[pt] A presente pesquisa buscou investigar como ocorre a mediação na tríade aluno-tutor-orientador em busca da aquisição da autonomia e da autoria discente durante a elaboração do trabalho de conclusão de curso (TCC) na modalidade da Educação a Distância (EaD). Partiu-se do pressuposto de que a apropriação dos conceitos científicos apresentados em cursos de especialização pela Universidade Aberta do Brasil (UAB) não ocorre no isolamento, mas por meio da intervenção intencional de professores-tutores e professores-orientadores. Esses professores contribuiriam para construção do pensamento teórico, elemento fundante da autonomia acadêmica e da autoria para escrita do TCC. Para fundamentar o estudo, foi adotada a abordagem histórico-cultural e a metodologia convergiu com esse referencial. Foram aplicados: 235 questionários on-line aos ex-alunos que concluíram cursos de especialização pela UAB, em diversos estados e instituições; quatro grupos focais on-line (GFO) para professores-tutores e professores-orientadores, alcançando 24 participantes; e sete entrevistas com os professores que não puderam participar do GFO. Os dados coletados foram analisados a partir de três eixos temáticos: autonomia, autoria e mediação. Os resultados evidenciaram que há pelo menos dois fatores que a tríade aponta como essenciais para a realização do TCC: o tempo disponível e o atendimento às normas acadêmicas e éticas durante a autoria. Enquanto para os ex-alunos o fator tempo estava associado à disponibilidade para dedicar-se aos estudos, para os professores, relacionava-se ao prazo insuficiente estabelecido pela instituição para realizar a mediação necessária para auxiliar os alunos na escrita do TCC. Foi possível concluir que os participantes da tríade percebem a autonomia acadêmica como um pré-requisito para iniciar a elaboração do TCC, e não como uma aquisição que ocorre durante o processo de autoria. Os participantes apontaram para a necessidade de acompanhamento mais próximo do aluno, com clareza e agilidade nos feedbacks, ancorados na afetividade. As condições concretas e objetivas que atravessam a realização do TCC não permitiram aos participantes, priorizarem as intervenções docentes para o desenvolvimento do aluno e do pensamento teórico. Apesar disso, ao buscarem a superação da alienação (LEONTIEV, 2004) dessas condições, conseguiram concluir o trabalho, encontrando formas de delegar a um segundo plano todos os desafios que emergiram durante a escrita autoral do trabalho científico dos alunos. / [en] The present research investigates how mediation occurs in the triad student- tutor-advisor in distance education for building autonomy and student authorship during the elaboration of the Final Course Assignment (FCA). We assumed that the appropriation of scientific concepts in specialization courses by the Open University System of Brazil (UAB) does not occur in isolation but through the intentional intervention of tutors and advisors. These teachers would contribute to the building of theoretical thinking, a founding element of academic autonomy and authorship for writing the FCA. We based the study on the historical-cultural approach, and the methodology converged with this referential. We applied: 235 online questionnaires to alumni who completed specialization courses at UAB, in several states and institutions; four online focus groups (OFG) for tutors and advisors, reaching 24 participants; and seven interviews with teachers who were not able to participate in the OFG. We analyzed the collected data using three thematic axes: autonomy, authorship, and mediation. The results showed at least two factors that the triad points out as essential for writing the FCA: the available time and the observation of academic and ethical norms. While for the former students the time factor was associated with the availability to dedicate themselves to the studies, for the teachers, it was related to the insufficient given period to carry out the necessary mediation to assist students in their FCA. We conclude that the participants sensed academic autonomy as a prerequisite for initiating FCA rather than as a building process that occurs along with the writing. Participants pointed to the need for closer follow-up with the students, including clarity and agility in feedback, while sustaining affectivity. The concrete and objective conditions that go through the development of the FCA did not allow participants to prioritize teaching interventions for students improvement and development of theoretical thinking. Nevertheless, in seeking to overcome the alienation (LEONTIEV, 2004) of these conditions, they were able to conclude their work, by finding a way to alleviate the difficulties emerged during the authorial writing of the scientific works.

