Annotation The theme of this diploma thesis is Czech author fairy-tale from 1989 onwards. The first three chapters deal with general information on author fairy-tale, its reader and its history. In the fourth chapter we reflect on original Czech children's books published after 1989 and attempt to describe the current state and developing trends. We selected several representative fairy-tale books and divided them into three principle types of the contemporary Czech author fairy- tale. The imitative-innovative type is closest to the folklore tradition, the nonsense-parodical type is based on parody or negation of the folk fairy-tale, and the imaginative type is based on symbol, metaphor and allegory. We identified another type of modern fairy-tale and called it the fairy-tale mixed into a real story. It comes out of the nonsense-parodical type and sits on the edge between fairy-tale and real prose. The aim of this diploma thesis is to describe the main trends in contemporary Czech author fairy-tale and to apply them to the selected children's books.

La situation sociolinguistique du Gabon est constituée des langues des Pygmées, des langues bantoues, du français et des langues des autres Étrangers. Le français, avec son statut de langue officielle, se décline en trois registres de langue : la variété acrolectale, la variété mésolectale et la variété basilectale. Dans un premier temps, les manifestations de norme endogène du français dans la presse écrite gabonaise du 1er août 2002 au 30 octobre 2002, résultent des phénomènes de l’urbanisation. Libreville, produit d’une disparité urbaine gabonaise, porte la dynamique factrice des processus sociohistoriques de l’implantation du français au Gabon. Ainsi, la capitale politique et administrative du Gabon, représente tantôt un facteur d’unification, de conflit et de coexistence linguistique ; tantôt Libreville porte le schéma de communication réunissant les émetteurs, les annonceurs, les producteurs des médias sous l’angle de la presse écrite plurielle ayant deux courants : la presse d’État et la presse d’opposition. Dans un deuxième temps, les particularités linguistiques du français de la presse écrite gabonaise sont traduites à travers un imaginaire linguistique. Ce dernier comporte trois types de normes : les Normes Systémiques, les Normes Statistiques et les Normes Subjectives. Les premières mettent en lumière le processus de formation des particularités linguistiques : l’influence des langues substrats, l’usage de tous les registres, le mélange code écrit/code oral. Les deuxièmes reflètent la hiérarchisation statistique des particularités linguistiques et les causalités liées à la dynamique de l’urbanisation des langues, aux causalités sociopolitiques, aux causalités logico discursives. Les dernières, les Normes Subjectives, retranscrivent les représentations linguistiques sur les écarts, suscitant ainsi le sentiment d’Insécurité Linguistique. Mais ce dernier est sous une double perspective : celle du co texte par la figure de Makaya et celle du contexte par le journaliste. Makaya, porteur de l’« incorrect » présente l’homme de la rue s’offusquant devant les travers de la société. Le journaliste est le porte-parole qui par son appartenance à un journal, participe à la construction de la norme endogène et à sa légitimité. / The sociolinguistic environment in Gabon comprises the languages of the Pigmies, the Bantou languages, French and the other languages spoken by foreigners. French, as the official language, has three speeh registers: the acrolectal, mesolectal and basilectal forms. At the start, the manifestations of the endogenous norm of French in the Gabonese written media are rooted in urbanisation. Libreville, as the concrete expression of Gabonese urban disparity, carries the dynamic at the heart of the socioliguistic process of French establishing itself in Gabon. Thus, the political and administrative capital of Gabon is either a factor of unification, conflict and linguistic coexistence; either Libreville gives the outline of communication involving the media broadcasters, advertisers and producers, as seen from the angles of two currents of a diverse press: the State and the opposition medias.Then, in a second stage, the linguistic characteristics of the French language are conveyed through a linguistic imaginative world. It includes three types of norms: systemic, statistical and subjective ones. The systemic norms throw light on the development of linguistic idiosyncratic forms, on the influence of substratum languages, on the use of all language registers and on the intermingling of written and oral codes. The statistical norms reflect the statistical hierarchy of linguistic features and causalities linked to the changes of the language in the process of urbanisation, to the sociopolitical context and to logical discursive causes. The last i.e. the subjective norms translate the differences in language representations generating a feeling of linguistic insecurity. This can be sensed under a double perspective, the one of the co-text as related to Makaya and the one of the context. Makaya, perceived as “improper”, presents the man/woman in the street taking offense at the failings of society. Journalists are spokepersons who through their working for a newspaper take part in the construction of the endogenous norm and its recognition.

