Made available in DSpace on 2016-03-15T19:45:16Z (GMT). No. of bitstreams: 1 Liliane Barros Oliveira Delorenzi.pdf: 1623166 bytes, checksum: bccbad209b3eec3900f1c6600d0dfdf9 (MD5) Previous issue date: 2011-02-22 / Fundo Mackenzie de Pesquisa / This research arises from our concern about the way textbooks are presented and used in Portuguese language classes in elementary school. We seek to understand why students lose the enjoyment of literature during the basic education and what responsibility different educational institutions, at different degrees, bear in the development of a critical reader. Thus, we focus the prime motivator and mediator of reading in the classroom, the teacher. Recognizing the importance of his intervention in the readers‟s development, including the selection of appropriate material, choice of teaching strategies, and encouragement of discussion and reflection by their students. For this, we analyze how the teacher has been prepared in his graduation course, to act as a social transformer, within the classroom. In order to asses some of the major theoretical foundations of reading, see how reading is taught in the classroom and point out elements that can act as auxiliaries in the process of teacher motivation, our qualitative research used semi-structured questions, asked of elementary school students, teachers in action and language students. With this study, we show that the reading books, given to elementary students are not always appropriate for this age group, and that the way that these material are presented and used, can turn student's way from the enjoyment of reading; teacher graduate courses in reading instruction, only discuss the theoretical aspects of reading instruction, without application in the classroom work. We also observed the skills and strategies taught in graduate instruction are just term lost during the teacher's training, without major consequences for their future performance in the classroom. / Este trabalho de pesquisa é proveniente de nossas preocupações com a maneira como os textos escritos são apresentados e trabalhados nas aulas de língua portuguesa do ensino básico. Buscamos entender porque o aluno, no percurso do ensino fundamental, perde o prazer pelos livros literários e qual a responsabilidade das diferentes instituições formadoras na constituição de um leitor crítico. Dessa maneira, voltamos nosso olhar para o principal incentivador e mediador da leitura na sala de aula, o professor. Reconhecendo a importância de sua intervenção na formação do leitor, desde a seleção do material utilizado, a escolha das estratégias de ensino, até o favorecimento de um ambiente propício para a discussão e reflexão de todos os alunos. Por tudo isso, refletimos sobre a maneira como esse professor tem sido preparado nos cursos de graduação, para atuar como transformador social, a partir da sala de aula. Desta forma, com o objetivo de discutir alguns dos principais fundamentos teóricos sobre leitura, verificar como esta é trabalhada nas salas de aula e apontar elementos que possam atuar como auxiliares no processo de motivação do professor, esta pesquisa qualitativa valeu-se do recurso da entrevista semiestruturada, destinada aos alunos do ensino fundamental, aos professores em atuação e aos graduandos em Letras. Com este trabalho, foi possível evidenciar que os livros paradidáticos, indicados pelos professores aos alunos do segundo segmento da educação básica, nem sempre são adequados para essa faixa etária; a maneira como esses textos são apresentados e trabalhados, afasta o aluno do prazer pela leitura; os cursos de formação inicial de professores, quando trabalham o ensino da leitura, ainda se prendem, apenas, aos aspectos teóricos desse estudo, sem aplicá-lo ao trabalho na sala de aula, e, por fim, percebemos que as competências, as habilidades e as estratégias são apenas termos que se perdem durante a formação do professor, sem maiores consequências para sua futura atuação em sala de aula.