This research study examines the forensic application of a selection of stylistic and stylometric techniques in a simulated authorship attribution case involving texts on the social networking site, Facebook. Eight participants each submitted 2,000 words of self-authored text from their personal Facebook messages, and one of them submitted an extra 2,000 words to act as the ‘disputed text’. The texts were analysed in terms of the first 1,000 words received and then at the 2,000-word level to determine what effect text length has on the effectiveness of the chosen style markers (keywords, function words, most frequently occurring words, punctuation, use of digitally mediated communication features and spelling). It was found that despite accurately identifying the author of the disputed text at the 1,000-word level, the results were not entirely conclusive but at the 2,000-word level the results were more promising, with certain style markers being particularly effective. / Linguistics / MA (Linguistics)

Esta tese de doutorado apresenta um estudo e formulações teóricas sobre o conceito de espect-autoria e defende os conceitos de Poética da Autoria Aberta, Poética da Autoração e Poéticas em Coletividade como praxis artística de apropriação dos dispositivos de produção das representações sociais, no contexto da autoria dos espectadores nas artes participativas e interativas. Numa transferência interdisciplinar de conceitos a exemplo do conceito espect-autor de Gellouz (2007), o estudo propõe as noções de autorabilidade, obra autorável, agenciamento autoral do espectador e trinômio produção/recepção/produção bem como os conceitos formulados de função-espect-autor, espect-autor em coletividade, particip-autor, inter-autor e trans-autor, que privilegiam a noção de autoria em suas notações, configurando uma taxonomia mais apropriada para compor um vocabulário que permita designar e compreender a noção de espect-autoria, ou seja, a produção autoral dos espectadores, enquanto forma, repertório e significados, nas obras cuja abertura poética propõe desafios autorais aos seus espectadores. A principal referência artística e fonte desta pesquisa é a série Autorretrato Coletivo (1987-), um conjunto de obras participativas e interativas que eu proponho como repositório dialógico e polifônico da identidade coletiva, tendo como princípio a apropriação dos espectadores enquanto autores de suas identidades no corpus da obra. Em suma, a função-autor exercida pelos espectadores, mais precisamente a sua função-espect-autor, em processos de criação/co-criação ou recriação (por recombinação e/ou repertoriação) no contexto das artes participativas e interativas, tem profundas implicações para nossa compreensão da evolução da arte como um fenômeno coletivo. / This thesis presents a study and theoretical formulations about the concept of spect-authorship on participatory and interactive artworks and defends the concepts of Poetics of the Open Authorship, Authoring Poetics and Multi-Poetics in Collectivity as artistic praxis of apropriation of the production devices of the social representations in the context of the spectators authorship in the participatory and interactive arts. Through an interdisciplinary transfer of concepts as Gellouz concept of spect-author (2007) , this study proposes the notions of authorability, authoriable artwork, authorial agency of the spectator, trinomial production/reception/production as well the concepts of function-espect-author, spect-author in collectivity, particip-author, inter-author and trans-author, which privilege the notion of authorship, setting a taxonomy more appropriate to compose a vocabulary that describes and increases the understanding of the concept of spect-authorship, the authorial production of the spectators as form, repertory and meanings, in the artworks whose poetic openness proposes authorial challenges to their spectators. The main artistic reference and source of this research is the series Collective Self-Portrait (1987-), a set of participatory and interactive artworks that I propose as a dialogic and polyphonic repository of the collective identity, based on the principle of appropriation of the spectators as authors of their own identities in the corpus of the artwork. Summing up, the author-function experienced by the spectators, more precisely their spect-author-function, in creation/co-creation or recreation process in the context of participatory and interactive arts, holds profound implications for our understanding of art evolution as a collective phenomenon.

