In sports, there seems to be an eternal interest in discovering young talents and refining them into elite adult athletes. The dilemma of selecting talent, while at the same time ensuring every child´s right to participate, needs to be addressed and have consequences in social practice. This dissertation elucidates the discourse of selection and the process of selecting young sporting talents during final selection camps for youth national teams in football, hockey and floorball in Sweden. More specifically, the aim is to analyze how talent selection is organizationally legitimized, how “selectability” is produced in interaction and how specific narratives are used in success-stories. The empirical material includes research interviews, performance appraisal interviews (between district or national team coaches and the player) and field studies during ongoing final selection camp. Drawing on a discursive-narrative approach, the aim is to investigate how selection is discursively legitimized and, by using narrative analysis, how positioning in talk-in-interaction functions. The first article investigates the construction of legitimate selection within the Swedish Sports Confederation by analyzing their organizational documents, sport journals and literature for coach education. The findings show how a specific set of narratives are used to legitimize selection and how legitimacy works both individually to those within the selection system and on a wider arena of welfare politics. The second article investigates the co-construction of selectability in small story-interaction during interviews between the coach and a player in the final selection camp. The analyses highlight how this narrative genre produces certain stories and preferred positions. The third article analyzes how the young participants, in research interviews during final selection camp, uses discursively shared narratives to produce personal stories of success. The findings illustrate how the personal stories of success are balancing the dilemmatic space, positioning yourself as outstanding and at the same time appear a humble team player. The principal contribution of this dissertation is to show how talent is organizationally legitimized and how selectability is produced in interaction, as well as illustrate how specific stories are used in stories of success. This work investigates the discursive framework for selection and how rationalities for talent selection are produced (and reproduced) and co-constructed in narrative interaction. In this apparatus of selection it takes more than physical talent to be chosen; it takes talking talent. / <p>At the time of the doctoral defense, the following paper was unpublished and had a status as follows: Paper 3: Manuscript.</p>

Made available in DSpace on 2016-04-28T18:23:09Z (GMT). No. of bitstreams: 1 Beatriz Magalhaes Aranha Oliveira.pdf: 2526132 bytes, checksum: 4f97e911503d73da4429c80bcca7b7f7 (MD5) Previous issue date: 2015-07-31 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This research was motivated by my perception of the difficulties that students from a language school face when it comes to writing the narrative genre, specifically telling short stories (which is mandatory in some international exams). Those are important questions, as we know that the responsibility for putting the learning process into a straitjacket is the fact that the focus is on the final result, instead of being on the process. That makes the educational process fixed and non-creative, resulting on the development of students that are not reflexives nor aware of the social activities they engage into. Vygotsky and Engerstöm discussions about the Cultural-Historical Activity Theory (CHAT) are the basis for this study, as well as the concepts of teaching-learning development, mediation in social contexts and critical collaboration in which language plays a fundamental role as a cultural artifact. In general, this research aimed to critically comprehend the contexts created on the classroom of a language school for the production of fictional narratives in English language. The specific targets were: 1) critically understand the comprehension of the students about the contemplated genre; 2) provide conditions for the students so they could appropriate the fictional narrative genre through social activities; 3) analyze the written production of students to critically verify if there was any transformation, and what they were. Eight pre-intermediate students, between the ages of 11 and 13 years old, from a school in São Paulo city took part in the research. Their production, audio recordings and classes description generate the data used in the analysis. They aimed to check how students were gripping to the learning of the genre, and also the relations established in the classroom. The results demonstrated that the pattern of language used was unidirectional and the relationships were mostly I-R-E (initiated by the teacher, responded by the students, and evaluated by the teacher). Nevertheless, at the end of the research, the pattern changes a bit for a more collaborative relationship among the students and the teacher, which made it possible for students to better understand the concepts of the narrative worked during the semester. Mostly, it served well for this teacher-researcher who, for the first time, evaluated her actions in the classroom / Esta pesquisa foi motivada por minha percepção da dificuldade dos alunos de uma escola