Made available in DSpace on 2016-03-15T19:45:50Z (GMT). No. of bitstreams: 1 Anderson Goncalves Pereira.pdf: 8548872 bytes, checksum: 692ed8eb4288df5e256b94b7ea2921f3 (MD5) Previous issue date: 2013-02-19 / This work intends to identify who is the reader of Awake! magazine and which are the main strategies used in order to convince the reader. To achieve this objective were analyzed the 12 main articles published in 2010 by this magazine in order to identify its implied readers. At first, it was presented a brief historical research about the Jehovah s Witness and the Watch Tower Bible and Tract Society of Pennsylvania, group and association responsible for publishing Awake!. After that, it was showed a brief historical research about Awake! and its changes since its creation until nowadays, in its contents and organization. This research showed the magazine s importance for the development of the Watch Tower Bible and Tract Society of Pennsylvania and to spread Jehovah s Witness doctrines. Finally, it was presented who is the possible reader of Awake! based on its 12 main articles published in 2010, which are the main strategies used in order to convince the readers and the importance of the typographic elements to build the meaning of the articles. This work offers the opportunity to know who the target public of Jehovah s Witness is. / O presente trabalho tem como objetivo identificar quem é o leitor da revista Despertai! (Awake!) e quais são as estratégias de convencimento usadas pela revista. Para alcançar esse objetivo foram analisados os artigos de capa das 12 edições da revista publicadas em 2010 visando identificar o leitor implícito contido neles. Primeiramente, foi apresentado um breve histórico sobre as Testemunhas de Jeová e Associação Torre de Vigia organização grupo e associação responsável pela publicação da Despertai!. Em seguida, apresentou-se um breve histórico da revista Despertai! e as mudanças ocorridas na revista desde sua criação até os dias atuais, em sua organização e conteúdo. Essa investigação mostrou a importância da revista para o desenvolvimento da Associação Torre de Vigia e também para a divulgação das doutrinas do grupo religioso Testemunhas de Jeová. Por fim, foi apresentado quem é o leitor da revista com base na análise das matérias de capa das 12 edições da revista de 2010, e quais foram as estratégias usadas para convencer o leitor e a importância dos elementos tipográficos para a construção de sentido dos artigos. O trabalho oferece a oportunidade de conhecer quem é o público-alvo desse grupo religioso.

Made available in DSpace on 2016-03-15T19:47:32Z (GMT). No. of bitstreams: 1 Valdemir Boranelli.pdf: 1045417 bytes, checksum: 6f4b0ef095117a3a54f136fb8331a4ef (MD5) Previous issue date: 2013-12-06 / Fundo Mackenzie de Pesquisa / Recent studies have moved beyond Todorov s concepts and define the fantastic as a phenomenon of language. Authors such as Filipe Furtado, Rosalba Campra, Erdal Mary Jordan, share this conceptual framework. They would rather see the fantastic like a narrative mode which generates textual ambiguities rather than a feeling of hesitation. The validity of this is in the construction of the text, that is, its articulation in producing a literary effect of disturbance to the reader. These definitions of the fantastic as a phenomenon of language allow us to understand it not as a genre, but as a way of narrating. Based on this conception, it is understood that the fantastic text of the twentieth century, especially Murilo Rubião s text, here called neo-fantastic, is constructed through linguistic devices, including epistemological metaphor and hyperbole, which create the fantastic effect on the reader, so that they correspond to the vision and description of the gaps in our causal perception of reality, which would be impossible to be described in ordinary language and / or scientific language. Thus the text produced by Murilo Rubião frees the reader to think about what is said, then, it is evident that a change in attitude by the reader, in relation to this literature, is needed. The nineteenth century fantastic as defined by Todorov aimed at an implied reader; on the other hand, the twentieth century fantastic requires the presence of a real reader, in the flesh, to confront his views on the world with the narrative. This way, our focus is on the relation text-reader-reading making up the narrative action, demonstrating the role and the position of the reader before a fantastic literary text, highlighting the text by Murilo Rubião. / Estudos mais recentes se distanciam do conceito de Tzvetan Todorov e definem o Fantástico como fenômeno da linguagem. Nesta linha conceitual segue, entre outros, Filipe Furtado, Rosalba Campra, Mary Erdal Jordan, que preferem ver o fantástico mais como um modo narrativo gerador de ambiguidades ao invés de um sentimento de hesitação. O que é válido é a construção do texto, isto é, sua articulação na elaboração do efeito literário capaz de perturbar ao leitor. Estas definições do fantástico como fenômeno da linguagem nos permitem entendê-lo não como gênero, mas sim como modo de narrar. Partindo dessa concepção, entende-se que o texto fantástico do século XX, em especial o de Murilo Rubião, se articula por meio de elementos linguísticos, dentre eles a hipérbole e a metáfora epistemológica, tais elementos geram o efeito fantástico no leitor, de modo que estas correspondem à visão e descrição dos vazios em nossa percepção causal da realidade, a qual seria impossível ser descrita pela linguagem comum e/ou pela linguagem científica. Assim o texto de Murilo Rubião se abre para uma liberdade do leitor confrontar suas premissas com o dito pelo texto, então, é notória a necessidade de mudança de postura do leitor em relação a essa literatura, visto que se exige a presença de um leitor em carne e osso que seja capaz, por meio dos diversos níveis de leitura, confrontar seu mundo com o narrado, portanto de um leitor real. Desse modo nosso objeto de estudo é a relação texto-leitor-leitura construindo a ação narrativa, demonstrando o papel e a posição do leitor ante um texto de literatura fantástica, em destaque a de Murilo Rubião.

