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Life is a spectrum : a critical appraisal of some of Chauke's worksNdove, Mkhancane Daniel 06 1900 (has links)
This dissertation critically appraises some ofChauke's literary works within a semiotic
approach especially in terms of colours of the spectrwn. In this study the spectrum is
reganled as a replica or symbol of man's various filcets of Jife. Analyses of the
representations of "Life is a Spectrum" have been made in tenns of psychological and
symbolic &.cets. Cbauke's narrative s1yle in delineating characters and milieus sketching
received attention in the discussion. The cunent scenario in education and politics as well
as socio-economic issues have also been dealt with.
This study has revealed that Chauke is an author who dmws readers very close to his
works that serve as mirrors of their lives. It bas been established that Chauke is an
outstanding writer who uses real situations and events that are relevant to people•s life in
this contempotaty situation. / African Languages / M.A. (African Languages)
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Life is a spectrum : a critical appraisal of some of Chauke's worksNdove, Mkhancane Daniel 06 1900 (has links)
This dissertation critically appraises some ofChauke's literary works within a semiotic
approach especially in terms of colours of the spectrwn. In this study the spectrum is
reganled as a replica or symbol of man's various filcets of Jife. Analyses of the
representations of "Life is a Spectrum" have been made in tenns of psychological and
symbolic &.cets. Cbauke's narrative s1yle in delineating characters and milieus sketching
received attention in the discussion. The cunent scenario in education and politics as well
as socio-economic issues have also been dealt with.
This study has revealed that Chauke is an author who dmws readers very close to his
works that serve as mirrors of their lives. It bas been established that Chauke is an
outstanding writer who uses real situations and events that are relevant to people•s life in
this contempotaty situation. / African Languages / M.A. (African Languages)
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Du bon usage du bovarysme dans la classe de français : développer l'empathie fictionnelle des élèves pour les aider à lire les récits littéraires : l'exemple du journal de personnage / About appropriate use of bovarysm in French classes : developing the students’ fictional empathy to help them read literary stories : the example of the character’s diary.Larrivé, Véronique 12 September 2014 (has links)
Avec les neurones miroirs et les théories de la simulation, les découvertes récentes des neurosciences sur les relations intersubjectives offrent à la théorie littéraire de nouvelles données pour approcher le récit fictionnel. Elles permettent de réhabiliter le bovarysme littéraire dont la version cognitiviste, l’empathie fictionnelle, est l’objet de cette thèse. Il apparaît que dans le monde créé par la fiction, c’est l’empathie fictionnelle qu’il éprouve pour les personnages qui permet au lecteur de comprendre leurs états mentaux et d’anticiper leur comportement. Ainsi, les émotions fictionnelles, véritable catalyseur du processus de simulation qui permet au lecteur d’éprouver corporellement le point de vue du personnage, participent-elles pleinement au processus de compréhension et d’interprétation de l’histoire. L’objectif est donc de repenser l’activité du lecteur de fiction en axant la réflexion sur la manière dont le lecteur appréhende le monde fictionnel et s’y investit émotionnellement. L’aptitude à l’empathie fictionnelle devient alors une compétence de lecteur, indispensable pour qu’il puisse s’immerger dans l’univers fictionnel. Ce point de vue soulève une question concernant la didactique de la lecture littéraire. Lors de la lecture d’œuvres de fiction, en quoi et comment est-il souhaitable de solliciter l’empathie fictionnelle des élèves pour les personnages ? Cette thèse répondra à cette question en proposant un dispositif d’accompagnement de la lecture par l’écriture : le « journal de personnage ». L’expérimentation présentée, menée en classe de CM2 et de 6e, concerne le journal de Gilgamesh, héros mythologique dont le récit des aventures appartient à nos textes fondateurs. À travers l’observation de productions écrites d’élèves et l’analyse d’entretiens et de questionnaires individuels, il apparaîtra que les écritures fictionnelles en première personne demandées aux élèves sont un moyen d’exercer leur aptitude à l’empathie fictionnelle et par voie de conséquence de développer leurs compétences en matière de lecture littéraire. / With mirror neurons and simulation theories, recent findings in neuroscience on inter-subjective relations offer new data to literary theory about fictional narrative. They help restore literary bovarysm of which cognitive version, the fictional empathy, is the subject of this thesis. It appears that, in a world created by fiction, the fictional empathy that the reader feels for characters allows him to understand their mental states and anticipate their behavior. Thus, the fictional emotions, real catalyst of the simulation process that allows the reader to physically experience the perspective of the character, fully participate in the process of understanding and interpreting the story. The objective is therefore to rethink the mental activity of the reader of fiction, with a focus on how the reader grasps the fictional world and gets involved emotionally. The capacity for fictional empathy then becomes a reader’s skill, essential to immerse himself in the fictional universe. This approach raises a question about the teaching of literary reading. When reading fiction, in which way and how is it advisable to seek the students’ fictional empathy for the characters? To address this issue, this thesis proposes that a reading-cum-writing support mechanism be envisaged: the "character’s diary". The experiment conducted in CM2 and 6th grade classes, relates to the diary of Gilgamesh, mythological hero whose adventure stories belong to our founding texts. Through the observation of students' written along with the analysis of interviews and individual questionnaires, it would appear that fictional writing requested from students in the first person are a means to exercise their capacity for fictional empathy and as a corollary develop their skills in literary reading.
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