Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2017-07-24T13:11:29Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) dissertação_GERDNA_2017.pdf: 3085732 bytes, checksum: 8699e86d5c3fb4cfbf12ddd6e572a599 (MD5) / Made available in DSpace on 2017-07-24T13:11:29Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) dissertação_GERDNA_2017.pdf: 3085732 bytes, checksum: 8699e86d5c3fb4cfbf12ddd6e572a599 (MD5) Previous issue date: 2016-12-15 / CAPES / Esta pesquisa busca aplicar uma abordagem do ensino de leitura no intuito de contribuir na formação do leitor literário, através de estratégias metacognitivas de leitura que auxiliem os alunos a se tornarem leitores ativos e reconhecerem no conto o discurso universal inerente ao texto literário. Nosso embasamento teórico associa Estética da Recepção com Jauss (1979), Teoria do Efeito Estético, representada por Iser (1979), ensino de Literatura com Bordini &Aguiar (1993), Zilberman (2014) e Cosson (2014) à interação com o uso das estratégias de leitura, respaldado em Flavell (1976), Baker & Brown (1980), Solé (1998), Duke & Pearson (2002) e Kleiman (2007). Sendo assim, os teóricos da teoria da literatura e da psicolinguística dialogam para justificar a nossa proposta de entrelaçamento dessas áreas, visando um ensino de Literatura que respeite os aspectos literários e utilize os conhecimentos linguísticos para construção de significados do texto. A metodologia utilizada é qualitativa. Participaram da pesquisa 30 voluntários, estudantes do 9º ano de uma escola pública. As fases de aplicação das atividades para a coleta de dados foram divididas em diagnóstica, ensino de leitura e teste/avaliação. As atividades foram produzidas com base nos contos (O Crime do Professor da Matemática, de Clarice Lispector; O Conto se Apresenta, de Moacyr Scliar; O Gato Preto, de Edgar Allan Poe) lidos em cada fase, sendo elas o Questionário Avaliativo de uso de Estratégias Metacognitivas de Leitura e o Questionário de Compreensão do Conto, em todas as fases e o Guia de Leitura, nas duas últimas fases. O corpus foi constituído por 234 fichas de atividades (questionários e guias de leitura). Os resultados indicam que é possível a percepção do discurso universal, quando o estudante é capaz de transubstanciar a ficção inerente ao texto literário. / The present study aims to apply a teaching Reading approach in order to contribute to the literary reader formation through metacognitive reading strategies that help students become active readers and recognize in the short story the universal discourse inherent in the literary text. Our theoretical basis associated Aesthetics of Reception with Jauss (1979), Theory of Aesthetic Response, represented by Iser (1979), literature teaching with Bordini & Aguiar (1993), Zilberman (2014) and Cosson (2014) to the interaction with the use of reading strategies, represented by Flavell (1976), Baker and Brown (1980), Solé (1998), Duke and Pearson (2002) and Kleiman (2007). Thus, literary theory and psycholinguistics dialogue to justify our proposal of interweaving these areas, seeking a literature teaching that respects the literary aspects and use the language skills to build text meanings. The methodology is qualitative. The participants were 30 volunteers, students from 9th grade in a State School. The implementation stages for the data collection were divided into diagnostic, teaching of reading and test/evaluation. The activities were produced based on the short stories (O crime do Professor de Matemática by Clarice Lispector; O Conto se Apresenta by Moacyr Scliar; O Gato Preto by Edgar Allan Poe) read at each stage, they were the Assessment Questionnaire on the use of Metacognitive Reading Strategies, Short Story Comprehension Questionnaire, at all stages and the Reading Guide in the last two stages. The corpus consisted of 234 activities sheets (questionnaires and reading guides). The results indicate that the universal discourse perception is possible, when the student is able to transubstantiate fiction inherent in the literary text.

