La thèse présente se propose de reconsidérer le cliché narratif des contes populaires, celui de la lutte permanente entre le Bien et le Mal, puisque, après l'analyse du fond préchrétien, caché derrière la structure superficielle de la narration, la véritable raison d'être des figures mythiques révèle un monde qui n'est pas l'antithèse, mais un monde de l'ambivalence. Cela conduit à l'impossibilité de déterminer définitivement la nature des symboles et des images qui se développent dans les contes de fées, mais également à la possibilité de créer une autre grille de lecture des contes de fées. L'analyse commence par l'identification du substrat païen de la figure mythique du zmeu des contes populaire roumains, dans une approche comparative, a l'aide des instruments modernes de l'imaginaire.La figure du zmeu est intégrée dasn une système mythique originaire où sont projetés deux ordres du sacré: une ordre traditionnel qui protege les valeurs sacrées initiales du monde et une ordre innovatrice qui change le sens primordial de l'univers du sacré. Entre ces deux ordres, la figure du zmeu, comme représentant le monde ancien, entre en conflit avec la figure du héros sauveur, représentant le nouveau monde.De ce conflit, le zmeu est un figure vaincue par les mécanismes de l'histoire. / The present thesis proposes to reconsider the narrative cliche narrative of the folk tales, that of the constant struggle between good and evil, after the analysis of pre-Christian background, hidden behind the superficial structure of the narrative, the real reason for be mythical figures reveals a world that is not the antithesis, but a world of ambivalence. This leads to the inability to determine definitively the nature of symbols and images that grow in fairy tales, but also the ability to create another way of reading fairy tales. The analysis begins by identifying the substrate of the pagan mythical figure of the Romanian folk tales zmeu in a comparative approach, with the help of modern instruments of the imagination. The figure of Zmeu is integrated in a mythical origin where are projected two orders of the sacred: a traditional order that protects the sacred values ​​of the world and an initial order innovation that changes the meaning of the primordial world of the sacred. Between these two orders, the figure of zmeu, as representing the ancient world, conflicts with the figure of the warrior who, representing the new monde.In this conflict, the figure of zmeu is defeated by the mechanisms of history.

Made available in DSpace on 2015-05-14T12:39:31Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 2221102 bytes, checksum: a4b0813bbf56e6e180f15142dc365e24 (MD5) Previous issue date: 2011-02-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Popular narratives are rich in elements of the natural world in which underlie unconscious contents. This survey brought a reflection over the images of the collective unconscious in the relations of intersubjectivity found in folktales from the Brazilian Northeast. This concern came from the fact that the human being is not only seen as a biological structure, but also as social and psychic structure. Under this view, we sought for more satisfactory positions on the significance of folktales. We started from the assumption that underlying the discourse of the folktale, there are images of the collective unconscious, capable of describing the relations of intersubjectivity, meaning that intersubjectivity as a form of constitution of subjectivity emerges under the subject's performance in relation to otherness and the archetypes of the collective unconscious manifested symbolically through myths, magic and fantasy. The research was conducted from the general objective that was proposed to examine, under the interface between Semiotics and Psychoanalysis that is present in images of the collective unconscious intersubjective relations of enunciation and utterance that characterize the northeastern folktale, in order to perceive aspects identify the subjects, the relations among them and between subjects and between subject and object of their value. The theoretical basis focused Greimasian semiotics explaining the semiotic function, from a generative trajectory composed of three levels: narrativization, speechlization and deep semantics. The analysis was complemented by this tensive semiotics of Fontanille which accounts for inflections of axiological values from an intense and extensive grading. It was discussed too, the theories of the unconscious, from Freud and Jung who, in addition to a personal unconscious, proposes a collective. Then we tried to see how "self" is constructed, following the understanding that subjectivity is constituted as otherness. To situate