Made available in DSpace on 2016-04-27T17:05:59Z (GMT). No. of bitstreams: 1 Renato Pereira de Araujo.pdf: 1711666 bytes, checksum: b5ad19e844d9c137553ad64b03b603c7 (MD5) Previous issue date: 2015-03-02 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / For the visually impaired, identify which path to follow to reach the desired destination without assistance from healthy people is a challenge. To move in an unknown environment is required to interact with the mechanisms of information. However the visually impaired do not yet have a navigation system in indoor environments with real-time response that allows this this communication. This paper presents a device that allows interaction with the tactile floor to aid navigation and orientation. Through an audio interface, the device provides the visually impaired relevant information on the space around it and the navigation options available. The relevant information is disseminated using labels with radio frequency identification technology, integrated into a microcontroller and an audio playback card. Each label has an electronic product code that allows to identify it uniquely. The label installed in a standard place of tactile floor is linked to an audio file with information about the space and the available routes. The reader integrated development board reads the labels and sends the electronic code to the microcontroller, which in turn identifies the code and assigns this audio file to be played. The device was tested by a volunteer who found all labels positioned on the floor tactile alert, clearly identified its position and reached the desired destination without route errors. Used as a complement to tactile signage, this device provides an interaction between the visually impaired and the existing tactile signage. This project will directly contribute to society, providing a convenient navigation system for people with visual disabilities have greater autonomy / Para os deficientes visuais, identificar qual caminho deve ser seguido para chegar ao destino desejado, sem auxílio de pessoas hígidas, é um desafio. Para se deslocar em um ambiente desconhecido é necessária a interação com os mecanismos de informação. Entretanto os deficientes visuais ainda não contam com um sistema de navegação em ambientes internos com resposta em tempo real que possibilite essa comunicação. Este trabalho apresenta um dispositivo que possibilita a interação com o piso tátil para auxiliar a navegação e a orientação. Por meio de uma interface de áudio, o dispositivo proporciona ao deficiente visual as informações úteis sobre o espaço em seu entorno e as opções de navegação disponíveis. As informações pertinentes são difundidas utilizando etiquetas com tecnologia de identificação por rádio frequência, integradas a um micro controlador e uma placa de reprodução de áudio. Cada etiqueta possui um código de produto eletrônico que permite identificá-la de forma exclusiva. A etiqueta instalada em um local padronizado do piso tátil está atrelada a um arquivo de áudio com informações sobre o espaço e as rotas disponíveis. O leitor integrado a placa de desenvolvimento faz a leitura das etiquetas e envia o código eletrônico ao micro controlador, que por sua vez identifica o código e atribui a este o arquivo de áudio que será reproduzido. O dispositivo foi testado por um voluntário que encontrou todas as etiquetas posicionadas junto ao piso tátil de alerta, identificou claramente sua posição e chegou ao destino desejado sem erros de percurso. Usado como complemento da sinalização tátil, este dispositivo possibilita uma interação entre o deficiente visual e a sinalização tátil existente. Este projeto poderá contribuir diretamente para a sociedade, disponibilizando um sistema de navegação conveniente para que as pessoas com deficiência visual tenham maior autonomia

Made available in DSpace on 2016-04-29T14:23:42Z (GMT). No. of bitstreams: 1 Thiago Mittermayer.pdf: 1393063 bytes, checksum: 84ca986ea8231d602aee7f4004b3bb72 (MD5) Previous issue date: 2016-03-07 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The contemporary culture is experiencing a period of transformation and acceleration. Inside the connection between the digital culture and communication, new ways of create and participate in fictional narratives have collaborated with these instant changes now a days. The complexity of this theme is intensified from the moment that interaction between media and narrative, both have started to overlap one above the other. And the transmedia storytelling is the prevailing concept that strives to explain this complexity. The main objective of this dissertation is to present an exploratory research that reflects the transmedia storytelling in both aspects, the theoretical and the practical. Expected to propose further discussions on the subject from the consideration of different points of view. The purpose is to show new branches of transmedia storytelling. The main theoretical references that guided the journey were: Carlos Scolari (2009, 2013), Clay Shirky (2011), Henry Jenkins (2009), Lucia Santaella (2004, 2013), Marie-Laure Ryan (2013), Steven Johnson (2003, 2012). Then, the dissertation was divided into four chapters. The first chapter is about the genealogy and the precursors concepts of transmedia storytelling. The second discusses the