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This dissertation aims to study three very important works in English children&rsquo / s fiction: C. S. Lewis&rsquo / s The Lion, the Witch and the Wardrobe, Philip Pullman&rsquo / s The Subtle Knife, the second book of his trilogy His Dark Materials, and J. K. Rowling&rsquo / s Harry Potter and the Philosopher&rsquo / s Stone. The novels will be analyzed in terms of their approaches toward the conventions of fairy tale, fantasy and romance / to this end, the novels are to be evaluated in relation to their concept of chronotope, and the quest of good versus evil. While the secondary world or multiple worlds presented are going to be analyzed in terms of their perception of time and space along with the presentation of the supernatural elements, the characters will be evaluated in terms of the common classification good versus evil. The main argument of this study concentrates on the gradual estrangement from the crystal clear distinctions of the fairy tale genre to a more shadowy, pessimistic, and ambivalent vision of the fantastic in the children&rsquo / s literature.

Mažųjų meninė saviraiška – įvairialypis ir gana paslaptingas procesas. Čia susipina vaiko stebėjimai, jutimai, mėgdžiojimai bei kartojami veiksmai ir jo AŠ. Vaiko kultūros supratimas nulemia požiūrį į jo meninį ugdymą. Augdami meninėje aplinkoje, vaikai kaupia savo individualią patirtį ir perteikia ją įvairiomis meno formomis: kalbėdami, muzikuodami, šokdami, piešdami. Kartu jie pastebi bei pajaučia regimuosius simbolius, muzikos, poezijos ritmą.Vaizduodamas pasaką piešinyje, vaikas, nevaržomas kitų dėmesio ir nuomonės, gali laisviau fantazuoti, labiau pasinerti į apmąstymus, todėl kūrybiškiau mąsto ir originaliau bei įdomiau kuria įvairias idėjas. Tačiau kiekvienas mokinys, derindamas intuityvųjį ir s��mojingąjį pasakos suvokimą, turi įgyti tam tikrą kiekį teorinių žinių, būtinų saviraiškos motyvacijai tenkinti, pasakai piešti. Pradinių klasių mokinių gyvenimiška patirtis nedidelė, o teorinės žinios apie pasakos struktūrą, personažus, konfliktų sprendimo būdus ir kt. negausios. / Artistic self – expression of children – miscellaneous and quite mysterious process. There the observation, senses, imitations, repeating actions and also ego of the child intertwine. The child’s understanding of the culture determines the attitude towards his artistic training. Growing in artistic atmosphere, children store their individual experience and convey it in different forms of art: talking, making music, dancing, painting. Together they notice and feel visual signs, music and the rhythm of poetry.Fairy tale is the base of growing individual, the best way to prepare for life and work. When children read and tell fairy tales, they save our childhood world , which sometimes is forgotten. Painting a fairy tale, a child without others help, attention or opinion, can more easily fantasize and to sunk in contemplation. That’s why he contemplates more creatively and create ideas more originally and interestingly. However, each pupil, coordinating intuitive and ingenious understanding of fairy tale, have to acquire an amount of theoretic knowledge that is essential for self-expression and to paint a fairy tale. The true-life experience of primary school pupils is not big whereas theoretic knowledge of fairy tale structure, characters, ways to deal with conflicts and others is also not large.

