This survey is a theoretical analysis concerning didactics of literature, in which I problematize what Martha C. Nussbaum describes as ”narrative imagination”. By using postcolonial theory, more specific: Gayatri Spivaks essay ”Can the Subaltern Speak?” and her theoretical formula ”a leap into the other’s sea”, I try to answer the following question: Can ”narrative imagination” be understood as a manifistation or concretisation of ”a leap into the other’s sea”? The answer that is given concerning my general question is simply: No. Nussbaums’ reader is far to active, whereas Spivak strongly argues that hearing and/or listening to the subaltern requires a state of self-suspendedness. Nussbaum also shows a great belief in literature as a representation of something truly real, but also as a representation of the Other. Drawing on Spivaks critique of Deleuze and Foucault, I have suggested that representation of this kind should, from a poststructuralistic and Marxist point of view, be seen as a theoretical misstake, for: representation postulates objectiveness or/and transparentness. Finally Nussbaums goals, in terms of cultivating the humanity, has been problematized. Her cosmopolitan and democratic approach is based upon – a form of – universalism and an ambition towards consensus, which – again: from a poststructuralistic perspective – is highly debatable. With this background I have concluded two implications concerning didactics of literature: Firstly, there are plenty of voices not represented by literature, a fact that needs to be considered. Thus, to base a world citizenship, a democracy or an understanding of the Other on works of literature is to restrict ”the world” or ”the Other” to the fictional, literary characters that has been written. Secondly Spivak urges us to reflect on the reader as an interpreter. A total suspension of the self is a naive statement – but she is right to point to the occidental subject as a member and reproducer of postcolonial discourse.

This research examines a multi-level language ability ESL secondary school classroom in relation to Lave and Wenger’s (1991) community of practice and Dörnyei and Ottó’s (1998) L2 motivation conceptual frameworks. Both qualitative and quantitative methodologies were employed. Case study data were collected through monthly interviews, semi-monthly observations, and monthly written journals over 3 months in Toronto from 6 participants (5 students and 1 teacher). Also, students who had been in Canada 5 years or less, and ESL teachers were invited to complete an on-line questionnaire. Results indicate that the multi-level classroom positively and negatively impacts participation and motivation. Participants define the most striking factor to impact participation and motivation as themselves; this links the two conceptual frameworks because “self-regulation” in the Actional Phase (Dörnyei & Ottó, 1998) can be better understood by legitimate peripheral participation or the ability to “imagine” and “align” oneself (Lave & Wenger, 1991). In this multi-level classroom, self-regulation is when students actively imagine possible selves who are aligned with their family or peer goals, or when faced with disengagement, students envision new roles for themselves in the classroom to overcome barriers and realign themselves with shared family or peer goals. In these cases, alignment drives imagination; however, students also use imagination to create alignment. When lower level learners see advanced students as possible selves, they feel hope for their future. Similarly, advanced learners recall their past selves when seeing their lower level peers and feel empathy for them. This interaction cements student alignment and sets a context conducive to cooperative learning which enhances students’ abilities to remain aligned with their families. Overall, this research highlights the interplay of imagination and alignment which impacts student identity. Moreover, it reveals that one aspect of the Post-actional Phase in Dörnyei and Ottó’s (1998) model, “self-concept beliefs,” can be enhanced by the notion of identity in Lave and Wenger’s (1991) framework. Finally, these findings could serve to change policy and improve programming and serve as an archive for future research.

Dissertation--Universität Bochum, 2007. / Includes bibliographical references (p. 337-349).

Thèse (M.A.)--Université Laval, 1998. / Comprend des réf. bibliogr.

Thesis (doctoral)--Freie Universität Berlin, 2001. / Includes bibliographical references (p. [199]-206).

No description available.

No description available.

