A argumentação é um ato social imprescindível na vida de todo e qualquer sujeito, entretanto a escola delega o trabalho com argumentação aos anos escolares finais, como preparo para o vestibular. No entanto entendemos a argumentação como um espaço discursivo que os sujeitos têm o direito de ocupar desde a mais tenra idade. Diante disso, utilizando a Análise do Discurso pecheuxtiana como dispositivo teórico-analítico, este trabalho tem como objetivo analisar o discurso dos sujeitos-escolares, especificamente dos que frequentam os 5º e 9º anos do Ensino Fundamental, sobre o fracasso escolar, com foco na argumentação, e como o direito (ou não) às práticas argumentativas está relacionado à assunção ou à ausência de autoria. Para isso, foi oferecida aos alunos uma coletânea de textos que abordava, sob diferentes pontos de vista, o tema fracasso escolar para, assim, promover uma discussão oral e propor que os alunos escrevessem textos argumentativos sobre o tema debatido. Serão analisados os discursos orais e escritos dos sujeitos-alunos e, para as análises, consideraremos os indícios de determinado funcionamento discursivo, os quais, para o analista do discurso, são constituídos pelas marcas linguísticas que cada sujeito deixa em seu dizer. Em nossas análises observamos que os sujeitos-alunos se posicionam e argumentam na oralidade, enquanto na escrita há a predominância da paráfrase. Isso ocorre devido a, provavelmente, uma prática escolar pautada pelo discurso autoritário. Além disso encontramos indícios do discurso dominante que culpabiliza o próprio aluno pelo sucesso/fracasso escolar. Tais sentidos sustentam-se em uma formação discursiva dominante sobre o fracasso escolar, que isenta a escola dessa responsabilidade e, pelo efeito da ideologia, naturaliza os sentidos de que os alunos não estudam; logo, não aprendem. A relação do sujeito com a linguagem não é transparente, mas está vinculada a aspectos sócio-históricos; é por meio da ideologia que se naturaliza o que é produzido historicamente e se leva o sujeito a pensar que o sentido só pode ser aquele e não outro. Por fim, com este estudo, buscamos construir espaços para o discurso polêmico em sala de aula a fim de promover a argumentação, bem como esperamos contribuir para a compreensão da argumentação como um direito que leva à autoria. / Argumentation is an indispensable social act in the life of all and any subject, however, the school delegates the work with argumentation to the final school years, as preparation for the college entrance exam. However, we understand the argumentation as a discursive space that subjects have the right to occupy from an early age.Therefore, using the theory of Discourse Analysis by Michel Pêcheux as a theoretical and analytical device, this work aims to analyze the discourse of school subjects, specifically those who attend the 5th and 9th grade of Elementary School, about school failure, focusing on argumentation, and how the right (or not) to argumentative practices is related to the assumption or absence of authorship. For this purpose, we offered the students a collection of texts that addressed, from different points of view, the theme \"school failure\" in order to promote an oral discussion and to propose that students write argumentative texts about the theme discussed. The oral and written discourses of the school subjects will be analyzed and, for the analysis, we will consider the signs of a certain discursive functioning, which for the discourse analyst are constituted by the linguistic marks that each subject leave in his/her saying. In our analyzes we observed that the school subjects have positioned themselves and argued in orality while in writing there is predominance of the paraphrase. This is probably due to a school practice based on authoritarian discourse. In addition, we find indications of the dominant discourse that blames the student for school success/failure. Such meanings are sustained in a dominant discursive formation about school failure which exempts the school from this responsibility and, by the effect of ideology, naturalizes the meanings that students do not study and therefore, they do not learn. The relation of the subject to language is not transparent, but it is bounded to social and historical aspects and is through ideology that it naturalizes what is produced historically, and leads the subject to think that the meaning can only be \"that\" and not another. Finally, with this study, we seek to construct spaces for controversial discourse in the classroom in order to promote the argumentation, as well as we hope to contribute to the understanding of argumentation as a right that leads to authorship.