Este empenho dissertativo objetiva apresentar elementos etnográficos e de análise etnológica e antropológica acerca de substâncias cosmopolíticas e de espaço a respeito de interlocutores kaingang no Sul do Brasil Meridional. A partir de uma etnografia de "pontos-fronteiras", as percepções contemplam também uma reflexão quanto a elementos diacríticos não-indígenas presente na conjuntura das situações de contato entre kaingang e não-kaingang, ou não-indígenas. Esses elementos referem-se, principalmente, às constituições de horizontes imaginativos não-indígenas etnocidas a partir de perspectivas neocoloniais. A partir deste modelo narrativo, buscou-se mapear as espacialidades e territorialidades de uma ambiência kaingang entre elementos de uma guerra relacional e de agências cosmopolíticas no limiar de "mundos kaingang" e "mundos não-kaingang", ou "não-indígenas". / This dissertation aims to show ethnographic elements as well as ethnological and anthropological analysis about spatial and cosmopolitics substances concerning to kaingang speakers in the South of Southern Brazil (Brasil Meridional). Starting from ethnography of "frontiers-points", these perceptions also contemplates a reflection as regards of diacritics non-indigenous elements presents in the contact standings situations between kaingangs and non-kaingangs, or non-indigenous. These elements concerns, principally, about the constitutions of ethnocide non-indigenous imaginative horizons since neocolonial perspectives. This narrative model is looking to map the spatialities and territorialities of one environmence kaingangs between elements of one symbolic war and of cosmopolitics agencies in the threshold of "kaingangs worlds" and "non-kaingang worlds", or "non-indigenous".

This inquiry is the exploration and understanding of a case study: the nine-year-old learners of an inner-city school in South Africa and their experiences of democratic South Africa as citizens. Their expressions informed me on how they perceived their democratic identities and their understandings of their citizenship. From the acquired understandings and identities I sought to extend the current conceptions of citizenship education. This study was informed by the interpretivist paradigm and guided by a conceptual framework. <p.The literature on citizenship and citizenship education concerning the young child highlighted associated concepts and theories. I employed Dewey’s theory on building a learning community and Waghid’s expansion of compassion and imaginative action. Theories used concerning young children and their construction of citizenship were the postcolonial and transforming society theory, informing that children as young as nine years can engage in notions such as citizenship and democracy. From the literature, I identified the knowledge, skills and values needed for a child to participate as an active and accountable citizen; content also offered by the South African national curriculum. This curriculum envisages the future citizen as the responsible citizen who will embrace democratic values in their everyday lives and contribute to nation-building. The data collection methods and data collection instruments were designed in a child-centred way to facilitate selfexpression. The constructivist grounded theory analysis assisted in generating significant insights. The nine-year-old learners expressed their identification with the South African democracy and its values such as social justice, which aligned with the South African ideal of social cohesion and nation-building. However, they expressed little knowledge about and no active participation in democratic processes. They expressed concern about their unsafe neighbourhood and the social injustices they encountered in their community. The young learners expressed the desire for change to transform South Africa into a ‘better nation’ to secure their and other citizens’ future. Key findings confirmed statements made by scholars in this field: citizenship education has to acknowledge the life experiences of children in order to be meaningful (thus contextualize citizenship) and to assist young children to contribute to democracy. However, the democracy can only be sustained and strengthened if the learners are knowledgeable about democratic processes and possible threats to these processes. In addition, young children need to be participants in the democracy and not only observers. The nine-year-old learners expressed the passion to do what is expected of them but seemingly lacked the participatory skills and opportunities they needed. / Thesis (PhD (Learning Support, Guidance and Counselling))--University of Pretoria, 2008. / Early Childhood Education / unrestricted

