Uma análise do ensino de língua inglesa por meio do uso das Tecnologias Digitais da Informação e Comunicação

Pós-graduação em Educação - FFC

Lingue meno diffuse e corpora: studio empirico sulla terminologia amministrativa ladina

This study aims to the elaboration of juridical and administrative terminology in Ladin language, actually on the Ladin idiom spoken in Val Badia. The necessity of this study is strictly connected to the fact that in South Tyrol the Ladin language is not just safeguarded, but the editing of administrative and normative text is guaranteed by law. This means that there is a need for a unique terminology in order to support translators and editors of specialised texts. The starting point of this study are, on one side the need of a unique terminology, and on the other side the translation work done till now from the employees of the public administration in Ladin language. In order to document their efforts a corpus made up of digitalized administrative and normative documents was build. The first two chapters focuses on the state of the art of projects on terminology and corpus linguistics for lesser used languages. The information were collected thanks to the help of institutes, universities and researchers dealing with lesser used languages. The third chapter focuses on the development of administrative language in Ladin language and the fourth chapter focuses on the creation of the trilingual Italian – German – Ladin corpus made up of administrative and normative documents. The last chapter deals with the methodologies applied in order to elaborate the terminology entries in Ladin language though the use of the trilingual corpus. Starting from the terminology entry all steps are described, from term extraction, to the extraction of equivalents, contexts and definitions and of course also of the elaboration of translation proposals for not found equivalences. Finally the problems referring to the elaboration of terminology in Ladin language are illustrated.

I colori nelle espressioni idiomatiche inglesi ed italiane

The purpose of this work is to analyse the figurative and metaphorical meanings of colours in English and Italian, focusing on the analysis and comparison of colour idioms in these two languages and cultures. The study starting point is the assumption that language and culture are inextricably related: they influence and modify each other, and both contribute to shaping our world-view. English and Italian colour idioms will be presented, compared and contrasted. Each colour is introduced by its figurative meaning in the two cultures. It is also shown whether and how the symbolic meaning is reflected in idiomatic language. The approach to English and Italian idioms is contrastive in order to show cases of direct correspondence (i.e. same colour, same meaning), partial correspondence (i.e. different colour or different idiom but same meaning) and cases peculiar to each language that lack of an idiomatic equivalent in the other language.

Idiomatic Différance: Reflections on Intranslatability in the Works of Gerhard Richter

Translatability of a work of art, according to Walter Benjamin, is an essential ability to allow a translation to take on »a specific significance inherent in the original« so that it will retain a close relationship to the original. In contrast, Gerhard Richter's photo-based paintings show such an auratic significance of the original in its innate deficiency or intranslatability. As Rosemary Hawker puts it, the striking effect of blur in his paintings represents itself at once as a unique photographic idiom and a distinctive shortcoming of photography which impedes the medium from providing viewers with clearly perceivable images; the blur creates a site of différance in which both media come to a common understanding of one another’s idioms by telling what those idioms always fail to achieve. In this short essay, I will examine ways in which Richter’s photographic and pictorial works, including early monochrome paintings and recent abstract works based on microscopic photographs of molecular structures, attempt to untranslate photographic idioms in order to see painting’s (in)abilities simultaneously. In doing so, I intend to observe in the artist’s pictorial practice an actual phenomenon that the image can designate certain facts or truths only through its inherent plurality, faultiness, and partiality.

Idiomatic Différance: Reflections on Intranslatability in the Works of Gerhard Richter

Translatability of a work of art, according to Walter Benjamin, is an essential ability to allow a translation to take on »a specific significance inherent in the original« so that it will retain a close relationship to the original. In contrast, Gerhard Richter's photo-based paintings show such an auratic significance of the original in its innate deficiency or intranslatability. As Rosemary Hawker puts it, the striking effect of blur in his paintings represents itself at once as a unique photographic idiom and a distinctive shortcoming of photography which impedes the medium from providing viewers with clearly perceivable images; the blur creates a site of différance in which both media come to a common understanding of one another’s idioms by telling what those idioms always fail to achieve. In this short essay, I will examine ways in which Richter’s photographic and pictorial works, including early monochrome paintings and recent abstract works based on microscopic photographs of molecular structures, attempt to untranslate photographic idioms in order to see painting’s (in)abilities simultaneously. In doing so, I intend to observe in the artist’s pictorial practice an actual phenomenon that the image can designate certain facts or truths only through its inherent plurality, faultiness, and partiality.