雖然早年的研究已證明了表達性書寫有助促進身體及心理健康，但其整體效果很小，而且影響並不一致。因此，新的原素應加入現有的書寫指引，以提升表達性書寫對健康的正面影響。本研究特意探討自我關懷的概念可如何補充現有表達性書寫指引的不足。除探討自我關懷日記對身體及心理健康的影響外，本研究亦會探討表達性書寫及自我關懷日記的機制，以及自我批評的個性將如何調節表達性書寫及自我關懷日記對健康的影響。 / 在本研究中，所有參加者均被隨機分為三組：（1）自我關懷日記（2）表達性書寫，（3）時間管理書寫（對照組）。在完成基線評估後的一周後，參加者須根據他們的組別，依特定的書寫指示書寫三天，每次二十分鐘。參加者於完成最後一天書寫後即填寫第一份後續問卷；並在四個星期後填寫第二份後續問卷。研究結果顯示，自我關懷日記及表達性書寫有助舒緩壓力及減少身體症狀。在對照組別中，參加者的身體症狀沒有改變。相反地，在自我關懷日記及表達性書寫組別中，參加者的身體症狀有明顯的減少。研究結果亦指出，相對於表達性書寫，自我關懷日記對減少身體症狀更為有效。另一方面，據文字分析結果顯示，相對於對照組，自我關懷日記及表達性書寫組別的參加者使用較多正面及負面情緒詞語，以及第一人稱代名詞。這些結果間接地支持情緒管理及建立良好的個人概念乃表達性書寫及自我關懷日記影響健康的機制。另外，研究亦發現在表達性書寫組別中，情緒管理能力是依據二次模式而改變；而在自我關懷組別中，則發現自我仁慈也是依據二次模式而改變。而較多負面情緒詞語的使用及自我仁慈的提升與第二次後續問卷中身體症狀的減少相關。因此，情緒管理及建立良好的個人概念於自我關懷日記及表達性書寫中可能有著不同的運作。另外，在表達性書寫組別中，傾向自我批評的參加者有較明顯的得益。表達性書寫及自我關懷日記對自我介入的應用將於結論部分討論。 / Expressive writing has been demonstrated to be successful in promoting physical and psychological health in previous research. However, the overall effect is inconsistent and small. Thus, new ingredients should be added to the existing writing paradigm, to enrich its beneficial effects on health. In particular, the present study proposed and examined self-compassion as a potential supplement of the existing expressive writing paradigm. In addition to examining the effect of self-compassion journaling on physical and mental health, the mechanisms of expressive writing and self-compassion journaling, as well as the moderating role of self-criticism on the effect of expressive writing and self-compassion journaling on physical and mental health were also examined. / In the study, all participants were randomized into 3 groups: (1) self-compassion journaling, (2) expressive writing, and (3) time management writing as control. On 3 days within one week following the baseline assessment, participants wrote according to writing instructions specified for their assigned conditions, and engaged in a 20-minute writing session. Participants then completed the post-writing assessment immediately after the final writing session, and the follow-up assessment 4 weeks after the final writing session. Results of the present study suggested both expressive writing and self-compassion journaling were effective in reducing physical health problems. No change in physical symptoms at the follow-up assessment was observed in the control group. However, significant reduction in physical symptoms was observed in both the expressive writing and the self-compassion journaling groups, with the self-compassion journaling group showed a larger effect on physical symptoms reduction than the expressive writing group. On the other hand, results of text analysis showed both the expressive writing group and the self-compassion journaling group wrote more positive and negative emotion words, first person singular and plural pronouns than the control group, which provided indirect evidence to support emotion regulation and resilient self-concept construction as the underlying mechanisms of expressive writing and self-compassion journaling. In addition, unique quadratic pattern of change in mood regulation ability in the expressive writing group and unique quadratic pattern of change in self-kindness in the self-compassion journaling group were observed. In addition, more use of negative emotion words and increase in self-kindness were found to be associated with decrease in physical symptoms at the follow-up assessment, suggesting emotion regulation and resilient self-concept construction may work differently in expressive writing and self-compassion journaling. Also, self-critical individuals were found to benefit more than counterparts who are low in self-criticism in expressive writing condition. Applications of expressive writing and self-compassion journaling in self-help interventions were also discussed. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Wong, Ching Yee. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references. / Abstracts also in Chinese. / Abstract --- p.i / Chinese Abstract --- p.iii / Acknowledgements --- p.v / Chapter Chapter 1: --- Introduction --- p.1 / The Development of Expressive Writing Research --- p.2 / Expressive Writing and Its Health Benefit --- p.3 / The Mechanisms of Expressive Writing --- p.4 / Self-Compassion and Its Health Benefits --- p.11 / Association between Self-Compassion and Emotion Regulation --- p.12 / Association between Self-Compassion and Resilient Self-concept --- p.13 / Self-Compassion Journaling --- p.13 / Potential Moderator: Self-Criticism --- p.15 / Aims of the Present Study --- p.17 / Chapter Chapter 2: --- Method --- p.19 / Pilot Test --- p.20 / Participants --- p.21 / Procedures --- p.22 / Experimental Conditions --- p.23 / Measures --- p.24 / Chapter Chapter 3: --- Results --- p.28 / Immediate Effects of Writing on Mood --- p.29 / Effects of Expressive Writing on Psychological Health over Time --- p.31 / Effect of Expressive Writing and Self-Compassion Journaling --- p.on / Physical Health over Time --- p.32 / Writing Content across Three Writing Conditions --- p.35 / Effects of Expressive Writing and Self-Compassion Journaling on Cultivating Emotion Regulation and Resilient Self-Concept --- p.37 / Correlations between Changes in Health Indicators, and Changes in Proposed Attributing Factors --- p.44 / Moderating Role of Self-Criticism on the Effect of Expressive Writing and Self-Compassion Journaling --- p.46 / Chapter Chapter 4: --- Discussion --- p.47 / Limitation and Future Research Directions --- p.54 / Chapter Chapter 5: --- Conclusion --- p.55 / References --- p.57

Do Campo a Cidade é uma reflexão sobre o estatuto da obra e do artista contemporâneos. Trata da comparação entre o percurso dos jovens artistas Marcelo do Campo (1951 - ?) e Marcelo Cidade (1979 - ?). Por meio da investigação e reprodução do corpo de trabalhos de ambos, explora questões fundamentais para a arte: qual a natureza do autor contemporâneo, qual a importância do contexto de produção da obra para sua interpretação, e quais os limites entre a obra de arte, a documentação, a citação, a falsificação e o plágio. Do Campo a Cidade é um objetolivro. Concebido como um textoimagem, propõe uma experiência de arte disfarçada de narrativa. Em sua apresentação gráfica, como em seu conteúdo textual, expõe uma reflexão sobre a relação entre o artista e a universidade, eliminando a lacuna entre a prática e a teoria, entre o fazer artístico e sua investigação acadêmica. Pretende responder, assim, às exigências da área de Poéticas Visuais, que privilegia pesquisas tanto teóricas quanto experimentais sobre os processos artísticos. / Do Campo to Cidade is a reflection on the status of contemporary artists and their work. It is a comparison between the trajectories of the young artists, Marcelo do Campo (1951 ?) and Marcelo Cidade (1979 ?). By means of the investigation and reproduction of the body of work of each one of them, it explores fundamental questions about art: what is the nature of the contemporary author; what is the importance of the context in which the work of art is produced for its interpretation; and what defines the borders between a work of art, a documentation, a quotation, a falsification and a plagiarism. Do Campo to Cidade is a book-object. It was conceived as a text-image to propose an art experience disguised as a narrative. In its graphic presentation as well as in its textual content, it exposes the relation between the artist and the university, eliminating the gap between practice and theory, between the making of art and its academic investigation. In this way, it aims to meet the demands of the Visual Poetics field that favors both theoretical and experimental researches about the artistic processes.

