80 resultados para Colloquial
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Pós-graduação em Educação - IBRC
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
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Pós-graduação em Educação - FFC
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
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Pós-graduação em Letras - IBILCE
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Este trabalho procura identificar selecionadas produções poéticas da antologia 26 Poetas Hoje as faces da resistência indicada por Alfredo Bosi no ensaio “Poesia Resistência”. Do “grito de alarme” pessoal de poetas pertencentes a gerações diferentes, emerge uma poesia espontânea, autêntica e, sobretudo, resistente, como produto da renovação da expressão poética, impregnado de afetividades e de intimismo e que incorporou o coloquial e os recursos da grande poesia brasileira desde 22. This reading presents a sample from this anthology and tries to identify in it the faces of resistance indicated by Alfredo Bosi in his essay: “ Poesia Resistência”. In the several manners the poets of different generations chose for their personal cry of alert we find a poetry wich is spontaneous, authentic and, above all, “resistent”. This is due mainly to the renewal of the poetical expression, impregnated with affective ness and intimism, which included colloquial language and devices used by all great Brazilian poetry since the modernism of 1922.
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Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
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This work presents a partial analysis of the implementation of a didactic sequence aimed at undergraduate students of quantum chemistry. The sequence develops on some fundamental concepts to understand the behavior of the objects particles and waves in the doubleslit experiment. The analysis is based on the didactic transposition theory, proposed by Yves Chevallard, which allows reflection upon the scientific knowledge reorganized to be used in teaching contexts. Our interest in this study lays on the dynamics of transposition of knowledge-to-be-taught into knowledge-taught, particularly the importance of making concepts more comprehensible. Results showed that the communication of knowledge by the students is presented with interruptions, gaps and colloquial language. The analysis allowed the identification of needs and possibilities of learning, as well as a turn in the teacher practice, through a dynamic process of action and reflection.
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In dieser Dissertation Die Universalität der Hermeneutik wurde die folgenden zwei Fragen behandelt: Erstens: kann die Psychoanalyse - konkreter gesagt, die Übertragungssituation in dem szenischen Verstehen - eine Ausnahme von der Universalität der Hermeneutik darstellen? Zweitens: ist kritische Reflexion überhaupt moglich?, und konnen die Universalität der Hermeneutik und die kritische Reflexion miteinander in Übereinstimmung gebracht werden? Durch das szenische Verstehen erlautert Habermas den Vorgang, wie die Umgangssprache des Patienten von dem Analytiker analysiert wird. Zumal in der Übertragungssituation ist der Gegenstand des Symptoms des Patienten nichts anderes als der Analytiker selbst, und demzufolge kann der Analytiker selbst dann an dem Symptom seines Patienten teilnehmen. Durch diese Teilnahme kann er die Bedeutung des Symptoms seines Patienten genau erfassen. Aber wenn der Analytiker nicht das Unbewusste, das sein Patient ihm offenbart, umgangssprachlich akzeptiert hätte, oder anders gesagt, wenn das Unbewusste des Patienten sich dem Analytiker nicht als "ein Gesagtes" gezeigt hätte, hätte der Analytiker auf keinem Fall daraus etwas erfassen können. Infolgedessen kann die Psychoanalyse nicht das Gegenbeispiel fur die Universalität der Hermeneutik werden. Damit die kritische Reflexion möglich wäre, müssten vor allem unser Bewusstsein und die Sprache voneinander getrennt werden. Deswegen wurde in dieser Arbeit behauptet, dass sie - obwohl es in der Tat selbstverstandlich unmöglich ist - aber sehr wohl rein begrifflich gesehen voneinander getrennt und unterschieden werden können. In diesem Fall kann das Einflussverhältnis zwischen der Sprache und den außersprachlichen Faktoren in das Einflussverhältnis zwischen der "Arbeit und Herrschaft" und der Sprache und unserem Bewusstsein, unterteilt und differenziert werden: Arbeit und Herrschaft übt auf die Sprache Einfluss aus, und die Sprache übt auf unser Bewusstsein Einfluss aus. Und mit der Tatsache, dass die Praxis des Verstehens verändert wird, kann man beweisen, dass unser Bewusstsein auf die Arbeit und Herrschaft Einfluss ausüben kann. Und das bedeutet, dass unser Bewusstsein, obwohl es nur mittelbar ist, auf jeden Fall auch auf die Sprache Einfluss ausüben kann. Infolgedessen, wenn die Universalität der Hermeneutik gültig ist, kann man auch sagen, dass auf dieselbe Weise, die kritische Reflexion Habermas´ möglich ist. Und diese Einflussverhältnisse sind aber in dauernder Zirkulationsbewegung. Und diese Zirkulationsbewegung an sich ist das Wesen des Menschen, und daraus bildet sich seine Geschichte.
