Karo metais moterų rašytų dienoraščių lietuvių literatūroje nėra daug. Jau nuo seno įprasta, kad vyrų kūriniams skiriama daugiau dėmesio, tačiau moteriškoji karo patirtis atskleidžiama tokių rašytojų kaip: Gabrielė Petkevičaitė-Bitė, Ana Frank, Marta Hillers, Julija Maceinienė. Žanrinėmis ypatybėmis dienoraštis yra panašus į autobiografiją, tačiau jame fiksuojami praėjusios dienos įvykiai, nesiekiama gręžtis į praeitį. Dienoraštis – tai datuoti užrašai, fiksuojantys dienos, savaitės ar kitokio laikotarpio atsiminimus, atskleidžiantis pasakojančio žmogaus jausmus, emocijas, išgyvenimus. Šio darbo objektas –pasakojančios moterys Anonimės, Gabrielės Petkevičaitės-Bitės, Anos Frank ir Julijos Maceinienės karo metais rašytuose dienoraščiuose. Dienoraštį, kaip žanrą yra nagrinėję šie literatūrologai: Daujotytė, Kubilius ir Glinskis. Darbos tikslas – remiantis semantine-strukturine analize išnagrinėti moters ir adresato santykį, moterų patirtį karo metais, karo „aukų“ vaizdavimą ir santykius su jais Anos Frank, Martos Hillers, Julijos Maceinienės ir Gabrielės Petkevičaitės Bitės dienoraščiuose. Pagal Phillipe Lejeune išskirtas dienoraščio funkcijas Anos Frank, Martos Hillers, Julijos Maceinienės ir Gabrielės Petkevičaitės-Bitės dienoraščiai atlieka išsakymo, aprašymo ir atsiminimų funkcijas, kurios karo metų dienoraščiuose yra susipinusios tarpusavyje. Dienoraščiuose pasakojančios moterys taikliai ir šališkai vertina karo padarinius Svarbu, kaip jos objektyviai sugeba perteikti... [toliau žr. visą tekstą] / Department of History and Theory of Literature. There are only few diaries in Lithuanian literature written by women during war times. From the old times it was usual that the main attention is paid to the literature written by men, though women’s experience in war was revealed by such writers as Gabrielė Petkevičaitė-Bitė, Ana Frank, Marta Hillers, Julija Maceinė. The features of the genre reveal that diary is very similar to the autobiography, however in the diary are fixed the events of the previous day, and the writer is not intended to look into the past. Diary is the dated sketchbook, which fixates the memories of a day, week or other period of time, and they reveal the narrator’s feelings, emotions, and experience. In the war time diaries the link of history and documentation is very important, as it is full of historical testimony, descriptions of what happened, and the secondary attention is paid to the personal experience. The object of the present research is the story-telling women such as Gabrielė Petkevičaitė-Bitė, Julija Maceinienė, Marta Hillers and Ana Frank in war time diaries. The scientists that discussed the diary as a genre are Daujotytė, Kubilius, Glinskis. The aim of this research is to analyze woman’s and addressee’s relation, women’s experience during war, war “victim’s” image and relation with them in Ana Frank, Marta Hiller, Julija Maceinienė and Gabrielė Petkevičaitė-Bitė diaries by using semantic-structural analysis. According to Phillipe Lejeune... [to full text]

Background: Food nourishes us, sustains us, and has the potential to both heal us and make us sick. Among many Indigenous cultures, traditional activities, ceremonies, events and practices often involve or use food, grounding Indigenous peoples within the context of their local, natural surroundings. This suggests that food is important not only for physical health, but also emotional, mental and spiritual health. The relationships that Indigenous peoples have with food can help us to understand the health of individuals, and the communities in which they live. Purpose: The following qualitative study explores how three generations of adults who live in one Labrador Inuit-Metis community experience and understand their relationships to food in a context of global change. Theoretical Orientation: The research is guided by Two-Eyed Seeing. Two-Eyed Seeing acknowledges that there are many different ways of seeing and understanding the world, some of which can be encompassed through a ‘Western eye’ and some through an ‘Indigenous eye.’ If we learn to see through both eyes, we can gain a perspective that looks very different than if we only view the world through a single lens. Methods: For the study, twenty-four people from the south-eastern Labrador community of St. Lewis participated in individual and joint story-telling sessions. A group story-telling session also took place where community members could share their stories with one another. During many of the story-telling sessions, participants shared photographs, which helped to illustrate their relationships to food. Findings/Discussion: Historically, the people of St. Lewis relied almost entirely upon their own wherewithal for food, with few, if any, government services available and very little assistance from the market economy. This fostered and upheld an Inuit-Metis culture that promoted sharing, reciprocity and respect for the natural world. Currently, greater access to government services and the market economy has led to the creation of certain policies and programs that undermine or ignore established social and cultural norms in the community. Conclusions: Existing Inuit-Metis knowledge should work alongside non-Indigenous approaches to policy and program development. This would serve to protect and promote the health of both individuals and communities.