de idiomas em dominarem a escrita do gênero narrativa de ficção, especificamente contar histórias (produção requerida em exame internacional). Essas são questões importantes, pois um dos responsáveis pelo engessamento do ensino é o foco no produto final e não no processo, o que limita a aprendizagem a formas fixas e não criativas do uso da linguagem, dificultando a formação de alunos reflexivos ou cientes das atividades sociais que vivenciam. As discussões de Vygotsky e Engerström sobre a Teoria da Atividade Sócio-Histórico-Cultural apoiaram este estudo, bem como os conceitos vygotskianos de ensino-aprendizagem e desenvolvimento, alteridade e mediação nas relações colaborativo críticas em que a linguagem tem papel fundamental como artefato cultural. De forma geral, esta pesquisa objetivou compreender criticamente os espaços criados para a produção de narrativas ficcionais em língua inglesa em um contexto de escola de idiomas. Foram objetivos específicos: 1) compreender de forma crítica o domínio dos alunos sobre o gênero enfocado; 2) criar condições para que os alunos se apropriassem do gênero narrativa de ficção por meio de atividades sociais; 3) analisar produções escritas dos alunos para compreender de forma crítica se há transformação nas produções escritas e quais são. A pesquisa foi realizada com 8 alunos, entre 11 e 13 anos, em nível pré-intermediário, de uma escola de idiomas de São Paulo. Foram coletadas produções escritas dos alunos ao longo de um semestre, além de audiogravações das aulas preparatórias e descrições detalhadas. Os dados produzidos em sala de aula foram analisados para compreensão da apropriação dos alunos do gênero enfocado, e das relações construídas no processo interacional. Os resultados revelaram que o padrão de linguagem dominante foi unidirecionado e as relações se organizaram por meio do I-R-A (professora inicia, aluno responde e professora avalia). Todavia nas aulas finais há uma retomada desse padrão para o desenvolvimento de um relacionamento colaborativo entre os participantes da pesquisa, o que propiciou aprendizagem e desenvolvimento aos alunos, mas, principalmente, a esta pesquisadora que, pela primeira vez, avaliava sua ação

En Afrique, un continent où le paludisme est prévalent, la fièvre constitue le premier motif de consultation médicale. Des études sur l'utilisation des tests de diagnostic rapide du paludisme au Burkina Faso ont toutefois révélé qu'une proportion croissante de maladies fébriles aiguës ne sont pas liées au paludisme (Bottger et al., 2017). Dans certains cas, il pourrait s’agir de la dengue, puisqu’une épidémie de cette maladie a été déclarée au Burkina Faso en 2013, suivie d’une nouvelle flambée en 2016. Or, la formation des agents de santé burkinabè quant au traitement de la dengue est déficiente (Munoz, Ridde, Yaro, et Bottger, 2015). Cela représente un problème de santé publique quand on sait que la détection précoce et l’accès à des soins médicaux adaptés permettent de ramener les taux de mortalité en dessous de 1 %. La vidéo pourrait contribuer à pallier ce manque de formation puisqu’elle constitue un outil de transfert de connaissances efficace (Armstrong, Idriss, et Kim, 2011; Fiorella et Mayer, 2018; Yeung, Justice, et Pasic, 2009). Son utilisation a toutefois été peu étudiée en fonction de son genre narratif. La présente étude vise donc à évaluer l'efficacité relative de trois vidéos qui empruntent autant de genres narratifs distincts (1-reportage, 2-théâtre, 3- animation) pour améliorer les connaissances des prestataires de soins de santé burkinabè. Elle a aussi pour objectif d’identifier les éléments narratifs qui bonifient la vidéo comme outil de transfert de connaissances. Les vidéos ont été testées auprès d’étudiants en soins infirmiers à Ouagadougou (n = 482) à l’aide d’un test de connaissances. Trois groupes de discussion ont été formés avec des étudiants (N = 46) et des entretiens individuels ont été menés avec des professionnels de la santé (n = 10). / In Africa, a continent where malaria is prevalent, fever is the main reason for medical consultation. Studies on the use of malaria rapid diagnostic tests in Burkina Faso have shown, however, that an increasing proportion of acute febrile diseases are not related to malaria (Bottger et al., 2017). Some of these cases could be dengue fever, as an epidemic of this disease was declared in Burkina Faso in 2013, followed by a new outbreak in 2016. However, Burkinabe health workers have not received adequate training to treat dengue fever (Munoz et al., 2015). This is a public health problem, since it is known that early detection and access to appropriate medical care can reduce mortality rates to below 1%. Video could help fill this training gap, as it is an effective knowledge transfer tool (Armstrong, Idriss, & Kim, 2011; Fiorella & Mayer, 2018; Yeung, Justice, & Pasic, 2009). However, its use has been little studied in relation to narrative genre. The present study therefore aimed to evaluate the relative effectiveness of three videos adopting different narrative genres (1-journalism, 2- drama, 3-graphic animation) in improving the knowledge of Burkinabe healthcare providers. It also aimed to determine what narrative elements enhance video as a knowledge transfer tool. The videos were tested with nursing students (n = 482) in Ouagadougou using a knowledge questionnaire. Three focus groups were held with students (n = 46), and individual interviews were conducted with health professionals (n = 10).

