Made available in DSpace on 2014-06-11T19:22:30Z (GMT). No. of bitstreams: 0 Previous issue date: 1999-12-14Bitstream added on 2014-06-13T18:08:23Z : No. of bitstreams: 1 andraus_g_me_ia.pdf: 8362517 bytes, checksum: 9ef6288bad4bb9d354a83dcb5756bbb9 (MD5) / As histórias em Quadrinhos (HQs), veículos artísticos de comunicação, podem ser comerciais ou autorais e de conteúdo adulto, embora, até hoje tenham sido mal interpretadas. Elas podem também descrever claramente os percalços evolutivos da sociedade humana em todos os setores, principalmente na ciência, refletindo paradigmas ou vaticinando novos conceitos, além de servirem como divulgadoras dos ideários autorais. O Koan é uma técnica oriental utilizada pelos zen-budistas, que tem paralelo com a física Quântica, a qual emprega como metáfora para exemplificar suas teorias e novas descobertas, aproximando os questionamentos da ciência ocidental aos conceitos paradoxais da filosofia oriental, como se pode ver no livro o Tao da Física do cientista Fritjof Capra. Este trabalho se propõe a apontar as HQs autorias destinadas ao público adulto que contenham o Koan em suas estruturas narrativas, indicando uma possível importância implicada tanto nestes conceitos como na propagação dos mesmos pelas HQs, para a evolução científico-social dos seres humanos. / Comics, artistic communication vehicles, can be comercial or authoral ones, and also destined to adults readers; although thei are misunderstood until today, they can clearly the evolutive paths of human society, in every sectors, mainly in science, reflecting standards, even predicting new concepts, mainly when comics reflect the ideals of the author. Koan in an oriental techic used by zen budhists, and it has parallel with Quantic Physics, which uses koan as a mataphor to explain its concepts and is new discoveries, nearing occidental science inquiring to paradoxal concepts of the oriental philosophy, as can seen in the book The Tao of Phisics, by Scientist Fritjof Capra. The objective of this study is to show the existence of Koans in those comics, pointing to an implicated importance possible to the sociaal-scientific evolution of the human beings in both of these concepts and their propagation by Comics.

Orientador: Marco Antônio Domingues Sant'Anna / Banca: Alice Atsuko Matsuda / Banca: Cláudia Valéria Penavel Binato / Resumo: A presente pesquisa objetiva investigar a subversão do gênero do conto de fadas tradicional na obra No castelo que se vai, de Marina Colasanti, do livro Entre a espada e a Rosa (1992), a fim de explicitar o modo como a autora narra sua história para, através da linguagem, construir seu tema. Além da análise do conto, procedeu-se também a análise de um material de apoio à leitura, elaborado e oferecido pela Secretaria da Educação do Estado de São Paulo, em 2012, com o intuito de subsidiar o trabalho dos professores de língua portuguesa, para que estes promovam uma leitura prazerosa e competente. Pretende-se, nessa segunda análise, verificar se o material de apoio em questão contempla, por meio das estratégias de leitura propostas, um estudo da construção linguística do conto e da preparação de um simples leitor para o leitor-modelo, responsável e crítico, capaz de construir o sentido de modo autônomo e de argumentar sua recepção. O procedimento metodológico consta de duas etapas: a primeira corresponde à revisão bibliográfica e ao estudo de pressupostos teóricos sobre a leitura, o texto literário e o papel do leitor no texto literário. Para tanto, a pesquisa se pauta principalmente na teoria do Leitor Modelo, conceito abordado por Umberto Eco (1986) e na Estética da Recepção difundida na década de 1960, por meio das pesquisas de Hans Robert Jauss (1994) e Wolfgang Iser (1996). Na segunda etapa a pesquisa foi feita de forma qualitativa, já que esta permite ao pesquisador ter contato direto e prolongado com a situação que está sendo pesquisada, possibilitando-lhe vivenciar a realidade, fundamentada nos estudos de LÜDKE; ANDRÉ (1986). Para alcançar tal objetivo, foi aplicado um questionário sobre os hábitos de leitura dos alunos, junto com as estratégias de leitura propostas por Bignotto (2012), inspiradas em Isabel Solé (1998). A coleta dos dados se deu por meio... / Abstract: Not available / Mestre

