A peça radiofônica Under Milk Wood, de Dylan Thomas, nos mostra cenas de um dia na vida dos habitantes da cidadezinha litorânea de Llareggub, no País de Gales. Como galês que sou, residente no Brasil há duas décadas, tenho percebido que apesar de este escritor ser bastante conhecido por aqui, sua obra não é muito estudada nos círculos acadêmicos. Após conduzir uma pesquisa rudimentar no formato de entrevistas feitas a professores e estudantes universitários, concluí que a recepção da obra de Dylan Thomas fica prejudicada devido às amplas diferenças culturais que existem entre o Brasil e o País de Gales. A experiência de uma oficina de leitura de Under Milk Wood mostrou que estudantes brasileiros de literaturas de língua inglesa podem responder muito bem ao texto a partir do momento em que começam a perceber o tom local e o estilo do cenário e das personagens, bem como as particularidades linguísticas. A resposta dos leitores, e a sua fruição da obra, crescem significativamente à medida em que percebem que dominam aspectos históricos e culturais ligados à peça, e também as referências geográficas que fazem a ponte entre o cenário ficcional do vilarejo e as cidadezinhas litorâneas similares do País de Gales da vida real, com os hábitos característicos dos moradores locais. Com base no acima exposto, o objetivo desta dissertação é se constituir um guia de leitura que seja útil para estudantes de literaturas de língua inglesa externos ao Reino Unido, como aqueles que encontrei no Brasil, bem como para tradutores potenciais da peça, ou mesmo para leitores em geral que queiram compreender e usufruir melhor aquilo que a peça Under Milk Wood tem a oferecer. Para melhor acompanhar os leitores neste passeio pela cidade de Llareggub, decidi estruturar o capítulo principal desta dissertação no formato de comentários críticos formados por notas e observações técnicas que visam esclarecer elementos culturais que impedem que o leitor desavisado decodifique certos aspectos da peça. O trabalho vem dividido em três seções. Na primeira são introduzidos os referenciais históricos e geográficos do País de Gales, apresentados a partir da leitura dos reconhecidos historiadores galeses John Davies e Geraint Jenkins. As informações sobre a literatura galesa produzida em língua inglesa se embasam predominantemente em Glyn Jones e Stephen Knight. A segunda seção analisa a estrutura da obra e a terceira apresenta o guia de anotações página a página. A sequência inicia com a apresentação do vilarejo de Llareggub e sua contrapartida nas cidades litorâneas do País de Gales. O guia página a página elucida aspectos culturais relacionados à narrativa, explica expressões coloquiais anglo-galesas e oferece possibilidades de interpretação para certas cenas e situações. / Dylan Thomas’s play for voices Under Milk Wood offers us a glimpse into a day in the lives of the inhabitants of the fictional small Welsh seaside town of Llareggub. Welsh readers identify immediately with the eccentricity of village life and the cultural richness of the characters and setting that embody the spirit of Wales. As a Welshman living in Brazil for the last twenty years I have noticed that, although Dylan Thomas is well known here, his work is rarely studied in academic circles. After conducting a rudimentary research consisting of interviews with professors and university students, I concluded that the work of Dylan Thomas is not easily grasped because of the vast cultural differences between Brazil and Wales. An experimental reading workshop of Under Milk Wood has shown that Brazilian English Literature students respond well to the work when they begin to understand the local tone and style of the setting and characters, including the linguistic peculiarities. Having a better knowledge of the cultural and historical aspects of the play, as well as geographical references for possible locations of the town and parallels with factual settings and habits of native townsfolk, can help readers to better understand and enjoy the work. The purpose of this thesis, therefore, is to function as a guide for non-English native students of English Literature, such as I have encountered in Brazil, for potential translators of the play, or even for readers in general who wish to reach a better understanding of Under Milk Wood and take more enjoyment from it. In order to accompany the student as a guide through the town of Llareggub I decided to build this thesis in the format of a set of annotated critical comments, consisting of a number of technical observations and notes that aim at elucidating the cultural elements that prevent the otherwise uninformed reader to make his way through the play. The thesis is divided into three sections. In the first part I refer to elements in the history and geography of Wales. As a support for this contextualization chapter I resort to the foremost historians of Wales, John Davies and Geraint Jenkins. For Welsh literature written in English, Glyn Jones and Stephen Knight have been the principal authors researched. The second section discusses the structure of the play with excerpts and a description of the town of Llareggub paralleled historically and geographically with factual seaside towns in Wales. The third section consists of a page by page guide, in the form of explanatory notes, of the play itself. This page by page guide elucidates the cultural aspects of Wales found in the narrative, explains Welsh-English colloquial language used and offers possible interpretations of scenes and situations.