<p>South Africa is reported to have the highest prevalence of HIV/AIDS infections in Sub-Saharan Africa. As a result the quality of life of families living with HIV/AIDS is negatively affected. Literature indicates that the majority of affected persons are young children and adolescents whose siblings or parents are infected with HIV/AIDS. Most affected adolescents are reported to have difficult social lives due to their parent&rsquo / s illness, difficult financial situations at home, stigma and discrimination within the society. The study attempts to explore the experiences of adolescents in households where the mother is HIV/AIDS positive. This research project is an exploratory study using a narrative approach within a qualitative methodological design. The study was conducted with 6 Xhosa-speaking adolescent boys (2) and girls (4) aged 12 to 15 years. An open-ended interview schedule was used to prompt participants to tell their stories. Data was collected by means of a voice recorder in order for adolescents to tell their stories. The responses were transcribed verbatim, translated and verified with the participants. The data were analysed by means of narrative analysis. The results indicate that most adolescent participants were coping with the mother being HIV/AIDS positive and maintained hope for their futures. Adolescents were coping due to support from friends and relatives. Some adolescents experienced rejection and discrimination. The biggest challenge in the home was due to socioeconomic status. The study is intended to benefit the community in terms of making recommendations to social workers at NGO&rsquo / s and the government sectors in terms of strengthening the existing support programmes in the community.</p>

This thesis focuses on the experiences of former UK military personnel from all three armed services re-entering the civilian workplace. There is a distinct lack of research in this area with only limited studies carried out which tend to focus on the difficult transitions or the actual mechanics of engaging with the civilian labour market. This thesis provides a unique insight into the experiences of military personnel and their journey out of the military environment and into the civilian environment. This study uses a qualitative methodology based upon an interpretive approach to gain insights into the experiences of former military personnel who left the military for a variety of reasons. The study examined the stories of a main research cohorts of 16 individuals and a second cohort of 10 individuals were engaged to further challenge theoretical saturation. The research subjects were selected using a ‘snowball’ approach and selection filtered using a specific set of criteria. Their military experiences span a range of times since discharge and a range of civilian employment since leaving. Following a review of existing literature encompassing career theory, transition theory, narrative analysis and activity theory, open interviews were conducted with participants simply asked to “tell me your story”. The transcripts of the interviews were then analysed using three analytical frames: activity theory, storytelling and perceptions of the self. The participants mainly identified tensions in their relationships with new communities, mediated by the changed social rules and divisions of labour that they encountered in their transition. Those who identified the lowest levels of tension tended to tell their stories in a heroic mode and demonstrated multiple or mixed senses of the self, whilst those who identified the highest tensions tended to tell their stories in a tragic mode and privileged their military identity above their other identities. The data suggests that some of these experience may be connected to the concept of the unquestioned organisation that was expressed by all the research cohort and the unthinking transfer of agency that occurs on joining and leaving the military.

Orientador: Célia Maria Guimarães / Banca: Renata Junqueira de Souza / Banca: Áurea Maria Paes Leme Goulart / Resumo: O presente trabalho, vinculado à linha de pesquisa 'Infância e Educação', do Programa de Pós-Graduação em Educação da FCT/UNESP, apresenta uma pesquisa-intervenção desenvolvida no ano de 2009, em um Centro de Convivência Infantil da UNESP, com um grupo de crianças de três a quatro anos de idade e teve como objetivos investigar se os contos de fadas contribuem para o uso dos elementos da narrativa pelas crianças de três a quatro anos de idade, e se o trabalho intencional com tais instrumentos favorece a construção das narrativas infantis. Essa pesquisa originou-se da inquietação perante a tendência de os contos de Fadas que, por não serem vistos como prática que pode auxiliar no processo de construção de narrativas infantis, não serem trabalhados intencionalmente, não serem privilegiados tempo e espaço para a narrativa oral das crianças. Para realização da pesquisa foram necessários dois momentos: o primeiro chamado de "Fase da observação", realizado com a premissa de conhecer o grupo analisado e assim ser aceito por ele, visando... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This research, related to the "Childhood and Education" investigation group, was developed in the Post-Graduation Program in Education of Faculdade de Ciências e Tecnologia - UNESP. It describes an interventional-research which was performed in 2009 and involved a group of three/four-year-old children enrolled in the university Day Care. The investigation aimed to reinforce, among other important proposals, the role of children education pedagogical job in enhancing children's oral narrative. Its starting point was the perception that fairy tales are neither intentionally used nor conceived as a tool in order to help children in their narrative construction process. Two steps were needed to develop the research: the first one, the observation stage, had the purpose of making the researcher familiar to the group as well as being accepted by them so the interactive moments could be observed as a support to the intervention itself. This second stage included seven meetings that always started with story telling, preceded by some explanation about the authors, and followed by the conversation time: a discussion concerning the tale by... (Complete abstract click electronic access below) / Mestre

