Thesis (MPhil)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: This study attempts to explore aspects of the textual representation of Magadien Wentzel, the main character of The Number, a work of literary journalism by Jonny Steinberg. It sets out to respond to the following two central research questions: Firstly, what narrative decisions does Jonny Steinberg make in the text of The Number to convey aspects of the reality he experienced in relation to his main character, Magadien Wentzel; and secondly, what effect do these decisions have on the reader? As literary journalism is a genre with fluid boundaries and therefore various definitions, the thesis first presents the challenge of definition and lays out a broad history of the genre in its attempt to situate The Number as a work of social documentary and of literary journalism in South Africa. Taking realism as its theoretical point of departure, this study aligns itself with the view that there exists an independent, extra-textual real-world and that knowledge of this real-world can be produced and shared. In doing so, realism presents itself as a literary form associated with art that cannot turn away from harsh aspects of human existence – a characteristic mirrored by Steinberg’s (and thus his character’s) major themes. By means of a textual analysis which seeks to interpret aspects of Steinberg’s narrative decisions in his text, this study uses tools of literary realism, namely the empirical effect and the character effect, in its exploration. This research, conducted within the qualitative research paradigm, is informed in particular by the assumption that there exists an implicit communicative contract between author and reader which leads to narrative trust, seen as an indispensable quality to the non-fictional reading experience. In the case of Steinberg and The Number, this study finds that the writer’s representation of a particular reality relies to an important degree on the level of trust he is able to inspire in a reader. This is pertinent because, being factual, non-fiction demands that a reader not only imagine a world other than their own, but that they believe it too. One of the ways in which Steinberg enables a reader to trust his representation of his particular reality is by overtly placing his literary and authorial concerns alongside his reportage of Magadien Wentzel, the main character of The Number. This distinctive narrative approach results in a modification of the reader’s traditional contract with the writer, forged by the text between them, to one in which the text unites the reader with both Steinberg as narrator and Magadien Wentzel as character. / AFRIKAANSE OPSOMMING: Hierdie studie poog om aspekte van die tekstuele voorstelling van Magadien Wentzel, die hoofkarakter in The Number, 'n werk van literêre joernalistiek deur Jonny Steinberg, te verken. Dit probeer om die volgende twee sentrale navorsingsvrae te beantwoord: Eerstens, watter narratiewe besluite neem Jonny Steinberg in die teks van The Number om aspekte van die werklikheid wat hy ervaar het met betrekking tot sy hoofkarakter, Magadien Wentzel, oor te dra, en tweedens, watter effek het dit op die leser? Aangesien literêre joernalistiek 'n genre is met vloeibare grense en daarom verskeie definisies, probeer die tesis eerstens die uitdaging van definisie te beantwoord. Daarmee lê dit ook 'n breë basis van die geskiedenis van die genre in sy poging om The Number te situeer as 'n sosiale dokumentêr en as literêre joernalistiek in Suid-Afrika. Met realisme as teoretiese vertrekpunt, vereenselwig hierdie studie hom daarmee dat 'n onafhanklike, ekstra-tekstuele regte wêreld bestaan, en dat kennis van dié “regte wêreld” geskep en gedeel kan word. So representeer realisme hom as 'n literêre vorm wat verband hou met die kunste, en wat sigself nie kan afwend van die harde aspekte van die menslike bestaan nie – 'n kenmerk wat deur Steinberg se hooftemas – en daarom ook dié van sy hoofkarakter – weerspieël word. Deur middel van 'n tekstuele analise wat poog om aspekte van Steinberg se narratiewe besluite in sy teks te interpreteer, gebruik hierdie studie aspekte van literêre realisme, naamlik die empiriese effek en die karakter-effek, in sy ondersoek. Hierdie navorsing, wat binne die kwalitatiewe navorsingsparadigma uitgevoer is, is veral geïnformeer deur die aanname dat daar 'n implisiete kommunikatiewe kontrak tussen die skrywer en die leser bestaan wat lei tot narratiewe vertroue, gesien as 'n onmisbare element van die nie-fiksie-leeservaring. In die geval van Steinberg en The Number het hierdie studie bevind dat die skrywer se voorstelling van 'n bepaalde werklikheid tot 'n belangrike mate berus op die vlak van vertroue wat hy by die leser genereer. Dit is belangrik, want synde feitelik, vereis nie-fiksie dat 'n leser nie net 'n wêreld anders as hul eie voorstel nie, maar dat hulle ook daarin kan glo. Een van die maniere waarop Steinberg 'n leser in staat stel om sy voorstelling van sy besondere werklikheid te vertrou, is deur die plasing van sy literêre en outeursbesorgdheid direk langs sy reportage van Magadien Wentzel, die hoofkarakter in The Number. Hierdie unieke narratiewe aanslag het ’n modifikasie van die leser se tradisionele kontrak met die skrywer tot gevolg, ’n kontrak wat gewoonlik deur die teks tussen hulle gesmee is, en wat verander in een waarin die teks die leser met beide Steinberg as verteller en Magadien Wentzel as karakter verenig het.