A peça radiofônica Under Milk Wood, de Dylan Thomas, nos mostra cenas de um dia na vida dos habitantes da cidadezinha litorânea de Llareggub, no País de Gales. Como galês que sou, residente no Brasil há duas décadas, tenho percebido que apesar de este escritor ser bastante conhecido por aqui, sua obra não é muito estudada nos círculos acadêmicos. Após conduzir uma pesquisa rudimentar no formato de entrevistas feitas a professores e estudantes universitários, concluí que a recepção da obra de Dylan Thomas fica prejudicada devido às amplas diferenças culturais que existem entre o Brasil e o País de Gales. A experiência de uma oficina de leitura de Under Milk Wood mostrou que estudantes brasileiros de literaturas de língua inglesa podem responder muito bem ao texto a partir do momento em que começam a perceber o tom local e o estilo do cenário e das personagens, bem como as particularidades linguísticas. A resposta dos leitores, e a sua fruição da obra, crescem significativamente à medida em que percebem que dominam aspectos históricos e culturais ligados à peça, e também as referências geográficas que fazem a ponte entre o cenário ficcional do vilarejo e as cidadezinhas litorâneas similares do País de Gales da vida real, com os hábitos característicos dos moradores locais. Com base no acima exposto, o objetivo desta dissertação é se constituir um guia de leitura que seja útil para estudantes de literaturas de língua inglesa externos ao Reino Unido, como aqueles que encontrei no Brasil, bem como para tradutores potenciais da peça, ou mesmo para leitores em geral que queiram compreender e usufruir melhor aquilo que a peça Under Milk Wood tem a oferecer. Para melhor acompanhar os leitores neste passeio pela cidade de Llareggub, decidi estruturar o capítulo principal desta dissertação no formato de comentários críticos formados por notas e observações técnicas que visam esclarecer elementos culturais que impedem que o leitor desavisado decodifique certos aspectos da peça. O trabalho vem dividido em três seções. Na primeira são introduzidos os referenciais históricos e geográficos do País de Gales, apresentados a partir da leitura dos reconhecidos historiadores galeses John Davies e Geraint Jenkins. As informações sobre a literatura galesa produzida em língua inglesa se embasam predominantemente em Glyn Jones e Stephen Knight. A segunda seção analisa a estrutura da obra e a terceira apresenta o guia de anotações página a página. A sequência inicia com a apresentação do vilarejo de Llareggub e sua contrapartida nas cidades litorâneas do País de Gales. O guia página a página elucida aspectos culturais relacionados à narrativa, explica expressões coloquiais anglo-galesas e oferece possibilidades de interpretação para certas cenas e situações. / Dylan Thomas’s play for voices Under Milk Wood offers us a glimpse into a day in the lives of the inhabitants of the fictional small Welsh seaside town of Llareggub. Welsh readers identify immediately with the eccentricity of village life and the cultural richness of the characters and setting that embody the spirit of Wales. As a Welshman living in Brazil for the last twenty years I have noticed that, although Dylan Thomas is well known here, his work is rarely studied in academic circles. After conducting a rudimentary research consisting of interviews with professors and university students, I concluded that the work of Dylan Thomas is not easily grasped because of the vast cultural differences between Brazil and Wales. An experimental reading workshop of Under Milk Wood has shown that Brazilian English Literature students respond well to the work when they begin to understand the local tone and style of the setting and characters, including the linguistic peculiarities. Having a better knowledge of the cultural and historical aspects of the play, as well as geographical references for possible locations of the town and parallels with factual settings and habits of native townsfolk, can help readers to better understand and enjoy the work. The purpose of this thesis, therefore, is to function as a guide for non-English native students of English Literature, such as I have encountered in Brazil, for potential translators of the play, or even for readers in general who wish to reach a better understanding of Under Milk Wood and take more enjoyment from it. In order to accompany the student as a guide through the town of Llareggub I decided to build this thesis in the format of a set of annotated critical comments, consisting of a number of technical observations and notes that aim at elucidating the cultural elements that prevent the otherwise uninformed reader to make his way through the play. The thesis is divided into three sections. In the first part I refer to elements in the history and geography of Wales. As a support for this contextualization chapter I resort to the foremost historians of Wales, John Davies and Geraint Jenkins. For Welsh literature written in English, Glyn Jones and Stephen Knight have been the principal authors researched. The second section discusses the structure of the play with excerpts and a description of the town of Llareggub paralleled historically and geographically with factual seaside towns in Wales. The third section consists of a page by page guide, in the form of explanatory notes, of the play itself. This page by page guide elucidates the cultural aspects of Wales found in the narrative, explains Welsh-English colloquial language used and offers possible interpretations of scenes and situations.