relationship between the transmedia storytelling and the ubiquitous reader. The third chapter argues about how to plan a transmedia project. The fourth chapter introduces the possibility of discussing the transmedia storytelling from the look of semiotics, especially through the concept of intersemiotic translation / A cultura contemporânea vive um momento de transformação e aceleração. Dentro da conexão existente entre a cultura digital e a comunicação, as novas formas de se criar e participar de narrativas ficcionais colaboraram com estas modificações instantâneas do mundo atual. A complexidade do tema intensifica-se a partir do momento em que tanto as mídias quanto as narrativas entraram em interação e começaram a se sobrepor umas nas outras. E a narrativa transmídia é o conceito vigente que se esforça para a explicação desta complexidade. O principal objetivo desta dissertação é apresentar uma pesquisa exploratória que reflita sobre a narrativa transmídia tanto em seus aspectos teóricos quanto práticos. Esperase propor novas discussões sobre o tema a partir da ponderação de diferentes pontos de vista. O intuito é mostrar novas ramificações sobre a narrativa transmídia. Os principais referenciais teóricos que guiaram o percurso foram: Carlos Scolari (2009, 2013), Clay Shirky (2011), Henry Jenkins (2009), Lucia Santaella (2004, 2013), Marie-Laure Ryan (2013), Steven Johnson (2003, 2012). Em vista disto, a dissertação foi dividida em quatro capítulos. O primeiro capítulo trata da genealogia e dos conceitos precursores da narrativa transmídia. O capítulo seguinte discute a relação existente entre a narrativa transmídia e o leitor ubíquo. O terceiro capítulo argumenta sobre como planejar um projeto transmidiático. O último capítulo reflete sobre a narrativa transmídia a partir do olhar da semiótica, especialmente, por meio do conceito da tradução intersemiótica

Submitted by admin tede (tede@pucgoias.edu.br) on 2017-10-10T17:37:34Z No. of bitstreams: 1 CIRLENE DA SILVA ANDRADE.pdf: 5123037 bytes, checksum: 20f72988cef29981703a74642a211e86 (MD5) / Made available in DSpace on 2017-10-10T17:37:34Z (GMT). No. of bitstreams: 1 CIRLENE DA SILVA ANDRADE.pdf: 5123037 bytes, checksum: 20f72988cef29981703a74642a211e86 (MD5) Previous issue date: 2011-03-29 / This research has the purpose of demonstrating that, starting from the modernity, the reading acquired new senses, and, in consequence, the reader started to carry out a new function: the one of co-producer of the artistic text. Hole this that is integral part of doing literary of the books corpus of this Dissertation and prominence of the chosen theoretical referential for the analysis of the studied literary works. The Aesthetics of the Reception, when bringing the reader for the scenery of the literary analysis, considers him subject in the process creation of the work of art. The range of senses of the literary text is, then, established starting from the dialogue among author/reader/ text, moment in that he or she understands each other the metaphorical language, the symbols, the intertextualizations, the implicit dialogues etc. As essential elements of the dialogic artistic creation. Being like this, it is considered the character speaker of the art and the importance of the respect to the apprenticeship of the child's psychological development in the choice of the text that will be destined to her, so that, in the action of the reading, get to establish with success the interrelation among the information contained in the textual structure with their life experiences. To work all those aspects, the literary books of Maria de Fátima Gonçalves Lima was used, for they be works of an expressive artistic value, that, for May of the interdiscursivities and of the intertext, it values the speech of the other, allowing to demonstrate, this way, that the language is par excellence dialogic. / Esta pesquisa tem o propósito de demonstrar que, a partir da modernidade, a leitura adquiriu novos sentidos, e, em decorrência, o leitor passou a desempenhar uma nova função: a de coprodutor do texto artístico. Papel este que é parte integrante do fazer literário dos livros corpus desta Dissertação e destaque do referencial teórico escolhido para a análise das obras literárias estudadas. A Estética da Recepção, ao trazer o leitor para o cenário da análise literária, considera-o sujeito no processo de criação da obra de arte. A gama de sentidos do texto literário é, então, estabelecida a partir do diálogo entre autor/leitor/texto, momento em que se entende a linguagem metafórica, os símbolos, as intertextualizações, os diálogos implícitos etc. como elementos essenciais da criação artística dialógica. Sendo assim, considera-se o caráter interlocutor da arte e a importância do respeito ao estágio de desenvolvimento psicológico da criança na escolha do texto que será destinado a ela, para que, no ato da leitura, consiga estabelecer com êxito a inter-relação entre as informações contidas na estrutura textual com suas experiências de vida. Para trabalhar todos esses aspectos, foram utilizados os livros literários de Maria de Fátima Gonçalves Lima, por serem obras de um expressivo valor artístico, que, por meio da interdiscursividade e do intertexto, valoriza o discurso do outro, permitindo demonstrar, desse modo, que a linguagem é por excelência dialógica.