When Geoffrey Chaucer depicts characters debating the flaws of his works in The Legend of Good Women, or when Marie de France tells histories of literary transmission to frame her Lais, these authors are writing what I describe as metapoetic narratives. By "metapoetic" I mean that their works are in part about the making of poetry, commenting on the authors' poetic activity and creative processes from within. My dissertation, "Revisionary Retelling: The Metapoetics of Authorship in Medieval England," examines how this self-conscious mode of writing enables certain vernacular authors to reflect on their positions as retellers of well-known narratives and established literary traditions. I argue that such self-reflection is central to the efflorescence of vernacular literatures in medieval England. In the last few decades, scholars have called into question the idea that the Middle Ages valued only established literary authority and had no interest in originality, with recent critics noting how medieval authors do make conscious use of the interpretive and distorting possibilities of translation and retelling. Although this line of criticism has been revolutionary, it still tends to view literary authority as inherently limited, so that newer authors must remain entirely subordinate to their sources or seek to replace them. This dynamic of limited authority would seem to be intensified for Anglo-Norman or Middle English retellers; long-standing scholarly narratives have similarly cast the English vernacular languages as competing for linguistic authority with Latin and French. "Revisionary Retelling" challenges these understandings of vernacular creativity by bringing to light the alternative conceptions of authorship and literary authority being invented and explored by writers working in both Anglo-Norman and Middle English. Rather than simply accepting or rejecting a subordinate status, authors such as Marie de France, the Orfeo poet, Thomas Chestre, Geoffrey Chaucer, and John Lydgate take a revisionary view of the challenges inherent to translation and retelling: challenges such as intertextual dependencies, interpretive distortions, and the recombination of traditions. In their metapoetic narratives, these writers theorize authorship and literary authority by dramatizing those types of literary challenges, as well as their processes of revision more broadly. As these authors tell stories about the possibilities and problems of vernacular retelling, they simultaneously imagine and enact a type of authorship--and a type of authority--based in creative revision. The first chapter traces this metapoetic mode back to Marie de France's Anglo-Norman Lais, arguing that Marie offers a vision of authorship as an ongoing, trans-historic process of collaborative interpretation. Chapter Two examines how later Middle English lay authors consciously use their second-class status in relation to the French lays to leverage themselves into a position of critical distance from the traditions on which they draw. The third chapter argues that Chaucer willfully depicts his own canon as dependent and unstable in his catalogues of his works, and thereby takes ownership of the challenges of vernacular authorship and invents himself as an authoritative Middle English writer. In my fourth chapter, I suggest that the proliferation of literary authorities in John Lydgate's Fall of Princes, which might seem to constrain and subjectify the text, counter-intuitively asserts the equal value of writing across languages, time, and retellings. Together, these four chapters demonstrate the rich complexity of medieval critical retelling and the power of retold narratives to creatively revise not just their sources, but also literary history itself.

Do Campo a Cidade é uma reflexão sobre o estatuto da obra e do artista contemporâneos. Trata da comparação entre o percurso dos jovens artistas Marcelo do Campo (1951 - ?) e Marcelo Cidade (1979 - ?). Por meio da investigação e reprodução do corpo de trabalhos de ambos, explora questões fundamentais para a arte: qual a natureza do autor contemporâneo, qual a importância do contexto de produção da obra para sua interpretação, e quais os limites entre a obra de arte, a documentação, a citação, a falsificação e o plágio. Do Campo a Cidade é um objetolivro. Concebido como um textoimagem, propõe uma experiência de arte disfarçada de narrativa. Em sua apresentação gráfica, como em seu conteúdo textual, expõe uma reflexão sobre a relação entre o artista e a universidade, eliminando a lacuna entre a prática e a teoria, entre o fazer artístico e sua investigação acadêmica. Pretende responder, assim, às exigências da área de Poéticas Visuais, que privilegia pesquisas tanto teóricas quanto experimentais sobre os processos artísticos. / Do Campo to Cidade is a reflection on the status of contemporary artists and their work. It is a comparison between the trajectories of the young artists, Marcelo do Campo (1951 ?) and Marcelo Cidade (1979 ?). By means of the investigation and reproduction of the body of work of each one of them, it explores fundamental questions about art: what is the nature of the contemporary author; what is the importance of the context in which the work of art is produced for its interpretation; and what defines the borders between a work of art, a documentation, a quotation, a falsification and a plagiarism. Do Campo to Cidade is a book-object. It was conceived as a text-image to propose an art experience disguised as a narrative. In its graphic presentation as well as in its textual content, it exposes the relation between the artist and the university, eliminating the gap between practice and theory, between the making of art and its academic investigation. In this way, it aims to meet the demands of the Visual Poetics field that favors both theoretical and experimental researches about the artistic processes.

