Made available in DSpace on 2017-06-01T18:24:32Z (GMT). No. of bitstreams: 1 gilda lucia.pdf: 1344476 bytes, checksum: 870db65d557a2582205343f496981013 (MD5) Previous issue date: 2004-09-10 / This work aims at investigating the process of construction of meaning in oral narratives, in interactive contexts, particularly in the act of shared reading, whereby the adult (in this case, the mother) reads her child a story, as well as the role played by intonation patterns in this construction. Two informants took part in the study, mother and daughter. The corpus is constituted by a narrative event of children s story through shared reading. The use of narrative was chosen because it is a textual genre showing a specific structure which both helps toward widening the reading strategies and toward the construction of the text meaning, and also because narrative is the most conspicuous textual genre in children s stories. The chosen short story was O Pequenino Grão de Areia (The Little Sand Grain) (1998), by Ricardo Filho, published by Paulus. Data were collected during the shared reading, in which the mother told her daughter the Little Sand Grain story. A qualitative analysis of the shared reading activity is conducted, observing the role of intonation in the construction of meaning in reading. Analysis was undertaken on the basis of David Brazil s Intonational Interactive Model (1985), trying to identify the intonation clues given by the adult in reading and its relation to the construction of meaning in this reading. Results show that intonation takes on three textual functions: organizational, informative and interactional, which play a decisive role in the construction of the meaning during the activity of shared reading / Esta pesquisa tem como objetivo principal analisar o processo de construção de sentido nas narrativas orais, em contextos interativos, mais especificamente na atividade de leitura compartilhada, onde o adulto (no caso dessa pesquisa a mãe) lê uma história para a criança, e estabelecer qual o papel exercido pelos padrões entoacionais nessa construção. Participaram deste estudo dois informantes, mãe e filha. O corpus coletado para este estudo é constituído por um evento narrativo de história infantil, durante uma atividade de leitura compartilhada. Optou-se pelo uso da narrativa, por ser um tipo textual com uma estrutura definida que auxilia tanto na ampliação das estratégias de leitura como na construção de sentido do texto, e também por ser o tipo textual mais presente nas leituras infantis. O conto escolhido para a atividade foi O Pequenino Grão de Areia (1998), escrito por Ricardo Filho, e editado pela Paulus Editora. Os dados foram coletados durante a atividade de leitura compartilhada, onde a mãe contou a história do Pequenino Grão de Areia para a criança. A pesquisa se propõe à realização de uma análise qualitativa da atividade de leitura compartilhada, analisando o papel da entoação na construção de sentido da leitura. A análise dos dados foi realizada com base no modelo Interativo Entoacional de David Brazil (1985), buscando identificar as pistas entoacionais fornecidas na leitura do texto pelo adulto e sua relação com a construção de sentido dessa leitura. A análise dos resultados aponta que a entoação assume as três funções textuais; organizacional, informativa e interacional, que têm papel decisivo na construção de sentido durante a atividade de leitura compartilhada

Narrative point of view should be the initial place of focus in the study of prose fiction, but it is often difficult to understand or teach. This study proposes that stage or screen production of narrative fiction may be purposefully structured to enhance the understanding of narrative perspective. The study details grammatical analysis of narrative language and describes implications drawn from that language which influence production decisions. The thesis examines the techniques and technology of stage and screen production which may be manipulated to underscore narrative point of view, suggesting ways in which each medium can borrow from the techniques of the other for point of view production.

Thesis--University of Helsinki, 1994. / English summary. Includes bibliographical references (p. [165]-172).

