50 research outputs found
Prose reading: The influence of text-reader factors
No full textThis study highlights the importance of text-reader factors in prose reading. The study was carried out to identify the text-reader factors involved in enhancing reading comprehension. A qualitative research methodology was employed involving individual in-depth interview sessions with six average ability Form Two students from a secondary school. The interviews were conducted to gauge their views on the influence of text-reader factors in text comprehension. The interview questions centered on the literature textbook currently used in school and also the short story Cheat by Allan Baillie included in the book. Thematic analysis was carried out on the data collected. The findings show that text-reader factors affect text comprehension. The factors include pictures, font, the author, glossary, text organization, cover of the book and the length of the literary prose forms. The reader factors are related to the students life background, interest, and motivation in reading. The study implies that these text-reader factors must be met to ensure improved reading comprehension ability among students
Perception of the attitudinal function of intonation in responding to Yes/No questions: A study of non-native English language teachers
No full textThis study highlights the importance of intonation and its function for intelligibility in communication, particularly amongst teachers in ESL classrooms. It was carried out to ascertain non-native English language teachers’ awareness of the attitudinal functions that intonation carries in responding to yes/no questions. Thirty Malay English language teachers working in a language centre were taken as the sample. Two different tasks, a listening test and an open-ended questionnaire, were provided to test their knowledge and perception of the attitudinal functions of intonation with regards to the responses given to yes/no questions. The findings from this study suggest that these teachers demonstrated an intermediate level of knowledge about intonation and its attitudinal function. However, they were in agreement about the importance of intonation for communication in classrooms, with students from various cultural and linguistic backgrounds. The implication of this study is that teachers should provide students with sufficient exposure to the proper use of intonation in order to avoid miscommunication. Students must be made aware that correct intonation facilitates correct interpretations
Miscue analysis: A glimpse into the reading process
No full textThis paper aims to analyse Form One students’ ability in reading prose. A qualitative research method was carried out involving 6 average ability students. The prose “Fair’s Fair” byNarinder Dhami was used as an instrument to gauge students’ ability in oral reading. The assessment carried out on the reading is miscue analysis, a tool to measure oral reading accuracy at the word level by identifying when and the ways in which the students deviates from the text while reading aloud. Miscues analysed are insertions, hesitation, omission, repetition and substitution. Miscues that maintain the meaning of the sentences are the participants’ strengths while miscues which disrupt the meaning of the sentences are the participants’ weaknesses. The data collected are analysed using descriptive statistics. The findings show that the percentage of strengths outweighed the percentage of weaknesses for all the participants on the occurrences of miscues. The students’ reading behaviour has provided insights into their language cueing system and the strategies they use during the reading process to comprehend a text
Der romantische „Ton“ in Herders Übersetzungen von Petrarcas Sonetten
No full textIl contributo indaga alcune traduzioni herderiane del Canzoniere, a lungo trascurate dalla critica mettendole in relazione sia con i contributi critici dell’autore sul Petrarca che con la sua idea e teoria della traduzione. Da un’analisi dei testi risulta che queste traduzioni, diversamente da quanto fino ad oggi affermato dalla critica, non sono affatto testi in prosa, prodotto dello Sturm und Drang, ma poesie liriche, altamente poetiche, che nello stile e nel ritmo sono non solo un’esemplificazione della teoria della traduzione herderiana ma anche e soprattutto un’anticipazione, o meglio, il fondamento dell’arte romantica della traduzione e delle ben più famose traduzioni di A. W. Schlegel del Canzoniere.
Im Beitrag werden Herders lange vernachlässigte Übersetzungen aus Petrarcas Canzoniere einerseits mit seiner Literaturkritik über Petrarca, andererseits mit seiner Übersetzungskonzeption und -theorie in Beziehung gesetzt. Dabei erweisen sich die Übertragungen aus Petrarca nicht, wie die Forschung bis heute hervorhob, als Prosatexte und Produkte der Sturm-und-Drang-Periode, sondern vielmehr als poetische, lyrische Gedichte, deren Stil und Rhythmus nicht nur eine Exemplifikation von Herders Übersetzungstheorie sind, sondern auch und vor allem eine Antizipation, oder besser die Grundlage der romantischen Übersetzungskunst und der viel berühmteren Canzoniere-Übersetzung von August Wilhelm Schlegel.
