This study focuses on identifying students' perceptions of the most successful and least successful methodologies of teaching/ learning- English language and literature in Saudi Arabian universities. The study employed a questionnaire format, which was distributed to the English Departments of three Saudi Arabian universities and one college for women, to gather data. Data analysis revealed that students had many problems, especially with Old and Middle English literature. Language problems, cultural differences, and unfamiliarity with the literary or historical backgrounds of the English literature were cited as the major obstacles to learning. Students of any foreign ,literature need a constantly improved curriculum which uses methods aimed at overcoming and simplifying these major language and cultural differences. Data analysis also indicated that students perceived the lack of oral practice and lack of stimuli, such as the use of films and other colorful supplemental material, as major reasons for their difficulties. The study has implications for English instruction in Saudi Arabia and for future research. Samples of the students' and teachers' comments are included in the appendix.

Quel est le récit d’histoire littéraire québécoise que les étudiants retiennent à la fin de leur parcours collégial? Nous nous sommes intéressé à cette question. Par le biais d’un questionnaire, nous avons interrogé plus de 300 étudiants qui étaient à la fin de leurs études collégiales. Les réponses à ce questionnaire nous ont permis de tracer une ébauche du récit d’histoire littéraire québécoise, de mieux comprendre l’enseignement que les étudiants ont reçu et d’analyser ce récit. La première constatation que nous avons faite est que nous étions en présence d’une multitude de récits. En effet, il n’y a pas deux récits pareils et il y a une grande dispersion des résultats. Ensuite, ce qui a retenu le plus notre attention est l’absence de mise en intrigue. Les étudiants utilisent plusieurs éléments pour faire l’histoire de la littérature québécoise. Les plus importants sont : la Nouvelle-France, la littérature orale, le 19e siècle, le terroir, l’anti-terroir, le roman de la ville, les années 1960, la littérature migrante et la postmodernité. Mais il n’y a pas d’articulation entre ces éléments. Ils sont tous traités de façon autonome; nous avons l’impression d’être en présence d’un mur de briques sans mortier. L’absence de certains éléments semble expliquer la forme du récit : les étudiants font une histoire qui utilise seulement les courants, il y a une absence d’événements tant littéraires qu’historiques. Ils ne font pas de liens avec les autres littératures. Bref, les éléments pouvant servir à articuler un récit sont évincés. Il est donc difficile de considérer le récit des étudiants comme une histoire littéraire. / What history of Québec’s literature students hold on to at the end of their collegial studies? That’s the question that we asked ourselves. With the help of a questionnaire, we questioned 300 students that were at the end of their collegial studies. The responses to this questionnaire allow us to trace a draft of that story. Our first observation is that we are in the presence of a multitude of stories. Indeed, no story is similar to the other ones and a big dispersion exist in the results. Therefore, we realize that the stories are not “mis en intrigue”. The students use many elements to tell the story of Québec’s literature. The most important are : the Nouvelle-France, the oral literature, the 19e century, the “terroir”, the “anti-terroir”, the “roman de la ville”, the 1960’s, the migrant literature et the postmodernity. But nothing articulates these elements. They’re all self-sufficient; we have the impression to be in front of a wall of bricks without mortar. The absence of certain elements tend to explain the form of the story : the student tell a story that only use the “courant”, there is an absence of historic or literary events and they don’t make links with other literatures. In brief, all the elements that we could use to articulate a story are gone. In that case, it’s hard to considerate the story done by the students like a real history of Québec’s literature. Keywords :

<p>This thesis looks at conditions for selections of fictional texts in the Swedish subject in the upper secondary school. Three different empirical materials have contributed to the understanding of what conditions there are for the texts to enter the classroom. The first material consists of national policy documents from 1970 to 2005. Here there is a tendency that the student goes from being an object for knowledge to becoming a subject that creates his/her own knowledge. With this development the contents and the given aims with the subject become more abstract, which leads to the framework of the curriculum becoming wider and more difficult to interpret. Simultaneously the focus is moved from mediation of given knowledge, to the development of an identity for the individual.</p><p>The second material consists of debate and method articles from Svenskläraren, a magazine for members, published by an organisation of Swedish teachers. The study comprise articles from the same period of time as the national curricula. In the articles there are three tendencies reflecting the changes in the discourse of the Swedish subject. The first tendency shows how the overall ideological debate on the subject disappears during this period. The second tendency shows how discussions about the conceptions of the subject is replaced by more and more concrete examples of methods. The third tendency depicts that the concrete text selections have moved from being partly predetermined during the seventies to become debated during the eighties, to finally during the nineties end up in a situation where some texts has a sufficient cultural capital not to need justifications, whereas others need it.</p><p>The third material consists of interviews with, and observations of, four active teachers, in order to find what conditions there are for text selections in their rhetoric and practice. The results show a clear impression of informal institutional factors and of the school culture. However, this seems to decrease with experience. There are big differences in how the teachers speak about text selections and text use and what the result becomes in practice. Here professionalism in form of knowledge in subject didactics could have a vast impact.</p>

