The Learning Partnerships Model (LPM) (Baxter Magolda and King, 2004) is a framework for promoting self-authorship. Self-authorship is a holistic development theory that employs three dimensions (epistemological, intrapersonal, interpersonal). The LPM can be tailored to a variety of academic tasks, including course design and curriculum development. The model has also been used in co-curricular settings to design community-standards programs, internship programs, and to improve academic advising. An exhaustive review of the literature on one particular co-curricular setting, the student conduct office, revealed studies about the conduct process and student outcomes achieved through that process but no research on student conduct and self-authorship. I explored how the principles of the LPM are evident in student conduct environments where learning is occurring. The sample consisted of student conduct environments at three institutions where students involved in the conduct process achieve learning outcomes that exceed the learning outcomes achieved by like students at other institutions based on a national quantitative assessment (NASCAP). I spent three days on each campus, observing office operations that included 21 conduct hearings. I interviewed every hearing officer in the three student conduct offices (n=8). I found that the principles of the LPM were evident in these environments. Hearing officers created conditions for learning and development to occur. Specifically hearing officers' engaged in four key behaviors that support the principles of the LPM. They created a connection with the student, sought to understand the conduct incident, provided encouragement, and promoted learning and autonomy. Hearing officers purposefully built a welcoming environment in order to solicit information that would enable them to understand students' lived experiences and developmental capacities. They partnered with students to create expectations for future behavior that encouraged student autonomy and accountability. These actions by hearing officers created conditions intentionally to promote learning and development. The findings provide tangible strategies that can be used in the student conduct process to promote self-authorship. / Ph. D.

This thesis examines in which ways and how female authors in the fantasy-genre are being embodied in their authorship. It is done so through interviews of three published female authors working in the fantasy and/or science fiction genre and analysed with thematic analysis through the lense of Judith Butlers theory on the gender/sex distinction and performativity. The study shows how actors in the field act as gatekeepers by exclusion and how the authors negotiate their position as authors in the context of the fantasy/science fiction genre. The performative regulations of embodiment genders these authors to the extent of questioning the female authorship itself.

published_or_final_version / abstract / Curriculum Studies / Doctoral / Doctor of Philosophy

Esta pesquisa investiga nas 122 dissertações de vestibular que compõem o corpus, produzidas por alunos de ensino médio de um colégio da Grande São Paulo os traços espaçotemporais que lhes são constitutivos. Tomando como base o conceito bakhtiniano de cronotopo que, sem se confundir com a noção de contexto, designa a indissociabilidade entre espaço e tempo nos textos e na vida concreta (BAKHTIN, 1998) , estuda-se a intrincada relação entre os sujeitos, os ambientes escolares e a sua história. Essa relação pressupõe uma concepção de linguagem em que os sujeitos (falantes ou escreventes) lidam com a língua sempre a partir da relação que têm com o outro, o que inclui a relação também com um dado cronotopo. Dessa preocupação mais geral, deriva o cumprimento de três objetivos específicos: foi definido como constitutivo dessas redações o que se passou a chamar de cronotopo da avaliação; foi verificada a conformação da dissertação de vestibular como gênero do discurso, na relação constitutiva com esse cronotopo; e foram consideradas as implicações do mesmo cronotopo para o ensino e a aprendizagem da escrita, especialmente quanto à retração da autoria. Na análise, foram selecionadas marcas linguísticas representativas do processo de produção das redações: dentre outras, formas de encantamento do leitor-avaliador o supradestinatário (BAKHTIN, 2015); a ausência de evidencialidade, dissimulada por um uso específico da modalidade (HALLIDAY, 2014); generalizações; e marcadores de esquiva da responsabilidade enunciativa. Como resultado, constatou-se que se coadunam três perspectivas: a de um modelo de educação forjado pela modernidade, de tradição racionalista em que predomina o conteudismo (ORLANDI, 2015) ; a do letramento autônomo (criticado por STREET, 2015) e a de um legado da educação privada, cujo caráter propedêutico no ensino de escrita aparece intimamente ligado a interesses mercadológicos. Toma-se, pois, como um dos resultados desta pesquisa, a proposição da noção de cronotopo da avaliação, formulada como o compósito dessas três perspectivas. Os resultados obtidos indicam que, nesse cronotopo, a produção de texto e o ensino da escrita padecem de prejuízos e distorções, a mais importante, talvez, sendo a de, ao conceber o ensino por meio de gêneros do discurso, enfatizar a produção do aluno via modelos fixos (CORRÊA, 2013), abrindo espaço e legitimando a prática de retração da autoria. / This research investigates in 122 texts that simulate college entrance exams dissertations, written by pre-college students from a school in São Paulo the space-time features that constitute them. Taking the chronotope, a bakhtinian concept, as a starting point which is not the same as context and describes the inseparability between space and time in the texts and in the concrete life (BAKHTIN, 1998) , we study the intricate relation between subjects, school environment and its history. This relation assumes a language conception according to which subjects (talkers or writers) deal with language considering otherness, what also includes the link with the chronotope. From this more general concern, there are three specific goals: it was defined as constitutive of these texts what is called the evaluation chronotope; it was verified the constitution of college entrance exams dissertations as a genre of discourse, in the relation with this chronotope; at last, we considered the implications of this chronotope for teaching and learning of writing, especially in regards of authorship disencouragement. In the analysis, we selected linguistic traits that represent the text production: enchantment forms of the reader-evaluator the superadressee (BAKHTIN, 2015); the absence of evidence, suppressed by a specific modality use (HALLIDAY, 2014); generalizations; and markers of avoidance of enunciation responsibility. As results, we could observe that there are three convergent perspectives: an education model brought by modernity, that relates to rationality tradition in which we see what ORLANDI (2015) calls conteudismo (focus in the content) ; the autonomous literacy model (criticized by STREET, 2015) and the private education legacy, that focus in the preparation of students for the university and is strictly linked to marketing interests. These three perspectives, in intersection, configure the evaluation chronotope. The results indicate that, at this chronotope, the text production and writing teaching has distortions: the most important of these are the teaching through fixed models (CORRÊA, 2013), practice that is responsible for authorship disencouragement.

