Syftet med uppsatsen är att utveckla kunskap om undervisning och lärande av skönlitterär tolkning genom litteratursamtal i gymnasieskolan. Litteratursamtal har observerats och analyserats utifrån litteraturteoretiska antaganden och sociokulturella perspektiv på lärande. Uppsatsen tar utgångspunkt i kritik mot dominansen av läsarorienterade, receptionsteoretiska perspektiv på litteraturtolkning där ett stort ansvar läggs på elever att utveckla innehållet i det lästa. Studien har använt sig av deltagande observation som metod. Analysen fokuserar litteratursamtal i gymnasieskolan utifrån sociokulturella antaganden med koppling till styrdokumentens kunskapssyn, relationen undervisning – lärande, samt användande av språket som medierande redskap. De observerade samtalen visar bland annat medveten strategiundervisning för att upptäcka och benämna stilfigurer och formrelaterade begrepp i texter. Däremot används sällan litteraturvetenskapliga begrepp i direkt relation till den aktuella texten för att utveckla elevers tolkning och förståelse av innehållet. En närvaro av läsarorienterade perspektiv påvisas, men med frånvaro av lärarens stöttande, tolkande läsning. Resultaten visar samstämmigheter med tidigare forskning. Diskussionen problematiserar hur individen utifrån receptionsteoretiska perspektiv på litteraturundervisning antas konstruera undervisningens innebörder mellan text och läsare. Det innefattar brist på samstämmigheter mellan allmändidaktiska och ämnesdidaktiska antaganden. Lärarens roll i undervisningen framstår utifrån den sociokulturella analysen som central för att främja det ämnesrelaterade språkliga användandet i litteratursamtalet. / The purpose of the thesis is to develop knowledge about teaching and learning of fictional interpretation through literary conversations in upper secondary school in Sweden. Observations of literary conversations were conducted, and the conversations analyzed using sociocultural theory as an analytical tool. The thesis’ point of departure is a critique of dominating reader oriented, reception theory influenced perspectives in the field of literary teaching, where much responsibility is put on students to develop understanding and meaning from texts being read. According to critics, teaching in this perspective has limited students' opportunities to interpret literature. Previous research points to the need to investigate teaching, with the use of concepts in literary interpretation. The analysis focuses on students’ participation in literature conversations, relating to the philosophy of knowledge expressed in curriculum texts, teaching-learning relations, and the use of language as a mediating tool. The observed conversations show, among other things, strategy teaching to discover and name style figures and form-related concepts in texts. On the other hand, literary concepts are rarely used in direct relation to the current text to develop students' interpretation and understanding of the content. A presence of reader-oriented perspectives is demonstrated, but in the absence of the teacher's supportive, interpretive reading. The results are consistent with previous research. The discussion problematizes how the individual, based on reception-theoretical perspectives on literature teaching, is assumed to construct meaning from the teaching between text and reader. This includes a lack of coherence between general and more subject specific assumptions about teaching. Based on the socio-cultural analysis, the teacher's role appears crucial to promoting the subject-related language use in literary conversations.