DEAR LITTLE ME: A RESPONSE TO MY FORMER SELF is a 180-page memoir in which the adult self at age twenty-three responds to the diary entries and writings of the younger version of herself. The original diary entries, which were written from 2001 to 2004, feature the typical troubles of a middle school girl: crushes, cliques, and puberty. However, the diary entries also explore darker events such as September 11, divorce, bullying, and self-image issues. When the adult “me” re-read these diaries, I felt a strong desire to respond to my former self, offering her advice and encouragement, both serious and humorous. DEAR LITTLE ME is unique in form, as it combines diary entries and essay. In the same way that Amy Krouse Rosenthal’s ENCYCLOPEDIA OF AN ORDINARY LIFE adopts the well-known format of the encyclopedia to create familiarity for her readers, DEAR LITTLE ME stays true to the the diary format. Modeling the new prose on the original form and syntax of diary entries is intended to create pathos by appealing to readers’ sense of nostalgia for their own lost childhoods. I intend to help readers remember their challenging pre-teen years and to recognize how many of the challenges of those years are still with us as adults, albeit in different forms.

abstract: ABSTRACT This study sought to inform the curriculum of crew resource management (CRM) for multi-pilot flight deck operations. The CRM curriculum requires continued reexamination to ensure safe flight in the changing demographic of flight decks in the US. The study calls attention to the CRM curriculum’s insufficient inclusion of robust training components to address intercultural communication skills and conflict management strategies. Utilizing a phenomenological approach, the study examined the communicative experiences of African American female military and airline transport pilots on the flight deck and within the aviation industry. Co-cultural theory was used as a theoretical framework to investigate these co-researcher’s (pilots) experiences. A parallel goal of the investigation was to better understand raced and gendered communication as they occur in this specific context—the flight deck of US airlines and military aircraft. The researcher conducted in-depth semi-structured interviews and shadowed two co-researchers (pilots) for a period of days and built a relationship with them over the course of one year. Eight years of preparation working in the airline industry situated the researcher for this study. The researcher collected stories and interviews during this time immersed in industry. The data collected offers initial insights into the experiences of non-dominant group members in this unique organizational environment. The study’s findings are reported in the form of a creative/narrative nonfiction essay. This effort was twofold: (1) the narrative served to generate a record of experiences for continued examination and future research and (2) created useful data and information sets accessible to expert and non-expert audiences alike. The data supports rationalization as a co-cultural communication strategy, a recent expansion of the theory. Data also suggests that another strategy—strategic alliance building—may be useful in expanding the scope of co-cultural theory. The proposed assertive assimilation orientation identifies the intentional construct of alliances and warrants further investigation. / Dissertation/Thesis / Doctoral Dissertation Communication 2015

abstract: Jazz continues, into its second century, as one of the most important musics taught in public middle and high schools. Even so, research related to how students learn, especially in their earliest interactions with jazz culture, is limited. Weaving together interviews and observations of junior and senior high school jazz players and teachers, private studio instructors, current university students majoring in jazz, and university and college jazz faculty, I developed a composite sketch of a secondary school student learning to play jazz. Using arts-based educational research methods, including the use of narrative inquiry and literary non-fiction, the status of current jazz education and the experiences by novice jazz learners is explored. What emerges is a complex story of students and teachers negotiating the landscape of jazz in and out of early twenty-first century public schools. Suggestions for enhancing jazz experiences for all stakeholders follow, focusing on access and the preparation of future jazz teachers. / Dissertation/Thesis / D.M.A. Music Education 2013

Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2016-11-29T16:37:06Z No. of bitstreams: 2 Tese - Mayara Barbosa Tavares - 2016.pdf: 11088011 bytes, checksum: 8447216a95ffa840576e6ebae8892ea4 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Jaqueline Silva (jtas29@gmail.com) on 2016-11-30T15:39:01Z (GMT) No. of bitstreams: 2 Tese - Mayara Barbosa Tavares - 2016.pdf: 11088011 bytes, checksum: 8447216a95ffa840576e6ebae8892ea4 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-11-30T15:39:01Z (GMT). No. of bitstreams: 2 Tese - Mayara Barbosa Tavares - 2016.pdf: 11088011 bytes, checksum: 8447216a95ffa840576e6ebae8892ea4 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-10-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The thesis Nonfiction comics: uses and discourses is the result of a qualitative research that employs a set of interpretive activities. This work aims to discuss and analyze the choice of discourse genre in nonfiction comics for the approaching of serious and real issues, and the constructed meaning’s effect. The theoretical background is related to the French orientation on Discourse Analysis focused on Pêcheux’s works (1990a; 1990b; 1999; 2006; 2009), taking into account notions about meaning’s effect and production conditions. It is also taken conceptions of historicization by Maldidier (2003); the concepts of theoretical and analytical device of interpretation by Orlandi (2002). It is searched, to complement, the notion of discourse genre according to Bakhtin (1997; 2003) and hypergenre in accordance with Maingueneau (2010). For the comics theorization it is used Eisner’s works (2001, 2005), focused on the concept of sequential art; Ramos (2007; 2009a; 2009b; 2011) and Franco (2001; 2011; 2012), with contributions to the comics language. The thesis is built through a network of real issues - politics, education, history -; everyday issues - which gives uniqueness to the narrated fact - and the nonfiction comic discourse genre; united by the nodal point of AD: the discourse. From the analysis of use and discourse, materialized in the selected nonfiction comics, we find that the comics are a hypergenre, that fits a wide range of texts and can be used for long periods of time and in many countries. The hypergenre comic consists of nonfiction comic books, which are a discourse genre, a relatively stable type of statement that is made by the centripetal forces that keep the regularities – the relation between verbal and non-verbal; sequential art; fictional characters and issues; others - and the centrifugal forces that enable the transformation, the change, the discontinuity in this particular case, the possibility of approach the nonfictional thematic and characters. The analysis show that the nonfiction comics discourse genre, when adding verbal and non-verbal language, at first, helps the interlocutors to understand, in a didactic way, the meaning’s effect due to faster and more effective reading. However, we find that there is the emergence of issues that involve the use of nonfiction comics, such as the resistance and the culture of status perceptible during the analysis of ideological, imaginary and discursive formations, which allow the construction of a fluid and heterogeneous thesis. / A tese História em quadrinhos não ficcionais: usos e discursos é o resultado de uma pesquisa de cunho qualitativo que emprega um conjunto de atividades interpretativas. O trabalho tem o objetivo de problematizar e analisar o uso, a escolha, do gênero do discurso história em quadrinhos não ficcional para a abordagem de assuntos reais e os efeitos de sentidos construídos. A fundamentação teórica liga-se à Análise do Discurso de orientação francesa, com foco nas obras de Pêcheux (1990a; 1990b; 1999; 2006; 2009), levando em conta as noções de efeito de sentidos e condições de produção. Tomam-se, ainda, as concepções de historicização de Maldidier (2003); os conceitos de dispositivo teórico e analítico de interpretação junto a Orlandi (2002). Busca-se, para complementar, a noção de gênero do discurso conforme Bakhtin (1997; 2003) e de hipergênero segundo Maingueneau (2010). Para a teorização das histórias em quadrinhos, são utilizadas as obras de Eisner (2001; 2005), com foco no conceito de arte sequencial; de Ramos (2007; 2009a; 2009b; 2011) e de Franco (2001; 2011; 2012), com as contribuições sobre a linguagem dos quadrinhos. A tese é construída por meio de uma rede das temáticas reais – política, educação, história –; das temáticas cotidianas – que confere relativa singularidade ao fato narrado –, e o do gênero do discurso HQ não ficcional; unidas pelo ponto nodal da AD: o discurso. A partir das análises do uso e dos discursos, materializados nas histórias em quadrinhos não ficcionais selecionadas, verificamos que as histórias em quadrinhos são um hipergênero, que enquadra uma larga faixa de textos e pode ser usado durante longos períodos e em muitos países. O hipergênero história em quadrinhos é constituído pelas histórias em quadrinhos não ficcionais, que são um gênero do discurso, um tipo relativamente estável de enunciado que é constituído pelas forças centrípetas que mantêm as regularidades – relação entre o verbal e o não verbal; arte sequencial; personagens e temáticas ficcionais; outros – e pelas forças centrífugas, que possibilitam a transformação, a mudança, a descontinuidade, neste caso específico, a possibilidade de abordagem de temáticas e/ou personagens não ficcionais. As análises mostram que o gênero do discurso história em quadrinhos não ficcional, ao somar linguagem verbal e não verbal, em um primeiro momento, contribui para que o interlocutor compreenda, de maneira didática, os efeitos de sentidos, devido à leitura mais rápida e efetiva. Verificamos que há também a irrupção de outras questões que envolvem o uso das HQs não ficcionais, como a resistência e a cultura de status perceptíveis durante a análise das formações ideológicas, imaginárias e discursivas, que possibilitam a construção de uma tese fluida e heterogênea.

