Syftet med denna studie är att bidra med kunskap om hur folksagor praktiskt kan användas som stödmodeller för elevers skrivande av sagor i årskurs 3, samt hur elevers motivation påverkas av detta. Den tidigare forskningen belyser att stödmodeller är viktiga för elevers eget skrivande av sagor, samt att elevers motivation för att skriva påverkas av en rad olika faktorer. I studien används kvalitativa metoder i form av semistrukturerade lärarintervjuer och observationer för att samla in empiriskt material i syfte att besvara studiens frågeställningar. Den analysmetod som används för att bearbeta materialet är en tematisk analys och de teorier som ligger till grund för denna studie är motivationsteori, sociokulturella perspektiv och modellering. Genom studien framkommer det hur lärare väljer att arbeta med folksagor som stödmodeller för elevers eget skrivande, samt hur de anser att elevernas motivation påverkas av detta. Genom observationer analyseras och diskuteras de tecken på motivation som eleverna uppvisar vid undervisning. Resultatet visar att lärarna använder folksagor som stödmodeller för elevers eget skrivande på olika sätt, där lärarna anser att eleverna är motiverade av denna typ av uppgift och de kan urskilja tecken på motivation. Under observationerna kan också tydliga tecken på motivation urskiljas hos eleverna. / This study aims to contribute knowledge about how folk tales can be practically used as support models for students' writing of fairy tales in grade 3, as well as how students' motivation is affected by this. The previous research highlights that support models are important for students' writing of fairy tales, and that students' motivation to write is influenced by a number of different factors. In this study, qualitative methods in the form of semi-structured teacher interviews and observations are used to collect empirical material to answer the study's questions. The analysis method used to process the material is a thematic analysis and the theories underlying this study are motivation theory, socio-cultural perspective and modeling. The study reveals how teachers choose to work with folk tales as support models for students' own writing, as well as how they believe that students' motivation is affected by this. Through observations, the signs of motivation that the students show during teaching are analyzed and discussed. The result shows that the teachers use folk tales as support models for students' own writing in different ways, where the teachers believe that the students are motivated by this type of task, and they can distinguish different signs of motivation. During the observations, clear signs of motivation can also be discerned in the students.

The thesis deals with a classic fairy tale of the 19th century, in particular with the comparison of chosen categories of motifs (animal motifs, food motifs, power conflicts, generation conflicts, gender motifs) in selected fairy tales written by brothers Grimm, Božena Němcová and Karel Jaromír Erben. The original text is the German one, which is consequently compared to the Czech one. The thesis deals with the fairy tales Die weiße Schlange (compared to Karel Jaromír Erben's fairy tale Zlatovláska) and Frau Holle (compared to the text written by Božena Němcová O dvanácti měsíčkách). The goal of the thesis is to ascertain to what extent the depiction of the chosen motifs differ in German and Czech variants, or to what extent they correspond. The used methods are comparison, analogy and analysis, followed by synthesis of discovered knowledge.

The purpose of the study was to identify the gender-related themes from a cultural discourse in order to determine how gender is constructed in African society. The study specifically examines the Maragoli Folktale. The Maragoli people mainly inhabit the western part of Kenya and are a sub-tribe of the larger Luhyia community. The Luhyia community is the second largest community in Kenya. The study attempts to uncover how gender is constructed through the examination of dominant themes, characterization, images, symbols, formulaic patterns and formalities of composition and performance in the Maragoli folktales at the time of performance. Based on an eclectic conceptual framework, the study takes into consideration gender theories, feminist literary perspectives, psychoanalysis and discourse analysis paradigms to critically examine the tales as a semiotic system of signification grounded within an African social cultural milieu. The folktales are analysed as a symbolic and ideological discourse of signs encoded by the performer and decoded by the audience at the time of performance. The study therefore situates the tale firmly at the time of performance, taking into consideration the interaction between the performer and the audience in the dissemination and internalization of gender ideology. While establishing that patriarchal structures and values are transmitted through the tales, the study also reveals the methods and interventions that the mainly female performers advance as active agents in their struggle for space within the culture. Women are, therefore, perceived as active agents of change and the folktale as a site from which gender ideology is discussed, contested and subverted. The study is based on a corpus of twenty (20) folktales collected from the Maragoli country in Western Province of Kenya (See maps, Appendix B.) The English versions of the tales appear in appendix A. / English Studies / D. Litt. et Phil. (English)