Las crecientes preocupaciones sobre el cambio climático y una creciente crisis ecológica se están volviendo cada vez más visibles en la literatura de diferentes géneros, especialmente en la literatura postapocalíptica y "cli-fi" (literatura sobre cambio climático). Reconociendo que el desastre ecológico afecta a las mujeres de manera desproporcionada, esta tesina emplea un análisis literario ecofeminista para examinar dos novelas en las que la trama principal está impulsada por una crisis ecológica causada por la contaminación. Más específicamente, esta tesina investiga la novela Mugre Rosa de Fernanda Trías (2021) y la novela Noxa de María Inés Krimer (2016), para descubrir qué estrategias utilizan las protagonistas femeninas para enfrentar sus situaciones peligrosas y cómo esto moldea su agencia desde un punto de vista ecofeminista. La tesis encuentra que las protagonistas de ambas novelas emplean varias estrategias para sobrevivir y a veces resistir la crisis ecológica que las rodea, pero también muestran momentos de apatía, rabia e inacción. Hay diferencias significativas entre las novelas, donde la protagonista de Noxa es retratada como más activa en la lucha contra la crisis y la protagonista de Mugre Rosa es más apática y furiosa. Esto se discute luego en términos de agencia transcorpórea y vulnerabilidad insurgente (Alaimo 2008, 2009). Finalmente, la tesina también discute de qué manera estas representaciones pueden transmitir unas preocupaciones ecofeministas al lector. Argumenta que muchas preocupaciones ecofeministas son visibles en ambas novelas, que van desde una crítica al capitalismo patriarcal hasta el control de los cuerpos femeninos, pasando por cuestiones de maternidad y monstruosidad, hasta finalmente la relación entre los seres humanos y la naturaleza. Esto demuestra la necesidad de un análisis más profundo de las preocupaciones ecológicas en la literatura, lo cual es probable que se vuelva cada vez más presente en estos tiempos. / Rising concerns about climate change and a mounting ecological crisis are becoming increasingly visible in literature of different genres, especially in post-apocalyptic and ‘cli-fi’ literature. Recognising that ecological disaster often disproportionally affects women, this thesis employs an ecofeminist literary analysis to examine two such novels where the main plot is driven by an ecological crisis caused by pollution. More specifically, this thesis investigates the novel Mugre Rosa by Fernanda Trías (2021) and the novel Noxa by María Inés Krimer (2016), to find out what strategies the female protagonists use to confront their perilous situations and how this shapes their agency from an ecofeminist standpoint.  The thesis finds that protagonists in both novels employ various strategies to survive and sometimes resist the ecological crisis that surrounds them, but also show moments of apathy, rage and inaction. There are significant differences between novels, where the protagonist of Noxa is portrayed as more active in fighting against the crisis and the protagonist of Mugre Rosa is more apathetic and raging. This is then discussed in terms of transcorporeal agency and insurgent vulnerability (Alaimo 2008, 2009).  Finally, the thesis also discusses in what ways these representations can convey ecofeminist concerns to readers. It argues that many ecofeminist concerns are visible in both novels, ranging from a criticism of patriarchal capitalism to the control of female bodies to issues of maternity and monstrosity to finally the relationship between humans and nature. This shows a need for further analysis of ecological concerns in literature, which is likely to become ever more present in these times.

Literary theory widely attests to the powerful role of characters as vehicles in producing meaning. Yet current narrative models focus almost exclusively on primary characters, neglecting supporting characters, who are capable of reshaping narrative emphases or revealing layers of story within the story. This project demonstrates the significance of supporting characters in biblical narratives by applying a narrative methodology drawn from cognitive narratology to the Jephthah story (Judg 10:6 12:7) in order to illuminate the distinct perspectives of each secondary character within its storyworld. The first chapter outlines a cognitive narrative methodology, which asserts that the purpose of narrative is not merely to convey a meaning, but for readers to experience and engage the story. Therefore, it focuses not on determining the meaning of the text, but embracing the power of stories to become transformative and meaningful experiences for the reader with multiple points of engagement (characters). Chapter two introduces the timecourse (causally related sequence of events) of the Jephthah cycle and then analyzes the initiating event perspective. This chapter establishes the situations and expectations between Yhwh and his people that echo in unique ways into the scenes that follow. Each chapter that follows re-reads the story of Jephthah (Judg 10:17 12:7) through the lens of a supporting character king, the daughter of Jephthah, and the Ephraimites person and perspective through their social role (social and historical expectations built into social models), mode of conduct (character assessment based on biblical and social norms), and disposition (the personality of that character determined through speech, action, or direct narration). Each chapter also assesses the tellability of the story (establishing their viable perspective within the text) and concludes by summarizing the perspective and engaging with it from my own subjective awareness. Using the Jephthah account, I demonstrate the complexity and depth of the many unnamed characters who engage with this morally ambiguous judge, suggesting that they are part of a pattern of outside, or other, voices in biblical narrative that have the power to transform readers.

