A responsabilidade enunciativa em artigos científicos de pesquisadores iniciantes e contribuições para o ensino da produção textual na graduação

This thesis investigates materialization strategies of non-assumption of enunciation responsibility and inscription of an authorial voice in scientific articles produced by initial researchers in Linguistics. The specific focus lays on identify, describe and interpret: i) linguistics marks that assign enunciation responsibility; ii) the positions taken by the first speaker-enunciator (L1/E1) in relation to points of view (PoV) imputed to second enunciators (e2); and iii) the linguistic marks that assign the formulation of themselves' PoV. As a practical deployment, it is proposed to discuss how to teach taking into account text discursive strategies regarding to enunciation responsibility and also authorship in academic and scientific texts. Our research corpus is formed by eight scientific essays and they were selected in a renamed Linguistics scientific magazine which is high evaluated by Qualis/CAPES (Brazil Science Agency). The methodology follows the assumptions of a qualitative research, and an it has such an interpretative basis, even though it takes support in a quantitative approach, too. Theoretically, we based this research on Textual Analysis of Speech and linguistics theories about linguistic enunciation area. The results show two kinds of movements in PoV management: imputation and responsibility. In imputation contexts, the most recursive linguistic marks were reported speech, indirect speech, reported speech with “that”, modalization in reported speech (in enunciation with “according to”, “in agreement with”, “for”), beyond that we see certain points of non-coincidences of speech, specifically the non-coincidence of the speech itself. The way those linguistic marks occur in the text point out three kinds of enunciation positions that are assumed by L1/E1 in relation to PoV of e2: agreement, disagreement and a pseudo neutrality. It was clearly recursive the imputation followed by agreement (explicit or not), this perspective puts other’s voices to defend a speech assumed like own authorship. In speech responsibility contexts, we observed such a formulation of inner PoV that results from theoretical findings undertaken by novice researchers (revealing how he/she interpreted concepts of the theory) or arising from their research data, allowing them to express with more autonomy and without reporting to speeches from e2. Based on those data, we can say that, in text by initial researchers, the authorship is strongly built upon PoV and also dependent from others' words (theory and the scholars quoted there), taking into account that many contexts in which we can observe agreement position, PoV formulations with words taken from e2 and assumed as own words by syntactic integration, the comments about what the other says, the absence of explanations and additions, as well as a data analysis that could show agreement with the theory used to support the work. These results allow us to visualize how initial researcher dialogs with the theoretical enunciation sources he or she takes as support and how he/she displays the status of a subject doing a research and positioning himself/herself as a researcher/author in the scientific field. In assuming the reported speech, when quoting, as a resource that allows the enunciation responsibility and also when doing evidence to the positions of speaker-enunciator in relation do reported PoV, this suggests to a textual-discursive treatment of quoting in academic and scientific text, in a context of teaching that gives attention to the development of communication skills of initial researcher and that can contribute to insert and interact students in the scientific field.

Anúncio publicitário direcionado ao público masculino: uma abordagem dialógica

In this study, we intend to focus on the printed advertisement genre which reveals its discursive genre condition circulating in printed media sphere, specifically in four magazines: Playboy, Score, GQ and Men's Health. The overall objective of this study is to analyze the identity in advertisement gender directed at male audience in printing, by considering how commercials work in the consumer society by seeking to satisfy a particular group, the reader/male consumer with modern customs and behaviors. For this, advertisements from four magazines of January, April, July and October were gathered, totaling sixteen magazines and twenty-seven types of genre pieces over a period of one year: from January to December 2012. We have selected about 27 pieces that advertisers tried to expose the body on the space of advertisements, resulting in a heightened appreciation of physical appearance. So we divide our corpus in a category, adiáforo body, and three sub-categories: the body building; the tattooed body and the consumption body. This work is part of a qualitative-interpretative approach, in order to investigate the social reality, paradigm advocated by applied linguists. Thus, our study is turned to a related activity with language issues present in the printed media sphere. Advertisement is understood as real unity of discursive and inter-subjective communication, maintaining relationships with others statements already said and prefigured and calling others to settle. Based on these assumptions, we have presented an analysis of the printed advertisement gender in men's magazines basing ourselves in contemporary research on Discourse Dialogic Analysis in Circle studies by Mikhail Bakhtin, revisiting his theoretical and methodological aspects and the identity concepts and culture as well as authors of the advertising sphere. This research has been presented relevant as it has contributed to an analysis of the verbal-visual dimension of advertising directed at male audience, considered as a discursive genre that circulates in the printed media and advertising, steeped in dialogical relations and have also contributed to the construction and development of theoretical and methodological frameworks, and applied to teachers and professionals interested in the theme. Results have shown data demonstrating that the search for a completeness never come, the man have built himself the search of the perfect body, the pursuit of exquisite stereotype, the search for products that contribute to this his self-assertion always transient and in construction. It is concluded that the body is a recurring theme in the four magazines. The body tailored is always presented as the ideal to which every man must achieve.

