Made available in DSpace on 2014-06-11T19:32:48Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-06-25Bitstream added on 2014-06-13T19:43:33Z : No. of bitstreams: 1 souza_ln_dr_assis_parcial.pdf: 172242 bytes, checksum: 3313725590b934c69d44b3a6c6f555d6 (MD5) Bitstreams deleted on 2015-06-25T13:00:53Z: souza_ln_dr_assis_parcial.pdf,. Added 1 bitstream(s) on 2015-06-25T13:03:17Z : No. of bitstreams: 1 000629557_20160722.pdf: 156563 bytes, checksum: 90dd9289bd429cd1f5e3e68c17e720ba (MD5) Bitstreams deleted on 2016-07-25T13:17:35Z: 000629557_20160722.pdf,. Added 1 bitstream(s) on 2016-07-25T13:18:44Z : No. of bitstreams: 1 000629557.pdf: 1593258 bytes, checksum: 836156a6bb2295e657f917e03062919b (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O presente trabalho tem como foco principal o estudo da fábula e do efeito-fábula na obra infantil de Monteiro Lobato (1882-1948). Como ponto de partida, traz uma ampla abordagem da crítica da fábula, começando pela pesquisa retórica e passando por estudos tradicionais do gênero, como os de Lessing, Perry, Nøjgaard e Adrados. Ainda no capítulo inicial, destacam-se as contribuições brasileiras aos estudos da fábula e a presença de uma metalinguagem sobre o gênero no espaço ficcional de Fábulas, de Monteiro Lobato. Entre os estudos brasileiros, elege-se o efeito-fábula de Lima como uma das bases do trabalho. Sucintamente, o conceito aplica-se a qualquer expressão, sequência frásica ou composição que lembre o princípio estrutural da fábula esópica. Definidos os conceitos, aborda-se a relevância da fábula no projeto inicial de Monteiro Lobato para a literatura infantil brasileira e, na sequência, passa-se ao estudo da presença do gênero nas obras infantis do autor. O segundo capítulo inicia-se, portanto, com a abordagem do surgimento do primeiro livro de fábulas de Lobato e o seu esforço para atualizar e revisar os textos, o que conduz a resultados como a duplicação do espaço narrativo. Tendo em vista que a maioria das fábulas é de origem europeia e que, após o texto fabular, são acrescentados os comentários e questionamentos dos ouvintes, considera-se que esse segundo espaço tem um caráter antropofágico, conforme a concepção de Oswald de Andrade, sendo dedicado, por isso, um subtópico exclusivo para esse aspecto. Na sequência do mesmo capítulo, são estudadas as personagens animais e as ressonâncias da fábula em Histórias de tia Nastácia. Para tanto, são utilizados como suporte os estudos de Adrados, segundo... / The present work has as main focus the study of fables and the “fable effect” (Lima) in Monteiro Lobato's work for children (1882-1948). To start, an extensive critic on the fable was made, beginning from the rhetorical research, going through traditional studies of gender, as the ones by Lessing, Perry, Nøjgaard and Adrados. In the first chapter, it is emphasized the Brazilian contributions to the studies of fable and the presence of a metalanguage on the gender in the fictional space of Monteiro Lobato‘s Fables. Among Brazilian studies, the “fable effect” by Lima is chosen as one of the bases of our work. Concisely, the concept refers to any expression, phrasal sequence or composition that reminds the structural beginning of the Aesopian fable. After defining the concepts, it is pointed out the relevance of the fable in Monteiro Lobato's initial project for the Brazilian children literature, and following, the presence of gender and of the “fable effect” in the author's works for children is analyzed. The second chapter starts with the advent of the first book of Lobato‘s fables and his effort to update and revise the texts, what results into duplication of the narrative space. Keeping in mind that most fables are of European origin and that, after the fable text, there are the listeners‘ questions and comments, it is considered that the second space has an anthropophagic character, according to the conception of Oswald of Andrade, and it is dedicated, therefore, an exclusive subtopic to that subject. In the sequence of the same chapter, the animal characters and the resonances of the fable in Aunt Anastácia‟s Tales are studied. For such, it is used... (Complete abstract click electronic access below)

