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[pt] O presente estudo teve como foco as práticas pedagógicas com os recursos educacionais digitais (RED) realizadas pelos professores do estado do Paraná. O objetivo geral da investigação foi descrever e compreender se e como os recursos educacionais digitais são utilizados pelos professores para o desenvolvimento de práticas autorais em seus contextos profissionais. Para se compreender o contexto da pesquisa, realizou-se uma revisão bibliográfica sobre os recursos educacionais digitais, autoria docente e competências digitais dos professores. A pesquisa tem como abordagem metodológica um estudo de caso de natureza qualitativa, de cunho descritivo e exploratório e contou com os instrumentos de um survey formado por questões fechadas e uma questão aberta e entrevistas com professores. O questionário teve o alcance de 712 respostas, sendo entrevistados, posteriormente, 6 professores. Para análise, utilizou-se a triangulação dos dados, realizando um tratamento estatístico descritivo e inferencial para os resultados das questões fechadas e a análise de conteúdo com o auxílio do software WebQDA da questão aberta e das entrevistas. Os resultados mostraram que (i) os tipos de usos que os professores fazem dos RED podem variar conforme a formação pedagógica, didática e metodológica do professor, abarcando o RED desde ilustração de conteúdo ao desenvolvimento de atividades educativas contextualizadas; ii) a motivação do docente para sua utilização perpassa pela crença de que o uso dos RED contribui para a elaboração de aulas mais interessantes, promoção de novas oportunidades de aprendizagem para os alunos, aumento da motivação para aprender, o desenvolvimento de práticas e estratégias metodológicas e inserção da escola na cultura digital; (iii) as competências digitais desenvolvidas pelos docentes com o uso do RED são menos complexas, inseridas no letramento informacional e voltadas para o planejamento pedagógico, desenvolvimentos de avaliação e atividades e compartilhamento de conteúdos; (iv) a autoria docente precisa estar internalizada na prática do professor para que ele consiga criar práticas mais significativas com os RED, não sendo verificados indícios que o uso dos RED pelos docentes contribui para o surgimento da autoria docente. Acredita-se que este estudo é relevante por contribuir para a ampliação das discussões sobre como os RED são utilizados pelos docentes. / [en] This study is focused on pedagogical practices with digital educational resources (DER) carried out by teachers in the state of Paraná. The general aim of the investigation is to describe and understand whether and how digital educational resources are used by teachers to develop authorial practices in their professional contexts. To understand the context of the research, a bibliographic review was carried out about digital educational resources, teacher authorship and digital skills of teachers. The researches have as a methodological approach a case study of qualitative studies, a descriptive and exploratory, and it was adopted the instruments of a survey formed by closed questions and an open question and interviews with teachers. The survey received 712 responses, and 6 teachers were interviewed later. For the analysis, the data triangulation was used, performing a descriptive and inferential statistical treatment for the results of the closed questions and the content analysis with the help of the WebQDA software of the open question and the interviews. The results showed that (i) the types of uses that teachers make of RED can vary according to the pedagogical, didactic and methodological training of the teacher, including RED from content illustration to the development of contextualized educational activities; ii) the teacher s motivation for its uses goes through the belief that the use of RED contributes to the elaboration of more interesting classes, the promotion of new learning opportunities for students and increased motivation to learn, the development of methodological practices and strategies and insertion of the school in the digital culture; (iii) the digital skills developeded by teachers with the use of RED are less complex, within information literacy and focused on pedagogical planning, evaluation developments, and activities and content sharing; (iv) teaching authorship needs to be internalized in the teacher s practice so that he can create more meaningful practices with RED, with no evidence that the use of RED by teachers contributes to the emergence of teaching authorship. It is believed that this study is relevant for contributing to the expansion of discussions about how RED is used by teachers.