In this essay the author compares Herder’s long neglected translations from Petrarca’s Canzoniere with his literary criticism about Petrarca and his conception and theory of translation. A more thorough analysis of these translations proves that they aren’t prose works and products of the “Sturm und Drang” period, as the critics have always stated; they are instead poetic, lyrical compositions whose style and rhythm not only are an example for Herder’s translation theory, but also and above all a foretaste, or rather, the foundations of the romantic art of translation and of the much more famous adaptation of Canzoniere by August Wilhelm Schlegel
Authority control. Teorie, applicazioni e prospettive di sviluppo
No full textThe authority control, though being a process which integrates the catalogue architecture – and which assures the indexes quality (author, title, descriptor) and supports the relational and syndetic structure of the catalogue, endorsing capabilities of fully retrieving the information it contains – for a long time has been disregarded in the context of the theoretic thought of the catalogue pertaining process. During the last years this trend was reversed: the authority control gained a first level role on the international bibliotheconomic scenario; at the present time in this area there are many operative plans and new applications, often managed in a co-operative and trans-national way, in some cases stimulating the authority control to extend its range of action outside libraries, in order to interoperate with heterogeneous systems like archives, e-commerce systems and museums.
This work wants to define the role and the functions of the nominal and semantic authority control. The first part deals with the authority control under the theoretic point of view: all its elements are examined, while its origin and development in the cataloguing process and in relation with the organisation and relational structure of the catalogue is outlined. The second part treats the semantic indexes control; after a short theoretic-normative report, the situation of the authority control in Italy, which has today, like it never had, a particular evolution, is deeply examined. Referring to the Sistema Biliotecario Nazionale (SBN, National Library Service), the story of the evolution of the semantic authority control in Italy is sketched, along with the new development perspectives favoured by the Nuovo Soggettario project. At the end this work treats what should be considered the most important existing project, on a co-operative international basis, of subject authority control: the Subject Authority Cooperative Program (SACO)
We are mock'd with art: theatricalizing devices in performances of Shakespeare's The Winter's Tale
No full textTese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente, Florianópolis, 2011This dissertation discusses the use of theatricalizing devices in four stage productions of William Shakespeare's The Winter's Tale. The selected performances were staged by the Royal Shakespeare Company (England, 1992), Théâtre de la Complicité (England, 1992), Folger Theatre (United States, 2009), and Companhia Atores de Laura (Brazil, 2004-2005). The discussion is structured following the notion of "performance text", proposed by Marco de Marinis (1993), which testifies to the importance of analyzing a performance in terms of its stage elements and also its contextual circumstances. Hence, the notion of "theatricalizing devices" is proposed in the present study as a tool to look at those devices employed on stage that can, simultaneously, comment on the theatrical medium and its conventions and help a production address themes and concerns related to the world outside the theater building. Additionally, the referred devices have to do with further fictionalizing the already fictional stage reality, without losing sight of the fact that those making and attending any given performance are inserted in an outside context.A presente tese discute o uso de recursos teatricalizantes em quatro produções teatrais de O Conto do Inverno, de William Shakespeare. As performances selecionadas foram produzidas pela Royal Shakespeare Company (Inglaterra, 1992), Théâtre de la Complicité (Inglaterra, 1992), Folger Theatre (Estados Unidos, 2009), e Companhia Atores de Laura (Brasil, 2004-2005). A discussão está estruturada seguindo a noção de "texto espetacular" proposta por Marco de Marinis (1993), a qual testemunha a favor da importância de se analisar uma performance em termos de seus elementos de palco e também de suas circunstâncias contextuais. Dessa forma, a noção de "recursos teatricalizantes" é proposta na presente tese como ferramenta para olhar aqueles recursos empregados no palco que podem, simultaneamente, comentar o meio teatral e suas convenções e ajudar uma produção a tratar temas e preocupações relacionados ao mundo existente para além do auditório do teatro. Além disso, os referidos recursos associam-se com ficcionalizar mais profundamente a realidade já fictícia do palco teatral, sem perder de vista o fato que os indivíduos que realizam e assistem a qualquer performance estão inseridos em um contexto exterior
