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Engineering educators and industry professionals recognize the need for graduates to be effective communicators, yet the effective teaching of communication remains a persistent contemporary issue, with studies continuing to indicate that engineering graduates are insufficiently prepared for workplace communication. Despite compelling arguments that that writing should be treated as a situated activity, writing instruction is often separated from content instruction within engineering curricula. Even when they are integrated, it is often in a way does not optimally support improvement of students' writing skills. Writing studies scholarship identifies best practices that include treating writing as a process, with pedagogy that includes writing and revising drafts based on feedback and revision. However, writing assignments in engineering courses often not process-oriented. Challenges in addressing this problem include epistemology (i.e. instructors believe that learning to write and learning to engineer are separate skills), self-efficacy (i.e. instructors not feeling qualified to effectively provide feedback or writing instruction), and resources (i.e. inclusion of feedback and revision is unfeasible within key constraints of many engineering courses – limited instructor time and large student-faculty ratios). A potential solution is to use peer feedback, where students provide each other feedback on drafts, which can support a process approach while addressing these challenges. Research outside engineering has demonstrated that peer feedback can be as or more effective than instructor feedback; to bring that work into engineering, this study examines peer feedback in the context of a first-year engineering course through a quasi-experimental intervention in which feedback and revision were incorporated into an existing assignment using several variations of peer feedback. Interventions included two types of feedback training as well as feedback from single peers and multiple peers. Results support peer feedback in this context: it was statistically indistinguishable from instructor feedback when students were given sufficient instruction. Feedback from multiple peers, in fact was more effective than instructor feedback in improving writing quality, and in-class instruction was more effective than a handout only in helping students provide effective feedback. However, some general feedback recommendations – notably that readerly feedback should be encouraged directive feedback discouraged – were not supported. While writing studies literature encourages feedback that takes the position of the reader, readerly peer feedback reduced revision quality in this study. Directive feedback, on the other hand, caused improvements in writing quality, supporting previous hypotheses that the tightly-constrained genres in which engineers write justify more use of directive feedback. / Ph. D.

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In an attempt to better understand writing as process, this thesis blends textual genetics with observations from the holograph manuscripts of J.R.R. Tolkien’s first chapter of The Lord of the Rings. Tracking his revisions demonstrates complex revision techniques that can inform composition theory—especially revision studies. Discussed are revision terms and their applications, several of Tolkien’s revisions and their significance, and textual genetics as a lens to better understand an author’s motivations and influences. Some largely uncharted territory for composition studies is explored through examining Tolkien’s unique and multifaceted use of visual images to aid his writing process. In addition, Tolkien’s novels were part of an ecosystem which influenced his view of the fantasy genre and vice versa. All of these observations have profound implications for understanding the development of a text and for teaching writing.

O trabalho tem por objetivo realizar uma leitura de imagens a partir de dois projetos autobiográficos de Perec: W ou a memória da infância e Récits dEllis Island, levando em conta as relações entre texto literário, fotografia e memória autobiográfica. Essa leitura será marcada, sobretudo, pelas ideias de Barthes, já que ao longo dessa pesquisa serão citados diversos trechos do seu livro A câmara clara - Nota sobre a fotografia, a partir do qual o crítico nos levará a levantar alguns questionamentos concernentes à obra de Perec. Na primeira parte do trabalho, serão apresentadas algumas interações entre o texto de Perec e outras artes, partindo em seguida para a delimitação dessa interação entre texto e fotografia. Essa será a questão principal no trabalho, discutida detalhadamente em relação aos dois textos mencionados, na segunda parte em relação à W e na terceira em relação à Ellis Island. Nessas duas partes, o objetivo principal será investigar de que maneira as imagens fotográficas farão parte do processo de escrita e quais os desdobramentos dessa inter-relação na produção do texto literário. / The study aims to perform an image reading of two autobiographical projects by Perec: W, or the memory of childhood and Ellis Island, taking into account the relationship between the literary text, photography and autobiographical memory.This reading is led, mainly, by Barthes considerations, since many aspects brought to this study are originally taken from his text Camera Lucida - Reflections on photography, in which the critic supports us to raise some issues related to Perecs work. In the first part of the study some interactions between Perecs text and other arts are presented, so later this interaction is delimited to text and photography. This is the leading issue of the study, specifically discussed with regards to the two mentioned texts, i.e., in the second part related to W and in the third part related to Ellis Island. In these two sections, the main purpose is to investigate how the photographic images take part into the writing process and which are the consequences of this inter-relationship in the literary text production.