O ator na rua: uma expressividade caótica

Ce travail a recherché sur le processus de préparation corporel\vocal\énergique de l’acteur pour la rue. Notre quête principale c’est comprendre les processus qui l'acteur se déplace afin de développer une énergie à la scène dans la rue. C'est cette énergie qui est mis en place et se rapporte à le passant\spectateur? Qui attire l'attention de passant\spectateur? Serai l'histoire? Le code vestimentaire ou être une expressivité dynamisée? Serai une énergie présente dans le corps de l'acteur qui se relacione avec les passants? Comme l'acteur se rapporte à l'espace urbain? Pour tenter de répondre à ces questions, nous allons utilisé certains principes de la physique moderne, tels comme: la Théorie Quantique et le Principe d'Incertitude, autan la Théorie du Chaos. Le théâtre jouée dans les rues, surtout par le biais de longs prolongements de construction scénique, cependant, lorsque présentée au public, est prise par les autres causalités, car étant situé sur la rue, l'acteur devient assujettie à cet espace et ne peut pas nier la possibilité des faits qui peuvent se produire. Selon la physique quantique l'énergie se propage dans un espace vide, la quantité d'énergie physique étant échangé dans la rue, ce qui entraîne le moment magique où les corps des acteurs, des échanges constants avec les spectateurs, en permettant le saut quantique: le spectacle théâtral de la rue.

Corpos da Ciranda: narrativas poéticas, artístico/estética da ciranda de Lia de Itamaracá

This research is a study that deals with the language of the players bodies of Ciranda (a typical dance in circle in Brazil) – more specifically the one of Lia from Itamaracá. Our interest is to observe how this body dances, communicates, writes on time and space, establishing relations that complement and help to remain in construction. Thus, in a circular way and in an energy that is transmitted with the contact of the touch of the hands, in the power of song, in a circle that can be seen from many places, but by different angles, holding on that the particularities of its subjects players/dancers/observers, and that we propose ourselves to think: who are those players bodies and how do they build the circles of Ciranda? Therefore, during the pathway of the research, we were conducted by the phenomenological method and, from this, used the concepts of lived and sensible world. Our interest in this manifestation is, also, the body that dances and insert itself in the artistic expression, meaning and opening itself to the knowledge by the experience. Therefore, we assume a conception of the body that refers itself in the merleaupontyana fenomenologic approach, in this way, in its criativity in relation to the body as a fragmented being, as it is pointed by the Cartesiana theory. In this perspective, we understand the body in its relations with the culturals, sociais, economics and artistics issues that integrates it, in others words, in the relations that helped us to better understand the body as it is. This way, this research has as main objective to present the refletions about the players body, mainly, of Lia from Itamaracá and with this body to dance, to communicate, to write itself on time and space, estabilishing relations that complement and help to stay in construction. Such a statement leads us in this work, to inquire, for example: what mobilizes those subjects on this dance? We understand that elements as the place that is always in modification, the costumes, the musicality and the change in the movimentation of the players body in each new circle, those elements are factors that activate a permanente reconfiguration that are happening in the Ciranda dance nowadays. Finally, we assert that this investigation comes in reason to the big dimension that the Ciranda has achivied in Brazil, especially in the Northeast, as the existence of few references and registers of the reseach manifestation in the academic areas. It is possible to verify, in this research, that, in reason to this spreading, the nuances of the players bodies is even more diversified and that the missing of experiences on Itamaracá island - PE, its origin has putting away the original and community, becames, more and more, a dance of others stages and squares.