the corpus, we discussed about the literature of the folktale, especially considering the origin, structure and identification according to Nascimento s Catalogue of Brazilian Folktale. This research consisted of two hundred and eighty thousand of which were selected among those nine versions from the Northeast Brazil. The stories were coded by the initial graphemes of words in the title: As mil e uma noites (MN), O macaco e o rabo (MR), A Moura Torta (MT); Seu Nino (SN) As perguntas de Dom Lobo (PDL); Boi Leição (BL) and A Aranha Caranguejeira e o Quibungo (ACQ), O macaco e a cabaça (MC), A menina dos brincos de ouro (MBO). Before the analysis, it was built a synopsis and segmentation. In narrative structure, one identified the semiotic subject, searching for their value objects, sometimes aided by an adjuvant, sometimes hampered by an opponent. In the discourse structure, we analyzed their interpersonal relations of space and time, enunciation and statement, in which the symbolic richness of the stories revealed the presence of the major archetypes of the collective unconscious: the animus, the anima, the shadow, the persona and Self, who spoke on different images and contributed to the perception of the various issues. In the fundamental structure, it was elucidated the opposition of good versus evil as the matrix pole for the emergence of other oppositions. / As narrativas populares são ricas em elementos do mundo natural nos quais subjazem conteúdos inconscientes. A pesquisa intentou uma reflexão em torno das imagens do inconsciente coletivo nas relações de intersubjetividade presentes nos contos populares nordestinos. Tal inquietude partiu da compreensão de que o ser humano não se constitui apenas como estrutura biológica, mas também como estrutura psíquica e social. Sob essa ótica, buscaram-se posições mais satisfatórias sobre a significação dos contos populares. Partiu-se da hipótese de que, subjacentes ao discurso do conto popular, encontram-se imagens do inconsciente coletivo, capazes de caracterizar as relações de intersubjetividade, entendendo que a intersubjetividade, como forma de constituição da subjetividade, emerge sob a performance dos sujeitos em relação à alteridade e que os arquétipos do inconsciente coletivo se manifestam, simbolicamente, através de mitos, magias e fantasias. A pesquisa foi direcionada a partir do objetivo geral que propôs analisar, sob a interface Semiótica e Psicanálise, imagens do inconsciente coletivo presentes nas relações intersubjetivas de enunciação e de enunciado que caracterizam o conto popular nordestino, a fim de perceber aspectos que identificam os sujeitos, as relações entre eles e entre o sujeito e seu objeto de valor. A fundamentação teórica privilegiou a semiótica greimasiana que explica a função semiótica, partindo de um percurso gerativo composto de três níveis: narrativização, discursivização e semântica profunda. A análise desta foi complementada pela semiótica tensiva de Fontanille que responde pelas inflexões dos valores axiológicos a partir de uma gradação intensa e extensa. Discutiram-se, ainda, as teorias do inconsciente, a partir de Freud e de Jung que, além de um inconsciente pessoal, propõe um coletivo. Em seguida abordou-se como o eu se constrói, seguindo o entendimento de que a subjetividade é constituída a partir da alteridade. Para situar o corpus, discorreu-se sobre a literatura do conto popular, considerando principalmente a origem, a estrutura e a identificação conforme o Catálogo do Conto Popular Brasileiro de Nascimento. O universo da pesquisa constou de duzentos e oitenta contos dos quais foram selecionadas nove versões entre aquelas levantadas no Nordeste brasileiro. Os contos foram codificados pelos grafemas iniciais dos vocábulos do título: As mil e uma noites (MN); O Macaco e o Rabo (MR); A Moura Torta (MT); Seu Nino (SN); As perguntas de Dom Lobo (PDL); O Boi Leição (BL); A aranha Caranguejeira e o Quibungo (ACQ); O macaco e a cabaça (MC); A menina dos brincos de ouro (MBO). Antes da análise, foram construídas uma sinopse e a segmentação. Na estrutura narrativa, identificaram-se os sujeitos semióticos, realizando um percurso em busca do seu objeto de valor, ora ajudado por um adjuvante, ora prejudicado por um oponente. Na estrutura discursiva, foram analisadas as relações intersubjetivas de espaço e de tempo, de enunciação e de enunciado, em que a riqueza simbólica dos contos revelou a presença dos principais arquétipos do inconsciente coletivo: o animus, a anima, a sombra, a persona e o Self, que se manifestaram sob diferentes imagens e contribuíram para a percepção dos vários temas. Na estrutura fundamental, elucidou-se a oposição bem versus mal como polo matriz para a emergência de outras oposições.