Writing instruction has been neglected, both in teacher preparation courses and in professional development in literacy. Yet, the adoption of new standards and teacher evaluation systems by many states demands increased writing instruction and teacher “effectiveness” in providing it. Teachers, then, have faced higher expectations for writing instruction with little support for what those expectations mean or how to enact them in their own contexts. To meet these demands, it has been suggested that teachers must see themselves as writers in order to work most productively with children as writers. Therefore, if teachers must identify as writers to be “effective,” then teachers who do not identify as writers are also denied an identity as “good teachers.” These static, binary identity categories serve as “cover stories” to obscure a much more complicated reality. Informed by critical writing pedagogy and a literacy-and-identity studies framework, this study explored how teacher-writers in one school-based writing group perform, understand, and narrate their identities as writers and teachers of writing. Utilizing a narrative inquiry methodology for group meetings and interviews, I analyzed the complex, fluid, and sometimes contradictory identities of teacher-writers, and the construction, reconstruction, and mobilization of stories within and about the group. The static, binary identities group members claimed served as cover stories, the static categorical writer-selves that we construct in relation to our conceptions of an idealized writer. My study concluded that the relative autonomy of the writing group provided a shelter from the school culture of accountability where emotion and profanation were possible. This work proposed that, in acknowledging the complex nature of writing identities and the “unofficial” emotional lives of teachers, we can push beyond a static writer/non-writer binary and disrupt a hierarchical, outcome-based notion of staff development. As a result, space for staff development, in which a diverse school community joins together to engage in experiences, learning, and identity work that make space for emotion, may be created.

This thesis explores the persuasive effects of literature both personally and socially, via the codification of character archetypes in fiction (exemplified here in high fantasy fiction). This thesis firstly explores the manner in which literature can affect individuals' beliefs, and how certain representations of groups (in this case, women) can be inherited and maintained through genre norms, themselves maintained through traditional publishing models and financial concerns. Next, this thesis offers an analysis of self-published novels' responses to the archetypal representations of women within high fantasy, as exemplified in two popular high fantasy works, The Lord of the Rings and A Game of Thrones, and four self-published novels (including the author's own). It then focuses on whether self-publishing allows for the highlighted genre norms to be more easily subverted due to the nature of the new publishing model. It concludes with a discussion on the possibility of a new form of literary understanding, termed by the author 'multiliteraryism'. Building on debates in the field of world literature and multilingualism, multiliteraryism, it is suggested, can offer a new method of understanding multiple voices and representations, absent any denigration in terms of the means of publication.

O editorial jornalístico se configura como gênero argumentativo, tendo como característica marcante a exposição do ponto de vista de uma instituição jornalística sobre os fatos de maior repercussão no momento. Em virtude de seus objetivos e de suas condições de produção, a impessoalidade e a generalização nele predominam, mesmo assim, é possível detectar marcas formais de autoria em várias partes do texto. A linguagem é sempre subjetiva, constrói a realidade, no sentido de jamais poder ser neutralizada. O homem, o autor, é sempre intermediário e, como tal, manipula o discurso ao seu dispor. Neste trabalho, então, não se visa procurar o subjetivo (a autoria) em contraste com um possível discurso objetivo; intenta-se, na verdade, mostrar estratégias linguísticas de evidenciar a autoria, de explicitá-la na sua relação com as pessoas do discurso / Editorial is considered an argumentative text, and has as main characteristic to show the point of view of a Journal about the most commented facts at the present time. Considering the goals of the text and the conditions of its production, we can see the predominance of impersonality and generalization in that. Even though, it is possible to take formal elements that indicate authorship through the text. The language is always subjective and builds reality, in the sense it is never neutral. The human, the author, is always an intermediate and, manipulates the discourse the way he/she wants. This work, so, does not aim to find the subjective discourse as opposite of the purely objective discourse; it aims, actually, to show up the linguistic strategies of showing the authorship and to explicit it in its relation with the persons of discourse

No description available.