No description available.

This project contains a literature review, a discussion, and an original feature length screenplay. The review of literature examines the various structuralist-inspired theories of narratology and the three-act structure method of screenplay construction.

This thesis examines how the concept of an auteur (author of a film) has developed within contemporary Hollywood and popular culture. Building on concepts from Timothy Corrigan, this thesis adapts the ideas of the author and the commercial auteur to examine how director Christopher Nolan's name, and film work, has become branded as "realist" by the Hollywood film industry and by Nolan's consistent self-promotion. Through recurring signatures of "realism," such as, cinematic realism (immersive filmic techniques), technical realism (practical effects and actual locations), subjective realism (spectator access to a character's point of view), psychological realism (relatable motivations) and scientific realism (factual science), Nolan's work has become a recognizable and commoditized brand. Like many modern-day auteurs, Nolan himself has been used as a commodity to generate interest to his working methods and to appeal audiences to his studio films. Analyzing each of Christopher Nolan's films along with the industrial and cultural factors surrounding them, a method for understanding contemporary auteurism in Hollywood is presented. Through a consideration of extra-textual components, including promotional featurette's and journalistic interviews with Nolan, as well as his film crew, this thesis will explore how Nolan might be considered a template for a future of auteur branding.

The thesis argues that there is a pressure on the authorship concept since the emergence of collections of facts, anthologies, and adaptations of pre-existing works. These works were the reason that Judges offered various interpretations to authorship and originality, as some Judges lessened the requirement of originality to obtain copyrightability for these works and some raised it. This led to make the protection granted by copyright law to intellectual works vague and uncertain. This became apparent in conflicts in courts decisions on copyright subsistence in works. This subsequently led to confusion around the criteria of interpretation that should be adopted and the theory or justification that copyright law is founded upon. The thesis argues that this vagueness and uncertainty is related not to the authorship concept but to the failure of law to adapt to two separate natures of works, one including authorial, mental and personal contribution and the other only including manually skilful contribution. Those two kinds cannot be subject to same principles or justifications of protection. The inexistence of such differentiation in doctrine, judiciary and legislation led to the distortion of authorship and originality concepts in the attempts to reduce their interpretation to suit those works that actually miss authorial contribution. Alternatively, whole attention was paid to granting ownership to right holders of these works, which led to the prevalence of the ownership concept as being a necessity for the marketability of cultural works over the authorship concept. The thesis finds that this difference in nature can be uncovered by settling on a differentiation between two kinds of skills that are used in creating works: the mental skills, which are authorial skills, on the one side, and manual skills, which are the collecting, combining, performing or executing skills, on the other. Accordingly, this thesis proposes a categorisation of works, that of ‘high, low and non-authorship’ works, which relies on the nature of the works and elements of authorship in the work. The thesis finds that every category of works needs a separate criterion that can suit its nature and constituent authorship elements; also, the protection needs to be graded depending on the level of authorship in the work. This thesis suggests that such a legal proposition be implemented digitally in what it calls the ‘Digital Cultural National Gate’, which decides the category the work should belong to and the correspondent protection, and that through some questionnaires on the work the authorship elements can be recognised.