This thesis constitutes a narrative that explores an alternative meaning construction for the experience of loss. During the telling of this story, I consider the appropriateness of adopting the 'new paradigm' approach for this particular thesis, and the constructivist and social constructionist epistemological assumptions underlying such an approach. I delve into the use of 'self as researcher under this epistemological umbrella. This is followed by an exploration of 'chaos theory' and its application to social systems. And finally, I consider the usefulness of this theory in constructing meanings for loss experiences on various systemic levels within my own family system. / Psychology / M.A.(Clinical Psychology)

Thesis (MA)--Stellenbosch University, 2008. / ENGLISH ABSTRACT: This thesis is a narration of personal experiences of the Northern Sotho people and their way of doing their activities. The Northern Sotho people and their ways of doing things have been characterized by a proliferation of different ways of living governance. This living governance is by people who are a distance from the Northern Sotho way of living that has been influenced by day to day changes of technology and the style of living, whereby people can do anything to can fit in the current lifestyle. The problem experienced in relation to accounts is how accounts impact on us and visa versa. The Northern Sotho narration dates back from the pre-colonial, colonial and apartheid era. These linear stages of governance have had an influence in the transformation of the Northern Sotho. This transformation has seen a delusion of the original Northern Sotho discourses. A mixture of different cultures in the process of transformation has also characterized this, where the Northern Sotho people have adopted other tribes’ norms and values; in the process losing their own original identity. Other tribes have also lost their original ways of doing things by absorbing Northern Sotho norms and values. The findings of research will determine how difficult it is to transform original cultures to the most dominant culture of today, which is more westernized. People will analyze the findings influential in doing self-introspection, which will assist in determining oneself. The recommendation that could be given would be that one need to look back at the importance of cultural values from where he or she comes and to make it fit into today’s life as this will prevent uncertainties and assist in building the current and next generation’s future. / AFRIKAANSE OPSOMMING: gemeenskap en hul manier om met hul aktiwiteite te handel. Die Noord-Sotho gemeenskap en hul manier om dinge te handel word gekenmerk deur ‘n vinnige toename in die diverse invloede deur mense wat verskillende lewenswyse as hul eie het. Hierdie lewenwyse word gekenmerk deur die vinnige ontwikkelende tegnologie en lewenstyl waarvolgens mense enigiets kan doen om in die hedendaagse maniere om dinge te doen in te pas. Ondervindinge in verhouding met die beskrywings is hoe die beskrywings ons beinvloed en andersom. Die Noord Sotho vertelling is gedateer vanaf die prekoloniale-, koloniale-, apartheid- en pos-apartheid eras. Hierdie liniere fases van magsuitoefening het ‘n invloed gehad in die transformasie van die Noord Sotho. Hierdie transformasie het gesien tot die verkeerde ideé van die oorspronklike kommunikasies van Noord-Sotho lewenswyse. ‘n Mengsel van verskillende kulture in die proses van transformasie het ook hierdeur kenmerk, waar die Noord Sotho bevolking ander stamme se norme en waardes aangeneem het en sodoende hul oorspronklike identiteit verloor het. Ander stamme het ook hul oorspronklike manier om hul dinge te doen verloor deur dat hulle norme en waarders van die Noord –Sotho geabsobeer het. Die navorsings bevindinge sal bepaal hoe moeilik dit is om suiwer kulture te omvorm tot die mees dominante hedendaagse kultuur wat meer verwesters is. Mense sal die bevindinge analiseer wat op instrospeksie impakteer en selfbeeld bepaal. Die aanbeiling is dat die historiese belangrikheid van die kulturele waardes in ag geneem moet word as die basis waar ons vandaan kom en dat ons dit in werking moet stel in die hedendaagse lewe. Dit sal onsekerhede voorkom en ook help om die toekoms van die huidige en toekomstige generasies te bou. / KAKARETŠO: Ke kanego ka ga bophelo bja batho ba Sesotho sa Leboa le mediro ya bona. Mekgwa le mediro yeo e akaretšago bophelo ka bophara bja setšo sa Leboa e hweditšwe ke mebušo yeo e bušago. Mebušo yeo le yona e hweditšwe ke diphetogo tša tšatši ka tšatši tša setekiniki le bophelo bja selehono moo batho ba lekanago ka maatla go ka ikhwetša ba kgona go phela maemong a selehono. Ditlhalošo tša setšo sa Leboa di balelwa go tloga mehleng ya pele ga koloni, ka nako ya kgatelelo le ka morago ga kgatelelo. Nakong tše ka moka tša go fapafapana, mebušo ya gona e bile le khuetšo e kgolo setšong sa leboa. Go lekana ga ditšo tša go fapafapana diphetogong setšong le gona go amile dipheto setšong sa batho ba Leboa gomme ba thoma go loba boitšhupo bja botšo. Merafe e mengwe le yona e lahlegetšwe ke botšo ka go latela ditlwaedi le mekgwa ya Sesotho sa Leboa. Go ya ka dinyakišišo, go nale sešupo sa gore ga go bonolo go ka fetoga setšong sa bogologolo go fetogela go setšo sa sebjale seo se tibilego ka mekgwa ya sekgowa. Batho ba tla lebeledišiša ditšhupetšo tšeo di nago le khuetšo ya go inyaka le go inyakišiša, e lego seo se tla thušago motho gore a te tsebe. Kakanyo yeo e ka tlišago phetogo ke ge go ka lebelelwa morago botsong bja setšo. Go lebelelwe ka moo se bego se hlomphiwa ka gona e bile se latelelwa gomme go be le tlhotleletšo ya gore se šomišwe bophelong bja selehono. Tlhotleletšo ye e ka thibela dipelaelo le go thuša go aga bokamoso bja meloko ya lehono le yeo e sa tlago.