A pedagogia de projetos e o ensino de música na educação básica da cidade de Natal/RN

This research aims to investigate the use of Project based learning as a method for teaching music in Elementary Schools located in Natal, RN. Its main objective is to analyze how this method is used during the classes of music at school context and which are its implications to the process of music learning acquirement. The specific objectives comprise: gathering the music teachers in preschool that work with project based learning as a method for their classes; identifying how the theory meets their practice; and analyzing how project based learning contributes to the learning process of music within schools. The main scholars adopted as theoretical reference were Boutinet (2002), Hernández (1998; 200), Antunes (2001), Cavalcante (2009), from Education area; and Penna (2008), Fonterrada (2008), Queiroz (2012), regarding Musical Education. Such choice was made in views of identifying the relationship and how project based pedagogy associates to the current Brazil school curriculum. For data collection, mixed methodological strategies were used, of qualitative and quantitative approaches that are complementary for better meeting the research needs. By applying a questionnaire, it was sought to identify the music schools and teachers who reported working with project based learning. Based on these results were selected two schools, one private school and one public school to perform a participant observation in two groups following the development of music classes based on project based learning, and the information were recorded in a diary of audio and video recordings. The results of this work show that the Project Education is a methodology frequently used by music teachers from Natal/ RN contributing to the integration of content and subjects and engages students in activities awakening interest and contributing to the development of music education at school. However, it was identified that many of the conceptions of the teachers about projects are confused by ambiguities from the use of the term in different areas and in various theoretical perspectives as well as the lack of publications that address the music education through the project based learning. It is hoped that this study provides discussions and research about the project based learning applied to music education in elementary school.

Antonio Carlos Viana e as escritas do erotismo em Aberto está o inferno

A presente dissertação objetiva estabelecer uma interface entre os estudos da linguagem performática na literatura e os estudos sobre o erotismo a partir da obra do escritor sergipano Antonio Carlos Viana. Trazendo à tona o lado violento e traumático de experiências sexuais, são nela analisados os contos “As meninas do coronel”, “Mal-assado” e “In Memoriam”, pelo viés da prostituição, do casamento e da morte, respectivamente. Observa-se que, ao optar pela escrita sobre o corpo e pela problematização do erotismo vinculada a uma perspectiva nauseante do sexo, desvinculada da ideia de prazer, Viana performatiza, de acordo com os pressupostos do novo realismo, experiências afetivas marcadas pela dor. Para investigar os procedimentos de linguagem utilizados por Viana, com o intuito de desvendar os enigmas que perpassam o universo emocional e labiríntico de personagens devastados por sentimentos que mesclam corrupção, poder, morte e erotismo, recorro aos estudos sobre o caráter performático e grotesco da linguagem no novo realismo – em especial ao pensamento de Karl Erik Schøllhammer e Mikhail Bakhtin –, sobre a relação entre morte e erotismo – a partir das considerações de George Bataille, Octavio Paz e Philippe Ariès – e sobre as nuances da sexualidade e suas revoluções – mediante o pensamento de Anthony Giddens.

Ampliação vocabular: glossário de textos do livro didático de língua portuguesa "Vontade de saber português" do 9º ano

This research aimed to verify the vocabulary difficulties faced by 9th year students while understanding the didactic book of Portuguese Language (DBPL) “Vontade de Saber Português”, used at the Municipal School Sebastião Rangel. We noticed the students had some doubts concerning the unknown vocabulary in the texts and, therefore, in text comprehension. The hypothesis is that one “difficult” word and the lexicon used by DBPL author can disturb student comprehension. We adopted some action which could simplify the little vocabulary understanding and contributed to extend it. For that reason, the job was theoretically based on Biderman (1999), Barbosa (1989), Dias (2004), Krieger (2012), Coelho (1993) and on National Curriculum Parameters of Portuguese Language, aiming to ally theory and practice. The application methodology of the proposal was done in order to the students understand that the word needs to be adapted to its context. At the begging of the job, the students read the texts and took notes of the “difficult” words, selecting, corpus. We analyzed the doubts, registering them. Then, we showed to the students the classification of abbreviated words after each entry. The students separated the words for grammar classes – lexical words” (KRIEGER, 2012). Such words have a very significant meaning to the comprehension of the read texts, being interesting to take a look in online dictionaries. In the creative glossary, done by the students, the words were spread in alphabetical order. They transcript the part where was the word and copied again, substituting the word to a clearer word. Finally, we asked the students a writing production using five words from the glossary; we showed them that the meaning of the words is not found only in the dictionary, but they can be used in different contexts. In the analyzes, was discovered that there is one necessity of a pedagogic didactic work more effective with elementary school lexicon. Thus, this proposal is not a closed receipt, but the infield location allowed a reflexive pedagogic practice about lexicon education.