This research study examines the forensic application of a selection of stylistic and stylometric techniques in a simulated authorship attribution case involving texts on the social networking site, Facebook. Eight participants each submitted 2,000 words of self-authored text from their personal Facebook messages, and one of them submitted an extra 2,000 words to act as the ‘disputed text’. The texts were analysed in terms of the first 1,000 words received and then at the 2,000-word level to determine what effect text length has on the effectiveness of the chosen style markers (keywords, function words, most frequently occurring words, punctuation, use of digitally mediated communication features and spelling). It was found that despite accurately identifying the author of the disputed text at the 1,000-word level, the results were not entirely conclusive but at the 2,000-word level the results were more promising, with certain style markers being particularly effective. / Linguistics and Modern Languages / M.A. (Linguistics)

Esta tese de doutorado apresenta um estudo e formulações teóricas sobre o conceito de espect-autoria e defende os conceitos de Poética da Autoria Aberta, Poética da Autoração e Poéticas em Coletividade como praxis artística de apropriação dos dispositivos de produção das representações sociais, no contexto da autoria dos espectadores nas artes participativas e interativas. Numa transferência interdisciplinar de conceitos a exemplo do conceito espect-autor de Gellouz (2007), o estudo propõe as noções de autorabilidade, obra autorável, agenciamento autoral do espectador e trinômio produção/recepção/produção bem como os conceitos formulados de função-espect-autor, espect-autor em coletividade, particip-autor, inter-autor e trans-autor, que privilegiam a noção de autoria em suas notações, configurando uma taxonomia mais apropriada para compor um vocabulário que permita designar e compreender a noção de espect-autoria, ou seja, a produção autoral dos espectadores, enquanto forma, repertório e significados, nas obras cuja abertura poética propõe desafios autorais aos seus espectadores. A principal referência artística e fonte desta pesquisa é a série Autorretrato Coletivo (1987-), um conjunto de obras participativas e interativas que eu proponho como repositório dialógico e polifônico da identidade coletiva, tendo como princípio a apropriação dos espectadores enquanto autores de suas identidades no corpus da obra. Em suma, a função-autor exercida pelos espectadores, mais precisamente a sua função-espect-autor, em processos de criação/co-criação ou recriação (por recombinação e/ou repertoriação) no contexto das artes participativas e interativas, tem profundas implicações para nossa compreensão da evolução da arte como um fenômeno coletivo. / This thesis presents a study and theoretical formulations about the concept of spect-authorship on participatory and interactive artworks and defends the concepts of Poetics of the Open Authorship, Authoring Poetics and Multi-Poetics in Collectivity as artistic praxis of apropriation of the production devices of the social representations in the context of the spectators authorship in the participatory and interactive arts. Through an interdisciplinary transfer of concepts as Gellouz concept of spect-author (2007) , this study proposes the notions of authorability, authoriable artwork, authorial agency of the spectator, trinomial production/reception/production as well the concepts of function-espect-author, spect-author in collectivity, particip-author, inter-author and trans-author, which privilege the notion of authorship, setting a taxonomy more appropriate to compose a vocabulary that describes and increases the understanding of the concept of spect-authorship, the authorial production of the spectators as form, repertory and meanings, in the artworks whose poetic openness proposes authorial challenges to their spectators. The main artistic reference and source of this research is the series Collective Self-Portrait (1987-), a set of participatory and interactive artworks that I propose as a dialogic and polyphonic repository of the collective identity, based on the principle of appropriation of the spectators as authors of their own identities in the corpus of the artwork. Summing up, the author-function experienced by the spectators, more precisely their spect-author-function, in creation/co-creation or recreation process in the context of participatory and interactive arts, holds profound implications for our understanding of art evolution as a collective phenomenon.