Method books are a major means by which musicians study techniques and performance practices of the past. In addition to being practical tools for learning one's craft, these books serve as a historical reference into the minds of famous performers and teachers. Today's use of nineteenth century method books ensures the instructional lineages of famous clarinetists are carried forward. However, clarinet researchers and historians would be remiss if they did not also record and preserve the distinctive methods of the twentieth century's most effective performers and teachers. Elsa Ludewig-Verdehr is one such clarinetist who has established herself as a substantial twentieth century figure through (1) her performance record, (2) her students' performance and teaching record, and (3) her involvement in the international clarinet community. Review of current literature indicates four articles, five biographic dictionary entries, and one dissertation observation and interview about Dr. Verdehr's methods exist. These sources honor her, provide biographical information, and reference the tenets of her teaching philosophy; however, they do not discuss her detailed methodology or specific pedagogical exercises. Therefore, this text seeks to answer questions about Dr. Verdehr's teaching philosophy and clarinet method in order to record and preserve her life's work. This text provides transcription of over 150 handwritten exercises with primary source commentary. Interview explanations from Dr. Verdehr are combined with analysis of over thirty pages of handwritten material to assemble the first publication of The Verdehr Method: A Suggested Approach and Guide to Studying the Clarinet – Exercises for the Development of Tone, Technique, and Tonguing.

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This thesis is a ”meta-analysis” that investigates the apparent lack of coherence in August Strindberg’s A Dream Play and how this has been dealt with by scholars in literary and theatre studies. The primary material consists of a selection of research publications dated from the 1920’s up until the present day. The analysis concludes that there are four major groups of analyses that, in this regard, provide different solutions on how to counter this seeming deficiency. On the back of this, four general arguments are examined in detail: early attempts to classify this enigmatic drama with regard to genre, psychological analysis, analysis of philosophical ideas and contents, and analysis of the visual aspects of the play. By arguing along these lines of inquiry, scholars wish to substantiate the validity of various elements that harmonize the apparent disparity of the play and exhibit a coherent sequence of events and an interpretable meaning. Moreover, the ways in which these ”solutions” are substantiated and conveyed, that is, the argumentative practices, are examined and critically evaluated. Finally, based on the previous analysis, suggestions pertaining to further areas of research are offered and briefly discussed.

Le poète arménien Yéghiché Tcharents (1897-1937) devient victime des répressions staliniennes des années 30. Tcharents est déjà un poète connu lorsque la révolution éclate en Russie. Il voit dans la révolution le sauveur de son peuple au destin tragique. Il croit aux idéaux humanistes de Lénine comme beaucoup de ses contemporains. Cependant, le pouvoir totalitaire de Staline change son regard politique. Sa poésie reflète ses inquiétudes. En 1933, le recueil de poèmes Livre du chemin, un compte-rendu de sa vision poétique de la construction de la nouvelle société, ainsi que de l’éducation de l’homme soviétique, est censuré. Il est publié à nouveau avec des modifications. Tcharents, le poète de tous les combats, ne parvient pas à cacher son désaccord, sa désillusion vis-à-vis du pouvoir politique. Il témoigne à travers sa poésie. Le système répressif ne le laisse plus en paix. Il est inculpé comme contre-révolutionnaire, trotskiste, nationaliste, terroriste. En juillet 1936, il est assigné à résidence. La poésie demeure l’unique espace où il pense et écrit librement. Malade et conscient de l’imminence de sa mort, il survit grâce à sa poésie, dans son univers de visions. L’argumentation de la thèse est construite sur l’analyse littéraire des textes du corpus : le Livre du chemin et les textes poétiques de 1935 à 1937 de Tcharents. Une étude concise du contexte historico-politique de sa poésie et une analyse littéraire