Proposta para uma Harmonização Gráfica da Toponímia da Comuna de Ondjiva: Aldeias, Bairros e Ruas

A variação gráfica apresentada por vários topónimos e a escassez de obras que descrevam a problemática da Toponímia da comuna de Ondjiva, município do Kwanyama, Província do Kunene, sul de Angola, levam-nos a proceder a este estudo cujo objectivo consiste em propor uma harmonização da Toponímia local. Para tal, fizemos uma análise dos aspectos gramaticais da língua Oshikwanyama e dos referidos topónimos. A sua relevância consiste no facto de poder esclarecer a problemática da toponímia da região, apresentando subsídios teóricos, práticos e metodológicos que possam contribuir para ultrapassar a questão de variações ortográficas que vários topónimos apresentam e suprir a escassez de ferramentas de consulta sobre a questão. De igual modo, apresentamos uma proposta de construção de uma base de dados toponímica na Administração Municipal do Kwanyama (AMK).

As Necrópoles alto-medievais do concelho de Cascais : séculos VI e VII

A presente dissertação teve como finalidade estudar os testemunhos arqueológicos respeitantes às práticas funerárias levadas a cabo no atual concelho de Cascais durante os séculos VI e VII. As necrópoles em estudo são sítios bem conhecidos pelos investigadores, uma vez que a descoberta de algumas é precoce, datando de finais do século XIX. Com este trabalho, pretendeu-se introduzir uma série de componentes que a investigação privilegia atualmente, sobretudo no que respeita às vivências nos espaços rurais entre o fim do Império Romano e o domínio muçulmano na Península Ibérica. A investigação desenvolvida baseou-se no estudo preliminar das coleções osteológicas de quatro das cinco necrópoles, bem como na prospeção e no levantamento arqueológicos. O inventário antropológico teve como objetivo apurar o número mínimo de indivíduos por necrópole e por sepultura e fazer uma caracterização básica do sexo e da idade dos inumados. A prospeção assentou na análise das fontes bibliográficas sobre os sítios. Os trabalhos de campo desenvolveram-se no sentido de apurar o estado de conservação dos vestígios, na eventual identificação de outros novos e no consequente levantamento gráfico e fotográfico dos mesmos. Foi igualmente examinado o espólio cerâmico e metálico recolhido aquando da escavação das necrópoles, de modo obter uma visão abrangente sobre os rituais funerários e a estabelecer cronologias mais precisas. Embora se trate de um estudo limitado devido à inexistência de um registo mais rigoroso dos vestígios, foi possível tirar algumas conclusões e constatar alguns padrões. Os resultados possibilitaram apontar um conjunto de condições que se repetem nos locais onde estes cemitérios se implantam, percebendo dinâmicas em relação a fatores de caráter natural e de carácter antrópico. Também se apurou que existiriam diferentes formas de organizar os espaços funerários e que estes seriam constituídos por sepulturas muito diversas do ponto de vista construtivo. Além disso, começa-se a desvelar as razões para a reutilização de sepulturas para vários enterramentos e a entender a forma como as comunidades rurais conduziam os rituais funerários, ainda muito enraizados numa antiga matriz pagã.

Portugal (1928-1968) : Um Filme de J. Leitão de Barros

Apoio financeiro da FCT e do FSE no âmbito do III Quadro Comunitário de Apoio

Kindergartners' perceptions of bullying /

Currently, few studies address what kindergarten children think about bullying behaviour and explore whether or not they perceive bullying as a prevalent concern in their day-to-day school activities. This study described 15 Canadian kindergarten students' graphic and narrative representations (drawings and stories) of their bullying experiences. The content of students' drawings and stories were analyzed to explore how kindergarten children perceived bullying within the context of their lives. Coding categories were developed to analyze the kindergartners' perceptions, and emerging themes were also explored. In general, findings showed that kindergartners perceive bullying situations as occurring during one-to-one peer interaction and not within social group situations. Results are discussed in relation to educational implications.

