A influência da poesia no desenvolvimento da linguagem oral de uma aluna com Trissomia 21

O conceito de poesia é uma forma de arte e traduz-se como um espelho do pensamento do homem realizado na palavra oral e escrita. A poesia poderá ensinar o homem no estudo da palavra, através do seu significado nos valores denotativo e/ou conotativo. A aplicação destes conceitos faz sentido, a partir da ideia de que a palavra no contexto da poesia pode produzir emoções e sensações nas pessoas a quem ela é transmitida. A poesia tem funções multissensoriais que podem definir o input linguístico como forma de desenvolver a linguagem. Vários são os estudos que apontam para as principais competências deficitárias nos indivíduos com Trissomia 21, mas poucas são as investigações que se debruçam sobre a influência da poesia nas várias competências linguísticas. Uma perceção mais ampla e visionária da Arte na voz da poesia pela parte da escola, professores e, em particular, professores de Educação Especial permitirá adotar estratégias de intervenção inovadoras. Pretende este estudo investigar e analisar a forma como a poesia pode influenciar o desenvolvimento da linguagem oral numa aluna com Trissomia 21. Neste projeto, a partir da identificação do caso-problema e da constatação da ausência da poesia no currículo da aluna, procurou-se intervir, no sentido de melhorar as suas competências linguísticas, utilizando para tanto a poesia. A implementação do projeto aconteceu ao longo de seis meses durante quinze sessões de intervenção individuais. Os resultados do projeto mostram que, em todas as competências linguísticas, houve um processo evolutivo, sendo particularmente significativo o desenvolvimento da competência fonológica, aumento de vocabulário e uma maior noção da palavra em contexto. Estes dados levam-nos a crer que a utilização da poesia poderá, também, constituir uma forma de promover a socialização e a autonomia, revelando os efeitos colaterais que poderão decorrer deste tipo de intervenção. - Abstract The concept of poetry is a form of art, showing the man's thought held in the spoken and written word. Poetry can teach man in the study of the word, its meaning through denotative and/or connotative values. The application of these concepts makes sense, from the idea that the word in the context of poetry can stir emotions and feelings in the people to whom it is transmitted. Poetry has multisensory functions that can set the linguistic input as a way to develop language at phonological, lexical, semantics, pragmatic and morfosyntactic skills. There are several studies that point out to the key skills deficit in individuals with Trisomy 21, but there are few investigations that focus on the influence of poetry in various language skills. A broader perception and vision of poetry as art given by school, and teachers, and, particularly teachers of Special Education will allow a more effective intervention strategies. This study aims to investigate and analyze how poetry can influence the development of oral language in a student with Trisomy 21. In this project, we tried to intervene, improving the language skills of the student, using poetry from the identification case-problem and confirmation of the absence of poetry in her curriculum. The implementation of the project took place throughout six months for fifteen individual intervention sessions. The project results show that, in all language skills, there was a progressive process, being particularly significant the development of the phonological skills, increased vocabulary and a greater sense of the word into context. These data lead us to believe that the use of poetry can also be a way to promote socialization and autonomy, revealing the side effects that may result from this type of intervention.

Paul Auster and the music of change: building new stories

In the work of Paul Auster (Newark, 1947 - ), we find two main themes: the sense of loss and existential drift and the loneliness of the individual fully committed to the work of writing, as if he had been confined to the book that commands his life. However, this second theme is clearly the dominant one because the character's space of solitude may include its own wandering, because this wandering is also often performed inside the four walls of a room, just like it is narrated inside the space of the page and the book. Both in his poetry, essays and fiction, Auster seems to face the work of writing as an actual physical effort of effective construction, as if the words that are aligned in the poem-text were stones to place in a row when building a wall or some other structure in stone.

Tradução e poesia: actividades irreconciliáveis?