[pt] A dissertação analisa o cinema de horror brasileiro a partir de 2008, momento em que José Mojica Marins, criador do icônico Zé do Caixão, lança sua última obra, Encarnação do Demônio. A produção que segue daí é bastante heterogênea e diversa, além de crescente em número de filmes. Para se ter uma ideia, em 2008 foram lançados três filmes, incluindo o de Mojica, já em 2018, foram lançadas nove obras. Do conjunto me interessa e destaco aquelas que, de alguma forma, mobilizam o gênero narrativo enquanto crítica ou comentário social. Discuto na dissertação, além de Encarnação do Demônio, os filmes Trabalhar Cansa (2011), As Boas Maneiras (2017), Mormaço (2018) e Bacurau (2019). Partindo desse corpus, desenvolvo uma reflexão sobre os usos dos gêneros narrativos no cinema brasileiro das primeiras décadas do século XXI. / [en] This work analyses Brazilian horror cinema from 2008, when José Mojica Marins, creator of the iconic Coffin Joe, launched his latest film, Encarnação do Demônio. The set of movies that follows is not only heterogeneous and diverse but also growing in number of films. To get an idea, in 2008 three films were released, including Mojica s, as opposed to nine films in 2018. From this set of movies, what interests me and what I highlight are those films that somehow mobilizes the genre as a critic or social comment. I discuss in this work, besides Encarnação do Demônio, the films Trabalhar Cansa (2011), As Boas Maneiras (2017), Mormaço (2018) and Bacurau (2019). By this corpus, I develop a reflection on the uses of the narrative genres in Brazilian cinema of the first decades of the 21st century.

Au confluent de l’histoire des idées et de la poétique romanesque, cette thèse s’intéresse aux interactions textuelles multiples entre le genre romanesque et l’imaginaire musical tel qu’il s’est développé au fil du XXe siècle. Elle examine les modalités par lesquelles une idée de la musique, intronisée comme paradigme d’écriture par un certain nombre de romancières et de romanciers français entre 1900 et 1980, informe la composition du roman tout en infléchissant la production du sens, qui, à l’horizon du modèle musical, devient davantage signifiance que signification. Elle appréhende également l’évolution des pratiques romanesques à la lumière des discours sur la musique tels que les réfléchissent et les intègrent les œuvres, afin de dégager les différentes manières par lesquelles le musical, à entendre comme les propriétés dérivées de l’objet musique, s’impose comme le modus operandi de l’écriture, et invite le critique à interpréter l’œuvre sur le modèle herméneutique de la partition. Le récit-partition apparaît sur fond d’une crise de la signification et de la représentation, dont les ferments sont à chercher dans le fonctionnement sémiotique même du langage. La recherche entend montrer comment, dans l’optique de répondre à cette crise du langage et aux nombreuses répercussions qui confrontent la sémantique romanesque à une impasse, certains romanciers du XXe siècle ont envisagé la musique comme une fiction du roman et pour le roman, puis ont façonné à partir d’elle les paramètres d’une nouvelle écriture romanesque. Hérité du topos romantique de la « musique absolue », qui considère l’œuvre musicale comme un pur phénomène sonore, irréductible au langage verbal et, du fait de son autoréférentialité, le modèle de l’organon absolu, ce paradigme d’écriture aurait permis aux écrivains du XXe siècle d’abandonner les prémisses référentielles du genre romanesque et de penser ce dernier à l’aune de nouvelles configurations poétiques, fondées sur la résonance du sens, l’autoréflexivité du médium et une mémoire textuelle plus sensible que philosophique ou morale. La réflexion menée dans le cadre de la thèse interroge en premier lieu les conditions épistémologiques, métaphysiques et discursives qui concourent à l’avènement d’un paradigme musical, lui-même tributaire d’un régime du sensible particulier, qui pousse des générations entières d’écrivains à se tourner vers la musique pour ravitailler une matière romanesque dès lors perçue comme lacunaire. La démonstration se décline essentiellement en quatre temps : le premier chapitre entend prendre au pied de la lettre la métaphore de la partition, de manière à montrer comment les indices paratextuels et structuraux actualisent