Orientador: Benedito Antunes / Banca: Vera Teixeira de Aguiar / Banca: Alice Áurea Penteado Martha / Banca: Maria Celeste Consolin Dezotti / Banca: João Luís Cardoso Tápias Ceccantini / Resumo: O presente trabalho tem como foco principal o estudo da fábula e do efeito-fábula na obra infantil de Monteiro Lobato (1882-1948). Como ponto de partida, traz uma ampla abordagem da crítica da fábula, começando pela pesquisa retórica e passando por estudos tradicionais do gênero, como os de Lessing, Perry, Nøjgaard e Adrados. Ainda no capítulo inicial, destacam-se as contribuições brasileiras aos estudos da fábula e a presença de uma metalinguagem sobre o gênero no espaço ficcional de Fábulas, de Monteiro Lobato. Entre os estudos brasileiros, elege-se o efeito-fábula de Lima como uma das bases do trabalho. Sucintamente, o conceito aplica-se a qualquer expressão, sequência frásica ou composição que lembre o princípio estrutural da fábula esópica. Definidos os conceitos, aborda-se a relevância da fábula no projeto inicial de Monteiro Lobato para a literatura infantil brasileira e, na sequência, passa-se ao estudo da presença do gênero nas obras infantis do autor. O segundo capítulo inicia-se, portanto, com a abordagem do surgimento do primeiro livro de fábulas de Lobato e o seu esforço para atualizar e revisar os textos, o que conduz a resultados como a duplicação do espaço narrativo. Tendo em vista que a maioria das fábulas é de origem europeia e que, após o texto fabular, são acrescentados os comentários e questionamentos dos ouvintes, considera-se que esse segundo espaço tem um caráter antropofágico, conforme a concepção de Oswald de Andrade, sendo dedicado, por isso, um subtópico exclusivo para esse aspecto. Na sequência do mesmo capítulo, são estudadas as personagens animais e as ressonâncias da fábula em Histórias de tia Nastácia. Para tanto, são utilizados como suporte os estudos de Adrados, segundo... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The present work has as main focus the study of fables and the "fable effect" (Lima) in Monteiro Lobato's work for children (1882-1948). To start, an extensive critic on the fable was made, beginning from the rhetorical research, going through traditional studies of gender, as the ones by Lessing, Perry, Nøjgaard and Adrados. In the first chapter, it is emphasized the Brazilian contributions to the studies of fable and the presence of a metalanguage on the gender in the fictional space of Monteiro Lobato's Fables. Among Brazilian studies, the "fable effect" by Lima is chosen as one of the bases of our work. Concisely, the concept refers to any expression, phrasal sequence or composition that reminds the structural beginning of the Aesopian fable. After defining the concepts, it is pointed out the relevance of the fable in Monteiro Lobato's initial project for the Brazilian children literature, and following, the presence of gender and of the "fable effect" in the author's works for children is analyzed. The second chapter starts with the advent of the first book of Lobato's fables and his effort to update and revise the texts, what results into duplication of the narrative space. Keeping in mind that most fables are of European origin and that, after the fable text, there are the listeners' questions and comments, it is considered that the second space has an anthropophagic character, according to the conception of Oswald of Andrade, and it is dedicated, therefore, an exclusive subtopic to that subject. In the sequence of the same chapter, the animal characters and the resonances of the fable in Aunt Anastácia‟s Tales are studied. For such, it is used... (Complete abstract click electronic access below) / Doutor

Longtemps soupçonné d’hérésie, ’Abū al-‘Alā’ al-Ma‘arrī, auteur du nord de la Syrie ayant vécu à cheval entre le IVe/Xe et le Ve/XIe siècles, fut disculpé à la fin du XIXe siècle par les précurseurs de la Nahd{a. Féru de la langue arabe, muni d’un style inaccessible au premier abord, la question qui se pose aujourd’hui est celle de savoir s’il faut se fier à ses contemporains ou à l’opinion d’hommes qui vécurent plusieurs siècles plus tard. Le présent travail a pour but de tenter de comprendre le langage de cet auteur et d’essayer de savoir pour quelles raisons un homme brillant par son intelligence et ses connaissances se borna à rédiger ce qui ressemble à une fable animalière anodine.Une analyse détaillée du texte révèle un ensemble de jeux de mots, d’allusions historiques, d’anecdotes et de citations coraniques qui tissent un deuxième texte en filigrane à travers l’épître, lequel s’avère être, d’une part, une critique véhémente contre toute religion, l’islam et son représentant le prophète Muh{ammad en particulier et, d’autre part, des conseils adressés au prince ‘Azīz al-Dawla, gouverneur indépendantiste d’Alep sous le règne des Fatimides, l’encourageant à prendre les armes et à propager les idées du maître. La véritable croyance