, that is, as a symbolic space in which history and the language are linked producing senses determined by application of the subject in memory networks and that claim by interpreting gestures.