Pedagogic folk-tale therapy at the lessons of informal education Summary One of he most urgent problem in the Lithuanian contemporary educational, basing itself on the humanist education principles, is the psychological climate at school, influencing pupils’ motivation to state of pupil. Supplementary education classes could have a large influence on the improvement of psychological climate. ,,The Supplementary Education Concept” is a list of the possibilities, grouped ant called functions, including: cognitive, communication, pragmatic and self-reakiztion. The mentioned concept does not include the innovative function of supplementary education, used to preserve emotional health and to improve the emotional state of a child. In essence this function is ,,social treatment” by art, also known as art therapy. ,, The Supplementary Education Concept” addresses the problems, arising in the course of after-class activity in a mainstream school. This is related to poor search for new working forms and methods, forgotten training and insufficient requalification tasks, and too little attention paid to the children’s socialization process, etc. We studied the documents, regulating supplementary education, articles of researchers and teachers on this work and formulated the problem for investigation, namely: too little attention is paid to the important issue for pupil’s socialization and creativity-planning, and organizing of systematical recreational work, used to eliminate... [to full text]

Made available in DSpace on 2016-04-28T18:22:43Z (GMT). No. of bitstreams: 1 Sirlene Francisco Barbosa.pdf: 17663060 bytes, checksum: b33a653f9dad01a5fb730de31d41d3ab (MD5) Previous issue date: 2013-09-05 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / From a reading project, whose focus was the discursive genre folk tale, this research aims to analyze how the didactic collection of Portuguese, adopted by the school where the researcher works at(Emef Chico Mendes) collection which attends basic education II and was approved by the ProgramaNacional doLivroDidático2011(PNLD) intends to teach reflective reading of a genre that was born in the ancient oral cultures, invented and reinvented throughout the centuries: the folk tale.The research is based on the concepts of concrete statement e speech genre, along with Bakhtin Circle s conceptions.Our research object is the collection Tudo é linguagem(2010), adopted by Emef Chico Mendes School and this was a primary factor for our choice. In order to understand this research object, we used the following methodology: 1) we ve studied theProgramaNacional do LivroDidático (PNLD) and verified how the does the dialogue among the Program and the ParâmetrosCurricularesNacionais (PCN) take place; 2) we ve analyzed the collection s Manual do professorso we could get to the analysis of all reading and interpretation activities from the collections units that presented the folk tale genre in the textbook, designed for the sixth graders, the very same target students from the reading project the bottom line for this research.This methodological step was important so we could face if there was a discrepancy between the reading and interpretation activitiesand the folktale-genre-related activities from textbook s unit, for this specific genre is the main interest of the present research. The third methodological step was to analyze the textbook s activities regarding the folktale genre in order to check if they were in accordance with the work done in the Reading Project. The research is justified by the possibility of verifying how does the dialogue between PNLD guidelines and the Manual do professor occur, as far as they are concerned in providing the major learning of reading skills in basic school context. Hence, it s about a piece of work that aims to contribute to the research on Applied Linguistics field. The analysis shows that the collection has the goal of educating proficientreaders and it is guided by the speech genres. It presents, however, a single didacticalunit in its whole content that focused the folk tale genre, leading to activities that,as far as reading and interpretation skills are concerned, present a very low level of discussion and required in fact superficial tasks from the students.Therefore, we believe that this way there cannot be independent readers. There is only their dressage, giving no chance for them to reflect over what they ve read / Partindo de um projeto de leitura, cujo foco foi o gênero discursivo conto popular, esta pesquisa tem por objetivo analisar como a coleção didática de língua portuguesa, adotada pela escola que a pesquisadora trabalha (Emef Chico Mendes), destinada ao ensino fundamental II e aprovada no Programa Nacional do Livro Didático (PNLD) 2011, propõe-se a ensinar a leitura reflexiva do texto que nasceu em culturas orais, criadas, recriadas e preservadas ao longo do tempo: o conto popular. A pesquisa se fundamenta nos conceitos de enunciado concreto e gênero do discurso, conforme as concepções do Círculo de Bakhtin. A