Orientador: Flávio Mário de Alcântara Calazans. / Banca: Roberto Bazanini / Banca: Pelópidas C. de Oliveira / Resumo: As histórias em Quadrinhos (HQs), veículos artísticos de comunicação, podem ser comerciais ou autorais e de conteúdo adulto, embora, até hoje tenham sido mal interpretadas. Elas podem também descrever claramente os percalços evolutivos da sociedade humana em todos os setores, principalmente na ciência, refletindo paradigmas ou vaticinando novos conceitos, além de servirem como divulgadoras dos ideários autorais. O Koan é uma técnica oriental utilizada pelos zen-budistas, que tem paralelo com a física Quântica, a qual emprega como metáfora para exemplificar suas teorias e novas descobertas, aproximando os questionamentos da ciência ocidental aos conceitos paradoxais da filosofia oriental, como se pode ver no livro o Tao da Física do cientista Fritjof Capra. Este trabalho se propõe a apontar as HQs autorias destinadas ao público adulto que contenham o Koan em suas estruturas narrativas, indicando uma possível importância implicada tanto nestes conceitos como na propagação dos mesmos pelas HQs, para a evolução científico-social dos seres humanos. / Abstract: Comics, artistic communication vehicles, can be comercial or authoral ones, and also destined to adults readers; although thei are misunderstood until today, they can clearly the evolutive paths of human society, in every sectors, mainly in science, reflecting standards, even predicting new concepts, mainly when comics reflect the ideals of the author. Koan in an oriental techic used by zen budhists, and it has parallel with Quantic Physics, which uses koan as a mataphor to explain its concepts and is new discoveries, nearing occidental science inquiring to paradoxal concepts of the oriental philosophy, as can seen in the book The Tao of Phisics, by Scientist Fritjof Capra. The objective of this study is to show the existence of Koans in those comics, pointing to an implicated importance possible to the sociaal-scientific evolution of the human beings in both of these concepts and their propagation by Comics. / Mestre

abstract: In Everything I See Your Hand is a collection of short stories that takes place in the "Little Armenia" neighborhood of East Hollywood, California--an ethnic enclave made up of immigrants from the former Soviet state who came to Los Angeles following the collapse of the USSR in the early '90s. These fictions are rooted in my own personal experience and are about dispossession, domesticity, and the tangled ties between generations, focusing particularly around the tensions that arose from assimilation and disillusionment, from changing attitudes towards sex and homosexuality, violence and masculinity. Many of the stories grapple with the idea of self-exile, or ruminate on the difference between leaving the motherland, and leaving the mother, or other familial bodies, in order to pursue grander desires: a better life in America, superior education in distant universities, love in marriages with foreigners, etc. The body, therefore, becomes a central motif in the collection, principally the hands and forehead, which are traditionally areas in which the destinies are written for the Armenian people. The Armenian-American protagonists of In Everything I See Your Hand struggle with the belief that their lives are already written, their futures already decided, futures that they can only escape through death or departure--if they can escape them at all. / Dissertation/Thesis / M.F.A. Creative Writing 2013

abstract: Set in the former Yugoslavia, contemporary Bosnia and Herzegovina, and Midwest America, the collection of short stories follows the complicated trajectory of war-survivor to refugee and, then, immigrant. These stories---about religious prisoners who are not at all religious, about young, philosophizing boys tempting the bullets of snipers, about men retracing their fathers' steps over bridges that no longer exist---grapple with memory, imagination, and the nature of art, and explore the notion of writer as witness. / Dissertation/Thesis / M.F.A. Creative Writing 2013

The main aim of this study is to assess and analyse Mashike’s short stories. No one has ever done a research on Mashike’s work in terms of displaying various structural elements such as characterisation, plot, theme, style as well as setting. It is therefore fit that a research be conducted that will demonstrate Mashike’s artistry in the writing of short stories. / Ms. R Mokgathi