de l’auteur reste cependant peu définie en dehors d’un refus de tout système religieux, désigné comme étant des mécanismes mis en place pour duper les gens simples d’esprit, et d’une foi inébranlable que la mort n’est autre qu’un sommeil sans suite.La technique d’écriture d’al-Ma‘arrī semble être un savant mélange de la technique bédouine de la tawriya dont l’usage primitif était d’échapper à la censure ou à la persécution et une inspiration de l’ouvrage pehlevi Kalīla wa-Dimna, un miroir des princes par excellence. / ’Abū al-‘Alā’ al-Ma‘arrī who lived in the North of Syria between the 4th and the 5th century was suspected of heresy for a long time, and was finally cleared by the Nahd{a pioneers at the end of the 19th century. Extremely keen on the Arabic language and provided with an intricate style of writing, the question today is whether to believe his contemporaries or the opinion of men who lived centuries later. The present study tries to understand the author’s language and why such a brillant cultivated man wrote what looks like a trivial animal fable.A detailed analysis of the text reveals a succession of puns, hints to historical events, anecdotes and coranic quotes which grow into a second text interwoven throughout the « Epistle of a Horse and a Mule ». This latter appears to be, on the one hand, a vehement criticism towards religion, islam and Muh{ammad its prophet, and, on the other hand, advice given to Aleppo’s governor, ‘Azīz al-Dawla, who though allegied to the Fatimids, has a tendency toward independence, encouraging him to take arms and propagate the masters ideas. Nevertheless, the real faith of the author remains undetermined except for his refusal of all religious system viewed by him as mechanisms set to fool simple souls, and his belief that death is nothing but an endless sleep.Al-Ma‘arrī’s writing technique appears to be a refined combination of the bedouin’s technique tawriya which originally served as a means to escape censureship or even repression, and inspired by the pehlevi work of Kalila wa-Dimna, princes advice if ever there was.

Cette recherche porte sur la poésie portugaise de la deuxième moitié du XXe siècle, plus précisément sur l’œuvre poétique et métapoétique de Sophia de Mello Breyner Andresen, Eugénio de Andrade et António Ramos Rosa. Ces auteurs révèlent une positivité marquée par une grande confiance dans le dire poétique. Celui-ci est perçu comme potentialité conciliatrice entre le sujet, le monde et la parole. C’est ainsi que la Poésie constitue chez eux une gnose ou une connaissance. Quoique néoromantique, c’est dans une mythification modérée de la parole poétique toujours entre la crainte et le désir que chaque poème invente sa possibilité. Après la crise du langage qui a mené à une poésie fataliste, leur originalité réside dans la capacité de réinventer ou reconstruire un sens pour le dire poétique et d’y puiser une énergie réparatrice. Dans cette construction de sens, l’image poétique assure un rôle essentiel et le thème de la nudité apparaît comme un paradigme de la vérité. Ainsi, le rapport complémentaire entre imagination productive et expérience vécue trouve une place importante dans cette réflexion au le sens où c’est ce rapport qui permet que la fable et le réel cohabitent dans le poème. / This research concerns Portuguese poetry of the second half of the 20th century and, more specifically, the poetic and metapoetic works by Sophia de Mello Breyner Andresen, Eugénio de Andrade and António Ramos Rosa. These authors denote a positive attitude marked by a strong confidence in the poetic writing. They conceive poetry as a reconciling power that reinforces the ties between self, world and meaning. Thus, poetry becomes a mode of knowledge or a kind of gnosis. Despite their neoromantic sensitivity, their writing embodies a moderate mythification of the poetic powers, being aware of the oscillation between fear and desire in which every poem emerges as the invention of a new possibility. After the crisis of language and the fatalistic poetry that followed, their originality resides in the capacity of re-inventing or reconstructing a new significance for the poetic word and finding in it a source of reparatory energy. In such endeavour of meaning-construction, the poetic image assumes an essential role and nudity appears as a paradigm of truth. Therefore, the relationship between productive imagination and lived experience is located at the heart of this poetic world, for that relationship alone allows one to understand how fabulation and reality coexist in poetry.