Text in English, with abstracts and keywords in English and Sesotho / This doctoral study investigates the practice of narrative strategies in the creation of animated poetry-film. The status of the animator as auteur of the poetry-film is established on the grounds of the multiple instances of additional authoring that the animated poetry-film requires. The study hypothesises that diverse narrative strategies are operative in the production of animated poetry-film. Two diametrically opposed strategies are identified as ideal for the treatment of lyrical narrative. The first narrative strategy explored is that of metamorphosis, demonstrating how the filmic material originates and grows organically via stream of consciousness and free association. The second narrative strategy entails a calculated approach of structuring visual imagery and meaning through editing from a pre-existing visual lexicon. In both cases, the interdependence is explored between embodied activity and conceptual activity, between tacit and explicit knowledge in the creative act. These two strategies are practically investigated through my creative praxis, specifically the production of two animated poetry-films, Mon Pays and Parys suite. Through these works, the strategies are tested for their effectivity in communicating visual content not contained in the poetry-text, yet adding value to the poetry/animated film hybrid. Animated poetry-film is theoretically contextualised in terms of intermediality and the specific multi-modal nature of the medium. The construction of animated poetry-film is explored through the research study consisting of a thesis and two animated poetry films, with the hope of contributing to research on animated poetry-film specifically, and to animation theory within the South African context. / Dinyakišišo tše tša bongaka di nyakišiša tiro ya mekgwa ya kanagelo ge go hlangwe difilimi tša go ekišwa ke diphoofolo. Maemo a moekiši wa diphoofolo bjalo ka molaodi wa filimi ya theto a hwetšwa go seemo sa mabaka a mantši a go ngwala ka tlaleletšo fao go nyakwago ke filimi ya theto ya go ekišwa ke diphoofolo. Dinyakišišo tše di šišinya gore mekgwa ya kanegelo ye e fapafapanego e a šomišwa ka go tšweletšo ya filimi ya go ekišwa ke diphoofolo. Mekgwa ye mebedi ye e thulanago e a hlaolwa bjalo ka yeo e swanetšego go šomišwa go kanegelo ya mantšu. Leano la mathomo la kanegelo leo le utollotšwego ke la kgolo ya diphoofolo, leo le laetšago ka fao dingwalwa tša filimi di tšwelelago le go gola ka tlhago ka tatelano ka sengwalwa seo se ngwadilwego ka moela wa kwešišo le poledišano ya go hloka mapheko. Leano la bobedi la klanegelo le mabapi le mokgwa wo o nepišitšwego gabotse wa go beakanya seswantšho sa go bonwa le tlhalošo ka go rulaganya go tšwa go polelo ya peleng ya seo se bonwago. Mabakeng ka bobedi, go amana fa go utollwa magareng ga tiro ye e kopantšwego le tiro ye e gopolwago, magareng ga tsebo ye e kwešišwago le yeo e lego nyanyeng ka tirong ya boitlhamelo. Mekgwa ye mebedi ye e a nyakišišwa ka go diriša mokgwa wa ka wa boitlhamelo, kudukudu go tšweletšwa ga difilimi tše pedi tša go ekišwa ke diphoofolo tšeo di bitšwago, Mon Pays le Parys suite. Ka mešomo ye, mekgwa ye e lekwa ka ga go šoma gabotse ga yona gabotse go hlagiša diteng tša go bonwa tšeo di sego gona ka gare ga Sengwalwa sa theto, le ge go le bjale e tsenya boleng go mohuta wa filimi ya theto/ya kekišo. Filimi ya theto ya go ekišwa ke diphoofolo e amantšhwa ka teori mabapi le kgokaganyo le sebopego sa yona sa mekgwa ye mentši ya polelo. Tlhamo ya filimi ya theto ya go ekišwa ke diphoofolo e utollwa ka dinyakišišo tšeo di nago le taodišo le difilimi tše pedi tša theto tša go ekišwa ke diphoofolo, ka kholofelo ya go tsenya letsogo go dinyakišišo mabapi le filimi ya theto ya go ekišwa ke diphoofolo kudukudu, le go teori ya kekišo ka gare ga seemo sa Afrika Borwa. / Art and Music / Ph. D. (Art)

Proceeding from the premise that the meaning of performances flows from contextual, textual, and nonverbal elements, this dissertation explores layers of meaning arising from performances of selected South African struggle songs, poems and plays. In particular, it focuses on performances of the Mayibuye Cultural Group which functioned as an adaptive mechanism in the changing sociopolitical landscape of the 1980s and early 1990s, and on contemporary performances. The analysis of the songs, poems and play underscores the importance of nonverbal elements for the interpretation of performances, and proposes that performances functioned as debate and as a discursive presence in the public sphere. In particular, the performances glorified a masculine conception of the struggle and of South African society which highlighted the fragile gender politics in South Africa, and functioned as a vibrant mechanism for the expression of sanctioned criticism especially for the marginalised and for those at the fringes of power. / Anthropology / M.A. (Anthropology)