Pristatydama savo kūrybinio darbo – pasakos „Dvylika brolių juodvarniais lakstančiu“ sprendimą, pasirinkau tris temas, labiausiai dominusias šioje pasakoje: augimas, mirtis ir raganos, kaip mirties nešėjos, įvaizdis. Nors ši pasaka priskiriama germanų pasakoms ir dažniausiai pasakų rinkiniuose pristatoma kaip surinkta ir užrašyta brolių Grimų, joje galima aptikti ir senovės lietuviams būdingų papročių, apeigų ir simbolių. Būtent šios pasakos artumas lietuvių senajai kultūrai tapo pagrindu kuriant scenovaizdį. Sūpynių motyvas (šokimas į aukštį kaip apeiga), aptinkamas daugelyje lietuvių apeigų aprašymų, jį galima sieti su virtimu paukščiu, kuris neatsiejamas nuo dieviškųjų gebėjimų arba laikino mirties būvio. Mirtis arba pasakojimas apie mirtį yra pagrindinė šios pasakos ir mano kūrybinio darbo tema. Darbą susideda iš šių dalių: scenovaizdžio maketas ir eskizai, kaukės ,lėlės. Scenovaizdžio, eskizų ir lėlių kūrimui naudojama mišri technika. / Three theses where chosen while presenting creative work – fairy tale “Dvylika brolių juodvarniais lakstančių” derivations those where: growing up, death and witch as a death bringer’s image. Even thought the fairy tale is mostly present as a fairy tale cumulated and written by “Brother Grims” and it is considered to be part of Teuton fairy tales assemblage traces of symbols, customs and rites inherent to ancient Lithuanians can be found. While making scenography main foundation can be considered the fairy tale resemblance of ancient Lithuanian culture. Temporary death state or godlike abilities cannot be separated from swings motif (jumping as a rite) which can be found in many Lithuanian rites and it can be associated with turning into a bird. The main theme of this creative work is and the fairy tale is storytelling about death and death itself. The creative work consists of these parts: scenography model and sketches, masks, puppets. The mixed technique is used in other to make puppets, sketches and scenography.

Please note: creative writing theses are permanently embargoed in OpenBU. No public access is forecasted for these. To request private access, please click on the locked Download file link and fill out the appropriate web form. / Abstract not applicable for Creative Writing. / 2031-01-01

Le conte entretient un rapport spécifique au temps : il ancre les événements de l’histoire dans un cadre spatio-temporel éloigné et vague, dont le narrateur se distancie. Les personnages évoluent alors dans une temporalité dont la rupture avec le monde réel est affichée par différents marqueurs et procédés linguistiques, à l’instar de la locution adverbiale « Once upon a time », qui caractérise le genre. Il s’inscrit donc dans une certaine temporalité, mais il vise tout récepteur au-delà de toute considération pour l’époque ou le lieu dans lesquels il s’inscrit. Notre étude consiste alors à déterminer les caractéristiques de l’ambivalence du conte entre temporalité et atemporalité. Pour tenter de répondre à cette problématique, nos recherches s’articulent autour de trois axes principaux : les caractéristiques temporelles liées au genre du conte, les marqueurs et procédés linguistiques qui permettent d’exprimer la temporalité, et, pour finir, l’étude de cas particuliers pertinents dans l’expression et la représentation du temps, dont le rapport entre parataxe et hypotaxe, le connecteur and et les propositions en when font partie. Nous nous basons sur un corpus constitué de 104 contes en langue anglaise écrits par Joseph Jacobs. / The link that fairy-tales have with the notion of time is specific : the story is rooted in a spatiotemporal frame which is presented as far and vague and which the narrator keeps at a distance. The characters then live in a temporality which clearly shows a break with the real world through the use of different linguistic markers and processes, like the adverbial phrase “Once upon a time”, which is typical of fairy-tales. Thus, they have an internal temporality, but they aim at reaching readers who belong to any time and place. This thesis then involves the study of the ambivalence of the fairy-tale between temporality and atemporality. To try and answer the questions linked to this ambivalence, our research focuses on three main lines : the temporal characteristics of the fairy-tale as a literary genre, the linguistic markers and processes which express temporality, and the study of specific cases which are pertinent in the expression and representation of time, including the relation between parataxis and hypotaxis, when-clauses and the connector AND. Our corpus is composed of 104 English tales written by Joseph Jacobs.