Il diritto alla nostalgia
No full textITPercorrendo un excursus letterario, storico-filosofico l'Autore si interroga sui valori della democrazia nell'epoca attuale. Riscrivendo con tono nostalgico il pensiero liberale, con quella nostalgia che può essere una disposizione interiore che, spegnendo l’entusiasmo del nuovo, lo obbliga ad essere più prudente e guardingo, a non dimenticare il calcolo costi/benefici, a non credere che tutto ciò che ci siamo lasciati alle spalle fosse meritevole di estinzione. Il risultato, però, non è stato esaltante: la censura etica e culturale della “nostalgia”, infatti, ha portato, in modo inavvertito, alla cancellazione di quel pluralismo conflittuale che è stato, nei secoli, il segreto della grandezza dell’OccidenteFREn entreprenant un parcours littéraire, historique et philosophique, l'Auteur s’interroge sur les valeurs de la démocratie à l'heure actuelle. En réécrivant avec un ton nostalgique la pensée libérale, il prône une nostalgie qui peut être une disposition intérieure qui, en atténuant l'enthousiasme des nouvelles forces, les rend plus prudentes et plus circonspectes, incitant à ne pas oublier l’analyse coût-bénéfice et à ne pas croire que tout ce que nous avons laissé derrière nous était digne d'extinction. Le résultat, cependant, n'est pas excitant: la censure éthique et culturelle de la «nostalgie», en fait, a conduit, de façon passant inaperçue, à l'annulation du pluralisme conflictuel qui a été, au cours des siècles, le secret de la grandeur de l'OccidentENGoing through a literary, historical and philosophical digression, the Author questions on the values of democracy at the present time. Rewriting the liberal thought with a nostalgic tone, with a nostalgia that might be an inner disposition which, weakening the enthusiasm of the unknown, forces it to be more cautious and wary, not to forget the cost-benefit analysis, and not to believe that what we have left behind deserves extinction. The solution, however, has not been exciting: in fact, the ethical and cultural censure of "nostalgia" has subtly led to the cancellation of the theoretical pluralism which has been, over the centuries, the secret of the greatness of the Wes
Rivolte mancate. Sulle correlazioni tra emozioni e spregio in Axel Honneth e Barrington Moore Jr.
No full textIl saggio è dedicato all’analisi delle correlazioni tra dimensione normativa e reazioni emotive, e più in particolare tra senso dell’ingiustizia e collera morale proposte da Barring- ton Moore e Axel Honneth. Si parte dalla teoria di Moore ripresa da Honneth, per poi con- centrare l’attenzione sulla teoria dello spregio (Missachtung) delineata da Honneth in Lotta per il riconoscimento. Tale teoria viene quindi problematizzata, soprattutto attraverso una analisi delle reazioni emotive di taglio regressivo che seguono a determinate esperienze di ingiustizia.
Lacking riots. On the connections between emotions and disrespect in Axel Honneth and
Barrington Moore Jr.
The paper concerns the analysis of the connections between normative dimension and emotional reactions, and particularly between the sense of injustice and the moral anger out- lined by Barrington Moore and Axel Honneth. The Author starts by discussing the theory of Moore regained by Axel Honneth, then he offers an analysis of the theory of disrespect (Missachtung) outlined by Honneth in Struggle for Recognition. The Author criticizes this theory, particularly he outlines an analysis of the regressive emotional reactions activated by specific experiences of injustice
In opera ! Atti di riqualificazione e messinscena musicale al Parco della Martesana
No full textLAUREA MAGISTRALELa riflessione sullo spazio teatrale concepito non solo come un mero tipo architettonico ma come insieme di significati spaziali, culturali e umani non è mai terminata nel mondo occidentale sin dalla sua nascita canonica nella Grecia classica.
La ricerca di questa tesi si propone di riprendere il solco tracciato dalle fortissime sperimentazioni teatrali ma anche musicali del secolo scorso a fronte forse di una involuzione del teatro contemporaneo rientrato nelle categorie proprie del teatro prima del Novecento.