Associar tradução e poesia será, muitas vezes, sinónimo de enfrentar preconceitos académicos e científicos muito enraizados na cultura ocidental. Se, por um lado, a tradução é vista como indispensável à troca de informações entre códigos linguísticos diferentes e até mesmo como a possibilitadora de avanços científicos e tecnológicos decorrentes do contacto com outras realidades economicamente mais evoluídas, a verdade é que o seu papel enquanto “ponte” cultural está longe de ser aceite universalmente quando em causa passam a estar os “tesouros literários” de uma cultura nacional. Este carácter polémico levou-me a ponderar a hipótese de analisar, de um ponto de vista eminentemente prático, quatro traduções dissemelhantes, de épocas também distintas, do poema The Tyger, de William Blake. Ter ao dispor quatro traduções de quatro tradutores diferentes tornou possível a compilação de um corpus mais alargado e diversificado onde basear conclusões reais para os problemas de tradução de poesia, devidamente contextualizados.

Caminha sílaba a sílaba

Eugénio de Andrade (1923-2005) é um dos mais celebrados e traduzidos poetas portugueses contemporâneos, com mais de trinta volumes de poesia, e vários prémios nacionais e internacionais. Como poeta atento e turista curioso, Andrade viajou com frequência para Espanha, França, Itália e Grécia, ao encontro de outros escritores (Vicente Aleixandre, Dámaso Alonso, etc.), e visitou diversas cidades e locais históricos. Recorrentemente, menciona Madrid, Valverde del Fresno, Roma, Delfos, Tebas, Súnion, Veneza, Brindisi, Corfu, etc. Em resultado destas viagens, existem, na sua poesia, poemas em prosa e crónicas, abundantes referências aos países, cultura e paisagem natural do Mediterrâneo. Eugénio de Andrade captura poeticamente o ―genius loci‖, realçando os laços entre os povos, a fauna, a flora e o clima. Desde os primeiros escritos até ao seu último livro, o poeta coerentemente apresenta uma ―visão mediterrânica‖. Recorrendo às suas obras e a excertos de algumas das entrevistas que concedeu, este artigo exemplifica, analisa e avalia estes aspectos, explorando uma faceta menos conhecida da obra eugeniana.

Literature, translation and national identity: Christina Rossetti and Rosalía de Castro in the work of Plácido Castro

Plácido Castro‘s work has aroused our interest, because it evolves around the question of Galician personality and identity. While working as a journalist and a translator or while writing essays on different literary issues, Plácido Castro has never forgotten his roots or his nation. One could even say that his whole life turns around Galicia. Our purpose is to make a critical analysis of his work, especially as a translator, and try to show how he used translation in order to develop national conscience and identity and to see how far his ideology interfered in the interpretation and translation of Rossetti‘s poetry, in which he found a great similarity with Rosalìa de Castro‘s work.

Traduzir Cesário Verde - Cesário Verde intraduzível

It is main goal of this article to stimulate the debate and reflection on Translation Studies. Based on Cesário Verde‘s poem O Sentimento dum Ocidental (1880) we will discuss the effectiveness and applicability of poetry translation. Since the beginning of the XX century Cesário Verde and his work have been studied on an international range. We may therefore make reference to outnumbered translations of his poems in English, French, German, Italian, and Czech. Poetry translation raises however several difficulties which may affect the comprehension, interpretation and analysis not only of this author but also of his texts. In this manner we will naturally confront as well some of the most relevant items for Translation Studies, namely: Translation purposes and criteria; Translation necessity, possibility and usefulness. We invite you thus to observe the rich and complex Poetry-Translation relation within the analysis of one Cesário‘s poem in Italian, English, German and French.

Literacia familiar: contributos para a promoção e desenvolvimento de boas práticas literácitas em contexto socio económico desfavorecido

Dissertação apresentada à Escola Superior de Educação de Lisboa para a obtenção de grau de Mestre em Didática da Língua Portuguesa no 1.º e 2.º Ciclos do Ensino Básico

O Peso da gravidade: corpos e gestos na poesia galego-portuguesa

This article studies how galician-portuguese medieval poetry deals with the human body and the human gestures, taking in account the three major poetical genres, the love song, the "amiga" song (feminine voices) and the satyrical song.