Quel est le récit d’histoire littéraire québécoise que les étudiants retiennent à la fin de leur parcours collégial? Nous nous sommes intéressé à cette question. Par le biais d’un questionnaire, nous avons interrogé plus de 300 étudiants qui étaient à la fin de leurs études collégiales. Les réponses à ce questionnaire nous ont permis de tracer une ébauche du récit d’histoire littéraire québécoise, de mieux comprendre l’enseignement que les étudiants ont reçu et d’analyser ce récit. La première constatation que nous avons faite est que nous étions en présence d’une multitude de récits. En effet, il n’y a pas deux récits pareils et il y a une grande dispersion des résultats. Ensuite, ce qui a retenu le plus notre attention est l’absence de mise en intrigue. Les étudiants utilisent plusieurs éléments pour faire l’histoire de la littérature québécoise. Les plus importants sont : la Nouvelle-France, la littérature orale, le 19e siècle, le terroir, l’anti-terroir, le roman de la ville, les années 1960, la littérature migrante et la postmodernité. Mais il n’y a pas d’articulation entre ces éléments. Ils sont tous traités de façon autonome; nous avons l’impression d’être en présence d’un mur de briques sans mortier. L’absence de certains éléments semble expliquer la forme du récit : les étudiants font une histoire qui utilise seulement les courants, il y a une absence d’événements tant littéraires qu’historiques. Ils ne font pas de liens avec les autres littératures. Bref, les éléments pouvant servir à articuler un récit sont évincés. Il est donc difficile de considérer le récit des étudiants comme une histoire littéraire. / What history of Québec’s literature students hold on to at the end of their collegial studies? That’s the question that we asked ourselves. With the help of a questionnaire, we questioned 300 students that were at the end of their collegial studies. The responses to this questionnaire allow us to trace a draft of that story. Our first observation is that we are in the presence of a multitude of stories. Indeed, no story is similar to the other ones and a big dispersion exist in the results. Therefore, we realize that the stories are not “mis en intrigue”. The students use many elements to tell the story of Québec’s literature. The most important are : the Nouvelle-France, the oral literature, the 19e century, the “terroir”, the “anti-terroir”, the “roman de la ville”, the 1960’s, the migrant literature et the postmodernity. But nothing articulates these elements. They’re all self-sufficient; we have the impression to be in front of a wall of bricks without mortar. The absence of certain elements tend to explain the form of the story : the student tell a story that only use the “courant”, there is an absence of historic or literary events and they don’t make links with other literatures. In brief, all the elements that we could use to articulate a story are gone. In that case, it’s hard to considerate the story done by the students like a real history of Québec’s literature. Keywords :

This thesis looks at conditions for selections of fictional texts in the Swedish subject in the upper secondary school. Three different empirical materials have contributed to the understanding of what conditions there are for the texts to enter the classroom. The first material consists of national policy documents from 1970 to 2005. Here there is a tendency that the student goes from being an object for knowledge to becoming a subject that creates his/her own knowledge. With this development the contents and the given aims with the subject become more abstract, which leads to the framework of the curriculum becoming wider and more difficult to interpret. Simultaneously the focus is moved from mediation of given knowledge, to the development of an identity for the individual. The second material consists of debate and method articles from Svenskläraren, a magazine for members, published by an organisation of Swedish teachers. The study comprise articles from the same period of time as the national curricula. In the articles there are three tendencies reflecting the changes in the discourse of the Swedish subject. The first tendency shows how the overall ideological debate on the subject disappears during this period. The second tendency shows how discussions about the conceptions of the subject is replaced by more and more concrete examples of methods. The third tendency depicts that the concrete text selections have moved from being partly predetermined during the seventies to become debated during the eighties, to finally during the nineties end up in a situation where some texts has a sufficient cultural capital not to need justifications, whereas others need it. The third material consists of interviews with, and observations of, four active teachers, in order to find what conditions there are for text selections in their rhetoric and practice. The results show a clear impression of informal institutional factors and of the school culture. However, this seems to decrease with experience. There are big differences in how the teachers speak about text selections and text use and what the result becomes in practice. Here professionalism in form of knowledge in subject didactics could have a vast impact.