Linguista sum... sed lingua non definio. Absence de définition de la langue et circularité de la construction structurale

This article analyzes the Jakobsonian classification of aphasias. It aims to show on the one hand the non-linguistic character of this classification and on the other hand its asymmetry, in spite of the fact that its author had conceived his structural construction as symmetrical. The non-linguistic character of Jakobson’s formulation is due to the absence of any definition of language, this absence being the main characteristic of Jakobsonian linguistics: concerning the aphasia problem, the Jakobsonian formulation is linguistic solely by virtue of its object, aphasia, which is already considered as a linguistic concern because it belongs to the field of « language », but which is not defined as such (as linguistic). As for asymmetry, it demonstrates first the circularity of the Jakobsonian representation of language (the duality between structure and functioning), and secondly the non-linguistic character – in the Saussurean sense of the term – of the aphasia problem. Thus it appears that breaking (in the sense of Gaston Bachelard) with idiom is the prerequisite of a scientific apprehension of language, and therefore of any interdisciplinarity, this being one of Jakobson’s favorite topics but one that this linguist failed to render fruitful because he did not offer a real definition of language.

Una asignatura on-line de Historia de los Algoritmos

This paper describes the objectives, contents learning methodology and results of an on-line course about History of Algorithms for engineering students of the Polytechnic University of Madrid. This course is conducted in a virtual environment based on Moodle, with an educational model centered at student which includes a detailed planning of learning activities. . Our experience indicates that this subject is is highly motivating for students and the virtual environment facilitates competencies development.

En torno al tratamiento lexicográfico de la fraseología humorística

Este trabajo centra su atención en la representación lexicográfica de la fraseología humorística. El humor, aun siendo un fenómeno eminentemente pragmático, forma parte del significado de algunas unidades fraseológicas (UF). Sin embargo, son confusos los criterios para considerar un fraseologismo como humorístico, lo cual provoca la disparidad de descripciones lexicográficas recogidas en distintos diccionarios. Por eso, tras un análisis de la significación fraseológica y de los puntos básicos del humor lingüístico, intentamos aunar ambos enfoques con el fin de elaborar pautas claras de determinación del carácter humorístico de algunas UF y, por ende, de la inclusión de la marca correspondiente en sus descripciones lexicográficas.

Burning questions, but no burning answers: collocation and idiomaticity

The attention of linguists has increasingly shifted from grammar to lexis. Collocation has emerged as a key feature of lexis. Research using large language corpora has not only helped to identify the significant collocates of individual words but also to confirm the importance of collocation in the language system. John Sinclair has suggested that language operates on two principles: open choice and idiom. If so, then collocation would appear to be the minimal level of idiomaticity. One problem with collocation is that words that habitually co-occur form less distinct, often discontinuous, idiomatic units, whereas grammar generally works with more precisely delineated and contiguous structural units. This paper uses examples from corpus evidence to look at various aspects of collocation.

Other Than a Citizen: Vernacular Poetics in Postwar America

Few symbols of 1950s-1960s America remain as central to our contemporary conception of Cold War culture as the iconic ranch-style suburban home. While the house took center stage in the Nixon/Khrushchev kitchen debates as a symbol of modern efficiency and capitalist values, its popularity depended largely upon its obvious appropriation of vernacular architecture from the 19th century, those California haciendas and Texas dogtrots that dotted the American west. Contractors like William Levitt modernized the historical common houses, hermetically sealing their porous construction, all while using the ranch-style roots of the dwelling to galvanize a myth of an indigenous American culture. At a moment of intense occupational bureaucracy, political uncertainty and atomized social life, the rancher gave a self-identifying white consumer base reason to believe they could master their own plot in the expansive frontier. Only one example of America’s mid-century love affair with commodified vernacular forms, the ranch-style home represents a broad effort on the part of corporate and governmental interest groups to transform the vernacular into a style that expresses a distinctly homogenous vision of American culture. “Other than a Citizen” begins with an anatomy of that transformation, and then turns to the work of four poets who sought to reclaim the vernacular from that process of standardization and use it to countermand the containment-era strategies of Cold War America.