Critical reappraisal of Late Mesozoic-Cenozoic Central and North Atlantic, Caribbean and Mediterranean evolution

(l) The Pacific basin (Pacific area) may be regarded as moving eastwards like a double zip fastener relative to the continents and their respective plates (Pangaea area): opening in the East and closing in the West. This movement is tracked by a continuous mountain belt, the collision ages of which increase westwards. (2) The relative movements between the Pacific area and the Pangaea area in the W-E/E-W direction are generated by tidal forces (principle of hypocycloid gearing), whereby the lower mantle and the Pacific basin or area (Pacific crust = roof of the lower mantle?) rotate somewhat faster eastwards around the Earth's spin axis relative to the upper mantle/crust system with the continents and their respective plates (Pangaea area) (differential rotation). (3) These relative West to East/East to West displacements produce a perpetually existing sequence of distinct styles of opening and closing ocean basins, exemplified by the present East to West arrangement of ocean basins around the globe (Oceanic or Wilson Cycle: Rift/Red Sea style; Atlantic style; Mediterranean/Caribbean style as eastwards propagating tongue of the Pacific basin; Pacific style; Collision/Himalayas style). This sequence of ocean styles, of which the Pacific ocean is a part, moves eastwards with the lower mantle relative to the continents and the upper-mantle/crust of the Pangaea area. (4) Similarly, the collisional mountain belt extending westwards from the equator to the West of the Pacific and representing a chronological sequence of collision zones (sequential collisions) in the wake of the passing of the Pacific basin double zip fastener, may also be described as recording the history of oceans and their continental margins in the form of successive Wilson Cycles. (5) Every 200 to 250 m.y. the Pacific basin double zip fastener, the sequence of ocean styles of the Wilson Cycle and the eastwards growing collisional mountain belt in their wake complete one lap around the Earth. Two East drift lappings of 400 to 500 m.y. produce a two-lap collisional mountain belt spiral around a supercontinent in one hemisphere (North or South Pangaea). The Earth's history is subdivided into alternating North Pangaea growth/South Pangaea breakup eras and South Pangaea growth/North Pangaea breakup eras. Older North and South Pangaeas and their collisional mountain belt spirals may be reconstructed by rotating back the continents and orogenic fragments of a broken spiral (e.g. South Pangaea, Gondwana) to their previous Pangaea growth era orientations. In the resulting collisional mountain belt spiral, pieced together from orogenic segments and fragments, the collision ages have to increase successively towards the West. (6) With its current western margin orientated in a West-East direction North America must have collided during the Late Cretaceous Laramide orogeny with the northern margin of South America (Caribbean Andes) at the equator to the West of the Late Mesozoic Pacific. During post-Laramide times it must have rotated clockwise into its present orientation. The eastern margin of North America has never been attached to the western margin of North Africa but only to the western margin of Europe. (7) Due to migration eastwards of the sequence of ocean styles of the Wilson Cycle, relative to a distinct plate tectonic setting of an ocean, a continent or continental margin, a future or later evolutionary style at the Earth's surface is always depicted in a setting simultaneously developed further to the West and a past or earlier style in a setting simultaneously occurring further to the East. In consequence, ahigh probability exists that up to the Early Tertiary, Greenland (the ArabiaofSouth America?) occupied a plate tectonic setting which is comparable to the current setting of Arabia (the Greenland of Africa?). The Late Cretaceous/Early Tertiary Eureka collision zone (Eureka orogeny) at the northern margin of the Greenland Plate and on some of the Canadian Arctic Islands is comparable with the Middle to Late Tertiary Taurus-Bitlis-Zagros collision zone at the northern margin of the Arabian Plate.

Epidemic dengue 4 in the Yucatán, México, 1984

An outbreak of dengue 4 occurred in the Yucatán, México in 1984. During the course of the outbreak, 538 of 5486 reported cases of dengue-like illness were studied; 200 were confirmed as dengue serologically and/or virologically. Dengue 4 virus was isolated from 34 patients and dengue 1 from one. Severe haemorrhagic symptoms were observed in 9 laboratory confirmed patients, including four deaths. Thus, the outbreak in Yucatán is the second dengue epidemic in the Americas after the Cuban epidemic in 1981 in which a number of patients suffered from haemorrhagic complications. It was notable that 5 of 9 hospitalized, severe cases were young adults and that only one met the WHO criteria of DHF, in contrast to primary pediatric nature of DHF in Southeast Asia. In this paper we describe clinical, serologic, and virologic studies conducted during the outbreak.