Esse estudo trabalha com as formulações de Umberto Eco sobre a abertura poética e os limites da interpretação, as quais caracterizam um modelo de teorização sobre a plurissignificação/ambiguidade das obras artísticas e o entendimento de que as estratégias semióticas que essas obras veiculam não permitem toda sorte de interpretação, sendo necessário percorrer a intenção da obra e transformar o leitor empírico em estratégia textual (a noção de leitor-modelo). Além disso, o estudo defende que o pensamento econiano, ao privilegiar a atividade de interpretação como sendo uma negociação entre a intenção da obra e a intenção do leitor(-modelo), possa oferecer um tipo de aparato crítico-teórico que contribua, em sentido amplo, para as reflexões acerca do entendimento da figura do leitor em formação projetada em contextos de ensino de literatura. De modo a percorrer esses intentos, dividimos nossa pesquisa em quatro capítulos: o primeiro deles volta-se para a formulação principal sobre o modelo teórico-crítico econiano; o segundo, contém exemplos de experiências interpretativas que almejem uma aplicação do modelo em questão; o terceiro, foca-se na função do leitor no domínio desse modelo, segundo o qual o leitor passa a ser uma estratégia interpretativa; e o quarto capítulo delineia uma noção de autonomia do leitor que caiba nesse mesmo contexto. Outra parte importante do nosso estudo é a das “Considerações iniciais”, em que comentamos sobre as escolhas que orientaram a pesquisa em tela e também sobre as principais limitações filosóficas e teóricas do pensamento econiano visitado. / This study works with the notions of openness and the limits of interpretation formulated by Umberto Eco. These notions characterize a model of theorization of plurisignification/ambiguity of artistic works and also the understanding that the semiotic strategies which these works present do not allow for every kind of interpretation, being it necessary to percuss the intention of the text, and to transform the empirical reader in a textual strategy (the notion of model reader). In addition this study proposes that Eco’s critical/theoretical model, since it gives special attention to the activity of interpretation as a negotiation between the intention of the text and the intention of the (model)reader, might contribute in a broad sense to the understanding about the reader as beginner which is placed in literary teaching contexts. In order to undergo these attempts, we divided our research in four chapters. The first one targets the main formulation about Eco's critical/theoretical model. The second contains examples of interpretative experiences that aim at applying the theoretical model in question. The third focuses on the role of the reader in this model’s scope, in which the reader becomes an interpretative strategy. The fourth chapter delineates a notion of the reader’s autonomy that fits the same context. Another important part of our study is the “Initial considerations” in which we comment both on the choices that guided the research on screen and on the main philosophical and theoretical limitations of the Eco's thoughts. / Este estudio trabaja con las formulaciones de Umberto Eco sobre la abertura poética y los límites de la interpretación, las cuales caracterizan un modelo de teorización sobre la plurisignificación/ambigüedad de las obras artísticas y el entendimiento de que las estrategias semióticas que esas obras conducen no permiten toda la suerte de interpretación, siendo necesario recorrer la intención de la obra y transformar al lector empírico en estrategia textual (la noción de lector modelo). Además, el estudio sostiene que el pensamiento econiano, cuando favorece la actividad de la interpretación como una negociación entre la intención de la obra y la intención del lector(-modelo), puede ofrecer una especie de aparato crítico-teórico que contribuya, en sentido amplio, con la reflexión sobre la comprensión de la figura del lector en formación diseñada en los contextos de enseñanza de la literatura. Con el propósito de recorrer dichos intentos, dividimos nuestra investigación en cuatro capítulos: el primero de ellos se dirige para la formulación principal sobre el modelo crítico-teórico econiano; el segundo contiene ejemplos de experiencias interpretativas que pretenden una aplicación del modelo en cuestión; el tercero se centra en la función del lector en el dominio de dicho modelo, en el cual el lector pasa a ser una estrategia interpretativa; y el cuarto capítulo delinea una noción de autonomía del lector que corresponde a ese mismo contexto. Otra parte importante de nuestro estudio es el de las “Consideraciones iniciales”, en que comentamos sobre las elecciones que orientaron la presente investigación y también sobre las principales limitaciones filosóficas y teóricas del modelo econiano analizado.