In four chapters, I trace references to common speech and verbal expressivity in the poetry and poetic theory of Charles Olson, Robert Duncan, LeRoi Jones/Amiri Baraka and Gwendolyn Brooks, against the historical backdrop of the Free-Speech Movement and the rise of mass-culture. When poets frame nonliterary speech within the literary page, they encounter the inability of writing to capture the vital ephemerality of verbal expression. Rather than treat this limitation as an impediment, the writers in my study use the poem to dramatize the fugitivity of speech, emphasizing it as a disruptive counterpoint to the technologies of capture. Where critics such as Houston Baker interpret the vernacular strictly in terms of resistance, I take a cue from the poets and argue that the vernacular, rooted etymologically at the intersection of domestic security and enslaved margin, represents a gestalt form, capable at once of establishing centralized power and sparking minor protest. My argument also expands upon Michael North’s exploration of the influence of minstrelsy and regionalism on the development of modernist literary technique in The Dialect of Modernism. As he focuses on writers from the early 20th century, I account for the next generation, whose America was not a culturally inferior collection of immigrants but an imperial power, replete with economic, political and artistic dominance. Instead of settling for an essentially American idiom, the poets in my study saw in the vernacular not phonetic misspellings, slang terminology and fragmented syntax, but the potential to provoke and thereby frame a more ethical mode of social life, straining against the regimentation of citizenship.

My attention to the vernacular argues for an alignment among writers who have been segregated by the assumption that race and aesthetics are mutually exclusive categories. In reading these writers alongside one another, “Other than a Citizen” shows how the avant-garde concepts of projective poetics and composition by field develop out of an interest in black expressivity. Conversely, I trace black radicalism and its emphasis on sociality back to the communalism practiced at the experimental arts college in Black Mountain, North Carolina, where Olson and Duncan taught. In pressing for this connection, my work reveals the racial politics embedded within the speech-based aesthetics of the postwar era, while foregrounding the aesthetic dimension of militant protest.

Not unlike today, the popular rhetoric of the Cold War insists that to be a citizen involves defending one’s status as a rightful member of an exclusionary nation. To be other than a citizen, as the poets in my study make clear, begins with eschewing the false certainty that accompanies categorical nominalization. In promoting a model of mutually dependent participation, these poets lay the groundwork for an alternative model of civic belonging, where volition and reciprocity replace compliance and self-sufficiency. In reading their lines, we become all the more aware of the cracks that run the length of our load-bearing walls.

Elizabeth Bowen and the art of visuality

This thesis is the first sustained assessment of Elizabeth Bowen’s writing from a visual perspective. By first compiling a visual biography of the author, I argue that Bowen’s responsiveness to art, her relationships with artists, and her knowledge of modern and traditional aesthetics are formative influences on her work. Investigating her assertion that she was a “visual writer,” my discussion develops into an examination of her technique of “verbal painting” through which she reinvents traditional visual modes as a personal modernist idiom. Close textual analysis of Bowen’s fictions forms the dominant methodology of this thesis and facilitates my delineation of her engagement with the Futurist and Surrealist aesthetics in addition to broader aspects of her visuality, including her treatment of the “vividly visual” dream-state to the distinct ocularcentricity of her writing. Ultimately, this thesis seeks to advance our knowledge of Bowen’s visual method and to offer a new approach in which to nuance our understanding of her modernism

