Made available in DSpace on 2016-01-13T13:27:02Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-09-11. Added 1 bitstream(s) on 2016-01-13T13:32:21Z : No. of bitstreams: 1 000855957.pdf: 1797066 bytes, checksum: 2345528bb576bad89dbd87378b62424c (MD5) / Os contos de fadas, por seus elementos fantásticos, costumam estar associados ao universo infantil. No entanto, a gênese dos contos revela que eles pertenceram à tradição oral e foram destinados aos adultos. Na fase escrita, passaram por adaptações até atingir o público infantil. Inseridos em diversas culturas, os contos misturam desde os ritos de passagem até as influências mais modernas contidas nas versões contemporâneas. Por serem considerados um artefato cultural do patrimônio literário, estes contos costumam compor o currículo de Língua Portuguesa das escolas brasileiras. Constituindo-se enquanto abordagem qualitativa, este estudo procurou aliar a realidade destas instituições em relação aos contos de fadas à proposta de refletir sobre as relações de gênero presente nestas histórias e sobre sua incidência em nosso comportamento. A decisão por esse tema adveio da experiência profissional permeada pela necessidade pessoal de buscar aclarar os processos normalizadores que se instituem entre os muros escolares, perpetuando as relações binárias que ali são construídas, bem como em outros espaços institucionais e sociais. Portanto, decidiu-se investigar as percepções das docentes, tanto sobre o significado que estas narrativas representam para elas, como também sobre a metodologia adotada em sala de aula, se contribuem ou não para a reprodução deste desequilíbrio naturalizado entre homens e mulheres. Para delimitar a análise, a pesquisa contou com a participação de seis docentes atuantes nos anos iniciais do ensino fundamental I, em uma escola municipal. Objetivando a coleta dos dados, optou-se por realizá-la em três momentos. O primeiro, por meio da entrevista semiestruturada. O segundo consistiu na entrevista projetiva e o último efetivou-se com a entrevista aberta ou em profundidade. Com base nos conceitos metodológicos expressos... / When comes to fairy tales and their own fantastic elements the association with the childhood universe is a common practice. However, the genesis of the stories reveals a link to the oral tradition and were intended for adults. During the written procedure they suffered adaptations to reach the children. Part of different cultures, these tales mix from the rites of passage to the most modern influences shown in the latest versions. As they are considered a cultural artifact of literary heritage, these tales are usually present in the Portuguese curriculum teaching of Brazilian schools. Establishing itself as a qualitative approach, this study had the goal of combine the reality of these institutions in relation to fairy tales to the proposal to reflect on the links of al gender in these stories and about their impact on our behavior. The decision by this theme came from the professional experience permeated by personal need to look for a way to put light at the standard-setting procedures between the school walls, perpetuating the binary intercourses that are built there, as well as in other institutional and social places. This way it was decided to investigate the perceptions of teachers on both the meaning that these narratives represent for them as well as on the methodology used in the classroom, whether they contribute or not to play this perpetuated imbalance between men and women. In order to mark of the analysis, six teachers working in the early grades of the elementary school from a local public school. Having data collection as a goal, it was chosen to do it in three stages. The first through the semi-structured interview. The second consisted in a projective interview and the last was accomplished with the open or in-depth interview. Based on the methodological concepts systematically expressed, it was used as procedure the content analysis and the thematic analysis, in which the ...