de son œuvre avant 1933 sont aussi proposées, permettant de mieux percevoir la complexité des relations entre le poète-individu et son époque, et enfin, de réunir tous les éléments nécessaires de traduction faisant partie de l’objectif de cette étude doctorale. / The Armenian poet Yeghishe Charents (1897-1937) becomes victim of Stalin’s repressions in the Thirties. Charents is already known as a poet when the revolution bursts in Russia. He sees in the revolution the saver of his people with the tragic destiny. Like many of his contemporaries he believes in the humanistic ideals of Lenin. However, the totalitarian power of Stalin changes his political views. His poetry reflects his concerns. In 1933, the collection of poems Book of the way, a report of his poetic vision of the new society, as well as the education of the Soviet man, is censored. It is published with changes. Charents, the poet actively involved in a number of social issues, cannot hide his dissension and disillusion with respect to the political power. He bespeaks through his poetry. The repressive system does not leave him any more in peace. He is accused of being a contra-revolutionist, trotskyist, nationalist, terrorist. In July 1936, he is put under house arrest. Poetry remains the sole space where he thinks and writes freely. Ill and aware of the imminence of his death, he survives in his universe of visions thanks to his poetry.The argumentation of this doctoral thesis is built on the literary analysis of the texts in the corpus: the Book of the way and the poetic texts of 1935 to 1937. A concise study of the historical-political context of his poetry and a literary analysis of his work before 1933 are also proposed. This allows to better perceive the complexity of the relations between the poet-individual and his time and, finally joins all the elements necessary for the translation, which is an objective of this doctoral study.

This master's thesis, titled "Space as a Meaning-Making Factor in Children's and Young Adult Literature", concentrates on building and projection of literary space in the literature specifically intended for children and young adults. It has literary analytical and literary interpretive character and is based on theoretical works on the topic of literary space. This thesis is divided into two parts. The first part covers the theoretical conception of literary space. The second part consists of examinations of literary works, first of the world's classics of children's and young adult literature (The Brothers Lionheart by Astrid Lindgren, The Neverending Story by Michael Ende, Through a Glass, Darkly by Jostein Gaarder) and then of the works of contemporary Czech children's and young adult literature Lenka a Nelka neboli AHA ('Lenka and Nelka or AHA') by Daniela Fischer, Spící město, Spící spravedlnost a Spící tajemství ('Sleeping City', 'Sleeping Justice', and 'Sleeping Secret') by Martin Vopěnka and Soví zpěv ('Owl's Song') by Iva Procházková. In the theoretical part, the conception of literary space is defined from the perspective of literary topology. The definition of this concept is based on literary studies on the topic of literary topology, mainly on the essays Místa s Tajemstvím ('Places...

Le poète arménien Yéghiché Tcharents (1897-1937) devient victime des répressions staliniennes des années 30. Tcharents est déjà un poète connu lorsque la révolution éclate en Russie. Il voit dans la révolution le sauveur de son peuple au destin tragique. Il croit aux idéaux humanistes de Lénine comme beaucoup de ses contemporains. Cependant, le pouvoir totalitaire de Staline change son regard politique. Sa poésie reflète ses inquiétudes. En 1933, le recueil de poèmes Livre du chemin, un compte-rendu de sa vision poétique de la construction de la nouvelle société, ainsi que de l’éducation de l’homme soviétique, est censuré. Il est publié à nouveau avec des modifications. Tcharents, le poète de tous les combats, ne parvient pas à cacher son désaccord, sa désillusion vis-à-vis du pouvoir politique. Il témoigne à travers sa poésie. Le système répressif ne le laisse plus en paix. Il est inculpé comme contre-révolutionnaire, trotskiste, nationaliste, terroriste. En juillet 1936, il est assigné à résidence. La poésie demeure l’unique espace où il pense et écrit librement. Malade et conscient de l’imminence de sa mort, il survit grâce à sa poésie, dans son univers de visions. L’argumentation de la thèse est construite sur l’analyse