Radio drama developed as a genre as new media proliferated and challenged the cultural primacy of print. The methods of production and distribution and the literary genres that developed during the age of print provided models for radio playwrights to follow but also cultural forces for them to challenge. This dissertation considers these dual influences of print on the radio drama of four playwrights: Orson Welles, Dylan Thomas, Samuel Beckett, and Tom Stoppard. Each playwright “remediates” the printed page in radio plays by adapting or evoking the form of various literary texts, including novels (Welles), travel writing (Thomas), diaries and transcribed speech (Beckett), and historical writing (Stoppard). By representing written texts in an electronic, primarily oral medium, these authors examined the status of literary expression in an age of ascendant electronic media. Welles’s The War of the Worlds and Huckleberry Finn, Thomas’s Under Milk Wood and other broadcasts, Beckett’s Rough for Radio II and Embers, and Stoppard’s In the Native State highlight defining features of the print tradition and reveal how practices of writing and “reading” changed in the radio environment. These plays suggest that radio prompted writers to reconsider the literary author’s creative role, the text’s stability, and the audience’s interaction with the work. “Radio Texts” ultimately argues, therefore, that radio drama’s significance transcends its place in media history and dramatic criticism; the works I examine also point to radio plays’ important role in authors’ re-evaluation of literary expression in a changing twentieth-century media ecology. / text

Excerpt: In 1975, Bob Dylan invited Sam Shepard, the young playwright who had ignited the Off-Broadway and London theatre scene, to go on tour with him in order to write scenes and dialogue for a film of the Rolling Thunder Revue.

With its appeal predicated upon what civilized society rejects, there has always been something hidden in plain sight when it comes to the outlaw figure as cultural myth. Damian A. Carpenter traverses the unsettled outlaw territory that is simultaneously a part of and apart from settled American society by examining outlaw myth, performance, and perception over time. Since the late nineteenth century, the outlaw voice has been most prominent in folk performance, the result being a cultural persona invested in an outlaw tradition that conflates the historic, folkloric, and social in a cultural act. Focusing on the works and guises of Lead Belly, Woody Guthrie, and Bob Dylan, Carpenter goes beyond the outlaw figure’s heroic associations and expands on its historical (Jesse James, Billy the Kid), folk (John Henry, Stagolee), and social (tramps, hoboes) forms. He argues that all three performers represent a culturally disruptive force, whether it be the bad outlaw Lead Belly represented to an urban bourgeoisie audience, the good outlaw Guthrie shaped to reflect the social concerns of marginalized people, or the honest outlaw Dylan offered audiences who responded to him as a promoter of clear-sighted self-evaluation. As Carpenter shows, the outlaw and the law as located in society are interdependent in terms of definition. His study provides an in-depth look at the outlaw figure’s self-reflexive commentary and critique of both the performer and society that reflects the times in which they played their outlaw roles. / https://dc.etsu.edu/etsu_books/1158/thumbnail.jpg

Katherine Weiss’s chapter addresses the ways both Dylan and Sam Shepard work to destabilize American myths while insisting upon the very necessity of such myths—in the form of masks, or always mutating performances. By focusing specifically on Shepard’s relationship with and effort to understand him, Weiss reveals the significance of Dylan’s protean nature (as it relates to America’s tendency to get trapped in, or to reify, its necessary myths). At the same time, she shows how Dylan and Shepard collaborated to break down outmoded myths by resurrecting, necessarily, new, albeit more temporary, unstable, performative ones—especially in their interrogation of the concept of American identity. Weiss draws particular attention to Shepard and Dylan’s collaboration on the song “Brownsville Girl” (1986).

This is a noticing and a return - a good old-fashioned call and response. An understanding and a becoming. At present, the noticing is on brokenness and the response on reparation. The work is filtered and guided through my background in traditional woodworking and furniture design. A lifetime love of comic books, storytelling, and illustration refuses silence, and it escapes in bursts as I work intuitively through design and material. A newly discovered love of writing finds meaning in that intuition. It’s impossible, even irresponsible, for me to notice and question the brokenness around me without questioning the brokenness within me. It’s cyclical. The noticing becomes self-examination; the response becomes self-discovery. By leaving my surroundings in a more secure, joyful state than I found them, I am assured of the following: They have been revived; given the opportunity to thrive once more in my absence. I am leaving better too.

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Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Inglesa

Studiens syfte är att få ökad kunskap om hur fysiklärare på högstadiet tillämpar for- mativ bedömning i praktiken. Hur ofta utför lärarna formativ bedömning? Vilka me- toder använder sig lärarna av, och vilka faktorer påverkar deras arbete med formativ bedömning? En enkät med frågor direkt kopplade till Dylan Wiliams fem nyckelstra- tegier för formativ bedömning skickades ut via e-post till högstadielärare inom ett skol- område. En tematisk analys av svaren visar att lärarna oftast utför formativ bedömning en gång i veckan och att de främst använder gruppdiskussioner och skriftliga uppgifter för att samla information om elevernas tänkande, samt att eleverna oftast får feedback muntligt. Analysen visar även att självreglerat lärande är den minst utövade strategin för formativ bedömning. Vidare visar studien att erfarenhet, samarbete med kollegor, gott klassrumklimat och små klasstorlekar är de vanligaste faktorerna som underlättar tillämpning av formativ bedömning, medan tids- och intressebrist hos ele- verna finns bland de vanligaste hindren för implementering av formativ bedömning.