Comparing ESL electronic and face-to-face pre-writing conferences and first drafts : discourse, participation, and idea transfer /

This study was a comparative investigation of face-toface (i.e., proximate) and computer-mediated written (i.e., graphic) pre-writing conferences. The participants in this study were advanced English as a second language students. The 2 types of conferences were compared in terms of textual features, participation, and the . degree to which they were on topic. Moreover, drafts written after the 2 types of conferences were compared in terms of textual features, and the degree to which they were related to the conferences. Students produced an equivalent amount of discourse in an equivalent amount of time in the 2 types of conferences. The discourse in graphic conferences displayed greater lexical range, and some evidence suggests that it was less on-topic. Both these results likely occurred because the graphic conferences contained more discourse demonstrating interactive competence. Participation in graphic conferences was found to be as balanced or more balanced among students, and among students and the group leader combined. Overall, the drafts produced after the 2 types of conferences were of equivalent length and topical range, but some evidence suggests that drafts written after proximate conferences were more related to the conferences.

Exploring the use of effective learning strategies to increase students' reading comprehension and test taking skills /

This study examined the effects of providing students with explicit instruction in how to use a repertoire of reading comprehension strategies and test taking skills when reading and responding to three types of questions (direct, inferential, critical). Specifically, the study examined whether providing students with a "model" of how to read and respond to the text and to the comprehension questions improved their reading comprehension relative to providing them with implicit instruction on reading comprehension strategies and test taking skills. Students' reading comprehension and test taking performance scores were compared as a function of instructional condition. Students from 2 grade 8 classes participated in this study. The reading component of the Canadian Achievement Tests, Third Edition (CAT/3) was used to identify students' level of reading comprehension prior to the formal instructional sessions. Students received either explicit instruction, which involved modelling, or implicit instruction, which consisted of review and discussion of the strategies to be used. Comprehension was measured through the administration of formative tests after each instructional session. The formative tests consisted of reading comprehension questions pertaining to a specific form of text (narrative, informational, graphic). In addition, students completed 3 summative tests and a delayed comprehension test which consisted of the alternative version of the CAT/3 standardized reading assessment. These data served as a posttest measure to determine whether students had shown an improvement in their reading comprehension skills as a result of the program delivery. There were significant differences in students' Canadian Achievement Test performance scores prior to the onset of the study. Students in the implicit group attained significantly higher comprehension scores than did students in the explicit group. The results from the program sessions indicated no significant differences in reading comprehension between the implicit and explicit conditions, with the exception of the 6th session involving the reading and interpreting of graphic text. Students in the explicit group performed significantly better when reading and interpreting graphic text than those in the implicit group. No significant differences were evident between the two study conditions across the three summative tests. Upon completion of the study, the results from the Canadian Achievement Test indicated no significant differences in performance between the two study conditions. The findings from this study reveal the effectiveness of providing students with explicit strategy instruction when reading and responding to various forms of text. Modelling the appropriate reading comprehension strategies and test taking skills enabled students to apply the same thought processes to their own independent work. This form of instruction enabled students in the explicit group to improve in their abilities to comprehend and respond to text and therefore should be incorporated as an effective form of classroom teaching.

The performance and strategies of adolescents in learning to read artificial words /

The present study explored processing strategies used by individuals when they begin to read c;l script. Stimuli were artificial words created from symbols and based on an alphabetic system. The words were.presented to Grade Nine and Ten students, with variations included in the difficulty of orthography and word familiarity, and then scores were recorded on the mean number of trials for defined learning variables. Qualitative findings revealed that subjects 1 earned parts of the visual a'nd auditory features of words prior to hooking up the visual stimulus to the word's name. Performance measures-which appear to affect the rate of learning were as follows: auditory short-term memory, auditory delayed short-term memory, visual delayed short- term memory, and word attack or decod~ng skills. Qualitative data emerging in verbal reports by the subjects revealed that strategies they pefceived to use were, graphic, phonetic decoding and word .reading.