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At first, the main author of the book was presented together with the Italian source text: it was pointed out her double role of author and protagonist of the very events narrated in the book, inspired from facts which truly happened and which have to do with the story of her family. Afterwards, the translation part itself follows. Some pages taken from the original Italian book were translated into English; the parts which have been chosen are various extracts which were thought as a leading thread to understand the meaning and the intention of the entire book. After the translation, the analysis part was presented, where idiomatic expressions which can be found in great quantity throughout the book, are explained and commented. Here, clarifications can also be found concerning geographical and historical references, and something about the main characters who stand for people that truly existed. Finally some other little extracts from the book were included: they were translated and some translating choices were explained. These extra parts were integrated in the thesis in order to point out the main difficulty of translating the book La Collina, that is, the presence of a great deal of idiomatic and slang expressions both of everyday colloquial use and concerning the field of drugs. The English translation of these parts had to sound natural and spontaneous to an English-speaking readership, which should not notice they were translated from Italian. A great deal of research on the Internet was carried out in order to make sure those expressions didn’t seem contrived and unnatural in English: this was one of the main concerns of the translation.
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Marina Katnic-Bakarsic. Linguistic Stylistics The practical, i.e. educational, objective of this research was to produce lectures on linguistic stylistics for the students of Sarajevo University, while the theoretical one was to produce a monograph on the subject. This monograph, which can also be used as a university textbook, includes twenty-nine chapters, an index of topics, a bibliography and a list of sources. The theoretical postulates are followed by examples from texts in various functional styles in Bosnian, Croatian, Serbian, and in some cases Russian or English. Linguo-stylistic problems were investigated from both the structuralist and post-structuralist points of view. Linguistic stylistics is therefore understood as a discipline which studies expressive, stylistically marked language units on all language levels, functional-stylistic language variation and various aspects of intertextuality and metatext. The author introduces a notion of stylistic competence. The stylistic competence of a speaker is directly proportional to his/her knowledge of different varieties of language (i.e. subcodes) and to the successful switching from one subcode to another. Stylistic creativity is a special segment of stylistic competence as a feature of individual style. A new classification of functional styles has also been introduced. This includes six primary styles (scientific, colloquial, administrative, publicistic, journalistic and literary-artistic) and five secondary styles (oratorical, the style of advertisements and commercials, that of comics, that of essays and that of screenplays). A special place is given to the analysis of the style of hypertext and hypermedia, which can be understood only within the post-structuralist theory of text deconstruction and intertextuality. The project also analysed some new topics, including reregistration in literary texts, gender and style of dialogue, and citations as metatextual signals and their role in different types of text. The results therefore offer a new approach to the study of linguistic stylistics both in Bosnia and Herzegovina and in the field in general.
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Viaje olvidado, primer libro de cuentos de Silvina Ocampo, se caracteriza por un marcado predominio de lo lírico sobre lo estrictamente anecdótico o argumental. Más que de cuentos, cabe hablar de una serie de cuadros o acuarelas en los que la historia es una mera excusa para el discurrir de lo poético. Esto implica un uso del lenguaje particular, cuyos rasgos fundamentales son la coloquialidad y el carácter pictórico de la prosa. Del singular lenguaje empleado y de la presencia de ciertos núcleos temáticos repetidos con persistencia en los relatos, surgen configuraciones textuales que pueden encuadrarse en el terreno de lo autobiográfico y autoficcional. Aunque no hay en Viaje olvidado una voluntad autobiográfica expresa, proponemos que el marcado lirismo de los cuentos es una puerta de acceso a la difusa biografía de la autora.
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El tema de la inmortalidad en el aquende que el poeta obtiene con su poesía y la que confiere a los que canta, rehúye el ámbito estrecho de la musa pedestris y reclama un ritmo y una métrica distinta de la yámbica de los Epodos o del hexámetro coloquial y entrecortado de las Sátiras. Horacio encuentra en la métrica eolia, alcaica y sáfica, la conexión apropiada entre tópico y tipo de metro adecuada a sus Odas.
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El tema de la inmortalidad en el aquende que el poeta obtiene con su poesía y la que confiere a los que canta, rehúye el ámbito estrecho de la musa pedestris y reclama un ritmo y una métrica distinta de la yámbica de los Epodos o del hexámetro coloquial y entrecortado de las Sátiras. Horacio encuentra en la métrica eolia, alcaica y sáfica, la conexión apropiada entre tópico y tipo de metro adecuada a sus Odas.