certains procédés d’écriture qui s’inspirent de la musique ; les deuxième et troisième chapitres interrogeront les modalités de « textualisation » de la musique à travers les prismes respectifs de la création et de la réception musicales représentées dans la fiction, en s’intéressant aux figures de compositeurs et de musiciens (chap. 2), puis aux ekphraseis musicales et aux scènes d’écoute (chap. 3) ; enfin, c’est sur les grands mythes de la musique que débouche notre enquête, mythes antiques mais surtout wagnériens, dont la réécriture plus ou moins conforme avec la matrice d’origine permet de diffracter un rapport complexe à la modernité par une ressaisie du sens, de la temporalité narrative et du discours romanesque au miroir des récits fondateurs et du langage premier et plénier dont ils portent la mémoire. / This dissertation strives to understand the various interactions between 20th-century fictional works and the contemporary musical imaginary that was developed and modulated throughout the century. Rooted in a dual approach – that of the history of ideas and of the poetics of the novel –, this study examines how a given idea of music, inducted as a writing paradigm by many French novelists between 1900 and 1980, models textual composition and becomes a means to rethink the creation of signification in narrative forms. It also traces the evolution of the French novel and its writing practices in the light of musical discourses and aesthetics as reflected by and integrated into novelistic works. To this end, the concept of “narrative score” (récit-partition), as a hermeneutic instrument or reading tool, is paramount in order to grasp the ways in which the musical – i.e. the properties derived from music as an objective or phenomenal reality – imbues the literary text and becomes the modus operandi of fiction writing for some French novelists. The “narrativescore” emerged in the context of an artistic crisis – stemming from the semiotic fabric of language itself – that questioned both the ideas of representation and meaning. The present work will show how this crisis of language and consequential impasse of the novelistic genre lead some 20th-century writers to conceptualize music as a fiction of and for the novel with the purpose of fashioning a new narrative framework by remodeling the genre’s parameters. Descending from the romantic trope of “absolute music” which considers the musical piece as an autoreferential structure comprised of pure sounds without intrinsic meaning thus irreducible to verbal speech, the idea of music as a writing paradigm allows novelists to relinquish the referential premises of the narrative genre to introduce new poetic configurations based on the resonance of meaning, the self-reflexivity of the medium and a textual memory, more engrained in the sensible than in the speakable (dicible) or the philosophical. We will first outline the epistemological, metaphysical and discursive landscape that lead to the advent of a musical paradigm in literature, which is dependent on a specific “partition of the sensible” (Rancière); here, we will explore what motivated several generations of writers to turn to music as a way to replenish the fictional material they perceived as deficient while fulfilling their ideal of an autotelic work of art. The textual analysis that follows will be divided into four parts: in the first chapter, we will consider the score not as a metaphorical notion, but as an actual model; indeed, some paratextual elements and structural configurations highlight the presence of writing techniques directly inspired and shaped by the musical; the second and third chapters will examine the textual actualization and representation of music respectively through the lens of musical composition (poïesis) and musical reception (esthesis) by analyzing fictional composers and musicians (chap. 2), then musical ekphraseis and listening scenes (chap. 3); lastly, we will focus on the great musical myths – ancient myths, but mostly Wagnerian ones – whose rewriting, more or less in line with the original stories, allow the writers to renegotiate their complex relationship with modern times, by re-capturing meaning, narrative temporality and novelistic discourse through the use of these founding myths and the unitary, almost pre-adamic, language.