littéraire des textes du corpus : le Livre du chemin et les textes poétiques de 1935 à 1937 de Tcharents. Une étude concise du contexte historico-politique de sa poésie et une analyse littéraire de son œuvre avant 1933 sont aussi proposées, permettant de mieux percevoir la complexité des relations entre le poète-individu et son époque, et enfin, de réunir tous les éléments nécessaires de traduction faisant partie de l’objectif de cette étude doctorale. / The Armenian poet Yeghishe Charents (1897-1937) becomes victim of Stalin’s repressions in the Thirties. Charents is already known as a poet when the revolution bursts in Russia. He sees in the revolution the saver of his people with the tragic destiny. Like many of his contemporaries he believes in the humanistic ideals of Lenin. However, the totalitarian power of Stalin changes his political views. His poetry reflects his concerns. In 1933, the collection of poems Book of the way, a report of his poetic vision of the new society, as well as the education of the Soviet man, is censored. It is published with changes. Charents, the poet actively involved in a number of social issues, cannot hide his dissension and disillusion with respect to the political power. He bespeaks through his poetry. The repressive system does not leave him any more in peace. He is accused of being a contra-revolutionist, trotskyist, nationalist, terrorist. In July 1936, he is put under house arrest. Poetry remains the sole space where he thinks and writes freely. Ill and aware of the imminence of his death, he survives in his universe of visions thanks to his poetry.The argumentation of this doctoral thesis is built on the literary analysis of the texts in the corpus: the Book of the way and the poetic texts of 1935 to 1937. A concise study of the historical-political context of his poetry and a literary analysis of his work before 1933 are also proposed. This allows to better perceive the complexity of the relations between the poet-individual and his time and, finally joins all the elements necessary for the translation, which is an objective of this doctoral study.

Made available in DSpace on 2016-04-28T18:22:55Z (GMT). No. of bitstreams: 1 Orison Marden Bandeira de Melo Junior.pdf: 5418428 bytes, checksum: 84bf1841112fead6609a0f0bd2716b78 (MD5) Previous issue date: 2014-08-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In general, the teaching of literature written in foreign languages at Brazilian universities faces a big challenge: Letras freshmen with limited knowledge of the foreign language find it difficult to analyze literary works in the original texts. Therefore, this research is justified by the need to discursively and pragmatically help students better analyze literature works. In order to do that, the theoretical discussion was based upon the works of the Bakhtin Circle [Bakhtin (2002, 2003, 2010), Bakhtin/Volochínov (2010), Voloshinov/Bajtin (1997), Voloshinov (1983), Medviédev (2012)] and of the pragmaticist Jacob Mey (2000, 2001, 2007). 68 Letras undergraduate students from a private university in the Eastern area of São Paulo were invited to participate in the research, which was approved by the Ethics Committee of PUC-SP under protocol number 054/2011 and whose data were generated in three different phases: The first one was related to literary analyses based on concepts from Pragmatics, such as from Micropragmatics (reference, verb tenses, presuppositions, implicatures and speech acts), from Macropragmatics (pragmatic presuppositions and pragmatic acts) and from Literary Pragmatics (speech and voice); the second phase involved literary analyses based on concepts from the Dialogical Discourse Analysis (DDA), such as utterance, genre, text, understanding, and dialogism; in the the third and last phase students did literary analyses based on the concepts from Pragmatics and DDA. The research corpus comprised three sets: (1) Letras DCN (National Curriculum Guidelines); (2) literary analysis activities done throughout the three phases, and (3) students stimulated recall reports. As to the literary works analyzed, they were nine short stories by Alice Walker. They were chosen by the researcher, who was also the students professor, due to their short length, their social role, and the dialogic relations there could be established between them. Based on the notion that texts are not autonomous, the only literary activities analyzed were the ones done by the students who