Guggenheim Art Gallery, Moulton Hall, Chapman College, Orange, California

Guggenheim Gallery in Moulton Hall, Chapman College, Orange, California. Completed in 1975 (2 floors, 44,592 sq.ft.), Moulton Hall is named in memory of an artist and patroness of the arts, Nellie Gail Moulton. Within this structure are the departments of Art, Communications, and Theatre/Dance as well as the Guggenheim Gallery and Waltmar Theatre. Waltmar Theatre was a gift from the late Walter and Margaret Schmid. The Guggenheim Gallery is used for the art exhibits presented by the art department and other departments on campus. It gives students and local artists an opportunity to display their work. Student art shows are held each semester to showcase art, photography, and graphic design works.

Margaret Glassford fonds, 1941, 1951, 1961, 1971, 1973-1975, 1977-1984, 1986-2000, 2002, 2005, n.d.

Margaret was an only child who grew up on a farm just east of Cayuga, Ontario. After high school, Margaret attended Hamilton Teacher’s College and took a position with Grantham Public School Board and taught at Power Glen school. Margaret was married in 1962 and had 2 children, a daughter and a son in 1963 and 1964, respectively. Margaret left her teaching job to raise her children. Margaret was very creative and artistic and during this time, focused on these talents, which included painting, graphic arts and sewing. Margaret was also an accomplished pianist. In her 40’s, Margaret enrolled at Brock University and in 1989 obtained a Honors Bachelor of Arts degree with First-Class Honors in Sociology. In partial fulfillment of her Honors B.A. she completed her thesis that is entitled ; The State and Liberal Feminism: The Ontario Government’s “Business Ownership For Women Program”. While living in St. Catharines, Margaret attended York University and graduated with a Master of Arts in Sociology in 1992 where her studies focused on women’s issues. Margaret received a scholarship from York University and was a teaching assistant. Margaret stayed on at York University and completed her academic requirements for a Doctorate degree in Sociology. Her dissertation was on self employed women in St. Catharines at the beginning of WWII -- not the” Rosie the Riveters” who took over jobs formerly held by men who had to go off to fight World War II, but women who ran their own businesses when that was still unusual. Margaret completed the research for her thesis but did not complete her written thesis as she made a difficult decision to put her academic work on hold in the mid-1990’s and she returned to her love for the arts, although she always remained a voracious reader and interested in women’s issues. In the last decade of her life, she took up quilting with a passion, which she referred to as fabric arts. Margaret loved colour and being non-traditional. Margaret had been a quilting instructor at the Flemington College for Fine Arts in Haliburton. In 1997, Margaret founded Project Smile in the St. Catharines region, a non-profit group who make quilts for children with cancer. Margaret was also the President of the Niagara Heritage Quilters’ Guild in 2006-2007 and was very involved with the Local Council of Women.

Rittermere Farm Craft Studio Fonds, 1951-2006

During the 1950’s, the Rittenhouse family of Vineland in the Niagara Peninsula opened a craft store and studio. Within a short period of time, they realized that resources for the craft of rug hooking were in demand and they began to build their business around this niche. Edna Rittenhouse, the mother, was the wool dyer; Margaret Rowan, the daughter, was the pattern designer; Ted Rowan, the son-in-law, changed careers and became the manager of the family business. The 1960’s were a prosperous time, not only in the Niagara Peninsula, but also for the Rittenhouse business. Edna Rittenhouse had been hooking rugs for decades but she and her family worked at developing and sharing newer techniques with newer materials. Shading manuals were authored and published; students became teachers; creativity abounded in the demand for and the creation of new designs. Instead of using woolen yarn, they were using pure woolen fabric; instead of using a standard cutter, they began using a uniquely designed cutter; instead of using frames, they employed a table top method. The new material and technique resulted in a rug with a smooth, uniform texture and a soft nap. Since many crafters belonged to crafters guilds, Margaret and Ted Rowan began promoting the idea of a guild for rug hookers and in time the Ontario Hooking Craft Guild was also a reality. A joint project between Chatelaine magazine and the Rittermere studio for Canada’s centennial year of 1967 was extremely well received within the circle of hooking crafters and the Rittermere Farm Craft Studio became a North American landmark for crafters. From this point onward the studio had a large customer base not only in North America but also overseas. The studio remained popular until 1984 when Margaret and Ted Rowan decided to retire. The Rittermere name has been preserved in the name of Rittermere-Hurst-Field which is a similar business located in Aurora which is just north of Toronto.