The mini-dissertation explains how systems theory provided a healing context for me in my training as a clinical psychologist over two years. The emergence of my authentic voice is narrated in an autoethnography (five act drama) about what happened. The main theoretical bases for the dissertation are – constructivism to understand the learning and teaching I experienced; learning as a collaborative endeavour and the emergence of my authentic voice with help from more skilled others. Systems theory informs the entire study at every theoretical level. Bowen’s family therapy theory is significant for the differentiation of the self and his I-position is equated with the emergence of an authentic voice. Myth, epic narratives, the hero’s journey amplify my interpretation of the differentiation of self. The raw data for the qualitative research were observations, interviews, creative writing, photocollage, a collection of readings, songs and dialogues. The themes emerging from the autoethnography were about obstructions because of the authoritarian nature of my upbringing, life and work. These themes lessened in force in clinical training until my authentic voice emerged in relation to self and as a clinical psychologist. A recommendation from the dissertation is that autoethnography provides a good vehicle for reflection and intense interior scrutiny needed to become a practising clinical psychologist; the autoethnographical exercise could be used by training clinical psychologists more extensively on their journey to maturity. / Psychology / M.A. (Clinical Psychology)

When the Irish writer Samuel Beckett (1906-1989) wrote Waiting for Godot in 1948-1949 he was in a state of artistic depression and confusion. He had already turned to French instead of English and with a manuscript for the stage he made an effort to get away from what he called ”the awful prose” he was working on at that time. Waiting for Godot had its first opening night in Paris in 1953, and during the years since then many different interpretations have been made of this challenging work of art. In this essay, with the meta textual elements in Waiting for Godot as a foundation, I’m reading the drama as a writer’s struggle with his material – not strictly biographical, but with Beckett as an artistic example. Vladimir and Estragon, as well as Pozzo and Lucky, then become personalizations of the voices in the mind of the author, where intellect/reason/analysis on one hand and intuition/feeling/fantasy on the other are working side by side, or as a pair of opposites, to try to get along through conflict and cooperation; conferring, clashing, and complementing one another. Godot will then function as the mystical and driving force, the necessary lack of purpose or fundamental meaning that keeps the artist in touch with art. In this aspect Godot has not to come; his absence is an absolute condition to get the play going, to keep the writer writing, to make all artists continue their lonely, tiresome, difficult work. Waiting for Godot tells us something about the struggle every writer has to face when writing a play, or a novel, or a poem, where he, or she, has to speak with and listen to the inner voices of intuition and intellect and try to get by in spite of the overall sense of hopelessness of it all. Art is at the same time without meaning and of infinite value and I believe that this paradox is alive and working in Waiting for Godot.

Angelology emerged under the domination of Jewish groups. Reconstructing a brief history for Jewish groups of the Second Temple Period is necessary to ascertain which Jewish group may be aligned with the angelology of 1 Enoch. Moreover, angelology developed within this natural historical context. An exploration of the tradition of angelology includes angelic origins, their functions in the Hebrew Bible and the Septuagint, possible mythical associations, and speculation about why angels surfaced within Israelite religion. Examining the background, structure, and contents of 1 Enoch will ensconce the Enochic writings, within the Second Temple Period. Various theories exist concerning the origins, genre, and characteristics of the apocalyptic. Although there is no agreement about these issues, I propose that 1 Enoch exhibits an apocalyptic perspective. While the notion of angels possibly appeared early in Semitic literature, a proliferation of angelology developed by the time of the writing of the books of I Enoch. It is judicious to examine which group possibly produced the Enochic corpus and pos&1"ble reasons for an increase in angelic speculation within these writings. It is my conviction that 1Enoch6 was dependent upon Genesis 6:1-4, which seived as a midrash of this earlier mythical tradition. I aspire to validate that both Genesis 6: 1-4 and the Book ofW atchers exhibits priestly concerns that are in sync with the Pentateuch. Priestly interests evident in the Enochic tradition may suggest the writer was a priest, who sought to address contentious issues involving the Jerusalem priesthood of his time. I believe this research is necessary to establish that Enoch's angelology influenced late Second Temple Jewish society. This is evidenced within subsequent Jewish literatures, which display Enochic angelic concepts, and reflects the belief system of a segment of Jewish society during that time. I am appreciative of the University of South Africa, the examining committee, and professor Spangenberg for their guidance. / Biblical and Ancient Studies / D.Litt. et Phil. (Biblical Studies)