had done the stimulated recall reports. Based on the understanding that the contextualized meanings produced by the students could not go beyond the fixity of meaning of the utterances, it was necessary to verify if students answers were potencially coherent with the plots and with the discourses that penetrate them. Moreover, as the research focused on students with limited knowledge of the target language, i.e., English, only the results of basic and intermediate level students were verified. It was possible to find that in the first phase, basic and intermediate students were able to coherently answer one fourth of the questions of the literary activities and, in the second phase, one third. However, in the third phase, this number significantly increased to two thirds. It was possible to conclude, thus, that the study of Pragmatics as the first step to the study of the concepts from DDA helped students with a limited knowledge of the English language to better understand and analyze literary works written in English and, consequently, to develop their linguistic skills / O ensino de literatura em língua estrangeira (LE) em universidades brasileiras, em geral, tem enfrentado um grande desafio: alunos ingressantes no curso de Letras com conhecimento limitado de LE, o que dificulta a execução de análises de objetos literários na língua original. Essa pesquisa justifica-se, portanto, pela necessidade de auxiliar o aluno a analisar textos literários discursiva e pragmaticamente. Para tal, buscamos, nos estudos do Círculo [Bakhtin (2002, 2003, 2010), Bakhtin/Volochínov (2010), Voloshinov/Bajtin (1997), Voloshinov (1983), Medviédev (2012)] e do pragmaticista Jacob Mey (2000, 2001, 2007), uma discussão teórica referente à linguagem e ao discurso. Para participar da pesquisa, foram convidados, em diferentes momentos, 68 alunos do curso de Letras de uma universidade particular na zona leste de São Paulo. A geração de dados da pesquisa, aprovada pelo Comitê de Ética em Pesquisa da PUC-SP, sob o número de protocolo 054/2011, compreendeu três fases: a primeira envolveu análises literárias a partir do estudo dos conceitos da Pragmática, como os da Micropragmática (referência, tempos verbais, pressupostos, subentendidos e atos de fala), da Macropragmática (pressupostos pragmáticos e atos pragmáticos) e da Pragmática Literária (discurso e voz); a segunda, análises literárias a partir do estudo dos conceitos da Análise Dialógica do Discurso (ADD), como enunciado, gênero, texto, compreensão e dialogismo; a terceira, por fim, análises literárias a partir do estudo dos conceitos da Pragmática e da ADD. O corpus da pesquisa é formado de três conjuntos: (1) as Diretrizes Curriculares Nacionais de Letras, (2) exercícios de análise literária (exercícios AL) feitos durante as três fases da pesquisa e (3) relatos escritos finais (stimulated recall). Quanto aos textos literários analisados pelos alunos, nove contos da autora afro-americana Alice Walker foram escolhidos pelo pesquisador, que também era professor dos alunos pesquisados, devido à sua pequena extensão, ao seu papel social e às relações dialógicas que pudessem ser estabelecidas entre eles. Diante da concepção de texto como não autônomo adotada nesta pesquisa, somente os exercícios AL dos alunos que fizeram o relato final foram analisados. A partir do entendimento de que os sentidos construídos pelos alunos nas suas respostas não poderiam extrapolar a estabilidade de significação dos enunciados sob análise, buscamos determinar se as respostas dadas nos exercícios AL eram potencialmente coerentes com os enredos dos contos e com os discursos que os perpassam. Ademais, por ser o foco da pesquisa alunos com conhecimento limitado da língua-alvo, i.e., a Língua Inglesa, atentamos para os resultados dos alunos em nível básico e intermediário. Percebemos que, na primeira fase, os alunos em nível básico e intermediário conseguiram responder a cerca de um quarto das perguntas e na segunta fase, a um terço. No entanto, na terceira fase, esse número aumentou substancialmente, já que os alunos nesses níveis responderam a cerca de dois terços de todas as perguntas. É possível concluir, portanto, que o estudo dos conceitos da Pragmática como um primeiro passo para os da ADD possibilitou uma melhor compreensão e análise de textos literários escritos em Língua Inglesa por alunos com conhecimento limitado dessa língua estrangeira e, consequentemente, o desenvolvimento de seu conhecimento do idioma