Warren Hartman fonds, 1970, 1972-1996, 1998, n.d.

Warren Hartman was born in 1942 in Toronto, Ontario. He received a B.A. in Fine Arts and Drama from Brock University in 1981 and a Masters of Arts in Humanities at the State University of New York at Buffalo in 1987. In the 1950s he did considerable work as a child-actor both in theatre and television. From 1953 to 1961 he was in the New Play Society under the direction of Dora Mavor Moore. His last two years there were spent as a scholarship student. From 1963 to 1966 he did an apprenticeship with Suzanne Mess, Head of Costume Design at The Canadian Opera Company in Toronto. In 1976 Warren attended a Master Class in Scenography at the Banff School of Fine Arts with Josef Svoboda. In the spring of 1970 Warren was a guest designer at Brock University and from 1970 to 1972 he remained at Brock as resident designer and special lecturer. During this time he was also an instructor and costume designer at Sheridan College in Oakville. It was in 1972 that he became the designer-in-residence at Brock University. From 1984 he held the position of Associate Professor at The Department of Fine Arts at Brock University until the fall of 1996. Some of the highlights of Warren’s career also include: stage managager with the Street Hat Players in Port Carling, Ontario, 1960-1961; a freelance designer for over 100 shows; costume coordinator(production manager) for the Canadian Opera Company, 1964 -1970; resident costume designer for The Canadian Opera Company, 1965- 1970; founder and artistic director of Dei Gelosi Campagnia, St.Catharines, Ontario, 1970-1973; freelance director of some thirty-five shows; co-producer for Quebec City Summer Stock Company, Quebec City, Quebec, 1975; a consultant with Alberta Culture for the Provincial Government of Alberta, 1986-1987 and associate artistic director at Theatre Network, Edmonton, Alberta, 1986-1987. Warren Hartman was the recipient of the Jean Chalmers Award for contributions to Canadian Theatre for persons 25 years of age or under, in 1965. He was a founding member of Associated Designers of Canada and was affiliated with Canadian Actors Equity. Warren Hartman died on Feb. 11, 1998 several days after suffering a massive stroke. A memorial service was held at Brock University in May of 1998 and a bursary fund was established in his name.

Temple Grandin fonds, 1974-2006 (non-inclusive)

Temple Grandin was born in Boston, Massachusetts on August 29,1947 to Richard Grandin and Eustacia Cutler. She was diagnosed with autism at age 2. She suffered from delayed speech development and did not begin to speak until the age of 4. Temple’s mother defied the doctors and kept her out of institutions. Temple was given speech therapy as well as an intensive education. Her high school science teacher and her aunt on a ranch in Arizona inspired Temple to continue her studies and pursue a career as a scientist and livestock equipment designer.She graduated from Hampshire Country School (a boarding school for gifted children) in Ridge, New Hampshire in 1966, and earned a bachelor’s degree in psychology from Franklin Pierce College in 1970. In 1975, she received a master’s degree in animal science from Arizona State University and then a doctoral degree in animal science from the University of Illinois in 1989. She is currently a professor at Colorado State University. Dr. Grandin is one of the world’s leaders in the design of livestock handling facilities. She has done extensive work in design of handling facilities for animals and has developed animal welfare guidelines for the meat industries. Dr. Grandin is a past member of the board of directors of the Autism Society of America. She lectures to parents and teachers throughout the U.S. on her experiences with autism. She makes the case that the world needs people on the autism spectrum: visual thinkers, pattern thinkers and verbal thinkers. Some of Temple Grandin’s books include: Animals Make Us Human, Animals in Translation, The Way I See It, The Autistic Brain, and Different…Not Less. In 2010, a movie entitled “Temple Grandin” starring Clare Danes was released. The movie was based on Grandin’s own writings. Temple Grandin is an expert on animal behavior, a bestselling author, and an autism activist. In 2010, she was listed in the “Heroes” category in the “Time” list of the world’s 100 most influential people. She has received numerous awards including an honorary doctorate from McGill, the University of Illinois and Duke University. Temple Granin is a philosophical leader of both the animal welfare and autism advocacy movements. sources: http://www.templegrandin.com/ http://en.wikipedia.org/wiki/Temple_Grandin