Magister Artium (Child and Family Studies) - MA(CFS) / South Africa is reported to have the highest prevalence of HIV/AIDS infections in Sub-Saharan Africa. As a result the quality of life of families living with HIV/AIDS is negatively affected. Literature indicates that the majority of affected persons are young children and adolescents whose siblings or parents are infected with HIV/AIDS. Most affected adolescents are reported to have difficult social lives due to their parent's illness, difficult financial situations at home, stigma and discrimination within the society. The study attempts to explore the experiences of adolescents in households where the mother is HIV/AIDS positive. This research project is an exploratory study using a narrative approach within a qualitative methodological design. The study was conducted with 6 Xhosa-speaking adolescent boys (2) and girls (4) aged 12 to 15 years. An open-ended interview schedule was used to prompt participants to tell their stories. Data was collected by means of a voice recorder in order for adolescents to tell their stories. The responses were transcribed verbatim, translated and verified with the participants. The data were analysed by means of narrative analysis. The results indicate that most adolescent participants were coping with the mother being HIV/AIDS positive and maintained hope for their futures. Adolescents were coping due to support from friends and relatives. Some adolescents experienced rejection and discrimination. The biggest challenge in the home was due to socioeconomic status. The study is intended to benefit the community in terms of making recommendations to social workers at NGO's and the government sectors in terms of strengthening the existing support programmes in the community. / South Africa

Qu’elle soit concrète ou symbolique, la souillure, dont témoignent certaines vieilles femmes, est le résultat d’une assignation familiale, sociale et historique. Une force de vie particulière leur a fait assumer la place de l’Autre, provoquant un phénomène d’attraction collective. Voir cette vieille femme, la sentir, la toucher, la rencontrer dans son lieu et l’écouter s’inscrit dans l’ordre des expériences initiatiques que la société de Progrès ne ritualise plus, mais que le quotidien préserve en réponse à une nécessité intime, mythique et collective. Par miroitements, ces femmes ont incarné les multiples facettes du personnage de la vieille dans la littérature orale où s’imposent l’éthique et la quête de dignité. Raconter « les affaires du pays », dans le Morvan du XXe et du XXIe siècles, en parlant patois et en évoquant avec précaution la Vieille Femme construit un îlot de résistance au récit dominant, un espace collectif de libération et en même temps un dérivatif permettant d’accepter l’Histoire. / Whether real or symbolic, the stained image displayed by some unclean old women is the result of a historic, social and family-set assignment. The singular strength of character shown by these women has placed them in the position of being perceived as 'the Other', bringing about a phenomenon of group attraction. Seeing the old woman, sensing her smell, touching her, meeting her at her home and listening to her: these are experiences like rites of passage, that modern society does not provide anymore. But these experiences are still present in our everyday life as a response to an intimate, mythical and societal need. Like a mirror, these women have embodied the multiple aspects of the ‘old woman’, as a character found in oral literature where ethics and the search for dignity are essential. Talking about "local matters", in Morvan of 20th -21st, speaking in regional language (patois) and in gentle terms about these old women so different from ourselves, creates a platform of resistance against dominant references and constitutes a collective way to feel free and a helpful diversion to be able to accept History.