Submitted by Ana Laura Garro dos Santos null (analaura.garros@hotmail.com) on 2016-07-07T14:47:06Z No. of bitstreams: 1 ANA LAURA - DISSERTAÇÃO.pdf: 5189721 bytes, checksum: e04aec45b6143c501db176fdd5837d92 (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-07-11T14:31:18Z (GMT) No. of bitstreams: 1 santos_alg_me_prud.pdf: 5189721 bytes, checksum: e04aec45b6143c501db176fdd5837d92 (MD5) / Made available in DSpace on 2016-07-11T14:31:18Z (GMT). No. of bitstreams: 1 santos_alg_me_prud.pdf: 5189721 bytes, checksum: e04aec45b6143c501db176fdd5837d92 (MD5) Previous issue date: 2016-05-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este estudo apresenta os resultados da pesquisa As várias Chapeuzinhos Vermelhos: contos e recontos a partir das preferências de um 4º ano do Ensino Fundamental, desenvolvida no programa de Pós-Graduação – Mestrado em Educação – da Faculdade de Ciências e Tecnologia, FCT-UNESP, na cidade de Presidente Prudente. Tal estudo, que está vinculado à linha de pesquisa “Processos formativos, ensino e aprendizagem” e ao Centro de Estudos em Leitura e Literatura Infantil e Juvenil (CELLIJ), é decorrente da inquietação e preocupação da pesquisadora quanto à maneira como os alunos compreendem suas leituras. Por isso, teve como principal objetivo analisar os contos de fadas sugeridos pelas crianças de um 4º ano do Ensino Fundamental e as relações entre paratextos, texto verbal, não verbal e estratégias de leitura. Assim, analisam-se três versões do conto de fadas Chapeuzinho Vermelho: Chapeuzinho Vermelho, na versão de Perrault, o que chamamos de clássico, Chapeuzinho Vermelho – uma aventura borbulhante, identificada como reconto, e Chapeuzinho Vermelho em uma versão resumida, a qual nomeamos de simplificado. Nesse sentido, os objetivos específicos foram: averiguar como os procedimentos para a escolha do livro implicam na compreensão; analisar se e como o texto verbal permite amplo envolvimento do leitor; verificar a função do texto não verbal nos títulos examinados e, por fim, verificar se e como os contos de fadas escolhidos possibilitam relações com estratégias de leitura. Para tanto, a pesquisa foi desenvolvida em uma escola municipal de Presidente Prudente. Os procedimentos metodológicos ocorreram em dois momentos: no primeiro, utilizou-se como instrumento um questionário para conhecer o perfil e o interesse leitor em relação aos contos de fadas, quando se percebeu que os alunos se interessam pela leitura do gênero, porém, muitos desconhecem a estrutura do texto narrativo; ademais, praticam algum tipo de estratégia em suas leituras, mas não têm consciência disso. O segundo momento foi realizado a partir de uma roda de conversa, que buscou saber a forma de acesso dos discentes aos livros (em casa, na sala de leitura, na sala de aula ou em todos ou mais de um desses locais), além da confirmação dos discentes sobre o conto de fadas preferido. Com base nesses pontos, foi delimitado um corpus de análise, cujas obras foram analisadas levando-se em consideração os seguintes eixos temáticos: paratextos, texto não verbal, texto verbal e estratégias de leitura. Os resultados levaram a crer que as versões do conto clássico e o reconto oferecem maiores e melhores condições para que os alunos compreendam o texto e se motivem para lê-lo. Por outro lado, a versão simplificada não tem qualidade estética e depende de um planejamento do professor para que possa ser utilizada com ressalvas. Nesse sentido, reafirma-se a importância de os profissionais da educação conhecerem diferentes aspectos sobre o livro e sobre as estratégias de compreensão leitora, a fim de ensinar seus alunos a ler todas as partes do livro e se tornar críticos e autônomos. / This study demonstrates the results of the research “Several Little Red Riding Hood: tales and retellings from the preferences of a fourth year of elementary school”, developed by the Graduate Program – Master’s in education – from the Faculdade de Ciências e Tecnologia, FCT – UNESP, in Presidente Prudente. This study, that is linked to the research line “Formative processes, teaching and learning” and to the Centro de Estudos em Leitura e Literatura Infantil e Juvenil (CELLIJ), resulting from the researcher’s uneasiness and concern in relation to the way the students understand their reading. Therefore, it aimed to analyze fairy tales suggested by fourth-grade children and the relationship between paratext, verbal text, non-verbal text and reading strategies. Thus, the fairy tale “Little Red Riding Hood” is analysed in three versions: “Little Red Riding Hood”, in Perrault’s version, that we name classic, “Little Red Riding Hood – A Bubbly Adventure”, that we name retelling and “Little Red Riding Hood” in an abbreviated version that we name simplified. In this sense, the specific objetives were: to ascertain how the procedures to choose the book implicate in the comprehension, to analyse if and how the verbal text permits the reader’s extensive involvement, to verify the non-verbal text function in the analysed titles and, finally, to ascertain if and how the chosen