The purpose of this study was to determine if a difference existed between TCAP scores of students who used the Accelerated Reader (AR) program and students who used Sustained Silent Reading strategy (SSR) as measured by the Tennessee Comprehensive Assessment Program (TCAP). The variables of grade level (6th, 7th, and 8th), gender, and socioeconomic status (free- or reduced- price meals program) were considered. The population consisted of 108 6th graders who attended a Cocke County school or a McMinn County school in Tennessee. Data were obtained from the TCAP for 3 consecutive years beginning in 2004-2005 for students who completed the tests all 3 years. A t test for independent samples and analysis of variance (ANOVA) were used to determine if there was a difference on associations and interactions between variables. The researcher's investigation of the reading achievement of students who used Accelerated Reader and those who used Sustained Silent Reading should assist educators in planning for supplemental reading instruction. The information gathered from this research might be beneficial to other school systems when determining which method of reading instruction to use to increase students' reading achievement. The findings indicated the students who used the Accelerated Reader program had an increase in reading-language arts scale scores for 3 consecutive years. The findings of this study also revealed that gender had no significance on student achievement for 6th graders. The findings did indicate a significant interaction between gender and type of program used during 7th and 8th grades. Females who used the Accelerated Reader program outscored males who used the program. The findings of this study also determined that socioeconomic status had no association with TCAP scores during the 6th, 7th, or 8th grades.

Though casual readers may often assume cookbooks are primarily reference materials,cookbooks actually offer readers a type of autobiography; I examine cookbooks as literary autobiographical acts by analyzing three celebrity chefs' cookbooks and the recent film, Julie and Julia. Julie and Julia, starring Meryl Streep and Amy Adams, illustrates several key autobiographical ideas, specifically Barthes' ideas of readerly and writerly texts and the distinction between an author and a persona. The film acts as a visual representation of the way a reader engages with a text and makes it a writerly text while successfully distinguishing between an author and a persona/narrator. After a brief review of autobiography theory through Julie and Julia, the three selected authors' work further magnifies the ideas. The first celebrity chef, David Lebovitz, uses a highly narrative style and incorporates numerous autobiographical details into his books. The second, Ina Garten, utilizes different methods of creating a persona, including photography. The third chef, Dorie Greenspan, uses the same methods used by Lebovitz and Garten, but has been replicated extensively in online baking groups, making her texts ideal for understanding the role of the reader in an autobiography. The work of these three authors illustrates well how autobiographies function and how readers can reiterate their own autobiographies through the books and food they consume.