My work on the thealogy of Mary conveys a largely subjective way of thinking, it does not claim to present the view of any group, and it does not profess a theoretical agenda for a cult or a religious movement of Mary. The framework of this work is grounded in symbolic (legends, fairy tales and images), psychological (the structure of the psyche according to Carl Gustav Jung: the Self, the conscious, the unconscious, the Shadow) and imaginative (individual interpretations of narratives and images) spheres that are combined with feminist spirituality theories, religious philosophy and literary analysis. In my thesis, I offer a non-Christian myth of Mary which I form out of the folklore narratives about Mary. In my work, Mary is understood as the female divine archetype on the collective level, and as an expression of the Self on the individual level. Following Jung’s theory, the archetypes are forms and not contents, that is, an archetype can be comparable to an empty shell, which we fill with our own experience or with narratives that are meaningful to us. I take the image of Mary out of the Roman Catholic context and give it a new mythological narrative. This means to me a possibility not only to acquire a non-Christian myth of Mary but also to develop an individual relationship with the divine in its female personification. On the collective level, the thealogy of Mary creates a spiritual and psychological sphere in which the female divine has a possibility to outweigh the one-sidedness of the past few thousand years of the male predominance in the religious philosophy in the West.

One of the major challenges that persists in postsecondary foreign language (FL) education in the US today is how to implement a more integrated approach to language and literature instruction, that is, one that fosters critical awareness on multiple levels and prepares learners to be globally-connected and engaged citizens (MLA, 2007; Swaffar & Urlaub, 2014). Major contributions for achieving these goals have come from an array of pedagogical approaches that share in common their focus on language as a resource for making socially and symbolically rich meanings that do more than convey facts or express objectives. These include those designated as multiliteracies and genre-based approaches, as well as those that promote intercultural, symbolic and literary competencies as integral to the language learning experience. All of these frameworks acknowledge to some extent the fact that ambiguity-understood here as the multiplicity, indeterminacy, or destabilization of meaning-characterizes language itself and thus also our day-to-day and global communication, as well as the experience and process of FL learning. This dissertation, based on a qualitative classroom-based research study, considers how ambiguity can more be comprehensively integrated into FL learning and in particular into text-oriented teaching practices. The approach taken was a pedagogy that embraces ambiguity by providing learners and educators with strategies for navigating the moments of indeterminacy, uncertainty, and doubt that they will inevitably encounter in and out of the FL classroom. The study, set in an intermediate German language and culture course at a large public university, investigates 1) how to incorporate and assess moments of ambiguity more comprehensively across the curriculum and 2) how learners responded to various encounters with ambiguity, including ambiguity of genre, perspective, and silence. Data analysis revealed that purposeful integration of induced ambiguity can facilitate more comfort with those three dimensions and that it complements the principles of a multiliteracies-based FL pedagogy.

The Malý čtenář (The Little Reader) magazine was published between the years of 1882 and 1941. At that time, this was one of the most significant Czech magazines for children and young people. The magazine altered during its existence. Poetry, fiction, nonfiction articles, games, jokes and puzzles remained its constant theme. The magazine was founded by teachers from Poděbrady. Its original role was to present school teaching through more fun and entertainment. Nonfiction articles played a significant role in the early years of the magazine. A big change for the existence of the magazine meant a transition to J. R. Vilímek publishing in 1888. In the 90s of the 19th century, the magazine became a more serious publication, primarily due to its incorporation of high quality poetry. Among the authors of the poems appears Josef Vaclav Sládek, who is regarded as the founder of Czech poetry for children. In these years, the magazine also aimed to appeal to a new target group of readers: adolescent school boys. At the beginning of the twentieth century, the ratio between poetry and prose in Malý čtenář gradually balanced. A key figure in the magazine, František Serafínský Procházka, took the main role in poetry. Prose came with longer serial stories with elements of realism; more fairy tales also appeared....

