This dissertation will trace the emerging paradigm of transaction as a model for the dynamics of the reading process. The paradigm of transaction, implicit in John Dewey's writings as early as 1896 in "The Reflex Arc Concept in Psychology," was originally described in terms of "interaction" between organism and environment. Only in 1949, in the twilight of his career, did Dewey definitively distinguish between "transaction" and "interaction," ascribing a mutually transformative character to the former process. In Knowing and the Known, Dewey and co-author Arthur F. Bentley (1949) proposed adoption of a wholly new "transactional vocabulary" as a precision tool for a new mode of scientific inquiry, whereby inquiry itself was recognized as a species of transaction between inquirer and observed phenomena. Even before the publication of Knowing and the Known, literary theorist Louise M. Rosenblatt had applied an implicitly transactional model of the relationship between organism and environment to the relationship between reader and text. She described this dynamic model of the reading process in Literature as Exploration (first published in 1938), a work that has inspired an ongoing revolution in the teaching of reading and literature at all instructional levels. In the first edition of this work, Rosenblatt employed Dewey's original term--"interaction"--to describe the dynamic relationship between reader and text. Following the publication of Knowing and the Known in 1949, Rosenblatt began systematically to appropriate Dewey and Bentley's transactional terminology in her analysis of the reader-text relationship. Educators who share the transactional vision of Dewey and Rosenblatt tend to see the role of the teacher as that of a facilitator of reader-text transaction and of reader-reader transaction as arbitrated by the text, rather than as an imparter of authoritative interpretations of texts. Envisioning potentialities for students' growth through such transactions gives rise neither to sanguine optimism nor to despair, but rather to a hopeful meliorism. / Ph. D.

This work, entitled 'Service - the unifying element in the spirituality of Louise de Marillac and Vincent de Paul', deals with the interconnection of two spiritualities Louise de Marillac and Vincent de Paul. I tried to test the assumption that an important connecting element of both important figures in the history of Catholic spirituality is the spirituality of service. In a way, this diploma thesis is a continuation of the previous bachelor thesis entitled 'Selected themes of spirituality Louise de Marillac'. The text is divided into four parts. The first one deals with the contemporary context and spiritual influences in 17th century France. In this part, I also focus on important moments and originally different social and cultural conditions of life of Vincent de Paul and Louise de Marillac. The core of the second and third chapters are Vincent de Paul's spirituality and Louise se Marillac's spirituality. Immediately follows the fourth part, which is the link between the two previous chapters. It contains the key statements of the two saints, based on which it is possible to form an idea of what it meant to Vincent and Louise to honour the Incarnate Word, as manifested in their service and concrete charitable works. Finally, these works are presented as evidence of the unified emphasis of...

Now all but forgotten, the songs of Sidney Homer (1864-1953) were at one time well-regarded and often performed. Married to the great American contralto Louise Homer, he was in a unique position to have his songs performed by the great artists of the time. Unlike the cloying "parlor songs" of many of his contemporaries, his works consistently demonstrate a respect for both the great poets as well as the European art-song tradition. One of the most cosmopolitan of the American composers of his day, his involvement with Louise's career brought him into contact with many of the great composers and performers of the day including Massenet, Puccini, Humperdinck, Mahler, Toscanini and Caruso. When viewed in their entirety, his songs reveal not only a tremendous variety, but also the maturation of his compositional style.

Syftet med arbetet var att undersöka hur det i kursen Svenska 1 på gymnasiet går att arbeta med två skönlitterära verk, Hannahs hemlighet och Undret, för att skapa medvetenhet om diskriminering utifrån temat funktionsvariation. Studien ämnar ge förslag till hur det går att arbeta med frågor kring funktionalitet i svenskundervisningen samt till att styrka användningen av skönlitteratur vid arbete med värdegrundsfrågor. De frågor undersökningen förankras i är följande: På vilket sätt skildras funktionsvariation kopplat till diskriminering i den valda litteraturen? På vilket sätt kan de litterära verken erbjuda identifikationsmöjligheter för unga läsare med funktionsvariation? Hur kan de skildringar som återfinns i verken vara relevant för dagens gymnasieelever och samtidigt bidra till skolans värdegrundsarbete? De teorier som valdes för arbetet är crip theory och den transaktionella teorin. Hermeneutik och narrativanalys valdes som metoder för att analysera materialet. Resultatet visade att funktionsvariation skildras genom betoning och kritik av normer i samhället.

This thesis paper illuminates nature and its relationship to the characters in LouiseErdrich’s novel Love Medicine. Now more than ever, there is a need for literatureanalyses that explores nature with a critical lens; it is a need brought forth by thecontemporary world, namely, the global environmental crisis. Nature is both preciousand omnipresent, and some cultures have a deep respect for this simple truth. Such isthe case with some of the Ojibwe people in Love Medicine. This thesis explores theclose relationship with nature evinced by some of the Native American characters inLove Medicine. Moreover, it illustrates the construed idea and portrayal of westernsocieties as destructive and exploitative.

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Ce mémoire est composé de deux parties distinctes. La première partie consiste en un recueil de poèmes intitulé Nous ne sommes pas tranquilles. Divisé en trois sections, ce dernier est le fruit d'un travail d'écriture cherchant à conserver l'élan brut et initial de la voix poétique. Une écoute de l'émergence d'une forme authentique et révélatrice du fond du poème s'est faite et s'est raffinée tout au long de la création. L'expression d'un besoin de rejoindre l'autre, que cet autre s'incarne dans le double, la figure amoureuse ou un « nous » collectif, se déploie dans une parole qui appelle la libération et l'espoir. Ce recueil est suivi d'un essai réflexif se penchant sur l'étape préparatoire à l'activité d'écriture, nommée l'antichambre du poème. Cette recherche de nature poétique, expérientielle et phénoménologique s'appuie sur des entretiens ayant été réalisés avec quatre poètes québécois : Claude Paradis, Louise Dupré, Paul Bélanger et Louise Warren. La pratique de la présence et les rituels personnels ont été examinés lors de ces rencontres, de la perspective du rôle unique qu'ils pourraient détenir dans le processus de création du poème. Les thèmes de l'accompagnement par les autres arts, de l'implication des sens et du corps, de la forme, de la volonté et de l'accueil ont entre autres été abordés. Les témoignages recueillis ont été mis en lien avec les essais et les recueils de ces mêmes auteurs, ainsi qu'avec les oeuvres de différents autres poètes et penseurs, tels que Gaston Bachelard, René Lapierre, Paul Chamberland, Susan-Lee Wyche-Smith et Myriam Watthee-Delmotte.

The primary speaker of Louise Glück's The Wild Iris is a wanderer in her own garden. She relentlessly searches for God among her foxgloves and daisies, straining to hear God's voice. Two other speakers, God and the collective plants of the garden, offer their perspectives without acknowledgement by the human speaker. Many critics read these two other speakers as, in fact, narcissistic projections of the human speaker, a God and a world made in her own image. In this thesis, I clarify that the kind of narcissistic projection that occurs in The Wild Iris is actually productive for genuine spiritual experience and encounters with the divine, not self-deluded illusions. If these two other speakers are in fact animated by the human speaker, it is through poetry's ability to facilitate encounters with alterity. With Michel de Certeau's concept of metaphorai in mind, I argue that the speaker's eventual communion with God is particularly made possible by her use of metaphor, which allows her to linguistically traverse the distance between her and God.

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