Made available in DSpace on 2016-01-26T18:49:37Z (GMT). No. of bitstreams: 1 MILENE_02_01_2011.pdf: 352306 bytes, checksum: cacf2ffe9413bf0e2b2f7b36495af8f8 (MD5) Previous issue date: 2009-12-17 / We understand that it is the function of the school, as a formal institution, to encourage and incentivate the habit of reading. This is important for developing competent readers and consequently for the formation of independent and proficient readers. Thus, the present research had the purpose to check on how the school contributes to the development of readers. It analyzed how the educators participate in this process, their concepts relating to working with reading, and how the State Board of Education São Paulo deals with this question. The methodology used for this research was qualitative research, limited to case studies. The subjects of the research, by means of semi-structured script interviews, included: the management team, four teachers (of which three were active in classrooms and one teacher responsible for the reading room). For the theoretical foundation, we used the concept of reading as a sense production and as a concrete social function. For the collection of data, we used the text analysis (education plan for the school, lesson plans and reading projects the school developed, and also the official curriculum) with the subject of Reading and Text Production. Having obtained the data, we proceeded with the analysis that revealed the necessity for such reflections, by the school staff, concerning its implementation. We concluded it was necessary for a direction to be defined, having clear objectives about reading work to determine the starting point and to know where we wanted to arrive, according to explicit theoretical estimates. Also shown was the necessity of rethinking improvements of educational policies, because forming competent readers is to guarantee that they make use of the reading as a process of social interaction. This is the desired contribution of this work. / Entendemos que cabe à escola, como instituição formal, favorecer a prática e incentivo à leitura. Tal procedimento é importante para o desenvolvimento da competência leitora e, consequentemente, à formação de leitores autônomos e proficientes. Assim, a presente pesquisa, teve a finalidade de verificar como a escola contribui para a formação de leitores, analisa como a equipe escolar age nesse processo, quais são suas concepções do trabalho com leitura, e como a Secretaria de Estado da Educação do estado de São Paulo trata esta questão. A metodologia utilizada caracteriza-se como uma pesquisa qualitativa, com delineamento de estudo de caso. Foram sujeitos da pesquisa, por meio de entrevistas com roteiros semi-estruturados: a equipe de gestão, quatro professores, sendo, três atuantes em sala de aula e um responsável pela sala de leitura. Para o embasamento teórico, nos utilizamos das concepções de leitura como produção de sentido e como função social concreta. Para a coleta de dados, servimo-nos da análise documental (Proposta Pedagógica da escola, Planos de Aulas, projetos de leitura que a escola desenvolve. E ainda, Resolução da Matriz Curricular com a disciplina, Leitura e Produção de Textos). De posse dos dados, procedemos as análises que revelaram a necessidade de reflexões, por parte da equipe escolar, em relação à sua prática, que um direcionamento precisa ser definido, tendo objetivos claros em relação ao trabalho com leitura, que há que se determinar o ponto de partida e saber aonde se quer chegar, segundo os pressupostos teóricos explicitados. Revelaram também, a necessidade de se repensarem melhorias de políticas educacionais, pois formar um leitor competente é garantir que ele faça uso da leitura como processo de interação social. Esta é a contribuição pretendida com este trabalho.