Meningococcal Disease Caused by Neisseria meningitidis Serogroup B Serotype 4 in São Paulo, Brazil, 1990 to 1996

A large epidemic of serogroup B meningococcal disease (MD), has been occurring in greater São Paulo, Brazil, since 1988.21 A Cuban-produced vaccine, based on outer-membrane-protein (OMP) from serogroup B: serotype 4: serosubtype P1.15 (B:4:P1.15) Neisseria meningitidis, was given to about 2.4 million children aged from 3 months to 6 years during 1989 and 1990. The administration of vaccine had little or no measurable effects on this outbreak. In order to detect clonal changes that could explain the continued increase in the incidence of disease after the vaccination, we serotyped isolates recovered between 1990 and 1996 from 834 patients with systemic disease. Strains B:4:P1.15, which was detected in the area as early as 1977, has been the most prevalent phenotype since 1988. These strains are still prevalent in the area and were responsible for about 68% of 834 serogroup B cases in the last 7 years. We analyzed 438 (52%) of these strains by restriction fragment length polymorphism (RFLPs) of rRNA genes (ribotyping). The most frequent pattern obtained was referred to as Rb1 (68%). We concluded that the same clone of B:4:P1.15-Rb1 strains was the most prevalent strain and responsible for the continued increase of incidence of serogroup B MD cases in greater São Paulo during the last 7 years in spite of the vaccination trial.

Genetic variability of Triatoma flavida and Triatoma bruneri (Hemiptera: Reduviidae) by RAPD-PCR technique

The Triatominae (Hemiptera:Reduviidae) contains the principal and potential Chagas disease vectors present in Mexico, Central America and South America. Triatoma flavida and T. bruneri are Cuban species. These species are closely related according to morphology and were considered synonyms until 1981, when they were separated on the grounds of external characters of the body and the morphology of male genitalia. The present study seeks to analyze genetic polymorphism of T. flavida and T. bruneri populations using RAPD techniques, and to assess the genetic relationship between these species. Ten random primers were used to evaluate the genetic variability among species using RAPD-PCR. The genetic flow among them was calculated. The dendrogram based on calculated Jaccard distances showed two clearly distinguishable clusters which coincided with the studied species. Within each species, moderate genetic differentiation (Fst 0.05-0.15) and migration rates (N > 1) were found among populations, that reveal gene flow and genetic homogeneity. Between species, the Fst value showed a high genetic differentiation and the migration rate was insufficient to maintain genetic homogeneity, and confirmed the absence of gene flow between them. Our results confirm the genetic variability among T. flavida and T. bruneri species.

Sagrada melancolia

Pretende-se, com este Trabalho de Projecto, incitar a essa discussão o que acontece no que concerne à tradução de poesia, neste caso através da realização de uma tradução para a língua Inglesa da obra Sagrada Melancolia, de Sérgio Pereira. Mediante a discussão patente sobre a traduzibilidade da poesia, será esta impossível? Intraduzível? E, se possível, através de que metodologias, teorias e respectivas opções tradutivas? Para o presente Trabalho de Projecto foram consideradas e aplicadas as teorias de tradutores, linguistas e poetas, como John Dryden, Alexander Tytler, Eugène Nida, Roman Jakobson, Jean Paul Vinay e Jean Paul Darbelnet, Juliane House e Peter Newmark. Sendo a Poesia uma forma de Arte, a sua tradução será também Arte? Considera-se sugerir à editora a publicação da obra traduzida. Faz, também, parte deste Trabalho de Projecto a intenção de Localizar o blog Sagrada Melancolia para as línguas Inglesa, Francesa e Espanhola, em colaboração com o autor, Sérgio Pereira.

A Obra de Arte como Verdade Poética

Tomando como referência o texto A Origem da Obra de Arte de Heidegger, o objectivo desta dissertação é a análise da questão da obra de arte como verdade poética. Considerando a experiência do conhecimento como a origem da criação, por via do que o mundo revela, e considerando tanto a produção artística como outras formas de produção pela mão do homem enquanto atitudes de apresentação da verdade encontrada, ela reflecte acerca daquilo que a obra de arte tem e que a distingue das demais criações do homem