Student affairs professionals work directly with university students in various programs that provide services to these students. From these experiences, they collect daily valuable insights about how to serve students successfully. Yet, in general, they are not publishing about their work even though dissemination of such knowledge through publication could positively impact programs and services across many institutions. My dissertation explored what happens when mid-level student affairs professionals pursue scholarly writing during a structured program intended to help participants produce manuscripts for publication. In working with five professionals in student services at a large urban institution in the Pacific Northwest region of the United States, I learned about participants' identities as scholars as well as which writing strategies they found effective. I worked with participants using case study and action research methodologies and used writing coaching as an intervention to support the tenets of autonomy, competence, and relatedness as defined by Self-Determination Theory. Participants viewed strategies that created a habit of practice that fostered writing to be the most effective. Participants varied in how they viewed themselves professionally along the scholar-practitioner continuum. Leadership can create environments to foster scholarship among student affairs professionals. I give recommendations not only for senior student affairs officers but also for graduate programs in higher education as well as national student affairs organizations to promote research and writing in the profession. Lastly, I share recommendations for further research.

Esta dissertação analisa comparativamente textos cabo-verdianos de autoria masculina e feminina à luz do tema Literatura e representação social das mulheres em Cabo Verde, com o objetivo de demonstrar como constroem a historicidade das mulheres naquele contexto, com base na abordagem de gênero e numa hermenêutica do cotidiano feminino. Diante do exposto, centramos as leituras nas personagens femininas das narrativas, especialmente as protagonistas, no intuito de acompanhar suas trajetórias de objetos a sujeitos históricos, tendo em conta a complexidade do fenômeno da emancipação feminina em Cabo Verde e a entrada um pouco tardia, todavia decisiva, de produções de mulheres no cânone literário. Buscamos demonstrar, em nossa pesquisa, como a escritura literária masculina de António Aurélio Gonçalves, Baltasar Lopes, Manuel Ferreira, Oswaldo Osório, Teobaldo Virgínio e Virgílio Pires apreende e apresenta realidades femininas, sobretudo por meio da exposição, ao passo que as escrituras literárias femininas de Camila Mont-Rond, Dina Salústio, Fátima Bettencourt, Ivone Aída e Maria Margarida Mascarenhas revelam subjetividades femininas que lançam novos olhares e novos recortes que dialogam o universo representado pela ótica masculina. / This dissertation analyses comparatively Cape Verdean texts of masculine and feminine authorship by the light of the subject Literature and social representation of the women in Cape Verde, with the objective to demonstrate how they build the historicity of women in that context, based on the approach gender and a hermeneutics of everyday women. Given the above, the readings have focused on female characters of the narratives, especially the protagonists in order to follow their paths of objects to historical subjects taking into account the complexity of the phenomenon of female emancipation in Cape Verde and coming a little late, but decisive , productions of women in the literary canon. We demonstrate in our research, such as male literary writings of António Aurélio Gonçalves, Baltasar Lopes, Manuel Ferreira, Oswaldo Osório Pires Teobaldo Virgínio and Virgílio Pires learns and presents women\'s realities, especially through the exhibition, while the female literary writings of Camila Mont-Rond, Dina Salústio, Fátima Bettencourt, Ivone Aída and Maria Margarida Mascarenhas and reveal female subjectivities that cast new visions and new cuts that dialogue the universe represented by the male perspective.