As vogais médias tônicas: um estudo contrastivo da metafonia com base em corpus

This research analyzes the average previous stressed vowels [ε] and [e] and later [ɔ] and [o] in nominal and verbal forms in the 1st person singular and 3rd person singular and plural in the present tense, specifically the umlaut process of mid vowels /e/ and /o/, which assimilate in /ε/ and /ᴐ/ in stressed position. The general objective of this research is to describe and quantify the occurrence of umlaut and subsequently analyze in which words there is regularity or not. As specific objectives we have: i) to compile and to label an oral, spontaneous, synchronic and regional corpus, from radio programs produced in the city of Ituiutaba, Minas Gerais; ii) to describe the characteristics of the corpus to be compiled; iii) to investigate the alternating timbre of mid vowels in stressed position; iv) to identify instances of nominal and verbal umlaut of the middle vowels in stressed position; v) to describe the identified cases of nominal and verbal umlaut; vi) to analyze the probable causes for the variation of the middle vowels. To perform the proposed analysis, we have adopted as a theoretical-methodological basis multi-representational models: Phonology of Use (BYBEE, 2001) and Exemplar Theory (PIERREHUMBERT, 2001) combined with the precepts of Corpus Linguistics (BEBER SARDINHA, 2004). The corpus consisted of 16 radio programs – eight political and eight religious – from the city of Ituiutaba-MG, with recordings of about 20 to 40 minutes. We note, by means of the results generated by WordSmith Tools® software, version 6.0 (SCOTT, 2012), that the analyzed forms show little variation, which shows that the umlaut is a process already lexicalized in participants of the radio programs analyzed. We conclude that the results converge with the proposal of the Phonology of Use (BYBEE, 2001; PHILLIPS, 1984) that less frequent words that have no phonetic environment conducive to change, are changed first.

Das saudades que se tem: a representação paterna na escrita autobiográfica de Bartolomeu Campos de Queirós

In our work, we analyze some works of Bartolomeu Campos de Queirós that compose the “autobiographical cycle”, especially those ones that bring the image of father’s absence/presence, the relationship between life and writing, as well as the father’s figurations and his intermediates and substitutes. We especially investigated the aspect of repetition about how the family relations are articulated, highlighting those ones that happen between father and son and that appear in these texts. This problematic interested us as a research object, a priori, because the works of Bartholomeu Campos de Queirós are an exponent of literature for children field, as far as they show that the childhood is not always “colorful”, happy and perfect as several productions supposedly made “for children” seek to have us believe. In addition, the selected texts that have an autobiographical characteristic and put the issue of child suffering because of the father’s absence are configured as a very rich corpus for studies related to the relation between life/work and investigations in the dialogue between Literature and Psychoanalysis. These aspects will permit us to understand why the pain of missing father be repetitive and insistent in these books. Thus, we problematize, by the selected works for this study, the concept of literature for children and young people and the notion of literary reading. We also analyzed in the “statements” given by the author the relationship between life and writing and we investigated, based on psychoanalytic studies, the literary writing as a possibility of both unconscious development of memory marked by the father’s absence – remedy – as of a perpetuation of this same conflict – poison. Furthermore, we analyzed how the relationship between son and father are processed considering the mother’s absence, since the works that have this person’s presence, she seems to mediate such relationships in a certain way.