Made available in DSpace on 2016-04-29T14:23:36Z (GMT). No. of bitstreams: 1 David de Oliveira Lemes.pdf: 762934 bytes, checksum: 50e7e21a7cb2e27f5b3da0707887c572 (MD5) Previous issue date: 2015-04-17 / The development of digital games is an activity that grows exponentially as the many game supporting devices become popular. Under the game development perspective, nowadays, several tools "promise" to make the most inexperienced programmer able to create and develop a digital game. This research presents a work model that seeks to introduce the importance of narrative into games, the way the ideas are organized to produce a digital game and, overall, a programming technique that will help the game designer, or digital games designer to understand how a calculations, the computer, may enhance or hinder the use of ideas and original narrative of a project / O desenvolvimento de jogos digitais é uma atividade exponencialmente em ascensão à medida que os mais diversos dispositivos os quais suportam os games se popularizam. Sob o olhar do desenvolvimento de games, nos dias atuais, diversas ferramentas possibilitam que o mais inexperiente programador possa criar e desenvolver um jogo digital. Esta pesquisa apresenta um modelo de trabalho que busca apresentar a importância da narrativa nos jogos, como as ideias são organizadas para a produção de um jogo digital e, sobretudo, uma técnica de programação que ajudará o game designer, ou o projetista de jogos digitais a entender como uma máquina de cálculos, o computador, pode ampliar ou limitar os uso das ideias e narrativas originais do projeto

Une lecture interprétative de la fable de La Fontaine Le Loup et l’Agneau est une mise à l’épreuve de la relation abstrait-concret entre morale et récit. Cette interprétation peut donner à son lecteur un pouvoir heuristique sur le monde, par analogie entre la fable et son expérience du monde. Nous faisons l'hypothèse que l’enquête de lecture dirigée, pour l'interprétation de cette oeuvre littéraire, s’enseigne à l’école primaire. Dans le cadre de la Théorie de l’Action Conjointe en Didactique, nous analysons les principes de cette enquête à partir de la mise en oeuvre d'une séquence d'enseignement dans une classe de cours moyen. Depuis 2008, cette séquence a été conçue, analysée et transformée par un collectif de professeurs d'école, de formateurs et de chercheurs travaillant en ingénierie coopérative. Dans cette thèse, nous montrons comment la résolution de problèmes de lecture crée le style de pensée du collectif-classe, avec ses certitudes raisonnées. Nous donnons à voir l’institution-aItération des concepts en jeu dans cette résolution, selon une épistémologie de l’élévation de l’abstrait au concret. Nous mettons en évidence que cette institution-altération de concepts dépend d’une recherche d’équilibration entre contrat et milieu didactiques. Nous développons les facteurs influençant cette équilibration : travail épistémique du professeur, pour une connaissance approfondie de la fable ; réticence-expression du professeur vis-à-vis du savoir en jeu ; greffe des significations savantes en lien avec l'institutionnalisation des commentaires ; réécriture de la fable par une paraphrase stricto sensu ; recours aux analogies provoquées. / An interpretative reading of The Wolf and The Lamb by La Fontaine puts to the test the abstract-concrete relationship, through its moral and narrative. The interpretation of this fable can give its readers heuristic power, through an analogy between the fable and their knowledge of the world. We assume that the guided-reading inquiry leading to the interpretation of this literary work is taught in primary school. Following the Joint Action Theory in Didactics, we analyse the principles of this inquiry through the implementation of a teaching sequence in a fifth grade class. Since 2008, this sequence has been designed, analysed and altered by a group composed of primary school teachers, teacher educators and researchers working within the framework of a cooperative engineering.In this thesis, we show how the solving of reading problems leads the « thought collective » formed by the class to develop a thought style with its reasoned certainties. We show how concepts at stake in this resolution are established and altered, following an epistemology of the ascent from the abstract to the concrete. We highlight the way this establishment-alteration of concepts depends on a search for balance between the didactic milieu and contract. We develop the factors which impact this balancing : the teacher’s work to access a comprehensive understanding of the fable; the teacher's reticence-expression towards the knowledge at stake ; the graft of meanings linked to the institutionalization of pupils'comments; the rewriting of the fable by using a stricto sensu paraphrase ; the use of provoked analogies.