Desenvolver reflexões sustentadas na possibilidade do estranhamento acerca da adjacência da arte com a vida que partem de diferentes vivências clínicas circunscritas pela prática como terapeuta ocupacional, mas a extravasam por todos os lados. Esse é o enunciado desta pesquisa. A escrita é amparada na construção de narrativas, que intentam produzir enunciados coletivos e favorecer a constituição de um plano de duplo devir, onde ao mesmo tempo em que recria o vivido, o próprio narrador cria-se a si próprio. A seleção das cenas para se colocar em jogo inquietações e encantamentos advindos dos pontos de contato entre uma prática clínica e certos acontecimentos estéticos e/ou artísticos parte de achados da memória que emergem em seu caráter violento e indecifrável, que obriga a vida a transgredir-se a si própria e criar novos campos de alastramento. A exploração do tema parte de dois lugares de enunciação e ancoragem, apresentados como Plataforma Arte e Estação Clínica. A Plataforma Arte se ocupa de percorrer passagens de estado na história da arte que ajudam a pensar a transitoriedade das certezas sobre a produção estética e sua indissociabilidade com acontecimentos de ordem política e social. A história é pensada a partir do ponto de vista de Walter Benjamin, ou seja, como um discurso que é sempre do colonizador, ao que caberia então escovar a história a contrapelo, buscando uma história menor dentro de uma história maior. Trabalhos de artistas, cenas da experiência como monitora da 27a Bienal de São Paulo Como Viver Junto e da prática profissional são mobilizadas para favorecer a construção de um pensamento contemporâneo da arte, entendido como aquele que, em seu caráter estrangeiro, permite a liberação de novas possibilidades da experiência; a escritura de outras histórias. Essa conceituação aproxima-se inevitavelmente de um posicionamento ético-político, o que justifica sua relevância para a pesquisa. A Estação Clínica, por sua vez, passeia por cenas de atendimentos feitos em Centros de Atenção Psicossocial (CAPS) da cidade de São Paulo e outras advindas de situações cotidianas quaisquer. Os pontos de atenção são aqueles nos quais algo se desencaixa sutilmente do previsto e onde, a despeito das funções institucionalmente designadas, não se sabe mais ao certo quem acompanha quem. Ditos de outros, tais como Barthes, Deleuze, Guattari, Agamben, Blanchot e Walter Mignolo; e conceitos como o silêncio, a delicadeza, o eterno retorno, o acontecimento, a comunidade que vem; comparecem ao longo da pesquisa como amizades que partilham encantos, permitem e acompanham minúsculas conexões que se fazem na tentativa de desobrigar a vida de seus aprisionamentos. Ao invés da linha de chegada, trata-se aqui da declaração e perseguição de um desejo, o qual se delineia a partir do olhar para o que se dá entre elementos estabelecidos e deles desmanda. Trata-se da afirmação da fronteira como lugar onde se pode, eventualmente, experimentar liberações que fortalecem a vida em sua potência de criação de si, e de uma comunidade que vem. / This research aims to develop reflections sustained by the feeling of strangeness as a possibility on the contiguity of art and life, from clinical experiences in occupational therapy and the context beyond them. Narratives support the writing process in the attempt of producing collective enunciations and with the purpose of constructing a pattern of double becoming, in which the narrator recreates the experience at the same time that he creates himself. The selection of scenes was based on memory findings in order to reveal inquietudes and delights resulting from points of contact between clinical practice and certain esthetic and/or artistic events. Those memories findings emerge with their violent and undecipherable nature, forcing life to trespass itself and creating new spreading fields. The theme is explored from two points of enunciation and anchorage, presented here as Art Platform and Clinical Station. Art Platform deals with passages of state in History of Art, considering the transience of certainty on esthetic production and its inseparability from political and social events. History is interpreted according to Walter Benjamin, i.e., as a speech that always belongs to the colonialist, what gives us the task to brush history against the grain, looking for a minor history within a major one. Works of art, scenes from the author\'s experience as a staff member of 27th São Paulo Art Biennial How to live together and her professional practice are mobilized towards the production of a contemporary concept of Art, understood by its foreign nature, which allows new possibilities of experience and the writing of new histories. This concept is inevitably linked to an ethical and political point of view, what justifies its importance in this work. Clinical Station, by its turn, encompass scenes from clinical sessions performed by the author at CAPS (Centros de Atenção Psicossocial/ Psychosocial Care Centers) in São Paulo and other scenes from everyday life. The focus is directed to scenes in which something is subtly displaced from what is expected and when, in despite of institutional functions, it is impossible to distinguish who accompanies who. This research includes thoughts of Barthes, Deleuze, Guattari, Agamben, Blanchot and Walter Mignolo; and concepts such as silence, delicacy, eternal return, event, community that comes. They appear throughout the research in the context of friendships that share delight, allow and accompany minuscule connections made in attempt to release life from its imprisonments. Instead of reaching for a finish line, this research aims to declare and search for a desire, outlined from the regard to what happen with and what trespass established elements. It is about affirming boundaries as places where it is possible to experience releases that empower the creation in life itself and of a community that comes.