Since the late 1990s, the abuse of prescription opioid painkillers has been constructed as a major social problem in the United States, commonly referred to in the media as the “prescription painkiller epidemic.” Stories of addiction, overdose deaths, robberies, and other tragedies related to prescription opioids have been, and continue to be, commonly featured in the media. In response to public outcry regarding the “epidemic,” government and medical institutions have enforced strict regulations on the distribution of opioids, targeting most of these regulations at the treatment of chronic pain in particular. In this dissertation, I examine the experience of chronic pain management with opioids amid this cultural environment, using the personal, cultural, and institutional levels of narrative outlined by Loseke (2007) as an organizing theme. The dissertation is comprised of four distinct but interrelated chapters that explore the topic of chronic pain management with opioids in four different ways. In the first substantive chapter, I share a personal narrative of my own experience as the daughter of a mother with chronic pain who relies on opioids, in order to provide context for the rest of the dissertation, disclose my own positionality, and show rather than tell how the stigma and regulations surrounding opioids are experienced in the lives of people with chronic pain and their families. In the following chapter, I shift away from the personal and use Loseke’s (2012) method for the empirical analysis of formula stories to examine cultural narratives about prescription opioids published in the New York Times between 2000 and 2013. I argue that the narratives contribute to an environment in which people with chronic pain who rely on opioids are made vulnerable to stigma and discrimination. I use Loseke’s method again in the third substantive chapter to examine institutional narratives about opioids told in an FDA public hearing. I argue that the narratives serve to construct moral boundaries between different types of pain patients and justify a label change that disproportionately burdens patients with chronic pain. In the final substantive chapter, I share personal narratives acquired through in-depth interviews with twelve people currently living with chronic pain. I find that the dominant cultural and institutional narratives surrounding prescription opioids translate into stigma and barriers experienced in the lives of people seeking chronic pain treatment, and serve to silence their personal narratives which are resistant and subversive. I conclude by urging for the removal of barriers to chronic pain treatment with opioids and for the wider dissemination of personal narratives of chronic pain patients at the cultural and institutional levels.

Dit is reeds deur andere gese: dat die "vernuwing van Sestig" in die Afrikaanse prosa die Afrikaanse prosakritiek tot bestekname gedwing het soos die vernuwing in die poësie van Dertig die kritiek van daardie tyd. En waar die vernuwing in die prosa ook op die gebied van die kort prosakuns so duidelik op die voorgrond was, kan daar wel gevra word: hoe geldig is die teorieDit is reeds deur andere gess: dat die "vernuwing van Sestig" in die Afrikaanse prosa die Afrikaanse prosakritiek tot bestekname gedwing het soos die vernuwing in die poesie van Dertig die kritiek van daardie tyd. 2 En waar die vernuwing in die prosa ook op die gebied van die kort prosakuns so duidelik op die voorgrond was, kan daar wel gevra word: hoe geldig is die teorieë wat in Afrikaans so eksplisit oor die "kortverhaal" opgestel is vir die nuwer Afrikaanse verhaalkuns? en daarby: hoe geldig is die nuwer, meer teksgerigte beskouings in Afrikaans? Die vraag is die kern van die huidige studie.