This study deals with creative preaching through exploring pneumatology and creativity as prime ingredients for creative preaching. The researcher sees the problem of preaching in terms of the limited resources for proclaiming the very old message of the gospel of Jesus Christ in a fast changing world. Preaching in the reformed tradition is based primarily upon the Bible and the tradition of the church. The researcher suspects that, given the limitations of the age of the source, the preacher runs the risk of boring the congregation, who regularly attends sermons, by becoming irrelevant to their living conditions through having to repeat the same basic message. The researcher suspects that the preacher may run out of ideas and ways of bringing a relevant message in a fresh way, week after week, and begin to employ all kinds of tricks and gimmicks in order to stay relevant. Creative preaching is suggested as answer to this dilemma. Creative preaching is studied within the frame of creativity in service of the Holy Spirit. The study strives to explore the field of creativity from a homiletical perspective and bring the results into a pneumatological context by means of a hermeneutical method, with the aim of designing a basic theory for creative preaching. The first part of the study comprises a literature study of the fields of pneumatology and creativity. Pneumatology is explored in terms of the biblical roots of the use and meaning of the terms rûah, pneuma and paracletos, as well as a brief theological exploration. A pneumatology for preaching includes the Spirit as carrier of the Word and inspirer of the preacher and listener, within the context of the congregation as dedicated space for the working of the Spirit. The second part of the literature study deals with creativity as a human capacity that can be learnt and developed. Creativity is a deliberate dynamic activity that produces new, unexpected and meaningful results through creative observation, creative thinking and creative insight. Empirical research was conducted amongst preachers in the Dutch Reformed Church to ascertain their understanding of creative preaching and their experience of the workings of the Holy Spirit and creativity, in the process of producing a sermon. The research found that preachers understood the Holy Spirit as a vital part of the preaching process. Preachers experience the activity of the Spirit in their normal daily routines as ministers. Preachers do not regard themselves as creative people although they apply principles of creativity primarily in producing visual material for sermons as an additive. The Research found a need for the concept of creative preaching. Creative preaching is developed and described as a process in which the preacher, with the guidance of the Holy Spirit, employs creative methods like observation, association, imagination and creative thinking in the whole process of sermon creation, from choice of Scripture to the presentation of the sermon. The sermon is structured in such a way as not only to be creative but also stimulating the creativity of the listeners. Creative preaching is stimulating preaching based on scripture, imagination and the inspiration of the Holy Spirit. / Thesis (PhD)--University of Pretoria, 2011. / Practical Theology / unrestricted

This dissertation is comprised of a collection of poems preceded by a critical preface. The preface considers the consumed animal body as a metaphor in contemporary American poetry, specifically in the works of Galway Kinnell, Li Young Lee, and Brigit Pegeen Kelly. The consumption of the mute creature allows the poet to identify the human self in the animal other, and serves as a metaphor for our continuity with the natural world. I revise Owen Barfield’s notion of “original participation,” positing that through imaginative participation, the poet and the reader can identify the animal within the self, and thus approach a fuller understanding of both the self and the outside world. We identify the animal other within the human self, and in of this act of relating, we are able to temporarily transgress the boundaries of the individual self to create art that expresses continuity with the outside world. This argument brings about a discussion of text as an act of consumption, and the way and which this can symbolize the ways in which the self is altered through the act of reading. The book-length collection of poems, entitled Marvels of the Invisible, won Tupelo Press’s 2014 Berkshire prize for a first or second book of poetry. The poems look to sources like 17th and 18th century scientific letters, modern and contemporary art, and recent studies in biological phenomena in order to parse the intersection between personal experience and the outside world. The title of the collection points to the conceptual interests of the book: through the lens of scientific phenomena, memory, and personal history, one begins to see that what seems very small (the ant under a microscope, a Russian nesting doll, two people on horseback) are, in fact, individual offerings that articulate one’s place in the cosmos. The collective voice I advocate in the critical preface appears in these poems, especially “Echolocation,” “My Name in Sleep,” “Civilization,” and “Narrative,” all of which make use of the animal-as-metaphor. This collective voice is particularly female, and deals with motherhood, loss, and childhood experience. Poetry, as part-myth, longs to transgress the felt boundaries of the self; it must see that self as inextricably dependent on the natural world.

The thesis presents a view of film for change set against the manifold approaches, practices or ideologies influencing it, and analysis it as a tool for the self-representation, self-determination and mediation of marginalised people in the face of globalization and the democratization of communication. It seeks to find an answer to the question of how film for change works as a method to empower the disadvantaged inhabitants of three villages in Tanzania, where fieldwork was carried out. The thesis tracks down core parameters that connect the visual communication experience to the social reality and bear the potential to change it. The use of visual communication technology, interactive and horizontal communication practices, fictionalizations and empowerment strategies enable processes among spectators and participants that permit them to reframe or reconsider representations that they witness. Film for change potentially reaches beyond the community and through convergence with Web 2.0 into the much larger public sphere, nationally as well as globally. The thesis suggests that film for change should be adapted to the present day media environment as citizens’ media, whereby media users also become media producers and start broadcasting self-communicated alternatives to the images and interpretations produced by established media corporations that dominate the global flows of information. In this way film for change connects to the right to communicate and becomes a tool for citizens to influence power relations and advocate social change.