Thesis (MA (Afrikaans and Dutch))—University of Stellenbosch, 2007. / Two separate texts are submitted towards the degree MA in Kreatiewe Afrikaanse Skryfkunde. Firstly, a thesis with the title ‘Drempellewens: die uitbeelding van bewussyn in vyf debuutromans’, and secondly a novel called Hanna in die park. The novel and the thesis are thematically related. The focus of the thesis is the portrayal of the consciousness of protagonists who, because of their age and situation, may be considered ‘threshold characters’. The question that is posed is the following: what kind of narrator and what narratological strategies can best express the unfixed nature of the protagonist in a so-called ‘coming of age’-novel? To examine this issue, theoretical tools are taken from mainly two sources: the work of anthropologists Arnold van Gennep and Victor W. Turner about the liminal phase in rites of passage, and Dorrit Cohn’s theories about the depiction of consciousness, as set out in her book, Transparent Minds (1983). Five debut novels are discussed using these concepts. They are Die Ryk van die Rawe (Jaco Fouché), Annerkant die Longdrop (Anoeschka von Meck), trips (Manie de Waal), Less than Zero (Bret Easton Ellis) and You Shall Know Our Velocity! (Dave Eggers). The liminal characteristics of the protagonists and their situations are discussed. Using Cohn’s three modes of narration, namely psychonarration, narrated monologue and quoted monologue, a discussion follows of what effect the kind of narrator and narratological modes has on the convincing and striking portrayal of a liminal character’s consciousness. The conclusion is reached that a narrator who is also in some kind of liminal position, or who experiences a threshold-consciousness, is most effective in the portrayal of the nature of liminality. The novel is about a young woman, Hanna Moolman, who is having trouble with the requirements of becoming adult. She works as a waitress in Stellenbosch and leads a somewhat lonely, frustrated life. Her relationship with especially her mother and her younger sister is strained. When her sister, a beautician in training, becomes pregnant, old sibling rivalries and family secrets are brought to the fore. During the crisis of her sister’s pregnancy, there are also various other influences on Hanna’s state of mind; among others, her part-time job as a researcher for an old lady who is writing about the domestic history of the Afrikaner woman, an impudent graffiti artist who seems to be watching Hanna, and a client at the restaurant where she works who leaves her mysterious notes.