La littérature est une source d’où jaillissent les flots intarissables du paradoxe ; c’est dans cet entrelacement de dichotomies que nous nous sommes immergées pour percevoir l’unité sous-jacente derrière l’oxymore que constitue le titre de notre thèse : « une poétique de l’abjection dans la littérature gothique américaine postmoderne. » Si nous nous sommes tournées vers Stephen King, Peter Straub et Chuck Palahniuk et avons mis l’accent sur trois de leurs œuvres précises, notre démonstration se veut être transposable à l’ensemble de leurs écrits. Nous nous sommes interrogées sur la nature de l’abjection et sur sa prééminence dans une société américaine portant le sceau du puritanisme. Marqués par le Romantisme et le Gothique anglais, nos auteurs ont su donner aux thématiques caractérisant ces mouvements une voie nouvelle. Situer nos œuvres dans la lignée du gothique postmoderne nous permet d’osciller sur le paradigme de l’excès et de l’incomplétude, de la déconstruction et de l’unité. Le thème de la fragmentation apparaît comme l’un des fils d’Ariane permettant aux auteurs de tisser autour des lecteurs leur toile arachnéenne. Ce démantèlement qui affecte à la fois la dimension narrative et thématique des récits contribue à leur effet patchwork et subversif, nous liant à notre problématique postmoderne. Les paradoxes engendrés par nos récits leur donnent leur force et expliquent leur fascination sur le public. Nos pérégrinations menant à l’ouverture des différentes portes de l’interprétation révèlent que l’abjection devient source d’une nouvelle esthétique. Le laid peut véhiculer de la beauté et du sublime. L’harmonie qui existe dans le monde de la déchéance qui nous est dépeint explique l’emprise hypnotique de la littérature de l’abjection sur le lecteur. Source de poétique, celle-ci procure un plaisir de la lecture quasi jouissif pour ceux qui se laissent transporter par la magie créatrice de nos auteurs. / Literature is a stream from which gush forth the inexhausting flows of paradoxes; we have immersed ourselves in this entertwining of dichotomies to perceive the underlying unity behind the oxymoron constituting the title of our thesis: “a poetics of the abjection in American postmodern gothic literature.” If we have chosen Stephen King, Peter Straub and Chuck Palahniuk and have focused on three specific novels, our demonstration intends to be transposed to the whole range of their works. We wondered about the nature of abjection and its pre-eminence in an American society bearing the seal of Puritanism. Marked by Romanticism and the English gothic, our authors have been able to convey to the themes characterizing those movements a new direction. Setting our novels in the wake of postmodern gothic is a way for us to oscillate on the paradigm of excess and incompleteness, deconstruction and unity. The theme of fragmentation appears as one of Ariadne’s clues allowing the authors to weave their gossamery web around the readers. This dismantling which both affects the narrative and thematic dimension of the novels contributes to the patchwork and subversive effect engendered, linking us to our postmodern problematic. The paradoxes engendered by our novels give them their strength and account for their fascination on the audience. Our peregrinations leading to the opening of the various interpretative doors reveal that abjection becomes the source of a new aesthetics. Ugliness can convey beauty and sublime. The harmony which exists in the world of discrepancy depicted to us explains the hypnotic ascendancy of the literature of abjection on the reader. Source of poetry, it brings about a pleasure of reading verging on climax for those who let themselves be carried away by the creative magic of our authors.

Relata uma experiência pedagógica, dentro de uma abordagem psicológica, realizada em forma de oficinas, nas quais foram desenvolvidas atividades visando fornecer instrumentos para a escrita de histórias – entrevendo um objetivo mais amplo de promover uma construção de conhecimentos sobre a escrita em geral –, explorando principalmente o universo dos contos populares de magia. Seis crianças, com idade entre nove e onze anos, aproximadamente, freqüentaram 25 oficinas, compreendidas no decorrer de dois anos. Participaram de atividades tais como movimentar o corpo, consultar livros, ouvir histórias contadas e lidas, praticar técnicas de escrita criativa, fazer trabalhos plásticos etc. Analisa o processo principalmente segundo dois recortes temáticos: “desempenho na escrita" e “interesse". Quanto ao primeiro, observa que todas as crianças apresentaram um bom desenvolvimento ao longo dos textos produzidos. Quanto ao segundo, apresenta dados indicadores de que o interesse por leitura e escrita em geral aumentou, e, em relação às atividades nas oficinas, observa que manteve-se alto na maior parte do tempo, tendo oscilado em alguns momentos. Com base nos referenciais teóricos de Jean Piaget e Donald W. Winnicott, faz um balanço de todas as atividades, avaliando sua eficiência em cativar o interesse, a atenção e o envolvimento dos participantes, pontuando os momentos bem sucedidos e os mal sucedidos – quanto aos últimos, critica a metodologia empregada e indica outros caminhos possíveis. Conclui que o interesse é reduzido sempre que uma atividade relega o fazer ativo e significativo das crianças; inversamente, é grande o envolvimento nos trabalhos interativos, em grupo, e nas atividades em que se considera a importância do brincar. / Outlines a pedagogical experience, within a psychological approach, that took place in workshops, which developed activities intending to offer tools to story writing – with the aim of promoting a building of knowledge concerning writing in general –, exploring mainly the world of folk magic tales. Six children aging from 9 to 11 attended to 25 workshops over two years. They took part in activities such as body movements, consulting books, listening to stories narrated and from books, practicing creative writing techniques, making handicraft etc. Analises the process mainly refering to two outline themes: “writing performance" and “interest". Concerning to the first, observes that all the children showed a good development in writing stories. Concerning to the latter, presents data that indicate that interest in reading and writing in general increased and, in relation to the proposed activities, it was high most part of the time, having oscilated in some moments. Grounded in the theoretical referencies of Jean Piaget and Donald Winnicott, considers all the activities and evaluates their efficiency in captivating the interest, attention and the envolvement of the participants, indicating the successes and failures – concerning the latter, criticises the methodology employed and indicates other possible solutions. Concludes that the interest is reduced when an activity relegates the active and significant doing of the children; inversely, the involvement is great with interactive works, in groups, and in activities in which the importance of play is considered.