Proposal for Construction of Brock’s Monument, Queenston, newspaper fragment, 1824

Brock’s Monument is owned by Parks Canada and maintained by the Niagara Parks Commission in collaboration with the Friends of Fort George and Niagara National Historic Sites. It is located in Queenston Heights Park atop the Niagara Escarpment. On March 14, 1815, Parliament passed an act to erect a monument to the memory of General Isaac Brock. A design by engineer Francis Hall was selected. He envisioned a 135 ft. tall Tuscan column, made out of stone with a winding staircase inside. By the spring of 1824, work had begun on the monument. In June of that year, the cornerstone was laid and William Lyon Mackenzie was in attendance at the ceremony. It was on October 13th, 1824 (the anniversary of Brock’s death) that 6000 people traveled to Queenston to inter the remains of Brock and Lieutenant-Colonel Macdonell. This was the second burial for both. After 3 years the tower had reached 135 feet, but there was no inscription at the base, the fence around the observation deck had not been installed and there was no statue of Brock. Hall submitted a plan to finish the statue, but he was turned down and a simple ornament was placed where the Brock statue should have been. A massive blast of gunpowder destroyed the monument in 1840. It is alleged that an American sympathizer with the Upper Canada Rebellion set off the blast. Brock and Macdonell’s bodies were reburied in the Hamilton Family Cemetery in Queenston. The present monument was rebuilt in 1853. William Thomas (designer of St. Michael’s Cathedral in Toronto) was the architect. Brock and Macdonell were once again laid to rest in separate vaults at the statue. In 1968, Brock’s Monument was declared a national historical site. In 2005, it was closed to the public due to safety concerns, but it reopened in 2010. Source: http://www.thecanadianencyclopedia.com/articles/brocks-monument-queenston-heights

"Everyone Loves Marineland!" (?): Entertainment Animal Advocacy, Praxis, and Resisting Corporate Repression

Following allegations and graphic evidence of animal cruelty and neglect documented by ex-employee whistleblowers of Marineland Canada to the Toronto Star newspaper in late 2012, the ethics surrounding animal captivity have been increasingly contested in regional public discourse. Animal advocates in the Niagara region and beyond have been compelled to demand change at the infamous local captive animal park— whether it be welfare-oriented reform, or radical animal liberation. With this as a backdrop, this research explores the ideologies, experiences, and strategic tactics of anti-Marineland animal advocates; the sociopolitical issues surrounding the largely unexamined but serious issue of imprisoned animals as entertainers; and the ensuing governmental and corporatist attempts to squash dissent of anti-Marineland critics. Situated within a Critical Animal Studies theoretical paradigm as well as a flourishing global anti-captivity critique inspired by the film Blackfish, this project employs semi-structured interviews and participant observation methodologies to analyze advocates' views on captivity under capitalism and the effectiveness of their praxes. Finally, this research illuminates the nuances of the conventionally-upheld dualistic theoretical debate of animal welfare versus animal rights within zoo and aquaria entertainment contexts through an exploratory examination of advocates' complex ideological views.

À la recherche d'un cadre théorique pour la pratique du design graphique

Les schémas en annexe ont été réalisés avec le logiciel Adobe Illustrator.