obra que compõe nosso objeto de estudo é a coleção Tudo é linguagem (2010), coleção adotada na Emef Chico Mendes, e esse foi o fator primordial para essa escolha. Para compreendermos esse objeto de estudo, partimos para a seguinte metodologia: 1) estudamos o Programa Nacional do Livro Didático (PNLD) e verificamos como ocorre o diálogo entre esse Programa e os Parâmetros Curriculares Nacionais (PCN); 2) analisamos o Manual do professor da obra, para então chegarmos à análise de todas as atividades de interpretação de leitura das unidades que trabalham com o gênero conto, presentes no livro voltado aos alunos do 6º ano, mesmo público-alvo do projeto de leitura, ponto de partida para esta pesquisa. Esse passo metodológico foi importante para constatarmos se havia discrepância na constituição das atividades de interpretação, no que diz respeito às atividades da unidade focada no gênero discursivo, que é interesse desta pesquisa, o conto popular. O terceiro passo da metodologia foi adentrar, com propriedade, na análise das atividades do conto popular em consonância com o que foi trabalhado no projeto de leitura. Este trabalho se justifica pela possibilidade de verificar de que forma ocorre o diálogo entre a proposta do PNLD e do Manual do professor da coleção didática, referente à proposição de ensino de uma leitura ampla e como tais prescrições se consolidam nas atividades didáticas. Trata-se, portanto, de um trabalho que contribuirá para as pesquisas na área da Linguística Aplicada. A análise demonstra que a coleção tem por objetivo formar leitores proficientes e se norteia pelos gêneros do discurso. Apresenta, no entanto, uma única unidade didática que foca o conto popular e propõe atividades que atuam de forma superficial quanto à interpretação dos discursos que compõem os enunciados. Com essa proposta didática, não é possível formar leitores autônomos. Há apenas o adestramento de pseudoleitores, sem possibilidade de que estes reflitam sobre o que leem

Le but de ce mémoire est d’analyser deux oeuvres de Marguerite Duras : L’Amant et La Pluie d’été. L’étude est effectuée avec l’aide des éléments d’un genre littéraire précis : le fantastique. Ce mémoire examine les conditions pour qu’une oeuvre puisse appartenir à ce genre littéraire ; il en liste les critères, et étudie comment ces derniers sont en partie applicables à ces deux oeuvres. Le mémoire examine les prérequis pour qu’une oeuvre soit considérée comme fantastique, ainsi que les éléments qui placent une oeuvre à la limite de divers genres, tels que le conte, le merveilleux ou encore le réalisme magique. Une analyse des stratégies narratives employées pour persuader le lecteur à hésiter entre le réel et l’irréel est ici appliquée à L’Amant et La Pluie d’été, ainsi qu’une mise en avant des éléments qui peuvent faire entrer ces oeuvres dans la catégorie du fantastique. Les deux oeuvres sont ensuite étudiées séparément. Des personnages sont analysés, ainsi que les lieux, le temps et les actions. La technique narrative, avec la frontière floue entre rêve, retours en arrière et souvenirs, participe du genre fantastique. Les personnages phares, ainsi que des objets classiques du registre du fantastique, peuvent participer eux aussi de cette classification. Bien que les deux oeuvres ne soient pas explicitement classifiées par l’auteur comme appartenant au genre fantastique, il en émane une certaine atmosphère qui permet de mettre en avant des éléments qui contribuent au genre étudié, mais aussi au mode merveilleux, du réalisme merveilleux ou encore du conte. / The aim of this study is to analyze two works by Marguerite Duras: The lover and Summer rain. The study is carried out using elements of a specific literary genre: the fantastic (le fantastique). This study presents the elements needed for a work to belong to this literary genre; it lists the criteria, and studies how they partially are applicable to these two works. The conditions for a work to be considered fantastic, as well as the elements that place a work at the border of various genres, such as the folk tale, the marvelous (le merveilleux) or even the magic realism. This text presents an analysis of the narrative strategies, showing how the reader is led to doubt what is real and what is not. This study investigates The lover and Summer rain. It also highlights the elements that classify a book in the fantastic category. The two works are then studied separately. The characters are analyzed, as well as the setting, the time and the plot. The narrative technique, with the blurry borders between dreams, flashbacks and memories, belongs to the fantastic genre (le fantastique). The most important fictional characters, as well as classic objects, can also contribute to the classification of the texts in the fantastic genre. Although the two works are not precisely classified by the author as belonging to the fantastic genre, a certain atmosphere created by Duras makes it possible to highlight elements that contribute to the genre studied, but also to the folk tale or the magic realism.