Esse estudo trabalha com as formulações de Umberto Eco sobre a abertura poética e os limites da interpretação, as quais caracterizam um modelo de teorização sobre a plurissignificação/ambiguidade das obras artísticas e o entendimento de que as estratégias semióticas que essas obras veiculam não permitem toda sorte de interpretação, sendo necessário percorrer a intenção da obra e transformar o leitor empírico em estratégia textual (a noção de leitor-modelo). Além disso, o estudo defende que o pensamento econiano, ao privilegiar a atividade de interpretação como sendo uma negociação entre a intenção da obra e a intenção do leitor(-modelo), possa oferecer um tipo de aparato crítico-teórico que contribua, em sentido amplo, para as reflexões acerca do entendimento da figura do leitor em formação projetada em contextos de ensino de literatura. De modo a percorrer esses intentos, dividimos nossa pesquisa em quatro capítulos: o primeiro deles volta-se para a formulação principal sobre o modelo teórico-crítico econiano; o segundo, contém exemplos de experiências interpretativas que almejem uma aplicação do modelo em questão; o terceiro, foca-se na função do leitor no domínio desse modelo, segundo o qual o leitor passa a ser uma estratégia interpretativa; e o quarto capítulo delineia uma noção de autonomia do leitor que caiba nesse mesmo contexto. Outra parte importante do nosso estudo é a das “Considerações iniciais”, em que comentamos sobre as escolhas que orientaram a pesquisa em tela e também sobre as principais limitações filosóficas e teóricas do pensamento econiano visitado. / This study works with the notions of openness and the limits of interpretation formulated by Umberto Eco. These notions characterize a model of theorization of plurisignification/ambiguity of artistic works and also the understanding that the semiotic strategies which these works present do not allow for every kind of interpretation, being it necessary to percuss the intention of the text, and to transform the empirical reader in a textual strategy (the notion of model reader). In addition this study proposes that Eco’s critical/theoretical model, since it gives special attention to the activity of interpretation as a negotiation between the intention of the text and the intention of the (model)reader, might contribute in a broad sense to the understanding about the reader as beginner which is placed in literary teaching contexts. In order to undergo these attempts, we divided our research in four chapters. The first one targets the main formulation about Eco's critical/theoretical model. The second contains examples of interpretative experiences that aim at applying the theoretical model in question. The third focuses on the role of the reader in this model’s scope, in which the reader becomes an interpretative strategy. The fourth chapter delineates a notion of the reader’s autonomy that fits the same context. Another important part of our study is the “Initial considerations” in which we comment both on the choices that guided the research on screen and on the main philosophical and theoretical limitations of the Eco's thoughts. / Este estudio trabaja con las formulaciones de Umberto Eco sobre la abertura poética y los límites de la interpretación, las cuales caracterizan un modelo de teorización sobre la plurisignificación/ambigüedad de las obras artísticas y el entendimiento de que las estrategias semióticas que esas obras conducen no permiten toda la suerte de interpretación, siendo necesario recorrer la intención de la obra y transformar al lector empírico en estrategia textual (la noción de lector modelo). Además, el estudio sostiene que el pensamiento econiano, cuando favorece la actividad de la interpretación como una negociación entre la intención de la obra y la intención del lector(-modelo), puede ofrecer una especie de aparato crítico-teórico que contribuya, en sentido amplio, con la reflexión sobre la comprensión de la figura del lector en formación diseñada en los contextos de enseñanza de la literatura. Con el propósito de recorrer dichos intentos, dividimos nuestra investigación en cuatro capítulos: el primero de ellos se dirige para la formulación principal sobre el modelo crítico-teórico econiano; el segundo contiene ejemplos de experiencias interpretativas que pretenden una aplicación del modelo en cuestión; el tercero se centra en la función del lector en el dominio de dicho modelo, en el cual el lector pasa a ser una estrategia interpretativa; y el cuarto capítulo delinea una noción de autonomía del lector que corresponde a ese mismo contexto. Otra parte importante de nuestro estudio es el de las “Consideraciones iniciales”, en que comentamos sobre las elecciones que orientaron la presente investigación y también sobre las principales limitaciones filosóficas y teóricas del modelo econiano analizado.