Definitions of celebrity authorship and material textuality at the turn of the twenty-first century have predominantly emphasised the implicitly negative aspects of contemporary developments in the literary marketplace. Particularly prominent are arguments that the practice of authorship has become subject to homogenisation by the matrix of celebrity in which successful writers are now expected to function; and, further, that the changing nature of texts themselves and the ways in which they are marketed is eroding the implicitly superior position traditionally held by literature in the cultural marketplace. This thesis views such readings as pessimistic, and offers an alternative, seeking to formulate a new critical approach to literary value in the contemporary sphere which would appreciate notions of celebrity, populism, and digital mediation as integral and productive aspects of how literary value is formed today. Through in-depth focus on the cases of a number of unconventional contemporary American authors whose work demonstrates differing, innovative approaches to the process of authorship, this thesis exposes the ways in which contemporary, atypically ‘literary’ instances of writing can and do work within and develop beyond traditional conceptualisations of authorship and literary value. Bret Easton Ellis and Jay McInerney, largely critically considered prototypical ‘celebrity’ authors, are in the first chapter reconsidered as writers whose understanding of their position within the literary marketplace affords them a self-conscious, critical perspective on the notion of celebrity in their work and public personae. The productively self-conscious author-figure is reconsidered in the second chapter, which reads the individual and joint works of author Paul Auster and visual artist Sophie Calle as foregrounding the process of creative collaboration as uniquely illuminating and transformative within the contemporary literary sphere. The notion of dual authorship is revisited and reconceptualised in the third chapter, which considers JT LeRoy and the practice of hoax authorship, outlining how this process forces the reformulation of literary value, particularly in a contemporary setting in which authors are accountable for their work in newer, more visible ways. The final chapter expands these previously-introduced themes to consider bloggers-turned-authors, particularly Tucker Max and Julie Powell, and the impact of the merging of old and new textualities on both the orientation of the figure of the writer and the way in which value is attached to his texts by readers. Ultimately, the unconventional nature of these examples is shown to belie the universality of the representations of value they enact, contributing to a full and salient account of how literary value is determined at the beginning of the twenty-first century.

The subject of this thesis is the Synopsis Chronike (or Synopsis Sathas), a Byzantine chronicle of the thirteenth century that conveys the history of the world, starting from Adam and concluding with the recapture of Constantinople in 1261. The study focuses on the first part of the text (Adam – Nikephoros Botaneiates), and more specifically on the comprehensive presentation and analysis of the whole corpus of its sources, passage by passage, in order to reconstruct the background of the chronicle and to determine its place in the Byzantine chronicle tradition. Following the introductory first chapter, which sets out the aims of the thesis and establishes its methodology, chapter two offers an overview of the chronicle itself, and a first discussion of the main issues it presents: the key characteristics of its narrative structure, its manuscript tradition, and – mainly – the problem of its authorship, with special reference to the commonly supposed author, Theodore Skoutariotes, bishop of Kyzikos. Chapter three conveys a detailed presentation of the results of our research; following the discussion of the sources and influences of the proem, it attempts to place each passage of the Synopsis Chronike in the context of any related texts, which are then identified as 'main sources', 'other sources' and 'parallel passages', depending on their link to the Synopsis Chronike. Chapter four discusses individually each text that appears as a source of the Synopsis Chronike, and locates its place amongst the whole corpus of the sources. Furthermore, it examines the passages for which we were not able to identify a main source, and suggests possible sources that have not survived. Finally, the concluding chapter of the thesis summarises the earlier discussion, and attempts to combine the different pieces of information, and to provide an overall picture of the background of the Synopsis Chronike in order to establish – to the degree that it is possible – its position in the Byzantine chronicle tradition.