Thesis (MA (Afrikaans and Dutch))—University of Stellenbosch, 2009. / When reading Henning J. Pieterse’s work the reader is confronted by a sombre central theme, that of loss. Loss manifests itself in different ways in his oeuvre, but the most notable forms of loss are as result of the ending of a love affair or death. A second noticeable theme in Pieterse’s work is art and artistry, specifically the creative writing process. In my opinion these themes are most evident in his 1998 collection of short stories Omdat ons alles is (Because we are everything). The main premise in this collection of short stories is the suicide of the beloved wife and the accompanying feelings of loss and grief. The male characters in these stories struggle with processing and accepting loss - loss due the suicide of a beloved wife or due to the ending of a relationship. Various attempts are made to forget the loss and to numb the pain. The characters turn to alcohol, drugs and sex as ways of trying to work through or process the loss, but these methods only bring temporary relief. These self-destructive methods op escapism are contrasted with the constructive act of writing. At the same time the journey to psychic recovery and the processing of trauma becomes a creative journey. By expressing trauma through writing about wounding experiences there is striven to process it. The processing of trauma by means of literary narratives is often extremely exhausting and distressing. In the act of writing about trauma, painful memories that are repressed in the psyche are brought to the surface. In this thesis Omdat ons alles is is viewed from a therapeutic perspective to establish whether the act of writing plays a part in the processing of trauma. Narrative therapy is concerned with the finding of words and language to communicate trauma by creating a story in which the meaning and coherence that trauma destroys, can be recaptured. Trauma destroys the meaning and coherence of a life story and leaves the individual powerless and confused, but by finding words to communicate trauma, there is a positive movement in the direction of dealing with and accepting loss. In Omdat ons alles is Pieterse maps the journey of working through loss and trauma, but in these stories it is also emphasised that this journey is by no means a joyride. In the end it seems that the act of writing does play a part in the processing of trauma, but to which extent, remains an open question.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-06-21T12:35:55Z No. of bitstreams: 1 Telma Regina Ventura.pdf: 990261 bytes, checksum: f67f9c75786c9133ffe85d9e40344651 (MD5) / Made available in DSpace on 2018-06-21T12:35:55Z (GMT). No. of bitstreams: 1 Telma Regina Ventura.pdf: 990261 bytes, checksum: f67f9c75786c9133ffe85d9e40344651 (MD5) Previous issue date: 2018-04-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present research aims to investigate the deconstruction of the feminine voice silencing in the contemporary Portuguese writer Inês Pedrosa’s novel Fazes-me Falta (2002). For this purpose, it is intended to undertake an analysis of the modes in which the literary formal components are constituted in order to engender a structure distinguished as a performative narrative. In the pedrosina’s performative narrative in analysis, the convergence of the literary strategies – such as the genological hybridity, the inter-artistic dialogue, the moving writing construction – are composed simultaneously and in combination with the plot, in an inter-artistical dialogue with the Galician-Portuguese troubadour-like medieval lyric, particularly with Troubadour love songs and the Troubadour friendship ones. Considering that Art constantly constitute a political action and Inês Pedrosa, in her both journalistic activity and career as an writer, lodges an active politic attitude in the Portuguese Society, it is observed that the resumption, on Perdrosa’s literary work, of the twelfth century literary structure which excluded the women’s voice produces meanings that denotes the social situation of the contemporary Portuguese women: even achieving social and political rights, women have still been subjected to the voice silencing, as long as their social voices and claims have not been incorporated on political actions. Therefore, the investigation is outlined into three chapters. The first chapter, entitled “The Performative Realism and the writing configurations in the Comtemporary Portuguese Literature”, presents the theoretical background of Linda Hutcheon, Erik Schollhammer and Marcos Siscar, supporting the Post-modernism aesthetics in a dialogue with the new realisms in Literature, and associated with Miguel Real and Álvaro Gomes produces the characterization of the literary performative realism in Portugal. The chapter 2, “Performative narrative: contemporary quests”, embraces the concepts related to the performative narrative, as established by Graciela Ravetti, as well as defines an historical overview of performative arts, taking Renato Cohen’s studies as reference. At last, the third chapter, “The Aesthetic-critical tracing of the Portuguese feminine voice silencing in the performative narrative of Fazes-me Falta”, outlines the construction elements of the corpus examined, characterized as a performative narrative – Giles Deleuze, Lúcia Castelo Branco, Graciela Ravetti and Mário Perniolla assemble the theoretical basis, elucidating the pedrosina’s novel literary formal particularities. Segismundo Spina and Natália Correia devise the aspects of the (in)existence of both poetic and authorship feminine voices in the Galician-Portuguese troubadour-like medieval lyric / A presente pesquisa tem como proposta investigar a desconstrução do silenciamento da voz feminina na obra Fazes-me Falta (2002), da escritora portuguesa contemporânea Inês Pedrosa. Para tanto, empreender-se-á uma análise dos modos pelos quais os componentes formais se constituem a fim de engendrar uma estrutura caracterizada como uma narrativa performática. Na narrativa performática pedrosina em análise, a convergência de determinadas estratégias composicionais – o hibridismo genológico, o diálogo interartístico, a escritura movente e rizomática – compõem-se em simultâneo e, em conjunto ao enredo, dialogam interartisticamente com a Lírica Medieval Trovadoresca galego-portuguesa, em especial com as Canções de Amor e as Canções de Amigo. Sabendo-se que a Arte invariavelmente se constitui em uma ação política e que Inês Pedrosa, tanto em sua atividade jornalística quanto como escritora, possui uma postura política ativa na sociedade portuguesa, observa-se que a retomada, na escrita pedrosina, de uma estrutura literária do século XII que excluía a voz da mulher, gera sentidos que evidenciam a situação social da mulher portuguesa contemporânea: mesmo tendo adquirido o direito à voz, ainda se encontra submetida ao silenciamento, visto que, mesmo falando, não é ouvida. Assim, a pesquisa apresenta-se dividida em três capítulos. O primeiro capítulo, intitulado “O Realismo Performático e as configurações da escrita na Literatura Portuguesa Contemporânea”, traz as contribuições teóricas de Linda Hutcheon, Erik Schollhammer e Marcos Siscar, subsidiando as estéticas do Pós-modernismo em diálogo com os novos realismos na Literatura e, associados a Miguel Real e Álvaro Gomes, compõem a caracterização do Realismo Performático literário em Portugal. O capítulo II, “Narrativa Performática: Demandas contemporâneas”, abarca as conceituações relativas à narrativa performática, como estabelecida por Graciela Ravetti, delineando também o Histórico das artes performáticas, tendo como referência as pesquisas de Renato Cohen. Por fim, o terceiro capítulo, “A tessitura estético-crítica do silenciamento da voz da mulher portuguesa na narrativa performática de Fazes-me Falta”, evidencia os elementos de construção do corpus em estudo, os quais o caracterizam enquanto uma narrativa performática; para tanto, Giles Deleuze, Lúcia Castelo Branco, Graciela Ravetti e Mário Perniolla compõem a fundamentação, elucidando as especificidades formais da obra pedrosina. Na sequência, os pressupostos de Segismundo Spina e Natália Correia auxiliam a pontuar os aspectos formais das da (in)existência da voz poética e da voz autoral femininas na Lírica Medieval Galego-portuguesa

<abstract>'In Two Minds' is a novel of false beliefs. Set in contemporary Sydney, it deals with the relationship between two sisters in their late thirties, Kara and Linda Hille. Told in the second person singular from the point of view of the elder sister, Linda, it is based around the neurological delusion of the younger sibling, Kara. Kara wrongly believes that their mother, Stella, has been replaced by an impostor, 'Mrs. Whitegloves'. For the greater part, the narrative 'you' relates events in the sisters' lives and deals with issues such as the consequences of condoned child abuse, the dilemma of human cloning and the future of 'the brand' in the light of contemporary global marketing. Linda, an advertising executive, struggles with a formidable work-project, an account that is lost to a competitor, and the mistaken belief that she is responsible for her sister's plight. Shocking graffiti about herself, which appears at the same time as she wins an advertising award, proves to be the catalyst that brings beneficial change to her life. Through the tragedy of confronting her sister's devastation and her own challenges, Linda leaves her job, believing this will allow her to start again - differently. In the final chapter, the difference is registered in a shift from the second person to the consolidated first person method of narration. ABSTRACT EXEGESIS The dissertation 'A Singular Voice' documents aspects of authorial, psychoanalytical and literary significance in the creation of a fiction which draws on personal material confrontational to the writer. It also discusses some wider (non-fictional and other) uses of the narrative 'you' in order to establish the literary tradition in which the novel 'In Two Minds' may be situated. This disseration examines the use of the second-person singular pronoun 'you' as narrator, mainly in contemporary fiction. It concentrates on the ways in which the narrative 'you' was employed to achieve a 'cover', mask or persona for the 'I' behind the text in the novel 'In Two Minds', and explains why it was necessary to seek such subterfuge. It describes how certain grammatical and rhetorical resources were used to build and maintain 'cover', while at the same time allowing the narrative 'you' to express a particular aspect of the fictional protagonist, address the reader, and sustain the story of which it is the intradiegetic narratee. Related narrative elements include construction of the characters through the use of the narrative 'you', for example the narcissistic mother, Stella; the phantom double, 'Mrs. Whitegloves'; the sufferer of Capgras' delusion, Kara; and the ultimate bearer of the singular 'you' voice, the protagonist Linda.

University of Macau / Faculty of Social Sciences and Humanities / Department of Chinese