La figure de lecteur, prégnante dans les romans britanniques des XVIIIe et XIXe siècles, est porteuse de sens pour l’histoire du roman. Intimement liée à l’histoire du livre et à la discontinuité de lecture qu’impose la publication des romans en plusieurs volumes ou épisodes, elle s’impose aussi comme une représentation plus ou moins fidèle du lectorat. La figure de lecteur reconstruit ainsi l’histoire complexe que le roman entretient avec ses lecteurs. Derrière une bienveillante volonté d’inviter le plus grand nombre à la lecture romanesque se cache en réalité une tendance à la définition du lectorat par exclusion. Pour aussi paradoxal que cela soit, le roman a peur de ses lecteurs. Mus par la volonté de dissocier le genre des vulgaires « romances », les auteurs ne vont avoir de cesse de repousser en marge de leur texte tant de lecteurs indésirables susceptibles de faire échouer l’édifice littéraire aux préceptes encore très classiques qui se met en place. Au-delà, la figure de lecteur ne saurait être qu’une simple affaire de représentation : elle est aussi un double narratif, une sorte de miroir érigé au narrateur-auteur qui met à profit ce reflet inversé pour construire l’instance narrative encore bien peu légitime qu’il représente. Figure de lecteur et narrateur-auteur sont indissociablement liés. Ainsi les variations d’apparition de la figure de lecteur dans le texte n’ont d’égal que la fragilité de la voix auctoriale et l’expression de l’angoisse de réception que trahit une très symptomatique rhétorique de dépréciation. / Pregnant as it is in 18th and 19thC British novels, the reader in the text is potent with meaning for the history of the novel. Related to the history of the book and the discontinuous act of reading imposed on readers by the publication of novels in different volumes or episodes, the reader figure may also be seen as a more or less faithful representation of actual readers. The reader figure thus retraces the complex history of the relationship between the novel and its readers. Behind what appears as a complacent will to invite the widest audience to the reading of novels, a more systematic tendency to define readership by exclusion can hardly be concealed. Paradoxical as this may be, the novel has much to fear from its readers. Moved by their will to have the genre clearly distinguished from vulgar romances, the authors will repeatedly push those unwelcome readers likely to lead the whole literary edifice to a collapse back to the margins of their texts. But the reader cannot just be a matter of representation: it also is a narrative double, a sort of mirror erected to the self-conscious narrator who uses it to build up the hardly legitimate literary authority he stands for. Thus the reader figure and the self-conscious narrator are linked by an indissolvable bond. The variations in number of reader figures only reverberate the frailty of the authorial voice and the anxiety of reception expressed in a highly symptomatic text-undermining rhetoric.

L'enfance des jeunes Brontë a été marquée par leurs jeux littéraires : ils ont créé un monde imaginaire dans lequel s'affrontaient héros réels et fictifs, en consignant leurs aventures dans de minuscules manuscrits. L'étude de ces textes permet d'observer chez Charlotte Brontë le processus de formation d'une écriture dialogique, qui se maintient dans les romans de maturité. Sa nouvelle situation énonciative lorsqu'elle soumet ses écrits au public amène toutefois un changement dans son rapport au lectorat, car ses nouveaux critiques ne dissocient pas dans leur réponse la femme de l'artiste. Ceci se traduit par la construction de deux Lecteurs Modèles, qui se voient chacun attribuer un rôle spécifique au sein d'un même texte. Les narrateurs font appel à la clémence du Lecteur Modèle / Juge, tandis qu'ils sollicitent – parfois simultanément – l'aptitude au déchiffrement du Lecteur Modèle / Interprète. Cette thèse a pour ambition d'identifier et d'analyser les différentes stratégies narratives résultant de cette création textuelle d'un double Lecteur Modèle, ce qui permet dans un second temps d'éclairer le sens des romans. Ces stratégies incluent notamment l'insertion de textes seconds ou de références intertextuelles, ainsi que la sémantisation d'éléments non-textuels, tels que les arts visuels ou les artisanats féminins. Cette intrication de plusieurs objets de déchiffrement crée des espaces d'équivoque et d'indécidabilité, qui doivent alors être investis par le lectorat empirique. / The Brontës' childhood was informed by their literary games: they created an imaginary world where they staged the confrontations between their heroes, real or fictitious, and which they used as a setting for numerous tales. A close study of these early writings sheds light on the formation, in Charlotte Brontë's work, of a dialogical mode of writing, which remains present throughout her later novels. Her new enunciative situation as she submits her work to the public at large leads to a shift in her perception of her readership: her new critics do not dissociate in her the woman from the writer, and assess her texts accordingly. This results in the creation of two Model Readers, each of whom is given a specific role within the frame of a same text. Brontë's narrators ask for the leniency of the Model Reader / Judge, at the same times as they call upon the Model Reader / Interpretant's aptitude at deciphering signs. This thesis aims at identifying and analysing the narrative strategies resulting from the creation of a double Model Reader, which help understand the meaning of the novels. These strategies include the insertion within the text of secondary texts or intertextual references, as well as the semanticisation of non-textual elements, such as visual arts or accomplishments. This intrication of various cyphers creates a locus of equivocation and undecidability, which must be invested by the empirical readership.