Made available in DSpace on 2016-04-28T19:34:03Z (GMT). No. of bitstreams: 1 Giovana Flavia de Oliveira.pdf: 2072405 bytes, checksum: d4a597544cc9c639eefbaf8a3a349d4e (MD5) Previous issue date: 2016-02-23 / The compositional structure of Marina Colasanti s fairy tales is the subject of this Doctoral dissertation, which is inserted in the research line Oral and written text and discourse of the Postgraduate Studies Program in Portuguese Language at the Catholic University of São Paulo. Our hypothesis is that Marina Colasanti s fairy tales have regularity in its compositional structure with text plans consisting of complete narrative sequences, comprising the five basis narrative macropropositions (ADAM, 2011). Guided by this proposition, we define the following research questions: how are the text plans in Marina Colasanti s fairy tales with regard to narrative sequences? How are the narrative sequences organized in each part of the text plan of the author s fairy tales? Our goal is to verify the narrative compositional structure in Marina Colasanti s fairy tales. In order to achieve this goal, we set the following objectives: a) identify the text plans in the fairy tales of the author, based on the narrative sequences; b) describe the organization of narrative sequences in each part of these fairy tales text plans; c) analyze the characteristics of text plans and narrative sequences of the author s fairy tales; d) characterize the compositional structure of Marina Colasanti s fairy tales. The theoretical-methodological basis consists of the assumptions of Textual Linguistics and Textual Analysis of the Discourses. The corpus of this research, which is descriptive, with interpretative basis, consists of six fairy tales of Marina Colasanti, two published in the book Uma ideia toda azul, and four published in the book Doze reis e a moça no labirinto do vento. We establish as categories of analysis the basis narrative macropropositions. Through the analysis undertaken, we observed that the text plans in Marina Colasanti s fairy tales, with regard to narrative sequences, have two levels of organization, a global and a local one. At the global level, regularity appears in complete narrative sequences. At the local level, regularity appears in some aspects of the organization of the narrative sequences, specifically in the configuration of the female characters, in the spatial organization, in the temporality and in the action sequences / A estrutura composicional dos contos de fadas de Marina Colasanti constitui o tema desta tese, que se insere na linha de pesquisa Texto e discurso nas modalidades oral e escrita do Programa de Estudos Pós-Graduados em Língua Portuguesa da Pontifícia Universidade Católica de São Paulo. Nossa hipótese é que os contos de fadas de Marina Colasanti têm regularidade em sua estrutura composicional com planos de texto compostos por sequências narrativas completas, constituídas pelas cinco macroproposições narrativas de base (ADAM, 2011). Guiados por essa proposição, definimos as seguintes perguntas de pesquisa: como se constituem os planos de texto dos contos de fadas de Marina Colasanti no que diz respeito às sequências narrativas? Como se organizam as sequências textuais narrativas em cada parte do plano de texto dos contos de fadas da autora? Temos como objetivo geral verificar a estrutura composicional narrativa em contos de fadas de Marina Colasanti. De modo a alcançarmos esse objetivo, estabelecemos como objetivos específicos: a) identificar os planos de texto nos contos de fadas da autora, considerando como base as sequências textuais narrativas; b) descrever a organização das sequências textuais narrativas em cada parte do plano de texto desses contos de fadas; c) analisar as características dos planos de texto e das sequências textuais narrativas dos contos de fada da autora; d) caracterizar a estrutura composicional dos contos de fadas de Marina Colasanti. O embasamento teórico-metodológico é constituído pelos pressupostos da Linguística Textual e da Análise Textual dos Discursos. O corpus desta pesquisa, que é descritiva, de base interpretativa, é composto por seis contos de fadas de Marina Colasanti, dois publicados no livro Uma ideia toda azul e quatro publicados no livro Doze reis e a moça no labirinto do vento. Estabelecemos como categorias de análise as macroproposições narrativas de base. Por meio da análise empreendida, observamos que os planos de texto dos contos de fadas de Marina Colasanti, no que diz respeito às sequências textuais narrativas, apresentam dois níveis de organização, um global e um local. No nível global, a regularidade aparece nas sequências narrativas completas. No nível local, a regularidade aparece em alguns aspectos da organização das sequências textuais narrativas, mais especificamente na configuração das personagens femininas, na organização espacial, na temporalidade e nas sequências acionais