Orientador: Célia Regina Rossi / Banca: Débora Raquel da Costa Milani / Banca: Anselmo João Calzolari Neto / Resumo: Os contos de fadas, por seus elementos fantásticos, costumam estar associados ao universo infantil. No entanto, a gênese dos contos revela que eles pertenceram à tradição oral e foram destinados aos adultos. Na fase escrita, passaram por adaptações até atingir o público infantil. Inseridos em diversas culturas, os contos misturam desde os ritos de passagem até as influências mais modernas contidas nas versões contemporâneas. Por serem considerados um artefato cultural do patrimônio literário, estes contos costumam compor o currículo de Língua Portuguesa das escolas brasileiras. Constituindo-se enquanto abordagem qualitativa, este estudo procurou aliar a realidade destas instituições em relação aos contos de fadas à proposta de refletir sobre as relações de gênero presente nestas histórias e sobre sua incidência em nosso comportamento. A decisão por esse tema adveio da experiência profissional permeada pela necessidade pessoal de buscar aclarar os processos normalizadores que se instituem entre os muros escolares, perpetuando as relações binárias que ali são construídas, bem como em outros espaços institucionais e sociais. Portanto, decidiu-se investigar as percepções das docentes, tanto sobre o significado que estas narrativas representam para elas, como também sobre a metodologia adotada em sala de aula, se contribuem ou não para a reprodução deste desequilíbrio "naturalizado" entre homens e mulheres. Para delimitar a análise, a pesquisa contou com a participação de seis docentes atuantes nos anos iniciais do ensino fundamental I, em uma escola municipal. Objetivando a coleta dos dados, optou-se por realizá-la em três momentos. O primeiro, por meio da entrevista semiestruturada. O segundo consistiu na entrevista projetiva e o último efetivou-se com a entrevista aberta ou em profundidade. Com base nos conceitos metodológicos expressos... / Abstract: When comes to fairy tales and their own fantastic elements the association with the childhood universe is a common practice. However, the genesis of the stories reveals a link to the oral tradition and were intended for adults. During the written procedure they suffered adaptations to reach the children. Part of different cultures, these tales mix from the rites of passage to the most modern influences shown in the latest versions. As they are considered a cultural artifact of literary heritage, these tales are usually present in the Portuguese curriculum teaching of Brazilian schools. Establishing itself as a qualitative approach, this study had the goal of combine the reality of these institutions in relation to fairy tales to the proposal to reflect on the links of al gender in these stories and about their impact on our behavior. The decision by this theme came from the professional experience permeated by personal need to look for a way to put light at the standard-setting procedures between the school walls, perpetuating the binary intercourses that are built there, as well as in other institutional and social places. This way it was decided to investigate the perceptions of teachers on both the meaning that these narratives represent for them as well as on the methodology used in the classroom, whether they contribute or not to play this "perpetuated" imbalance between men and women. In order to mark of the analysis, six teachers working in the early grades of the elementary school from a local public school. Having data collection as a goal, it was chosen to do it in three stages. The first through the semi-structured interview. The second consisted in a projective interview and the last was accomplished with the open or in-depth interview. Based on the methodological concepts systematically expressed, it was used as procedure the content analysis and the thematic analysis, in which the ... / Mestre

Esta dissertação é um estudo sobre a expressividade dos contos de fadas da obra Uma ideia toda azul, de Marina Colasanti. Torna-se inovadora por se tratar de textos curtos, valorizando o fantástico e pelos desfechos de seus contos, diferentes dos tradicionais. Trabalhando com reis, rainhas, príncipes, princesas e unicórnios, a autora utiliza figuras de linguagem que valorizam o texto, tornando cada vez mais encantador e instigante o seu bordado de palavras. Apresentam-se no decorrer do trabalho reflexões acerca das narrativas orais, as teorias referentes aos contos populares, a compreensão de literatura infantil, os contos de fadas, Marina Colasanti na cultura brasileira e a narrativa fantástica, um resumo da obra Uma ideia toda azul, a estilística como base da pesquisa e a essência das figuras de linguagem. Busca-se descrever e analisar as figuras mais produtivas: metáfora, personificação, hipérbole, sinestesia e eufemismo. São recursos linguísticos que conferem aos contos de Colasanti a expressividade que seduz o leitor de todas as idades. A realidade e a fantasia se articulam harmoniosamente em um texto que, ao ressaltar o fantástico, desvela os sentidos universais inerentes ao ser humano de todas as épocas / This thesis is a study on the expressiveness of fairy tales of the work A Whole Blue Idea, by Marina Colasanti. It is innovative because they are short texts, valuing the fantastic and for the outcomes of their stories, different from the traditional. Working with kings, queens, princes, princesses, unicorns, the author uses figures of speech that value the text, making its embroidery of words even more charming and instigating. Reflections about the oral narratives, the theories relating to popular stories, the understanding of childrens literature, fairy tales are present throughout the work, Marina Colasanti in Brazilian culture and the fantastic narrative, a summary of the work A Whole Blue Idea, stylistic as the basis of the research is the essence of figures of speech. It seeks to describe and analyze the most productive figures: metaphor, personification, hyperbole, synesthesia and euphemism. These are linguistic resources which give the tales of Colasanti the expressiveness that seduces the reader of all ages. Reality and fantasy are articulated harmoniously in a text that, to highlight the fantastic, unveils the universal meanings inherent to the human of all times