In particolare, questa tesi cerca di testare i margini per la progettazione di uno spazio pubblico che si renda “palcoscenico” di un evento culturale, legato al nuovo teatro musicale, riprendendo le fila di un discorso interrotto intorno alla fine degli anni Settanta.
Parliamo quindi di un teatro di ricerca che in Italia vede in Luca Ronconi il più importante e definitivo punto di riferimento. Un teatro di ricerca che scardina la scatola classica teatrale e cerca, per i diversi motivi che vedremo, di appropriarsi di un esterno appartenente alla città e di renderlo spazio evenemenziale.
Il soggetto teatrale in questione allarga i temi trattati andando a cogliere un particolare aspetto dell’ambito teatrale del Novecento che è il Nuovo Teatro Musicale. Con questa espressione si intendono tutte quelle esperienze e composizioni che, rifacendosi al teatro lirico tradizionale conclusosi con Richard Wagner, indagavano in maniera sperimentale il rapporto fra spazio e musica secondo la linea guida del Wort-Ton-Drama, ovvero di un connubio artistico di Parola Musica e Scena.
La progettazione della messinscena prende in considerazione come soggetto l’opera Le Grand Macabre di György Ligeti, autore ungherese e compositore appartenente al circolo di Colonia fondato da Karlheinz Stockhausen, centro propulsore della Nuova Musica.
La scelta del luogo per la messinscena teatrale riguarda il Parco della Martesana, nel quartiere periferico di Gorla, a Milano, parco che porta lo stesso none del naviglio che lo costeggia. Vedremo come la scelta del parco è stata determinata riprendendo le idee elaborate tra gli anni ’20 e gli anni ’50 del Novecento da alcuni movimenti artistico-letterari che cercarono di esperire il nuovo ambiente metropolitano per decodificarlo a fronte di una realtà sempre più soverchiante ed estraniante nei confronti dell’uomo.The architectural development about the theatrical space conceived not only as a mere architectural type but as a set of spatial, cultural and human meanings has never ended in the Western world since it has begun in Ancient Greece.
The research of this thesis proposes to take again the path traced by the several theatrical experiments of the last century.
In particular, this thesis tries to design a public space that becomes a "stage" of a cultural event, linked to the New musical theater, taking up the threads of a speech interrupted around the end of the Seventies.
A research theater that undermines the classical theatrical box and is aimed at transforming an urban area into an opera stage.
The choice of the subject is an opera reffered to the New Musical Theater: Le Grand Macabre by György Ligeti, Hungarian author and composer belonging to the Cologne circle founded by Karlheinz Stockhausen, propulsive center of the New Classical Music.
The choice of location for the performance concerns the Parco della Martesana, in the suburb of Gorla, in Milan, a park that bears the same name as the course of Naviglio Piccolo that runs along it. We will see how the choice of the park was determined by taking up the ideas developed between the 1920s and the 1950s by some artistic-literary movements that sought to experience the new metropolitan environment
Raoul Tortaire : mon voyage en Normandie
No full textRaoul Tortaire, moine de l’abbaye de Saint-Benoît-sur-Loire, composa de nombreuses œuvres poétiques. Il rédigea notamment un ensemble de onze épîtres en distiques élégiaques, dont la neuvième est consacrée à un voyage en Normandie. Dans ce poème, il décrit la ville de Caen, son château, son port et son marché, sans parler toutefois des deux abbatiales de La Trinité et de Saint-Étienne, édifiées par Guillaume et Mathilde. Il est le témoin d’un défilé somptueux du roi d’Angleterre, qui se montre au peuple avec une partie de sa ménagerie exotique. Il raconte en détail son périple par le bord de mer entre Caen et Bayeux avec tous les incidents de parcours : il assiste ainsi à une chasse à la baleine qui l’a fortement impressionné. De la ville de Bayeux il ne retient que la cathédrale, dont il décrit les splendeurs intérieures et extérieures. Son aventure se termine dans une auberge où on lui sert en guise de vin un « extrait de pommes acides », qu’il considère comme un vrai poison. Ce poème manifeste avec évidence la culture d’un moine qui connaissait les grands poètes de