Made available in DSpace on 2016-07-18T17:54:12Z (GMT). No. of bitstreams: 1 MILENE_02_01_2011.pdf: 352306 bytes, checksum: cacf2ffe9413bf0e2b2f7b36495af8f8 (MD5) Previous issue date: 2009-12-17 / We understand that it is the function of the school, as a formal institution, to encourage and incentivate the habit of reading. This is important for developing competent readers and consequently for the formation of independent and proficient readers. Thus, the present research had the purpose to check on how the school contributes to the development of readers. It analyzed how the educators participate in this process, their concepts relating to working with reading, and how the State Board of Education São Paulo deals with this question. The methodology used for this research was qualitative research, limited to case studies. The subjects of the research, by means of semi-structured script interviews, included: the management team, four teachers (of which three were active in classrooms and one teacher responsible for the reading room). For the theoretical foundation, we used the concept of reading as a sense production and as a concrete social function. For the collection of data, we used the text analysis (education plan for the school, lesson plans and reading projects the school developed, and also the official curriculum) with the subject of Reading and Text Production. Having obtained the data, we proceeded with the analysis that revealed the necessity for such reflections, by the school staff, concerning its implementation. We concluded it was necessary for a direction to be defined, having clear objectives about reading work to determine the starting point and to know where we wanted to arrive, according to explicit theoretical estimates. Also shown was the necessity of rethinking improvements of educational policies, because forming competent readers is to guarantee that they make use of the reading as a process of social interaction. This is the desired contribution of this work. / Entendemos que cabe à escola, como instituição formal, favorecer a prática e incentivo à leitura. Tal procedimento é importante para o desenvolvimento da competência leitora e, consequentemente, à formação de leitores autônomos e proficientes. Assim, a presente pesquisa, teve a finalidade de verificar como a escola contribui para a formação de leitores, analisa como a equipe escolar age nesse processo, quais são suas concepções do trabalho com leitura, e como a Secretaria de Estado da Educação do estado de São Paulo trata esta questão. A metodologia utilizada caracteriza-se como uma pesquisa qualitativa, com delineamento de estudo de caso. Foram sujeitos da pesquisa, por meio de entrevistas com roteiros semi-estruturados: a equipe de gestão, quatro professores, sendo, três atuantes em sala de aula e um responsável pela sala de leitura. Para o embasamento teórico, nos utilizamos das concepções de leitura como produção de sentido e como função social concreta. Para a coleta de dados, servimo-nos da análise documental (Proposta Pedagógica da escola, Planos de Aulas, projetos de leitura que a escola desenvolve. E ainda, Resolução da Matriz Curricular com a disciplina, Leitura e Produção de Textos). De posse dos dados, procedemos as análises que revelaram a necessidade de reflexões, por parte da equipe escolar, em relação à sua prática, que um direcionamento precisa ser definido, tendo objetivos claros em relação ao trabalho com leitura, que há que se determinar o ponto de partida e saber aonde se quer chegar, segundo os pressupostos teóricos explicitados. Revelaram também, a necessidade de se repensarem melhorias de políticas educacionais, pois formar um leitor competente é garantir que ele faça uso da leitura como processo de interação social. Esta é a contribuição pretendida com este trabalho.

Tutaméia Terceiras Estórias é a obra de Guimarães Rosa que mais dá mostras da preocupação do escritor com a materialidade do livro e com os processos de apreensão da leitura. O recurso mais explorado para isso foi o uso excessivo do paratexto, que inscreve um espaço intermediário entre o livro e o leitor, sugerindo a ele que reflita sobre o tempo da produção literária. Seguindo essas pistas sobre a prática da escrita, propomos neste estudo a reflexão sobre os procedimentos de composição do manuscrito literário e seu espelhamento em problemas narrativos propostos ao leitor nos textos Desenredo e Sobre a escova e a dúvida. / Terceiras Estórias is the one of Guimarães Rosas works that shows his preoccupation with the materiality of the book and about its reception. To achieve this goal he explored textual elements that create intermediary spaces between the book and the reader, leading the latter to consider the time of the books production. Following clues about Rosas practice of writing, we intend to consider the composition of the literary manuscript and its reflection on the narrative problems proposed to the reader in the texts Desenredo and Sobre a escova e a dúvida.

No description available.

Les modes de composition et de narration de l’histoire ont été profondément bouleversés dans la première moitié du XIXe siècle français. Le récit historique doit alors répondre à de nouveaux enjeux et façonner une historiographie nouvelle qui devra conduire à l’établissement d’une discipline scientifique moderne : l’histoire. Les écrivains de cette période conçoivent par conséquent un récit historique dans lequel sont inscrites les nouvelles modalités démocratiques du rapport à la cité politique : il ne s’agit plus seulement pour l’historien d’entretenir de l’histoire, mais de faire entendre les voix de l’histoire, celles des contemporains tout autant que celles du passé, en les inscrivant dans un régime communicationnel. Autrement dit, il ne s’agit pas seulement de les faire entendre, mais aussi de procéder à un vaste système d’interactions des différentes temporalités : à l’image d’un vaste parlement, les temps communiquent et tiennent la narration pour donner à lire une histoire polyphonique dans laquelle l’instance narrative et auctoriale qui assurait autrefois le rythme et la cohérence du récit se démultiplie, et dans laquelle l’histoire se fragilise pour mieux se faire entendre. Le récit historique de la première moitié du siècle s’institue ainsi comme un vaste laboratoire dans lequel les historiens expérimentent les nouveaux modes d’expression d’une histoire démocratique. / The history’s narrative has been deeply shaked during the first half of the nineteenth century. The historical narrative have to meet new challenges and make a new historiography to institute a modern and a scientific discipline : history. Therefore writers of this period form an historical narrative which includes new democratic procedures for the management of politics : historian have not only to talk about history, but have also to get the voices of history heard, past’s voices as well as contemporary’s. History becomes a communication. In other words, voices don’t only have to get heard : they have to interact each others through time. Like a parliament, times communicate each others and lead the narrative to make a polyphonic history, in which the narrative and auctorial instance – which, in the past, led the rhythm and the coherence of the narrative – stretch themselves. Therefore history weaks itself to become more listenable. The history’s narrative of the first half of the nineteenth century becomes thus a wide laboratory for historians to experiment new narrative devices of a democratic history.