Esse estudo trabalha com as formulações de Umberto Eco sobre a abertura poética e os limites da interpretação, as quais caracterizam um modelo de teorização sobre a plurissignificação/ambiguidade das obras artísticas e o entendimento de que as estratégias semióticas que essas obras veiculam não permitem toda sorte de interpretação, sendo necessário percorrer a intenção da obra e transformar o leitor empírico em estratégia textual (a noção de leitor-modelo). Além disso, o estudo defende que o pensamento econiano, ao privilegiar a atividade de interpretação como sendo uma negociação entre a intenção da obra e a intenção do leitor(-modelo), possa oferecer um tipo de aparato crítico-teórico que contribua, em sentido amplo, para as reflexões acerca do entendimento da figura do leitor em formação projetada em contextos de ensino de literatura. De modo a percorrer esses intentos, dividimos nossa pesquisa em quatro capítulos: o primeiro deles volta-se para a formulação principal sobre o modelo teórico-crítico econiano; o segundo, contém exemplos de experiências interpretativas que almejem uma aplicação do modelo em questão; o terceiro, foca-se na função do leitor no domínio desse modelo, segundo o qual o leitor passa a ser uma estratégia interpretativa; e o quarto capítulo delineia uma noção de autonomia do leitor que caiba nesse mesmo contexto. Outra parte importante do nosso estudo é a das “Considerações iniciais”, em que comentamos sobre as escolhas que orientaram a pesquisa em tela e também sobre as principais limitações filosóficas e teóricas do pensamento econiano visitado. / This study works with the notions of openness and the limits of interpretation formulated by Umberto Eco. These notions characterize a model of theorization of plurisignification/ambiguity of artistic works and also the understanding that the semiotic strategies which these works present do not allow for every kind of interpretation, being it necessary to percuss the intention of the text, and to transform the empirical reader in a textual strategy (the notion of model reader). In addition this study proposes that Eco’s critical/theoretical model, since it gives special attention to the activity of interpretation as a negotiation between the intention of the text and the intention of the (model)reader, might contribute in a broad sense to the understanding about the reader as beginner which is placed in literary teaching contexts. In order to undergo these attempts, we divided our research in four chapters. The first one targets the main formulation about Eco's critical/theoretical model. The second contains examples of interpretative experiences that aim at applying the theoretical model in question. The third focuses on the role of the reader in this model’s scope, in which the reader becomes an interpretative strategy. The fourth chapter delineates a notion of the reader’s autonomy that fits the same context. Another important part of our study is the “Initial considerations” in which we comment both on the choices that guided the research on screen and on the main philosophical and theoretical limitations of the Eco's thoughts. / Este estudio trabaja con las formulaciones de Umberto Eco sobre la abertura poética y los límites de la interpretación, las cuales caracterizan un modelo de teorización sobre la plurisignificación/ambigüedad de las obras artísticas y el entendimiento de que las estrategias semióticas que esas obras conducen no permiten toda la suerte de interpretación, siendo necesario recorrer la intención de la obra y transformar al lector empírico en estrategia textual (la noción de lector modelo). Además, el estudio sostiene que el pensamiento econiano, cuando favorece la actividad de la interpretación como una negociación entre la intención de la obra y la intención del lector(-modelo), puede ofrecer una especie de aparato crítico-teórico que contribuya, en sentido amplio, con la reflexión sobre la comprensión de la figura del lector en formación diseñada en los contextos de enseñanza de la literatura. Con el propósito de recorrer dichos intentos, dividimos nuestra investigación en cuatro capítulos: el primero de ellos se dirige para la formulación principal sobre el modelo crítico-teórico econiano; el segundo contiene ejemplos de experiencias interpretativas que pretenden una aplicación del modelo en cuestión; el tercero se centra en la función del lector en el dominio de dicho modelo, en el cual el lector pasa a ser una estrategia interpretativa; y el cuarto capítulo delinea una noción de autonomía del lector que corresponde a ese mismo contexto. Otra parte importante de nuestro estudio es el de las “Consideraciones iniciales”, en que comentamos sobre las elecciones que orientaron la presente investigación y también sobre las principales limitaciones filosóficas y teóricas del modelo econiano analizado.