l’Antiquité et qui, dans son monastère, était chargé d’enseigner l’art d’écrire et l’art de composer des vers. Daté traditionnellement du règne du roi Henri Ier (1100-1135), peu après l’incendie de la cathédrale en 1105, ce voyage nous a semblé antérieur à cet événement : il s’agit plus vraisemblablement d’une visite de Raoul Tortaire à l’époque où le roi Guillaume le Roux (1087-1100) avait en charge le duché de Normandie, du fait du départ de son frère Robert Courteheuse en Croisade, entre 1096 et 1099. À la suite de cette étude, nous avons proposé une édition avec traduction du passage de l’épître IX qui concerne les villes de Caen et de Bayeux (vers 137-316).Ralph Tortaire, a monk of the abbey of Saint-Benoît-sur-Loire was the author of many poems. In particular he composed a set of seven epistles in elegiac couplets, the ninth of which is devoted to a journey to Normandy. In this poem he describes the town of Caen, its castle, its port, and its market, but does not mention, the two abbey churches of Saint-Etienne and La Trinité, built by William and Matilda. He witnesses a magnificent procession by the king of England, who appears publicly with some of his menagerie of exotic animals. He gives a detailed account of his journey along the sea coast between Caen and Bayeux, including all the incidents that took place; he was present at a hunt for a whale that impressed him greatly. Of the ton of Bayeux, he mentions only the cathedral, whose internal and external magnificence he describes. His journey ends at an inn where he is served a drink described as “an extract of acidic apples” under the pretence that it is wine. He describes it as being truly poisonous. The poem displays the culture and the learning of a monk who knows the work of the great poets of Antiquity, and who, within his monastery was responsible for teaching writing and the composition of verse. Traditionally dated to the reign of King Henry I (1100-1135), shortly after the cathedral of Bayeux was burnt in 1105, the journey seems to us to have more likely to have taken place earlier. Ralph Tortaire’s visit probably took place when King William Rufus (1087-1100) was present in the duchy in one of the years between 1096 and 1099 when he was in charge of it while his brother Robert Curthose was taking part in the First Crusade. Following this study, we proposed an edition with translation of the passage from the Epistle IX concerning the cities of Caen and Bayeux (circa 137-316).Rodolfo Tortario, monaco dell’abbazia di Saint-Benoît-sur-Loire, è autore di numerose opere poetiche. In particolare, egli ha composto undici epistole in distici elegiaci, la nona delle quali è dedicata ad un viaggio compiuto in Normandia. In questa poesia, Rodolfo descrive la città di Caen, il suo castello, il suo porto e il suo mercato, senza tuttavia parlare delle due abbazie della Trinité e di Saint-Étienne, fatte costruire da Guglielmo e Matilde. Egli è testimone di una sontuosa sfilata del re d’Inghilterra, che si mostra al popolo in compagnia di una parte del suo serraglio esotico. Racconta dettagliatamente il suo viaggio lungo la costa tra Caen e Bayeux con tutti gli incidenti di percorso : egli si trova così ad assistere ad una caccia alla balena che l’ha fortemente colpito. Della città di Bayeux egli non parla che della cattedrale, di cui descrive lo splendore interno ed esterno. La sua avventura si conclude in una locanda dove al posto del vino gli viene servito un « estratto di mele acide », che egli considera un vero e proprio veleno. Questo componimento mostra in modo evidente la cultura di un monaco che conosceva i grandi poeti dell’Antichità e che, nel suo monastero, aveva il compito di insegnare l’arte di scrivere e di comporre versi. Tradizionalmente datato al regno del re Enrico I (1100-1135), poco dopo l’incendio della cattedrale nel 1105, questo viaggio ci è sembrato anteriore a questo avvenimento : si tratta di una visita di Rodolfo Tortario risalente, più verosimilmente, all’epoca in cui il re Guglielmo il Rosso (1087-1100) aveva la reggenza del ducato di Normandia, in seguito alla partenza di suo fratello Roberto II Cosciacorta per la Crociata, tra il 1096 e il 1099. In seguito a questo studio, abbiamo proposto un’edizione con traduzione del passaggio dell’epistola IX che riguarda le città di Caen e di Bayeux (versi 137-316)