La Bouquechardière est une histoire universelle moralisée écrite à partir de 1416 par Jeande Courcy, un chevalier normand. En dépit de cette appropriation plutôt inhabituelle d’un genrehistorique particulièrement ancré dans la théologie, le texte de Jean de Courcy a peu suscitél’intérêt de la critique. Notre présent travail vient combler cette lacune en questionnant lamanière dont l’auteur laïque revisite les codes historiques et homilétiques qui constituaientjusque-là l’apanage des clercs. À un niveau plus large, notre étude permet aussi de cernerdavantage la variabilité d’un panorama auctorial et d’une communication littéraire en pleineévolution à la fin du Moyen Âge. Issu d’une culture laïque, Jean de Courcy doit imposer sacrédibilité à la fois intellectuelle et morale dans le champ des écritures. Sans usurper les rôlesdu clerc ou de l’intellectuel, il crée sa propre fonction auteur : celle de l’écrivain amateur quifonde sa légitimité sur une expérience acquise dans le monde, une accumulation du savoir parla lecture et une attitude dévotionnelle. Son approche chrétienne et édifiante de la lecturedétermine le choix d’écrire une histoire antique à une époque où les écrivains ont plutôttendance à réagir à l’actualité. En effet, la manière dont il ordonne, compile, sélectionne etrecompose la matière trahit une forte soumission de l’histoire à la perspective eschatologique.Traçant un continuum historique des acteurs de l’Antiquité jusqu’au lecteur contemporain, lecompilateur crée les conditions nécessaires à son actualisation. La finalité spirituelle de lalecture autorise alors l’insertion surprenante des fables ovidiennes dans la trame historique. Lafiction mythologique historicisée contient un potentiel herméneutique : elle s’offre comme unsigne de Dieu à déchiffrer au moyen d’une méthode analogique et allégorique. C’est donc enlecteur modèle que Jean de Courcy apprend à son lecteur à fixer le sens des mots et des chosespour qu’au moment de refermer le livre, le processus de refiguration de l’histoire voit le jour.En d’autres termes, la lecture mène à la conversion spirituelle. / The Bouquechardière is a moralized universal history written from 1416 by Jean deCourcy, a Norman knight. Despite this rather unusual appropriation of a historical genreparticularly rooted in theology, Jean de Courcy's text has not aroused much critical interest. Ourpresent work fills this gap by questioning the way in which the lay author revisits the historicaland homiletic codes that were until then the prerogative of clerics. On a broader level, our studyalso makes it possible to better identify the variability of an auctorial panorama and a literarycommunication in full evolution at the end of the Middle Ages. Coming from a secular culture,Jean de Courcy must impose his intellectual and moral credibility in the field of writing.Without usurping the roles of the cleric or the intellectual, he creates his own « fonctionauteur »: an amateur writer who bases his legitimacy on an experience acquired in the world,an accumulation of knowledge through reading and a devotional attitude. His Christian andedifying approach to reading determines the choice to write an Ancient History at a time whenwriters tend to react to current events. Indeed, the way in which he ordered, compiled, selectedand recomposed the material reveals a strong submission of history to the eschatologicalperspective. Tracing a historical continuum from the actors of Antiquity to the contemporaryreader, the compiler creates the necessary conditions for its actualisation. The spiritual purposeof the reading then allows the surprising insertion of Ovidian fables into the historicalframework. Historicalized mythological fiction contains a hermeneutical potential : it is offeredas a sign of God to be deciphered by using an analogical and allegorical method. It. As a modelreader, Jean de Courcy teaches his own reader to fix the meaning of words and things, so thatwhen the book is closed, the process of « refiguration » of history is born. In other words, thereading leads to spiritual conversion.