No description available.

Made available in DSpace on 2016-08-10T11:06:48Z (GMT). No. of bitstreams: 1 Elizeth da Costa Alves.pdf: 14504901 bytes, checksum: bda0d0a0a138a6447ecf81632c86dffd (MD5) Previous issue date: 2011-06-29 / This work shows, through analysis of four "versions" of an oral and written of Maximiano da Matta Teixeira, collected tale A pedra arrependida . It was observed some substantial aspects in these oral narratives told in the city of Natividade - TO which changed them from the text written. It is an attempt to show the importance of preserving them. In the aspects analyzed can be evidenced a lot of modes of thought present in oral histories, for example, if it is more aggregative than subordinate and more and less redundant etc. It was described the procedures of storytellers in relation to oral and written narrative construction, based in a conception relation with theory of literature as Walter Ong (1986, 1998), Paul Zumthor (1993), Luis da Camara Cascudo (1967, 1984), André Jolles (1930), Walter Benjamin (1994), Ecléa Bosi (1994), among others. Before that, it was presented views on popular culture around the world and Brazil, showing out the first ways traveled to construct a national identity and the question of national and popular, especially for studies investigating the oral tradition and culture and writing. The point of analysis was an investigation into the Natividade, a city of southeastern state of Tocantins, with a view to a critique of the cultural productions of our people. For this approach, we use sources like Alfredo Bosi (1975, 1987, 1992), Peter Burke (1989), Marilena Chauí (1986, 2000), Nestor Garcia Caclini (2003), Mikhail Bakhtin (1997, 2002) and Roger Chartier (1995). / O presente trabalho tem como objetivo evidenciar, através da análise de quatro versões orais e uma escrita, de Maximiano da Matta Teixeira, coletadas do conto A pedra arrependida , aspectos substanciais presentes nas narrativas orais contadas em Natividade - TO, que as diferenciam do texto escrito, numa tentativa de mostrar a importância de se preservá-las. Os aspectos avaliados evidenciam os modos de pensamento presentes nas narrativas orais, por exemplo, se são mais agregativas que subordinativas, mais ou menos redundante etc. Descrevemos ainda os procedimentos dos contadores de histórias em relação à construção narrativa oral e escrita, tendo como pano de fundo uma concepção teórico-literária baseada em Walter Ong (1986, 1998), Paul Zumthor (1993), Luis da Camara Cascudo (1967, 1984), André Jolles (1930), Walter Benjamin (1994), Ecléa Bosi (1994), entre outros. Antes disso, apresentamos pontos de vista sobre a cultura popular no mundo e no Brasil, apontando as primeiras trilhas percorridas para a construção de uma identidade nacional e a questão do nacional e do popular, com destaque para os estudos que investigam a tradição e a cultura oral e escrita. O ponto de análise foi uma investigação em Natividade, cidade da região sudeste do Estado do Tocantins, com vistas a uma crítica das produções culturais de nosso povo. Para tal abordagem, utilizamos fontes como Alfredo Bosi (1975, 1987, 1992), Peter Burke (1989), Marilena Chauí (1986, 2000), Néstor Garcia Caclini (2003), Roger Chartier (1995) e Mikhail Bakhtin (1997, 2002).