La fijación léxica en el "Corpus diacrónico del español del Reino de Granada (CORDEREGRA)"

El estudio de las combinaciones léxicas según su grado de fijación y su distinción en combinaciones libres, colocaciones y locuciones ha sido realizado desde la perspectiva sincrónica. Planteamos la posibilidad de aplicar las pautas para distinguir estos tipos de estructuras en materiales de tipo diacrónico. Concretamente, nos basamos en los documentos que componen el Corpus del Español del Reino de Granada (CORDEREGRA) para valorar los materiales de este corpus histórico-lingüístico y comprobar si los criterios sincrónicos se pueden aplicar al estudio de documentos de otros siglos.

Orthogonal persistence in Java supported by aspect- oriented programming and reflection

The persistence concern implemented as an aspect has been studied since the appearance of the Aspect-Oriented paradigm. Frequently, persistence is given as an example that can be aspectized, but until today no real world solution has applied that paradigm. Such solution should be able to enhance the programmer productivity and make the application less prone to errors. To test the viability of that concept, in a previous study we developed a prototype that implements Orthogonal Persistence as an aspect. This first version of the prototype was already fully functional with all Java types including arrays. In this work the results of our new research to overcome some limitations that we have identified on the data type abstraction and transparency in the prototype are presented. One of our goals was to avoid the Java standard idiom for genericity, based on casts, type tests and subtyping. Moreover, we also find the need to introduce some dynamic data type abilities. We consider that the Reflection is the solution to those issues. To achieve that, we have extended our prototype with a new static weaver that preprocesses the application source code in order to introduce changes to the normal behavior of the Java compiler with a new generated reflective code.

Colombian Jazz dance suite : a synthesis of the music of the colombian andes and modern jazz

This thesis is an attempt to unite two distinct and dissimilar musical genres, the music of the Colombian Andes and modem jazz. The compositions to be analyzed in this thesis are meant to function as parts of a whole. Thus, they will be linked by thematic and rhythmic material. In their entirety the pieces will form a suite of dances not unlike those of Baroque composers, with titles that denote the name of the particular air being employed by the composer, who is also the author of this thesis. These individual dances are orchestrated for a jazz ensemble consisting of piano, string bass, drums, alto saxophone, and guitar. The rhythmic underpinning of this work is inspired by the folk music of Colombia and the harmonic content will be derived from the jazz idiom. The purpose of this thesis is to demonstrate the possible product of the fusion of musical disciplines that are on the surface in no way related. This thesis will also attempt to show an example of how cultures can meld socio-artistically.

Discovering Hands - México

El modelo de Discovering Hands ha sido reconocido internacionalmente como un proyecto innovador que se ha expandido por diferentes países del mundo, como Austria, y se ha empezado a estudiar la propuesta en países como República Checa, India y Colombia. (Discovering Hands, 2016). Esto se debe a que no solo mejora el tratamiento de cáncer de mama, sino que también reduce los costos totales de tratamiento de la enfermedad y aumenta la fuerza laborar de los países donde esté presente. Al representar una gran oportunidad en diferentes aspectos, se quiso desarrollar un estudio de factibilidad del modelo de negocio en tres países de América Latina, Colombia –donde ya se encuentra en marcha un proyecto piloto liderado por la CAF en Cali - , Argentina y México. El presente trabajo consiste en dicho estudio de factibilidad, focalizado en México; por medio de este se buscaron tres cosas primordiales, conocer y estudiar el contexto del mercado y situación de salud en el país, analizar los datos recogidos, con el fin de proponer soluciones para disminuir una de las principales causas de muerte en el país. Actualmente en México el 52% de casos de cáncer de mama diagnosticados sucede en etapas tardías, aumentando el riesgo de muerte de los pacientes (Colima, 2013). Con el estudio se logró identificar una oportunidad potencial para Discovering Hands siendo su estrategia un recurso adicional para contribuir a mejorar el diagnóstico precoz de cáncer de mama en el país y debido a esto se presenta un modelo de negocio adaptable a las necesidades mexicanas