Cette thèse analyse l’évolution des imaginaires de la grossesse depuis 40 ans ainsi que certaines de ses incidences sociales.La science embryologiste avait installé depuis le 19ième siècle une tradition de représentation réaliste du foetus humain. Au cours de la 2ième moitié du 20ième, les choses semblent changer. En 1970, les photos de Lennart Nilsson notamment ont coloré, autonomisé, esthétisé et humanisé le foetus. En France, le ‟foetus anatomique” s’est vu par ailleurs retiré des muséums, son image s’absente du ‟Larousse médical illustré” et des manuels de sciences naturelles. Quant au foetus présent dans l’art contemporain, il est surdimensionné ou dégoûtant : ce qui ressemble donc le plus à un ‟vrai” foetus se déréalise. L’haptonomie et certaines technologies autour de la grossesse vont accentuer ces modifications de l’image du foetus au profit des imaginaires parentaux.Les effets sociaux de cette idéalisation foetale sont variés. L’humanisation du ‟beau foetus” enlaidissant l’anomalie, la hantise maternelle du ‟monstre foetal” est d’avantage intériorisée et trouble le travail en médecine foetale. Leur refus de l’anomalie devenant plus implicite, médecins et parents adoptent un langage euphémisé. Mais même l’image du foetus avorté s’humanise. Elle devient émouvante. Quand un foetus est condamné, il faudra donc le réparer, concrètement et symboliquement. Les soignants qui invitent les parents à voir le foetus après sa mort vont le présenter comme un bébé dormant, réparé de ses malformations. Certaines mères, surtout quand elles envisagent une nouvelle grossesse, le représentent alors comme un ange, cet ange devenu omniprésent sur les forums Internet.Ce dispositif questionne les sociétés contemporaines : les spécialistes de médecine foetale se retrouvent aujourd’hui confrontés à certains parents refusant la naissance d’un enfant atteint de malformations sans gravité. Au miroir de leur bébé surgit un indicible : l’horreur d’un foetus porteur d’anomalie. L’esthétisation ne rend-elle pas les imaginaires de l’anomalie d’autant plus puissants qu’ils n’ont plus d’espace, autre que le for intérieur, pour se déployer ? / This thesis analyses the evolution of imagination of the pregnancy for forty years as well as some of its social incidences.The science embryologist had installed since the 19 th century a realist tradition of presentation of the human foetus. During half of the 20 th, things seem to change. In 1970, the photographs of Lennart Nilsson in particular coloured, empowered, aestheticized and humanized the foetus. In France, the ‟anatomical foetus” saw itself besides out-of- the way of the museums, its image absent in in the ‟illustrated medical Larousse” and the textbooks of natural sciences. As for the foetus present in the contempory art, it is oversized or disgusting : what looks like mots of ‟real” foetus derealises. The haptonomy and certain technologies around the pregnancy are going to stress these modifications of the image of the foetus for the benefit of parental imagination.The social effects of the foetal idealization are varied. The humanisation of the ‟beautiful foetus” making ugly anomaly, the maternal obsession of the ‟foetal monster” is more interiorized and discorders work in foetal medicine. Their refusal of anomaly becoming more implicit, doctors and parents adopt an euphemized language. But, even the image of the aborted foetus fallen through humanizes. It becomes moving. When a foetus is condemned, it will thus have to be repaired concretely and symbolically. The nursing who invite the relatives to see the foetus after his death will present him as a sleeping baby, repaired by his deformations. Certain mother especially when they envisage a new pregnancy, represent him then as an angel, this angel become omnipresent on the Internet forums.This dispositf questions the contemporary societies : the specialists of foetal medicine are faced with certain parents refusing the birth of a child affected by deformations without gravity. In the miror of their baby appears an unspeakable : the horror of an expanding foetus of anomaly. Does not the esthetisation make the imagination of the anomaly all the more powerful as they do not have more space other than the heart of hearts to spread ?

Made available in DSpace on 2015-04-17T15:02:14Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 7721621 bytes, checksum: 5c1482e40c11f76e9452be4b8cc07ab7 (MD5) Previous issue date: 2013-05-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This paper investigates the symbolic matrices listed in the practices of play. The toy built by the child proposes a planning, tutoring inherent energy to the deep layers of imagery and dialogue with a wide field of archaic experiences of the traditional man. Entering the free play in the territory of the great images in the formulations of the noumenal imagination. Having as foundation philosophy of pictures of Gaston Bachelard and symbolic hermeneutics, opened this proposition investigative around life playful childhood. From Bachelard's idea of the four elements, work with the earth element in the investigation of the practices of the child in traditional communities linked to the natural world. Investigate together the confluences and imaginary impressions with the fire element. When imagination sustains fire from the earth to forge births in the center of the game. Points, so our study to construct a social therapy germinated in play. / O presente trabalho investiga as matrizes simbólicas enunciadas nas práticas do brincar. O brinquedo construído pela criança propõe um ordenamento, uma tutoria energética inerente às camadas profundas do imaginário e dialoga com um amplo campo de experiências arcaicas do homem tradicional. Inscrevendo o brincar livre no território das grandes imagens, nas formulações numênicas da imaginação. Tendo como fundamentação a filosofia das imagens de Gaston Bachelard e a hermenêutica simbólica, abrimos esta proposição investigativa em torno da vida lúdica na infância. A partir da ideia bachelardiana dos quatro elementos, trabalharemos com o elemento terra na investigação das práticas da criança em comunidades tradicionais vinculadas ao mundo natural. Investigaremos em conjunto, as confluências e impressões imaginárias com o elemento fogo. Quando a imaginação do fogo ampara-se da terra para forjar nascimentos no centro da brincadeira. Aponta, assim, o nosso estudo, para o construto de uma terapêutica social germinada no brincar.

Submitted by Leonardo Cavalcante (leo.ocavalcante@gmail.com) on 2018-04-06T18:21:15Z No. of bitstreams: 1 Arquivototal.pdf: 20315402 bytes, checksum: 91e1ec171375ce7e0dae29251cc7be61 (MD5) / Made available in DSpace on 2018-04-06T18:21:15Z (GMT). No. of bitstreams: 1 Arquivototal.pdf: 20315402 bytes, checksum: 91e1ec171375ce7e0dae29251cc7be61 (MD5) Previous issue date: 2003-05-01 / Starting with a survey of the most recurrent technical and stylistic procedures in Lúcio Lins, poetic work, this research point at its main characteristics, namely: antithetical constructions, transtextual relations and na isotopy of navigation. Based on this isotopy, and in the light of a Gaston Bachelard´s ideas about the poetic text, and, at the same time, enchances the metapoetic meaning which concentrates on the investigation of the element that constitute the material imagination of Líns poetics: the water. / A partir do levantamento dos procedimentos técnico-estilístico mais recorrente na obra de Lúcio Lins, essa pesquisa aponta as principais características dessa poética, a saber: as construções fundadas em duplo (dois elementos antitético), as relações transtextuais e a isotopia da navegação. Apoiadas nessa isotopia da navegação, e à luz da fenomenologia da imaginação, as leituras dos poemas Diante d´El Rei - fala dos dez náufragos, Maria das Águas e História Flutuante revelam a pertinência das idéias formuladas por Gaston Bachelard acerca do texto poético, ao mesmo tempo em que destacam o sentido metapoético que se concentra na investigação do elemento da imaginação material dessa poética, a água.