My creative project explores toys as means to express economic issues of globalization. By exploiting the educational and imaginative aspects of toys for adults and children, I intend to reflect on the impact and pressures of globalization on employment, technology and environment. In creating these toys I hope to make a visual statement concerning critical issues of human survival, sustainability and the divisive side of globalization.

L'objecte d'aquesta tesi ha estat el de defensar, a partir de l'exemple de l'obra de Francis Ponge, la plausibilitat referencial del llenguatge poètic, supòsit tot sovint rebatut a causa d'una radicalització del tòpic de l'autoreferencialitat poètica i per un planteig en suma restringit del concepte de la referencialitat. Però que un poema es constitueixi en tant que específica configuració significant no hauria d'implicar un menyscabament de la seva capacitat de representació, perquè si la poesia és creació mitjançant el llenguatge, tot allò que jutgem poètic no dimanaria sinó de la mateixa idiosincràsia de l'expressió verbal. Així doncs, hem argumentat, en primer lloc, l'efectivitat referencial del llenguatge ordinari per tal d'il·lustrar tot seguit la del poètic i, en particular, la que explicitaria el verb de Francis Ponge, atès que la poètica d'aquest autor es caracteritza, precisament, pel fet d'obstinar-se en una convençuda referencialitat: la que l'impel·lí a dirigir-se envers les coses; la que el dugué a submergir-se en les paraules. El objeto de esta tesis ha sido el de defender, a partir del ejemplo de la obra de Francis Ponge, la plausibilidad referencial del lenguaje poético, supuesto a menudo rebatido a causa de una radicalización del tópico de la autorreferencialidad poética y por un planteamiento en suma restringido del concepto de la referencialidad. Pero que un poema se constituya en tanto que particular configuración significante en modo alguno implicaría un menoscabo de su capacidad de representación, porque si la poesía es creación mediante el lenguaje, todo lo que juzgamos poético no dimanaría sino de la propia idiosincrasia de la expresión verbal. Así pues, hemos argumentado, en primer lugar, la efectividad referencial del lenguaje ordinario para ilustrar a continuación la del poético y, en particular, la que explicitaría el verbo de Francis Ponge, pues la poética de este autor se caracteriza, precisamente, por obstinarse en una convencida referencialidad: la que lo impulsó a dirigirse hacia las cosas; la que lo condujo a sumergirse en las palabras. / Starting from Francis Ponge's work, this PhD thesis argues for the referential plausibility of the poetic language. This assumption has often been contested partly because of the cliché of poetic self-referentiality and partly because the concept of referentiality has had an extremely restricted approach. This thesis suggests that, on the contrary, a poem's capability of becoming a particular and significant configuration does by no means imply a lessening of its representative force. Indeed: if poetry is creation by means of language, everything we judge as poetic stems solely from the idiosyncrasy of verbal expression. Thus, the thesis argues for the referential efficiency of ordinary language to then illustrate the referential efficiency of the poetic. It focuses in particular on the verbum as put forth by Francis Ponge. This author's poetics is best characterized by its persistence in a convinced referentiality, which leads Ponge to address things, and which takes him to sound the depths of words.

In this study, the Japanese animated film My Neighbor Totoro was analyzed with regards to what childhood discourses can be found in it, and why these discourses in particular appear. To do this, discourse theory was used as the main theoretical basis, and certain aspects of hermeneutics were also used, such as combining the hermeneutic spiral with basic film analysis as a method. The childhood discourses that are discussed are the natural child, adult children and child adults, the competent child, the vulnerable child, postmodern childhood, the lonely/psychological child, and gender discourses. First, the life context of Hayao Miyazaki was examined to see what childhood discourses that might have influenced him. The natural child seems to be the most prominent discourse throughout Miyazaki’s life and his previous work, and the discourse appears in My Neighbor Totoro as well. However, so do all the other discourses. The results are that the view of childhood expressed in the film is that children develop the best in proximity to nature and the divine. Children should aspire to become competent adults, but adults should also come closer to childhood and nature. Postmodernity is dismissed as bad for children, and the natural childhood is deemed to be in need of saving. Children are also according to the film beings capable of complex thoughts and feelings relating to fears, death and family relations. These difficult thoughts are dealt with by their imagination – an imagination that is non-separable from their reality. This could indicate another childhood discourse: the imaginative child. Apart from all this, ways to use films like this one in education are also briefly discussed through film pedagogy. / <p>Slutgiltigt godkännandedatum: 2022-01-14</p>