O ator que canta um conto: a manipulação de parâmetros musicais na voz do ator

This research started with an investigation about the theatrical speaking. Through an empirical methodology that analyzed a practical experience of creating a play and bibliographical research, the actress/researcher investigated ways to manipulate musical parameters as tools in the creation process of the actor s voice. The actress/researcher attempted to connect theory and practice, moved by the desire to find a vocal expression in theater that unfolds as living and transforming movement. This dissertation also contains the report of pedagogical experiences, in which the actress/researcher explored strategies to teach the appropriation of musical parameters in the construction of the vocal work of the actor. Considering that speaking in theater is closer to singing than everyday speech, she concluded that the actor may compose music as a music composer does in the elaborating process of building vocal scores. Therefore, she demonstrated that it is of fundamental importance a musical training in the development of the actor.

Dramaturgia do aqui e agora: presença, recepção e sentido no corpo do ator

The actor is an actor during all the phases of creation and development of his character. (S) He goes beyond the moment of interpreting. In this sense, in her (his) daily life, the actor may use her (his) potential to extract from reality the necessary elements for the work of creation. This is a theoretical research which focus on the concept of presence in the actor s work, stretching the concept beyond the scene, encompassing different components such as the body, the word, the silence, the technique and the acting as the actor s stance in regards to his own reality. The objective of such stance is to integrate him (her) self in the environment, balancing his (hers) inner life with the outside life flow. To reach this objective, the research drew theoretical resources from the concept of presence in the actor s work according to BROOK, BARBA, GROTOWSKI and MNOUCHKINE and the studies on reception theory in ISER, 1996; GUMBRECHT, 2010. Thus, the dialogue between reader and actor high lights both as receivers in this work. A practical description of a street theater Kamchàtka show, featured by the Kamchàtka Company is used as an example of the research on the presence. The elements localized in this show are: play, listening, word, silence, meaning, relationship with here and now and the effects of the said presence

Criação em processo no espetáculo Ethnotron-Ghetto Experimen

Este trabalho investigou o processo criativo do espetáculo Ethnotron-Ghetto Experiment, do Coletivo paraibano Tribo Éthnos, fundado na década de 1990 e ainda em atividade. A estratégia metodológica se dá através de estudos descritivos, valendo-se da teoria e prática de diversas linguagens artísticas presentes na obra apontada: artes visuais, performance, literatura e histórias em quadrinho; em ações realizadas pelo Coletivo ao longo dos anos, objetivando descrever e analisar o processo de criação do referido espetáculo de dança, através da minuciosa coleta de dados por meio de entrevistas abertas e semiestruturadas, e da pesquisa e captação de materiais audiovisuais. A Tribo Éthnos destaca-se na cena local na cidade de João Pessoa, e estadual, na Paraíba, visto que, nesse longo percurso de existência, além da preocupação em fundir muitas formas artísticas, bem como os artistas da Paraíba, aglutina pessoas que fazem arte em outros países e faz das danças urbanas algo instigante. A Tribo ainda preocupa-se com a troca de saberes através de palestras, oficinas, cursos e intercâmbios. A dissertação investiga o processo de criação dos artistas e, especificamente, dos dançarinos, utilizando-se principalmente do conceito de work in progress, proposto por Renato Cohen, e aplicado ao espetáculo estudado. Apresentam-se descrições dos movimentos coreográficos, do espetáculo de dança paraibano Ethnotron-Ghetto Experiment, de Dança de Rua da Era Funky, especificamente, com estilos como popping, waving, animation, strobing, floatine/ slidini, tiokine, trebing, breaking, waving, sliding, entre outros, visto serem estes parte integrante do processo de criação. Tais estilos remetem ao ilusionismo ou ao mimetismo, sugerindo, em seus movimentos truques, câmeras lentas, flutuações com os pés, entre outros. Segundo Valmir Vaz, o Coletivo, através do espetáculo, busca a integração dos corpos, procura uma libertação individual e sugere uma sensação de querer voar nas coreografias/cenas. Abordam-se os aspectos do processo criativo: o espaço cênico, o trabalho corporal, a sonoplastia e a roupa/indumentária. Trabalha-se o conceito do corpo virtual de José Gil no aspecto do corpo cênico

A narrativa histórica de Alexandre Wollner sobre o design brasileiro em sua relação com arte, indústria e tecnologia