fairy tales allow relationship with the reading strategies. For this purpose, the research was developed in a municipally-run public school in Presidente Prudente. The methodological procedures occurred in two moments: first, it was used as instrument a questionnaire to know the reader’s profile and interest in relation to the fairy tales. It was noticed that the students are interested in reading this genre, however, many do not know the structure of narrative text; they practice some kind of strategy in their reading, but they do not have awareness about it. In a second moment, a conversation circle was done to ascertain the form of access of the students to the books (in their house, in reading rooms, in classrooms, in all these places or more than one of them), besides the student’s confirmation about their favorite fairy tale. From this, an analysis corpus was delimited, which titles were analyzed taking into account the following thematic axes: paratexts, verbal text, nonverbal text and reading strategies. The results led us to believe that the classic tale and the retelling versions offer major and better conditions for the students understand the text and motivate theirselves to read them. On the other hand, there is no aesthetic quality in the simplified version and it depends on the teacher´s planning to be used meticulously. In this regard, the importance of the education professionals knowing the aspects about the book and about the reading strategies is reaffirmed, in order to teach the students to read all the parts of the book and to become critics and autonomous.

Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2017-04-27T19:26:20Z No. of bitstreams: 2 Dissertação - Fernanda Lázara de Oliveira Santos - 2017.pdf: 2130702 bytes, checksum: 6aed0cf1a87b607a13db4d0dc42adabc (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-05-03T12:06:13Z (GMT) No. of bitstreams: 2 Dissertação - Fernanda Lázara de Oliveira Santos - 2017.pdf: 2130702 bytes, checksum: 6aed0cf1a87b607a13db4d0dc42adabc (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-05-03T12:06:13Z (GMT). No. of bitstreams: 2 Dissertação - Fernanda Lázara de Oliveira Santos - 2017.pdf: 2130702 bytes, checksum: 6aed0cf1a87b607a13db4d0dc42adabc (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-03-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Considering the fantastic narrative’s relevance in the development of the imaginary and popular memory this study aimed to comprehend how the representation of the female characters occur in contemporary fairy tales depicted by the cinema. In order to elaborate the corpus of this work, we selected to evaluate the cinematographic narratives Brave (2012), Frozen (2013) and Maleficent (2014). These productions inscribe as contemporary fairy tales due to its peculiarities that detach from the fairy tales’ stereotypes that stem from a revisionist perspective which challenges many of the standards endorsed in common narratives. In the analyzed movies we examined allusive issues to the reconfiguration of the main characters that escape from the condition of subjection and passivity, as represented for so long in productions of such genre. However, we highlight the ideological paradigms which involve gender issues and determination of fixed places to men and women constantly challenged, so legitimating the female autonomy. We base our research on contributions from authors such that Gerard Genette (1982); Antônio Cândido (1988); Bruno Bettelheim (1992); Teresa de Lauretis (1994); Nelly Novaes Coelho (1997); Robert Stam (2011); Guacira Lopes Louro (2011); Linda Hutcheon (2013) among other agents of valuable contributions. / Considerando a relevância das narrativas fantásticas na formação do imaginário e da memória popular, este estudo buscou compreender como ocorre a representação do feminino nas personagens de contos de fadas contemporâneos representados pelo cinema. Para constituir o corpus deste trabalho, elegemos para apreciação as narrativas cinematográficas Valente (2012), Frozen (2013) e Malévola (2014). Estas produções se inscrevem como contos de fadas modernos devido às peculiaridades que se desprendem de estereótipos dos contos clássicos a partir de uma perspectiva revisionista, que contesta muitos dos padrões ratificados em narrativas tradicionais. Nos filmes analisados, examinamos questões alusivas à reconfiguração das personagens protagonistas que se retiram da condição de sujeição e passividade, conforme representado por muito tempo em produções deste gênero. Nesta perspectiva, evidenciamos que paradigmas ideológicos, como aqueles que envolvem as questões de gênero e a determinação de lugares fixos para homens e mulheres estão sendo contestados, legitimando assim a autonomia do feminino. Ancoramos nossa pesquisa em contribuições de autores tais que Gerard Genette (1982); Antônio Cândido (1988); Bruno Bettelheim (1992); Teresa de Lauretis (1994); Nelly Novaes Coelho (1997); Robert Stam (2011); Guacira Lopes Louro (2011); Linda Hutcheon (2013) entre demais agentes de valiosas contribuições.