Cette thèse rend compte des usages et des pratiques à l’œuvre dans les lectures publiques actuelles. Et plus précisément de leur réception par les auditeurs-spectateurs, pendant et après les lectures. Les sources et matériaux utilisés sont divers : ce sont en partie des récits de réception empruntés à la littérature classique ou contemporaine, et aux publications de chercheurs en sciences humaines et sociales. J’ai d’autre part utilisé mes propres récits, des narrations rédigées après avoir assisté à des lectures publiques à voix haute. J’ai donc construit mes matériaux à partir de ce que j’ai éprouvé au milieu d’une assemblée, au milieu des autres, au milieu d’autres corps. Je me suis autorisée et inspirée de la « pensée par cas » (ou « singularités »), une méthode qui suppose une pratique d’auto-observation inspirée de l’approche clinique. Elle écarte donc toute prétention au réalisme ou à l’objectivisme. Les lectures publiques sollicitent simultanément l’œil et l’oreille. La réception des auditeurs-spectateurs, qu’elle soit recueillie ou éprouvée en personne, apparaît souvent très individuée, peu normée.Un prologue fait retour sur trois périodes de la grande histoire de la lecture : récits de lectures à voix haute partant de l’Antiquité grecque et romaine jusqu’à une période récente. Les deux autres parties s’attachent ensuite à éclairer les rapports qui se nouent entre les acteurs présents à des lectures données en public, de nos jours. Rapports d’échange ou d’altérité, ou bien rapports de pouvoir, ils révèlent la manière dont se forment les réceptions individuelles - à partir des récits ou cas et de leur rapprochement avec d’autres corpus disciplinaires. Mais le matériau est hétérogène, labile, instable, parfois étrange. Aussi ce parcours ne va pas en ligne droite : il est sillonné d’allers et retours et de bifurcations ; emporté par des processus associatifs, arrêté ou suspendu par des détails sonores ou visuels, parfois infimes ; ou par la qualité du silence. Son tracé apparaît donc a posteriori.L’acte d’écouter-regarder lire au milieu d’une assemblée, et ses retentissements dans le for intérieur, incitent constamment à se déplacer mentalement, à sortir de soi ou à passer du « je » au « nous ». Le « nous » signifie que j’intègre en silence la présence du Lecteur sonore et des autres auditeurs-spectateurs, que je les associe à ma réception : l’individu dit « nous » (dans son intimité comme en société) en s’adressant ou en s’incluant aux autres. Les lectures publiques touchent à la fois l’individuel et le collectif ; voire questionnent le concept de communauté.Elles nous reconduisent naturellement à des relectures et s’offrent elles-mêmes comme forme singulière de relecture. Elles nous conduisent aussi à d’autres pratiques du partage grâce à l’usage de la voix haute ; à d’autres modes d’exister de la littérature, d’autres formes d’oralité (les groupes de lecture, la récitation, le témoignage, le cinéma). In fine, ce travail met au jour une expérience, et les « savoirs » singuliers qu’elle engrange et diffuse. Cette expérience peut être transmise, reprise, re-questionnée et discutée. Car les lectures publiques, censées nous immobiliser ou nous sidérer sur un fauteuil, nous engagent personnellement dans le rapport à autrui. Ce n’est pas le moindre enseignement de cette aventure. / This PhD thesis is an account of uses and practices at stake in public reading nowadays ; more precisely, of its reception by the listening audience, during and after the readings. The sources and material used are diverse : partly accounts of reception extracted from classical and contemporary literature, and publications by searchers in human and social science. I have also used my own accounts, narrative pieces I redacted after witnessing public readings. I thus have built my own material based on what I felt among an audience, among others, among other bodies. I have leaned on and inspired myself from “case thinking” (or “singularities”), a method which relies on practicing self-observation, based on clinical approach. Therefore, it excludes any claim to realism or objectivism. Public readings appeal to the eye and the ear at once. The reception by the listeners-spectators, whether it’s collected or felt in person, seems to be frequently personal, not very normalized.A prologue goes overs three periods of the great history of reading: accounts of readings aloud from Greek and Roman Antiquity to a recent period of time. The other two parts aim to highlight the connections that awaken between the actors during public readings nowadays. Those relationships of exchange, of otherness, or of power, reveal the way in which individual reception forms - from accounts or cases and relating them to corpuses from other subjects.But the material is a heterogeneous, labile, instable one; sometimes strange. Which explains that the journey isn’t straight: it is criss-crossed by comings and goings and branching roads; drawn as it was by associating processes, stopped or paused by sound or visual details, sometimes minute; or by the quality of silence. As a result, its course appears a posteriori.The act of listening-watching read among an audience, its repercussions onto the inner self, are a constant incentive to move mentally, get out of oneself or switch from “I” to “we”. “We” means I silently integrate the person who reads aloud and the other listeners-spectators into my reception: the individual says “we” (in their intimacy as well as in society), addressing themselves to or including themselves with others. Public readings concern the individual as well as the collective level; and even question the concept of community. They naturally drive us to rereads and offer themselves as a singular form of reread. They also drive us to other practices of sharing through the use of voicing : to other ways of existing for literature, to other forms of oral performance - reading groups, recitation, account, cinema.