Made available in DSpace on 2016-04-28T19:34:26Z (GMT). No. of bitstreams: 1 Luciana Oliveira Barbosa.pdf: 2733797 bytes, checksum: cbdd885dfba184ac3749332ee47f6992 (MD5) Previous issue date: 2008-05-05 / Secretaria da Educação do Estado de São Paulo / This research paper is within the area of Critical Discourse Analysis and deals with different versions (original, translated, adapted and retold) of the fairy tale Sleeping Beauty. Our main goal is to observe cultural changes in this fairy tale occurred in the Brazilian context. We expect to contribute to Brazilian studies of identity through discourse. The specific goals of this work are: to confront different Brazilian versions of the tale Sleeping Beauty to verify the differences that build the fairy tale; to examine social roles that appear in these versions; focus on cultural values that emerge from these social roles represented by the fairy tale s characters in each version, and, search for traces of the Brazilian people in those values. Each one of these goals depend on different contexts. Our methodological procedure consisted in analyzing the content of each version, by episodes, confronting them. The hypothesis that sustains this research is that fairy tales keep similarities to its original version and at the same time they bring changes related to the representation of cultural values attributed by the society to the characters, their roles and to the actions. This hypothesis showed to be adequate once the analysis of the different versions allowed us to realize Brazilian cultural values with historical background, based on an ecclesiastical discourse, with its moral beliefs that determine the functions of social institutions. It was possible also to observe cultural changes related to the characters characteristics, to their actions, their social roles and the interaction among characters. The analysis results indicate that the differences among the versions are influenced mainly by cultural values of the social and historical context that surround its production. The cultural values are dynamic and their change comes from the need to face new problems daily. The different versions of the fairy tale keep the same characters from the original but they come with different attributes and that gives a new signification to their social roles / Esta Dissertação está situada na área da Análise Crítica do Discurso e trata do exame de diferentes versões (original, traduzida, adaptada e recontada) do conto de fadas A bela adormecida , a fim de verificar as mudanças culturais em contemporaneidades diferentes da dinâmica cultural do brasileiro , de forma a contribuir para os estudos identitários brasileiros a partir do discurso. Os objetivos específicos são: confrontar diferentes versões brasileiras do conto A bela adormecida no Bosque em busca das diferenças que constroem as histórias de fadas; examinar os diferentes papéis sociais presentes nessas versões; focalizar os valores culturais contidos nos papéis sociais representados pelos personagens e buscar traços culturais do brasileiro presentes nos valores contidos nos papéis sociais em cada versão , dependendo de contemporaneidades distintas. Nesse sentido, o procedimento metodológico consiste em confrontar os conteúdos das diferentes versões e analisar, por episódios, os traços culturais contidos nos contos. A hipótese que sustenta esta pesquisa considera que os contos de fadas mantêm relações com a sua versão original, ao mesmo tempo que apresentam mudanças relativas às representações dos valores atribuídos pela sociedade às personagens, ações e funções. A hipótese de mostrou adequada, uma vez que o exame das diferentes versões de um conto nos propiciou que detectássemos valores culturais brasileiros com raízes históricas, a partir do discurso fundador eclesiástico, com seus valores morais que determinam o funcionamento das instituições sociais e a verificação das mudanças culturais a partir da caracterização das personagens, de suas ações , de suas funções sociais e da interação de papéis. Os resultados obtidos das análises indicam que as diferenças das versões em relação às expressões enunciadas decorrem da seleção feita pelo autor de cada versão, sendo ela guiada pelos valores culturais contidos na contemporaneidade das cognições sociais da época de produção da versão; que os valores culturais são dinâmicos e a sua mudança decorre do fato de se enfrentar no dia a dia problemas novos para serem resolvidos, e ainda que o mesmo ocorre com os papéis sociais da estrutura da sociedade, pois embora as versões mantenham os mesmos personagens do conto de Perrault, os valores atribuídos a eles propiciam uma ressemantização para as relações sociais desses papéis