É de conhecimento geral o fato de que os contos de fada transmitem importantes mensagens carregadas de ideologia que, às vezes, diferem de maneira significativa. Isso ocorre em razão da época ou localidade em que a produção é contextualizada, como podemos bem ver nas variações do conto Chapeuzinho Vermelho, seja aqueles da tradição oral medieval, os adaptados por Perrault ou pelos Irmãos Grimm, ou mesmo as versões da contemporaneidade. Traçando um percurso histórico das transformações dos contos de fada de origem popular partindo da França, percorrendo Alemanha, Portugal e culminando no Brasil o presente estudo busca verificar as transformações ocorridas nessas sociedades, mostrando como elas foram representadas nos contos e quais mensagens transmitem. Para o presente estudo, serão utilizados o Comparatismo Literário e elementos de Teoria Literária por meio de um olhar sociológico e histórico. Após a definição do quadro teórico-metodológico e da base conceitual, partiremos para uma breve análise de algumas sociedades e como sua prática social pode, de certo modo, ser representada nos contos de fada. / It is of general knowledge that the fairy tales transmit important messages filled with ideology that, sometimes, differ significantly from one another. This happens due to the time or place where the production is contextualized, as it is possible to be seen in the variation of the Little Red Riding Hood tale, those from the medieval oral tradition, to those adapted by Perrault or brothers Grimm, and even the contemporary versions. Tracing a historic profile of the changes in the fairy tales of popular origin starting in France, passing through Germany, Portugal and culminating in Brazil the present study aims to verify the transformations that happened in these societies, showing how they were represented in the tales and what messages they pass on. For the present study, Literary Comparatism and elements of Literary Theory will be used through a sociological and historical look. After the definition of a theoretical-methodological picture and a conceptual basis, we will move on to a brief analysis of the different societies and how their social practice can, in a certain way, be represented in the fairy tales.

This thesis presents the psychological concept of dreams and fairy tales and the possible similarities existing between them. Its main source is a depth psychology, psychoanalysis particularly. The thesis is consisting of two parts. In the first part, the theories of dreams and fairy tales are described and the possibilities for their interpretations are given. Then the affinity between dreams and fairy tales is presented including the theory of the Hungarian psychoanalytic Géza Róheim and the Israeli psychologist Ravit Raufman. Róheim assumes that fairy tales represent a social transformation of individual dreams. The development of this idea is: the fairy tales are inducting dreams that would be dreamed, anyway. But they finish better now, with the victory for the child. Raufman applies the methods with which fairy tales have been studied on dreams and defines the affinities between them. In the other part, the similarities between dreams and fairy tales are checked using collected dreams of children aged from 6 to 15. Dreams are interpreted with a special attention to a fourteen years old girl. The thesis also works with the dream of a young woman collected by Raufman. Finally, an explicit and implicit content and formal characteristics of the children's dreams are compared with the most famous...