The "dramatic monologue" is curiously named, given that poems of this genre often feature characters not only listening to the speakers but responding to them. While "silent auditors," as such inscribed characters are imperfectly called, are not a universal feature of the genre, their appearance is crucial when it occurs, as it turns monologue into dialogue. The scholarly attention given to such figures has focused almost exclusively upon dramatic monologues by Robert Browning, Alfred Tennyson, and other male poets and has consequently never illustrated how gender influences the attitudes toward and outcomes of communication as they play out in dramatic monologues. My dissertation thus explores how Victorian and modernist female poets of the dramatic monologue like Elizabeth Barrett Browning, Augusta Webster, Amy Levy, and Charlotte Mew stage the relationships between the female speakers they animate and the silent auditors who listen to their desperate utterances. Given the historical tensions that surrounded any woman's speech, let alone marginalized women, the poets perform a remarkably empathetic act in embodying primarily female characters on the fringes of their social worlds--a runaway slave, a prostitute, and a modern-day Mary Magdalene, to name a few--but the dramatic monologues themselves end, overwhelmingly, in failures of communication that question the ability of dialogue to generate empathetic connections between individuals with radically different backgrounds. Silent auditors often bear the scholarly blame for such breakdowns, but I argue that the speakers reject their auditors at pivotal moments, ultimately participating in their own marginalization. The distrust these poems exhibit toward the efficacy of speaking to others, however, need not extend to the reader. Rather, the genre of the dramatic monologue offers the poets a way to sidestep dialogue altogether: by inducing the reader to inhabit the female speaker's first-person voice--the "mobile I," in Èmile Benveniste's terms--these dramatic monologues convey experience through role-play rather than speech, as speaker and reader momentarily collapse into one body and one voice. Such a move foregrounds sympathetic identification as a more powerful means of conveying experience than empathetic identification and the distance between bodies and voices it necessitates.

No description available.

This study examines the reading ability of elementary school students in multiple courses in order to determine the need for a change in curriculum.