While most research in King studies focuses on Stephen King’s contribution to the horror genre, this thesis approaches King as a participant in American popular culture, specifically exploring the role the author-protagonist plays in his writing about writing. I have chosen Bourdieu’s theoretical construct of habitus through which to focus my analysis into not only King’s narratives, but also into his non-fiction and paratextual material: forewords, introductions, afterwords, interviews, reviews, articles, editorials and unpublished archival documents. This has facilitated my investigation into the literary field that King participates within, and represents in his fiction, in order to provide insight into his perception of the high/low cultural divide, the autonomous and heteronomous principles of production and the ways in which position-taking within that field might be effected. This approach has resulted in a study that combines the methods of literary analysis and book history; it investigates both the literary construct and the tangible page. King’s part autobiography, part how-to guide, On Writing (2000), illustrates the rewards such an approach yields, by indicating four main ways in which his perception of, and participation in, the literary field manifests: the art/money dialectic, the dangers inherent in producing genre fiction, the representation of art produced according to the heteronomous principle and the relationship between popular culture and the Academy. The texts which form the focus of the case studies in this thesis, The Shining, Misery, The Dark Half, Bag of Bones and Lisey’s Story demonstrate that there exists a dramatisation of King’s habitus at the level of the narrative which is centred on the figure of the author-protagonist. I argue that the actions of the characters Jack Torrance, Paul Sheldon, Thad Beaumont, Mike Noonan and Scott Landon, and the situations they find themselves in, offer an expression of King’s perception of the literary field, an expression which benefits from being situated within the context of his paratextually articulated pronouncements of authorship, publication and cultural production.

This thesis examines the transmission and reception of images in Le Roman de la rose manuscripts and printed editions of the late fifteenth and early sixteenth centuries. Through in-depth case studies, I analyse how illustrators, editors, and readers used printed imagery in Rose books ca. 1481-1538, during the period of Rose printed edition production, exploring wider cross-disciplinary issues concerning the history of the book, the relationship between word and image, and readership practices following the advent of French printing. I argue that the mobility of printed imagery, which was facilitated in part by the wider dissemination of woodcuts in workshops, influenced the form and function of images in books. In addition, I problematize the 'transition' from manuscript to print in the later Middle Ages, through an investigation of artisans' personal and professional collaborations and evidence of image sharing between hand-illustrated and printed books. Bookmakers and readers used printed imagery in fascinating ways in books, appropriating and modifying woodcuts in order to engage with certain subjects and motifs. Readers' visual responses to books are under-examined, and I assess how readers' drawings add insight into their understanding of printed editions and those editions' visual iconography. French books contain a large body of evidence pertaining to image production and reception, but printed imagery is often overlooked, despite its potential to shed light on the practices of illustrators, editors, and readers. I provide new strategies for examining patterns of printed image production, circulation, and reception in the visual presentations of manuscripts and printed editions of this period. I also deepen understanding of the Rose and its consumption in the later Middle Ages and Renaissance, probing the role of images in books.