Made available in DSpace on 2016-01-26T18:49:51Z (GMT). No. of bitstreams: 1 Paula Hanke_Dissertacao_22_07_213.pdf: 850073 bytes, checksum: 7381b0ff401e713fecd0dfcaee87cc12 (MD5) Previous issue date: 2013-05-15 / Esta pesquisa tem por objetivo analisar representações de professores de língua portuguesa do Ensino Médio no que se refere à discussão da sexualidade por meio do ensino de literatura. Esta análise busca compreender de que modo estes professores encaram um texto literário que aborda algum aspecto do tema sexualidade tanto no papel de leitores quanto no de docentes. Para esta pesquisa, foram selecionados 4 professores de língua portuguesa da rede pública de ensino do estado de São Paulo, da cidade de Presidente Prudente. A pesquisa é de cunho qualitativo e foi utilizada a entrevista semiestruturada como instrumento para obter as representações manifestadas pelos professores selecionados. A partir da obtenção das respostas dos professores à entrevista, foram feitas analises em duas etapas: as representações de cada professor discutidas por meio do referencial teórico utilizado nos primeiros capítulos desta dissertação; criação de categorias que exponham analiticamente os aspectos mais marcantes de suas representações presentes nas entrevistas no que diz respeito à leitura literária, ensino de literatura, discussão da sexualidade por meio da literatura, o tema literatura quando discutido em aulas de português e em momentos pontuais promovidos pela escola e leituras socialmente reguladas. Como resultados, foi possível perceber que os professores entrevistados acreditam na importância da discussão do tema sexualidade por meio da leitura literária em sala de aula. Contudo, ainda o consideram um assunto espinhoso a ser debatido no ambiente escolar, visto que os professores apresentam receio de uma possível reação hostil dos pais dos alunos.

The aim of this dissertation is to analytically discern different conversational genres within the teaching of literature, organized within the framework of the two school subjects in which Swedish is taught in upper secondary school, and to place this teaching of literature in a historical context by relating it to different conceptions of the Swedish subject. To be able to achieve this aim, a curriculum studies approach is combined with an ethnographical one. The ethnographical part of the study was conducted as a classroom study, including five different classes and teachers talking about literature, which took place during the school year 2003/2004 at three different schools in the middle of demographical Sweden. This part of the study also involved qualitative interviews with teachers and students concerning different factors which might have an effect on these conversations. The conversations of the study can be described as a part of the every-day-life of the teaching of those subjects, as the teachers organised these conversations in a way that they usually organise conversations of literature in their classes. However, what the teachers meant by talking about literature appeared to differ among them so radically that these conversations could be analytically discerned as four different conversational genres: The Teaching Examination, Text Oriented Talk, Culturally Oriented Talk, and Informal Book Talk. These four conversational genres are possible to analytically discern using the didactical tool, the analysis of conversational genres, which is developed in the dissertation in relation to Michail Bakhtin’s theory of speech genres. The curriculum part of the study comprises an analysis in three steps to place the teaching of literature in a historical context. In the first step national syllabuses for the subjects Swedish and Swedish as a second language are analysed. In the second step local syllabuses for the subjects are analysed. Finally, in the third step, the teachers’ thoughts, deliberations and ideals forming their teaching of literature are analysed. The teaching where conversational genres have been analytically discerned could then be related to different conceptions of the subject Swedish: Swedish as a Higher Subject of Bildung, Swedish as a Proficiency Subject, and Swedish as an Experience-based Subject. The analyses and discussions in the dissertation contribute to the discussions in the field of Subject-Didactics on the role of literature and conversation within the subjects of Swedish and Swedish as a Second language. Another contribution of the dissertation is the didactical tool, the analysis of conversational genres, which might be used by researchers and teachers for analysis and reflection on conversations in teaching.