Philosophiae Doctor - PhD / The rationale to embark upon this research is based on the notion that stories are effective tools to support the teacher in implementing the curriculum as an entity instead of fragmented sections. Learning Outcome 1 outlined in the Revised National Curriculum Statement (DoE, 2002a:14) Languages Policy Document of the Grade R section states that the learner should be able to … [understand] short, simple stories …” by “ … [joining] in choruses at appropriate points … [draw] a picture of the story … [connect] the story to his own life …”. The goals of the proposed curriculum necessitated an investigation to firstly, establish whether stories are in fact used and if so how the stories are used. Secondly, I explored whether stories are integrated with other subjects in the curriculum. In the research the teachers were also assisted to expose Grade R children to stories whereby they could deal with traumas such as HIV and AIDS. The research was conducted before the implementation of CAPS (DBE, 2011b) but in the recommendations a model based on CAPS is proposed. The research was conducted with Grade R children therefore it was important to adhere to ethical considerations, such as anonymity and a protocol to follow the school programme. Of importance was to observe when you work with children you should acknowledge the sensitivity around their privacy and emotional needs especially with regards to fears and traumas. Based on the assumption by Levine and Foster as cited in Jackson (2000: 276) that “... story telling ... art, and music could be healing tools”, there seemed to be a need to research whether these were used as learning materials to empower teachers in Grade R classes. The literature underpins the theoretical framework. The theoretical framework was based on story theory and the integrated approach. In order to assess the approaches of teachers I applied an epistemological paradigm emanating from a qualitative framework which was embedded in a constructivist/interpretivist approach. The research design was a case study. I used interviews and questionnaires as research instruments. Triangulation was applied to validate my findings. In analysing the types of stories, it served to establish which kinds of stories appealed to the target group and what effect these stories had on the children. The integration of stories and other areas in the curriculum possibly gave more scope for optimal utilisation of the imagination of children. It was imperative to determine how teachers could be assisted to implement an approach whereby the imagination of a child is stimulated and optimally utilised in order to develop linguistic and social skills, as well as help learners to cope with trauma. The research was conducted in Grade R classes in the Western Cape, representing various strata of society namely a previously disadvantaged state school, a former model C school, a privately funded institution and a non-governmental institution. Ultimately the research was driven with the intention that once the approach had been negotiated and implemented the children and teachers would benefit. The types of stories and activities in the programmes presented were of great significance. It also called for creative and innovative teachers, who were not only acquainted with the circumstances of all the children they taught, but similarly equally sensitive to the circumstances of the children. The findings were informed by the data gathered at the schools, based on the main research questions and the subsidiary questions. Most teachers recognised the importance and value of stories as well as the significance of integration. However, the integration was mostly reserved for language lessons. The main recommendations are with regards to the teaching approaches to integrate lessons, selections of stories to integrate lessons, an environment conducive to integration of lessons and the role of the education department.

This study is concerned with a particular kind of short story in South African English literature - a kind of story variously called the fireside tale, tall tale, yarn, skaz narrative, frame narrative, or (the term used in this study), the 'oral-sty Ie story.' This kind of story is characterised by the use of an internal narrator (a fictional narrator or storyteller figure), the cadences of his or her speaking voice, and a 'reporting' frame narrator. Stories by A. W. Drayson, Frederick Boyle, J. Forsyth Ingram, W. C. Scully, Percy FitzPatrick, Ernest Glanville, Perceval Gibbon, Francis Carey Slater, Pauline Smith, Aegidius Jean Blignaut and Herman Charles Bosman form the principal body of primary sources examined in this study. The Bakhtinian notion of "simple" and "parodistic" skaz narratives is deployed to analyse the increasing complexity to be discerned in the works by these writers, which roughly span the 100 years from the middle of the nineteenth century to the middle of the present century. A "simple" use of the skaz narrative is evident in the early or 'ur-South African' oral-style story, represented here by Drayson, Boyle and Ingram. With Scully and FitzPatrick the form is still used 'artlessly,' although the beginnings of a greater self-consciousness can be discerned. The' Abe Pike' tales by Glanville introduce a more complex use of the fictional narrator, a process taken a step further by Gibbon in his 'Vrouw Grobelaar' tales. With the latter, in particular, the complex or "parodistic" skaz narrative makes its advent in South African literature. The oral-style stories of Slater and Smith are largely a regression to the ear lier form, although there are aspects of their stories which anticipate Bosman. With Blignaut and Bosman, however, the South African oral-style story comes into its own. In their Hottentot Ruiter and Oom Schalk Lourens characters is invested all the complexity and 'double-voicedness' that was latent, and largely dormant, in the earlier oral-style narratives. Through Blignaut, and Bosman in particular, the South African oral-style story achieves its most economical, sophisticated and successful form of expression. The study concludes by looking briefly at the use of an oral style in short stories by black South African writers and argues that their stories are not, formally speaking, to be categorised alongside those by the other~ writers examined. The oral-style story, the study concludes, achieved its apogee in Bosman's Oom Schalk Lourens sequence and went into sharp decline after Bosman's death in 1951.