Essa é uma pesquisa sobre meu processo de criação dramatúrgica a partir de minha experiência junto à comunidade haitiana no Rio Grande do Sul. Através das ferramentas de relatos de experiência, inspirados no método etnográfico, e do caderno de rascunhos, realizei quatro escrituras dramatúrgicas: Parada Cristal, Coordenadas, manual para criar uma casa no LIMBO, e limbo. A experiência junto à comunidade haitiana através de entrevistas de história oral, aulas de português e aulas de teatro culminaram em uma dramaturgia preocupada com questões sobre local de fala e a desaprendizagem (SPIVAK, 2010), com uma noção mais ampla do entendimento de cultura (GEERTZ, 1989) na época de imigração constante em que vivemos, em um momento de diáspora cultural (HALL, 2003). Repenso a própria noção de dramaturgia através de autores como Joseph Danan, Jean-Pierre Sarrazac e Bernard Dort e de um mergulho em meu processo como dramaturga. E chego à conclusão de que dramaturgia é a organização daquilo que chamo de pensamento-ação. Emprego as formas de linguagem poetisante (NAUGRETTE, 2003), coralidade, oralidade, monólogo, desvio (SARRAZAC, 2012) em prol da criação de uma dramaturgia na qual pude observar uma pulsão rapsódica (SARRAZAC, 2013). Também trabalho novas formas de utilizar as didascálias ao longo das escrituras dramatúrgicas: didascálias poéticas, didascálias de intervenção e didascálias-narradoras. Ao longo desse processo de criação, descubro um estado de fluxo, de jorrar da escrita chamado de estado de inundação da escrita. Esse estado é crucial para a criação de uma escritura dramatúrgica, para transbordar o pensamento-ação no papel. / This is a research about my dramaturgical creative process from my experience with the Haitian community in Rio Grande do Sul. Through the tools of experience reports, inspired by the ethnographic method and the sketchbook, I performed four dramaturgic writings: Parada Crystal, Coordinates, manual to create a house in LIMBO, and limbo. The experience with the Haitian community through oral history interviews, Portuguese lessons and drama classes culminated in a dramaturgy concerned with questions about standpoint issues and unlearning (SPIVAK, 2010), with a broader notion of the understanding of culture GEERTZ, 1989) in the period of constant immigration in which we live, at a time of cultural diaspora (HALL, 2003). I rethink the very notion of dramaturgy through authors such as Joseph Danan, Jean-Pierre Sarrazac and Bernard Dort, and a dip in my process as a playwright. And I come to the conclusion that dramaturgy is the organization of what I call action-thought. I use the forms of poetising language (NAUGRETTE, 2003), choir, orality, monologue, deviation (SARRAZAC, 2012) for the creation of a dramaturgy in which I could observe a rhapsodic drive (SARRAZAC, 2013). I also work on new ways of using didaschalias throughout the dramaturgical writings: poetic didaschalias, didaschalias of intervention and didaschalias-narrators. Throughout this process of creation, I discover a state of flow, of flowing from the writing called the flood state of writing. This state is crucial to the creation of a dramaturgical writing, to overflow the action-thought on paper.