Examiner la dramaturgie québécoise contemporaine, c’est travailler la singularité et emprunter d’autres voies de la mise en crise du drame. Cette thèse montre comment des auteurs opèrent un double mouvement de représentation et de figuration qui renouvelle le drame. Malgré une décomposition de celui-ci, cette dramaturgie maintient une prégnance de la fable et du personnage grâce à la permanence de la fiction. Les auteurs continuent d’être des raconteurs d’histoires, mais les stratégies narratives ne vont plus de soi et engendrent un questionnement sur le personnage qui se transforme en agent essentiel des combinatoires explorées. Si les possibilités fictionnelles s’accroissent à partir des structures traditionnelles, elles se nourrissent aussi des données du personnage et inversement – une entité équivoque émerge et interroge d’autres modalités de présence dans le texte et sur le plateau. Par une exacerbation des sensations dans le discours, le personnage se change en espace esthésiogène. Cette approche n’est pas liée à une radicalisation de la forme et du contenu ; l’évolution s’inscrit dans une continuité historique et s’apparente à un nouveau développement de la dramaturgie québécoise. Une dramaturgie de l’entre-deux émerge, celle d’un territoire trouble, propice à la métamorphose et à l’expérience. Fable et personnage apparaissent comme des médias touchant tous les composants du drame. Le personnage devient le corps du récit et la fable donne corps au personnage, l’action se concentre autour de l’histoire à raconter. La persistance et la mutation de ces données provoquent aussi des répercutions dans les régimes de parole ou les cadres spatio-temporels. Une instabilité s’installe donnant à voir des univers poreux, mêlant réel et légendaire, laissant entrevoir de nouvelles possibilités dramaturgiques, notamment pour le spectateur. / To consider Québec contemporary drama means to work on singularity and implies taking other routes than the one leading to the crisis of the dramatic form. This thesis demonstrates how some playwrights operate a double movement of representation and figuration that renews the dramatic form. Despite its state of decomposition, those writings manage to sustain the imprint of the story and of the character thanks to the omnipresence of the fiction. The playwrights keep on being storytellers but the narrative strategies used are no longer an evidence and therefore generate a questioning of the character that further transforms itself into an essential agent of combinations previously explored. If the possibilities of the fiction are growing from traditional structures, they feed themselves from facts coming from the character and, conversely – an equivocal entity emerges and interrogates other modality of presence within the text and on stage. By an exacerbation of the sensations within the speech, the character transforms itself into an espace esthésiogène. This approach is not related to a radicalisation of the form or of the content; its evolution is part of an historical continuity and is connected to a new development in Québec drama. A dramaturgy of the “in between” emerges, a dramaturgy of the disturbed land, favourable to metamorphosis and experience. Story and character appear as medias touching all aspects of the drama. The character becomes the substance of the narrative and the fable gives shape to the character, the action focuses on the story to be told. The persistence and the mutation of this data have repercussions within levels of speech or other spatial-temporal frames. A certain instability settles in and allows us to see porous worlds, combining reality and legend, suggesting new dramaturgical possibilities, especially for the spectator.

Adolescence is often seen as a stage where risk taking and experimentation are common. The need to feel a part of one’s peer group, to be valued as an individual and to overcome physical and emotional changes are all part of this developmental stage. This research examines the link between Elkind’s theory of Egocentrism and risk taking in female adolescents. Risk taking and its links to the Personal Fable and the Imaginary Audience were the main focus of the research. This study used a qualitative research design to obtain an in-depth understanding of risk taking among a sample group of ten female adolescents. A focus group from a different school was used to help analyse and discuss the data obtained. The results of this study show that Elkind’s theory of adolescent Egocentrism (both the Personal Fable and the Imaginary Audience) are, indeed, influencing factors in female adolescent risk taking.

The purpose of this study is to discover and analyse the gender stereotypes presented in a selection of books where the characters are gender neutral animals or figures, based on the fact that as a reader you cannot distinguish by the cover or the icon text if the characters are of the male or female sex. The books have been analysed with a qualitative image and text analysis from a gender perspective. The analysis has focused on highlighting the norms presented in the books with a focus on gender roles and the gender markers that can be linked to stereotypical behaviors of girls and boys respectively. The analyses show that the books contain both confirmatory and breaking representations of the characters in both text and image, regarding the prevailing gender stereotypes. / Syftet för denna studie är att upptäcka och analysera de könstereotyper som framställs i ett urval av böcker där karaktärerna är könsneutrala djur eller figurer, i den mån att man som läsare inte kan urskilja via omslaget eller ikonotexten om karaktärerna är av det manliga eller kvinnliga könet. Böckerna har analyserats med en kvalitativ bild och textanalys utifrån ett genusperspektiv. Analysen har fokuserat på att synliggöra de normer som framställs i böckerna med fokus på könsroller och de genusmarkörer som kan kopplas till stereotypa beteenden hos flickor respektive pojkar. Analyserna visar att böckerna innehåller både bekräftande och brytande framställningar hos karaktärerna i både text och bild, gällande de rådande könssterotyperna.