This study is an investigation into the use of an African indigenous narrative game, Masekitlana, which I used as a therapeutic medium for four children, aged eight to 12 years. The participants are of Zulu origin and culture and were affected and orphaned as a result of HIV/AIDS. The game involved the participants in activities, such as hitting stones together or arranging them at will, that they felt familiar with and that enabled freer verbal expression from them. I employed a single-system research design that consisted of mixed methods approaches in the form of a qualitative thematic analysis and a quantitative graphic presentation of the results. The research design was a time series design that involved using, at four different times along the process of therapy, the measure of the Roberts-2 test (ethnic version). Therapy consisted of three sessions of standard of care therapy (therapy that was routinely being used in the psychology clinic) and three intervention therapy sessions of Masekitlana. I found the mixed-methods approach to be a practice-friendly form of research as it helped to describe the concerns of the participants in depth and enabled a concrete, quantitative conclusion about the efficacy of Masekitlana as an intervention. Syncretism of both approaches meant that qualitative data helped to clarify and confirm the findings of quantitative data and vice versa. Qualitative analysis showed how Masekitlana helped participants to express their traditional African beliefs, such as belief in the guidance of their ancestors, in the influence of bewitchment in their lives, and in the animation of the natural world. Thematic analysis also revealed the anger that participants felt resulting from the sense of disempowerment they experienced in Children’s Homes and from their separation from their biological families, and their need to sublimate this anger into future careers in the police force or alternatively to resort to crime. Thematic analysis also revealed the strategies employed by participants for coping with peer conflict in the Children’s Homes, and the challenges they face with schooling difficulties. Quantitative analysis revealed how participants progressed to complex forms of adaptive functioning and explanation of situations in their lives as a result of Masekitlana therapy. Recommendations arising out of this study are that psychologists strive to use forms of therapy that are familiar to the cultural backgrounds of indigenous children, and that training psychologists learn about the cultural beliefs of their patients and be exposed to the rituals used in traditional environments in order to understand indigenous clients. Psychologists should also be aware of the fact that, with the effects of television on children, and with present globalization and ease of international travel, children of African origin and culture are a mixture of traditional African and modern Western values. Therefore an integration of Western and indigenous forms of psychology might be considered. / Thesis (PhD)--University of Pretoria, 2012. / Educational Psychology / unrestricted

This dissertation approaches the concept of beauty. Looking through the consistent efforts ofphilosophers and artists over the centuries to define and capture beauty, we come to the conclusionthat such a thing is impossible in its entirety. The rules and the standards that measure out thebeautiful. By being something that can be defined and measured, I come to the conclusion thatbeauty and the way we talk about it and recognize it, forms a set of rules that establish a system.This system helps the dominant beholding part of power to maintain its status. Nietzsche, throughhis genealogical method, managed to prove that perhaps the easiest way to define or try tounderstand a concept is to examine how it evolved in various historical contexts. Nietzsche realizedthat distinct historical periods give a variable conceptual results for a certain value. The onesregulating those standards of evaluation, are the relations of power within a society. Foucault,evolving Nietzsche's hypothesis and thought, finds that the respective systems of power are the onessetting the specifics of evaluation that better suit them in order to maintain control. Systemsaccording to Foucault define and set the limits for our actions and thoughts. The respective socialvalue systems set the limits for the beautiful in our case and its definitive characteristics, resultingto a series of variable beauty standards that have been dominant in different historical periods. Themost effective tool of the dominator is the creation of regimes of truth. Regimes of truth arehistorically specific mechanisms that produce discourses which function as true in particular timesand places. These systems of truth are being regulated through narratives. In our time screentechnology has achieved something unprecedented in the communication chronicles of humanity,the possibility of globalized broadcast. The emergence of cinema has managed to influence anddefine the standards of beauty with unprecedented results in pop culture.

The Story Art and Tech merges storytelling and technology together to elucidate the animated filmmaking process for readers who are interested in animation. The author's path to animation director is traced from beginning to end starting with writing ideas and moving on to forming storyboards and animatics to completing animations for the screen. Two 3D short animated films and three storyboards with animatics are presented. A storyboard primarily shows the audience the thought process of storytelling; it previsualizes a script or an idea. It is then narrated into moving images called animatics; a preliminary version of a film. Animatics are important references for animators to animate shots and characters. Eventually the rest of the animation pipeline makes it into a final product: an animated film. As an artist who writes stories and animates them with 3D technology, presenting how a storyboard is made into an animated film is the most immediate way to inform the audience of this process with entertaining stories. In this paper, an extended discussion of the author's creative thought and development processes are presented with two distinct parts: storytelling and technology. / Master of Fine Arts / The Story Art and Tech shows how storyboards are made into movies. The author utilizes storytelling and media technology together such as 3D animation and game-engine rendering. It is the author's intention to make entertaining animated movies for the audience as a prospective animation director. When a director comes up with a movie script or an idea, the quickest way to visualize it is to sketch it out on a storyboard. This profession is called a 'story artist.' Story artists simplify characters and backgrounds on the boards to catch a glimpse of the final movie. To make the storyboards more detailed, story artists make them into 'animatics', which show more animated images and characters. Animatics are then taken by the 'animators' to animate everything in the final phase which is eventually produced as an animated film. In entirety, concept arts, storyboards, and animatics are presented together to show the audience the 'behind the scenes' of animated films. This helps them understand the thought process of the author and how she moved from story idea to completed animation. In this paper, the journey of a filmmaker in the animation field is extensively discussed.