Orientador: Francisco Foot Hardman / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-12T14:46:39Z (GMT). No. of bitstreams: 1 Andretta_CyntiaBelgini_M.pdf: 1551521 bytes, checksum: a16e80737b55b94e2aecb4b771c7a0f5 (MD5) Previous issue date: 2008 / Resumo: Este trabalho visa introduzir um estudo da componente literária no chamado jornalismo literário, tomando como ponto de partida a análise de três livros: Hiroshima, de John Hersey, A sangue frio, de Truman Capote, e Olga, de Fernando Morais. A proposta é compreender o porquê da rubrica "literário" que os três livros-reportagens escolhidos possuem - a seleção foi feita por meio de uma pesquisa prévia, que apontava esses livros como marcos no chamado "Novo Jornalismo" (variante do nome jornalismo literário), tanto no cenário internacional quanto nacional; também porque são distintos entre si (fragmentos de histórias, romance narrativo e biografia, respectivamente) e, por isso, apresentaram mais dados como corpus do trabalho. Nesse sentido, lança-se mão dessas três obras, reconhecidas tanto pela crítica quanto pelo mercado editorial, para investigar um provável hibridismo entre os discursos literários e jornalísticos. Para tanto, duas questões são de fundamental importância, a saber, a linguagem e a relação do jornalismo e da literatura com o "real", obrigando a um estudo sobre os conceitos teóricos principalmente de literatura. / Abstract: This work aims at to introduce a study of the literary component in the call literary journalism, taking as starting point the analysis of three books: Hiroshima, of John Hersey, The cold blood, of Truman Capote, and Olga, of Fernando Morais. Proposal is to understand for what of heading "literary" that the three chosen book-news articles possess - the election was made by means of a previous research, that pointed these books as landmarks in the call "New Journalism" (variant of the journalism literary name), as much in how much national the international scene; also because they are distinct between itself (fragments of histories; narrative romance and biography, respectively) e, therefore, given more as corpus of the work. In this direction, we use of these in such a way three workmanships, recognized for the critical one how much for the publishing market, to investigate a probable hibridism between the literary and journalistic speeches. For in such a way, two questions is of basic importance, namely, the language and the relation of the journalism and literature with the "real", compelling to a study on the theoretical concepts in special of literature. / Mestrado / Literatura e Outras Produções Culturais / Mestre em Teoria e História Literária

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The purpose of this article is to argue for the benefits of using nonfiction text in the primary grades classroom. Readers are provided with a brief theoretical framework which outlines how nonfiction may increase achieve,emt, motivation, and interest for young students. Additionally, practical strategies are included for classroom teachers which work to frontload and support students in the act of processing nonfiction text as well as increase teachers' comfort level with the implementation of a nonfiction unit of study.

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