This thesis introduces a folk-tale as a basement for projects in nursery school. The main goal of the thesis is to show a regional folk-tale and its processing for projects, and as a whole the tale serves as a suitable device for fulfilling goals of preschool education. Theoretical part is focused on providing knowledge of literal theory, methodology of work with text in nursery school, drama education, development psychology and preschool education in context of Framework Education Programme for Preschool Education. A folk-tale, its origin in folk literature and a close relation with fairy-tale is introduced as well as its place in literature for children. Further, the tasks, aims and possibilities of literary production in nursery school are provided and the actual goal of reader literacy is shown. Next discussed topics are the possibilities of using a story, drama education and its methodology in preschool education. Further, the suitable methods of preschool education are introduced with the consideration of preschool child and its needs. In the conclusion of theoretical part the project is described in consideration of its using in nursery school. Practical part deals with the two specific folk-tales and proposes their processing in particular school. Evaluation of projects in comparison with...

Le but de ce mémoire est d’analyser deux oeuvres de Marguerite Duras : L’Amant et La Pluie d’été. L’étude est effectuée avec l’aide des éléments d’un genre littéraire précis : le fantastique. Ce mémoire examine les conditions pour qu’une oeuvre puisse appartenir à ce genre littéraire ; il en liste les critères, et étudie comment ces derniers sont en partie applicables à ces deux oeuvres. Le mémoire examine les prérequis pour qu’une oeuvre soit considérée comme fantastique, ainsi que les éléments qui placent une oeuvre à la limite de divers genres, tels que le conte, le merveilleux ou encore le réalisme magique. Une analyse des stratégies narratives employées pour persuader le lecteur à hésiter entre le réel et l’irréel est ici appliquée à L’Amant et La Pluie d’été, ainsi qu’une mise en avant des éléments qui peuvent faire entrer ces oeuvres dans la catégorie du fantastique. Les deux oeuvres sont ensuite étudiées séparément. Des personnages sont analysés, ainsi que les lieux, le temps et les actions. La technique narrative, avec la frontière floue entre rêve, retours en arrière et souvenirs, participe du genre fantastique. Les personnages phares, ainsi que des objets classiques du registre du fantastique, peuvent participer eux aussi de cette classification. Bien que les deux oeuvres ne soient pas explicitement classifiées par l’auteur comme appartenant au genre fantastique, il en émane une certaine atmosphère qui permet de mettre en avant des éléments qui contribuent au genre étudié, mais aussi au mode merveilleux, du réalisme merveilleux ou encore du conte. / The aim of this study is to analyze two works by Marguerite Duras: The lover and Summer rain. The study is carried out using elements of a specific literary genre: the fantastic (le fantastique). This study presents the elements needed for a work to belong to this literary genre; it lists the criteria, and studies how they partially are applicable to these two works. The conditions for a work to be considered fantastic, as well as the elements that place a work at the border of various genres, such as the folk tale, the marvelous (le merveilleux) or even the magic realism. This text presents an analysis of the narrative strategies, showing how the reader is led to doubt what is real and what is not. This study investigates The lover and Summer rain. It also highlights the elements that classify a book in the fantastic category. The two works are then studied separately. The characters are analyzed, as well as the setting, the time and the plot. The narrative technique, with the blurry borders between dreams, flashbacks and memories, belongs to the fantastic genre (le fantastique). The most important fictional4characters, as well as classic objects, can also contribute to the classification of the texts in the fantastic genre. Although the two works are not precisely classified by the author as belonging to the fantastic genre, a certain atmosphere created by Duras makes it possible to highlight elements that contribute to the genre studied, but also to the folk tale or the magic realism.