The purpose of my study was to explore and describe the applicability of fairy tale-based sociodramatic play in developing social skills among high-functioning children with autism. My conceptual framework was based on existing theory relating to high-functioning children with autism, the development of social skills, sociodramatic play and fairy tales,. I followed a qualitative research approach, guided by an interpretivist epistemology. I employed an instrumental case study design and conveniently selected a school that specialises in the accommodation of learners with autism. I purposefully selected three high-functioning children at the school as primary research participants, and their parents/caregivers as well as one educator from the foundation phase class at the school, as my secondary research participants. I developed and implemented a fairy tale-based sociodramatic play intervention, conducted face-to-face interviews and assessments of levels of social functioning, and utilised observationas- context-of-interaction as data collection methods. I relied upon audio-visual methods and a reflective journal as methods of data documentation. Three main themes emerged as a result of the inductive data analysis and interpretation that I completed. Firstly, I found that the primary participants displayed an improved tendency to ask for help and express their feelings after they had received fairy tale-based sociodramatic play intervention. Secondly, I found that certain additional changes in social experience and behaviour had occurred during the course of the research process, such as an apparent improvement in turn-taking, problem-solving and perspective-taking abilities, and an increased involvement in peer relationships and peer support. Despite the apparent changes in the participants’ abilities to ask for help and express their feelings, a few areas of no change also emerged. No change was observed in the primary participants’ tendency to not seek help from peers, as well as their tendency to rely on their body language, rather than on verbalisation, to ask for help and express feelings. Based on the findings, fairy tale-based sociodramatic play can therefore be regarded as a valuable tool for the development of the social skills of asking for help and expression of feelings among high-functioning children with autism. / Dissertation (MEd (Educational Psychology))--University of Pretoria, 2008. / Educational Psychology / unrestricted

This thesis is a play for children. The story and the characters were derived from traditional Norwegian fairy tales. The central character is Billikin Whiskers, a billy-goat, who is captured by three trolls--Sparky, Garr and Pragg. The play is set on a mountain in Norway. The central idea of the play is the issue of intelligence--represented by Billikin Whiskers--versus physical strength--symbolized by the trolls.

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As a theatre for young audiences (TYA) practitioner and artist, I have noticed the prevalence of edited fairy tales on TYA stages. Artists tend to present versions of traditional tales that do not explore the dark places found in the original forms, the very same parts of humanity that young people often yearn to understand. Within TYA, fairy tales have become a safe option because many are well-known titles that generate audiences and income. Theatre practitioners and producers frequently present selections from the canon of fairy tales without exploring its many layers of meaning; failing to recognize the message that is being communicated to the audience. This thesis will explore how and why theatres continue to present these tales to contemporary young audiences. How do TYA companies create productions of fairy tales that capture the attention of a contemporary audience and still remain true to the traditional psychological framework? The staying power of fairy tales points toward a common human connection. Parents pass the stories down to their children, generation after generation. There must be a reason for this and I would like to examine it. Research on the long-term effects fairy tales have on young people focuses on the psychological values and ramifications of exposure to these classic stories. This thesis will explore the use of fairy tale structures in theatre for young audiences and where this author feels we can produce fairy tale shows in a manner that considers the developing psyche. I will consider the underlying significations in fairy tales and how theatre artists can provide young people a means to explore and understand these meanings, while avoiding metanarratives that reinforce submission and oppression. Guided by an understanding of research in psychology, productions already performed, and the definition of a contemporary young audience, I will look beyond the simple tale and find ways to create fairy tales onstage responsibly. I will analyze the works of Bruno Bettelheim, Jack Zipes, and Maria Tatar, compare and contrast their differing views on the place of fairy tales in a young person's psychological life, and define what a child gains from hearing these stories. Finally, I will interview three directors from around the world about their approach to directing fairy tales, then synthesize the information to create a view of how some companies currently present fully-actualized fairy tales. The prevailing presentation of fairy tales follows an edited and lighthearted way of looking at these classic tales. However, a growing movement exists to re-imagine our view of fairy tales. The work of three of these innovative directors--Kevin Ehrhart, Dougie Irvine and Andy Packer--inspired this thesis with their fearless approaches to teaching young people through the lessons created in fairy tales.

The poems in this thesis address ideas of transition and movement, and are preceded by a critical introduction on two collections of poetry that also address some of these concepts. The poetry in Maggie Smith’s The Well Speaks of Its Own Poison and in Anne Sexton’s Transformations make old tales worth reading again, by taking the structured narratives of these familiar stories and making them darker, more thrilling, and more personal. Smith and Sexton use fairy tale tropes in their collections as a way to identify and cope with some of the more difficult human problems we would rather avoid, such as death, family, and self-harm. I explore how these collections use the darker sides and lesser characters of these familiar stories—elements that are often overlooked in contemporary versions of legends, myths, and fairy tales—to illustrate these difficult human problems in their various poems.

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