This work aims to investigate the historical narratives in which the graphic designer Alexandre Wollner assembled about the development of its own profession in Brazil, focusing the ways in which his discourse points relations among design (with greater emphasis in graphic design) and visual arts, the industrial development and notions about technology. Firstly, the theoretical setup searched for dialogues with design historians, with Mikhail Bakhtin, specially his concepts about “ideology” and “discourse’, and the theory of Field Autonomy by Pierre Bourdieu applied in the artistic practice. Following, the relation between Wollner’s own journey and the Brazilian industrial development is shown, and, at last, three of his historical texts are studied, which are written in different moments (1964; 1983; 1998), being those in which the analyzed author wished to point out the origens, events and names that are more remarkable. Throughout the work, it is pointed the importance of Wollner’s contact with the modernist european ideologies that share an abstract and rationalist matrix found at Hochschule für Gestaltung Ulm (HfG Ulm), the german design school from the city of Ulm, in the 1950s. Such modernist discourse understood the practice of design as a method with scientific character, being then different of some other more recurring artistic professional practices in some productive sectors. Wollner aimed to apply such ideals in his professional practice, being the foundation of the paulista office forminform, in 1958, one of his first expressions of such posture, and in his academic practice, helping the foundation of the Escola Superior de Desenho Industrial (ESDI), in Rio de Janeiro, in 1963. Such modernist ideals went along with moments of the Brazilian industrial development during the government of Juscelino Kubitschek (1956–1961) and the “Economical Miracle” from the military government (1968–1973). Wollner argued about the need for the development of national design as a technological and productive differential that would help the growth of national industry, based on Ulm’s project model concept. It is defended that Wollner’s professional and intelectual path, in his efforts of thinking a history of Brazilian design through the choice of pioneers in the area, was founded on an “ideal model” of design, leaving aside the modernist experiences from the 1950s. Such posture would indicate a search for validation of his own profession that was beginning to become more evident in Brazilian productive means, aiming the creation of a differential space in comparison with pre-established practices, usually link to graphic artists from the time.

Aprendizagem de um gênero de discurso e de atividade de autoconfrontação em ações de formação docente continuada na educação superior

The objective of this text is to discuss a central question in a doctorate study, in progress, about the learning of the speech genre in self-confrontation situations. This consists of a procedure, which a worker observes your own images, video recorded at the time it performs activities related to their craft; It requests that he comment on what he was doing on the images in order to clarify matters for himself and another - be it a intervenant (simple self-confrontation) or a coworker (crossed self-confrotation). (CLOT, 2008/2010). In the context of this research, the confronted workers are university teachers and students who participate in an action of teacher continuing education. The object of the research is the process of speech genre of learning self-confrontation situation, having as subject a person who conducts self-confrontations training, which initially observed the conduct of dialogues and reflections, and will gradually participating in the self-confrontation activity and becoming also forming another. The theoretical foundations of the research seeks an articulation between sciences such as the Psychology of Labor, the Cultural-historical Psychology and Linguistics. The concepts that are employed come from Clot´s theory of the Psychology of Labor, that is, from the Clinic of Activity and from the activity genre studies (CLOT, 2008/2010); they also come from the Vygotskian theory of human development, with the concepts of thinking and speech (VIGOTSKI, 1934/1998); and from the Bakhtinian dialogic principle (BAKHTIN, 1979/2011). We believe that the formation of the person conducting self-confrontation occurs through learning a gender of speech and a genre of activity.

O ator que canta um conto: a manipulação de parâmetros musicais na voz do ator

This research started with an investigation about the theatrical speaking. Through an empirical methodology that analyzed a practical experience of creating a play and bibliographical research, the actress/researcher investigated ways to manipulate musical parameters as tools in the creation process of the actor s voice. The actress/researcher attempted to connect theory and practice, moved by the desire to find a vocal expression in theater that unfolds as living and transforming movement. This dissertation also contains the report of pedagogical experiences, in which the actress/researcher explored strategies to teach the appropriation of musical parameters in the construction of the vocal work of the actor. Considering that speaking in theater is closer to singing than everyday speech, she concluded that the actor may compose music as a music composer does in the elaborating process of building vocal scores. Therefore, she demonstrated that it is of fundamental importance a musical training in the development of the actor.