O presente trabalho pretende investigar a relação dinâmica e complexa de identificação do sujeito-professor com a escrita, no que diz respeito a como este sujeito constrói seu discurso escrito, quais as marcas linguísticas que ele disponibiliza e que podem indiciar uma possível identificação ou não com a produção textual escrita. Para tanto, utilizamos como instrumento de coleta de dados textos dissertativo-argumentativos de um grupo de professores de séries iniciais do Ensino Fundamental, que atuam no ensino público em Ribeirão Preto e que participam de um grupo de estudo, pesquisa e extensão, na FFCLRP/ USP, denominado CADEP (CENTRO DE APRENDIZAGEM DA DOCÊNCIA DOS EGRESSOS DE PEDAGOGIA). Realizamos as análises dos textos em consonância com os pressupostos teóricos da Análise do Discurso de linha francesa, a fim de observarmos a relação desses sujeitos com a linguagem escrita, o que foi possível pela análise das marcas linguísticas presentes em seus discursos, nos desvãos das palavras, nas brechas do dizer, na inextricável relação do dito com o não dito. Pensando na complexidade dessa relação, despertou-nos o interesse em pesquisar a identificação do sujeito-professor com a sua produção escrita no que tange aos mecanismos ideológicos presentes no seu discurso, que naturalizam determinados sentidos e não outros, suas vivências e as formações imaginárias que permeiam a sua escrita, elementos estes que podem influenciar de maneira significativa a construção do discurso escrito, assim como afetar o posicionamento do sujeito como autor. Nos recortes analisados, encontramos marcas linguísticas que indiciaram uma identificação do sujeito-professor com a linguagem escrita que lhe possibilitou criar o efeito-autor; encontramos, também, mas em menor quantidade, indícios de não identificação do sujeito com a sua produção escrita, prejudicando, nesse caso, a assunção da autoria. A partir das análises dos textos dos sujeitos-professores, notamos a importância do CADEP como um espaço no qual é permitido ao professor interpretar, movimentar os sentidos, produzir e compartilhar discursos a partir de processos historicizados e subjetivos. Dessa forma, defendemos que é preciso disponibilizar aos sujeitos-professores condições para que ocupem a posição discursiva de autores do seu discurso e nessas condições estão incluídos o acesso e o estudo dos referenciais teóricos dos quais o professor não pode ser privado quando assume a docência. Assim, entendemos que o professor também terá condições de oportunizar um espaço, na sala de aula, capaz de instigar os alunos a se identificarem com a linguagem escrita e a assumirem, nos seus textos escritos, a posição de autores do seu discurso. / The present study aims to investigate the dynamic and complex relationship of identification of the subject teacher with writing, with regard to how this subject builds his/her written discourse, which linguistic marks it makes available and may indicate a possible identification with or without the written textual production. Therefore, we have used as an instrument of data collection dissertative-argumentative texts from a group of teachers of the early grades of elementary school, who work in the public education in Ribeirão Preto and are participating in a study, research and extension group in FFCLRP / USP, called CADEP (LEARNING CENTER OF TEACHING OF PEDAGOGY GRADUATES). We have performed the analysis of texts in line with the theoretical assumptions of Analysis of the French Discourse (Discourse in the French line), in order to observe the relationship of these subjects with the written language, which was made possible by the analysis of the linguistic marks that were present in their discourses, in the recondite of the words, in the gaps of uttering, in the inextricable relation of the said with the unsaid. Thinking about the complexity of this relationship, our interest was aroused in researching the identification of the subject teacher with his/her written output with respect to the ideological mechanisms that are present in his/her discourse, that naturalize certain ways and not others, their experiences and imaginary formations that permeate his/her writing, elements which may significantly influence the construction of the written discourse, as well as affect the positioning of the subject as an author. In the cutouts that were analyzed, we found the linguistic marks that indicted an identification of the subject teacher with the written language that enabled him/her to create the effect-author, we have also found, but in smaller quantities, evidence of the no subject identification with their written production, damaging in this case, the assumption of authorship. From the analysis of the texts of the subject-teachers, we have realized the importance of CADEP as a space in which the teacher is allowed to act, move the senses, produce and share discourses from historicized and subjective processes. Thus, we argue that it is necessary to provide conditions for subject-teachers to occupy the discursive position of authors of their own discourse and in these conditions, the access to and the study of theoretical frameworks are included from which the teacher cannot be deprived when he/she takes the teaching. Consequently, we understand that the teacher will also be able to have opportunities in a space, in the classroom, to instigate students to identify with the written language and assume, in their written texts, the position of the authors of his discourse.