I denna uppsats gör vi en komparativ analys av Lewis Carrolls (1865) originalversion Alice i Underlandet med en bilderboksversion av Susie Linn (2015). Syftet är att undersöka vad som skett efter att en adaption har genomförts från kapitelbok till bilderbok. Vi tittar på vilka skillnader och likheter det finns mellan böckerna, och det inkluderar även karaktärerna, vilka är Alice, den vita kaninen, kålmasken/fjärilslarven och Cheshirekatten, samt tre episoder, tebjudningen, krocketturneringen och rättegången. Analysens resultat visar att böckerna följer samma kronologi, men i bilderboken som en komprimerad version. Det finns vissa delar som är borttagna efter adaptionen till bilderboken men de mest kända episoderna är kvar. Resultatet visar även att karaktärerna har fått en mildare framtoning i bilderboken jämfört med kapitelboken. Vi kan också konstatera att litteraturen är relevant till att använda i undervisningen i förskoleklass upp till årskurs 3.

This thesis intervenes in current critical debates about space, place and landscape in late-twentieth and twenty-first century British and Irish poetry, by examining models of excavation in selected work by Geoffrey Hill, Ciaran Carson, Geraldine Monk and Alice Oswald. It argues that the influence of the spatial turn on literary criticism over the last thirty years has led to the deployment of a limited set of spatial tropes as analytical tools for interpreting the spaces and places of poetry. By deploying excavation as a critical method it seeks to challenge existing approaches that tend to privilege ideas of space over time, and socio-spatial practices over literary traditions of writing place. In doing so it develops a new model for reading contemporary poetries of place that asserts the importance of locating spatial criticism within temporal and literary-historical frameworks. The four poets examined in the thesis exhibit a common concern with unearthing the strata of language as well as material space. Starting from a premise that excavation always works over the ground of language as well as landscape it investigates the literary traditions of landscape writing in which each of these poets might be said to be embedded. After surveying the critical field the thesis sets out four principles of excavation that it argues are transformed and renewed by each of these poets: the relationship between past and present; recovery and interpretation of finds; processes of unearthing; exhumation of the dead. The subsequent chapters contend that these conventions are put into question by Geoffrey Hill’s sedimentary poetics, Ciaran Carson’s parodic stratigraphy, Geraldine Monk’s collaborations with the dead, and Alice Oswald’s geomorphology of a self-excavating earth. The critical method that underpins the discussion in each of the chapters is also excavatory in that it unearths both the historical and literary strata of specific sites (the Midlands, Belfast, East Lancashire, Dartmoor and the Severn estuary) and resonances in the work of earlier poetic excavators (Paul Celan, Edward Thomas, Gerard Manley Hopkins, William Wordsworth, Dante Alighieri and Homer). Through careful exegesis of these poets and their precursors this thesis demonstrates that by transforming existing forms of excavation, contemporary poetry is able to renew its deep dialogue with place and literary history.

Made available in DSpace on 2015-01-26T13:21:15Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-07-11Bitstream added on 2015-01-26T13:30:57Z : No. of bitstreams: 1 000804461.pdf: 1300341 bytes, checksum: eafb78ea7601029014a11f66c63e98f8 (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Nesta dissertação, perpassamos a produção historiográfica de Alice Piffer Canabrava (1911-2003) a partir das principais preocupações da História da Historiografia. Privilegiamos o período compreendido entre 1935, ano de ingresso de Canabrava no curso de Geografia e História da Faculdade de Filosofia, Ciências e Letras (FFCL) da Universidade de São Paulo (USP), e 1961, ano de fundação da Associação dos Professores de História do Ensino Superior (APUH), atual ANPUH, na FFCL de Marília-SP, da qual essa historiadora foi uma de suas fundadoras. Procuramos compreender a Escrita da História de Alice Piffer Canabrava através da noção de operação historiográfica formulada pelo historiador-jesuíta Michel De Certeau. O lugar formativo de Canabrava, qual seja, os cursos das várias Cadeiras da V subseção de Geografia e História da II seção de Ciências da FFCL da USP durante o período em que foi aluna da graduação, entre 1935 e 1937, nos auxiliou a compreender várias de suas escolhas e práticas historiográficas, como suas noções de História e Documento, bem como um conhecimento de larga mobilização: a Geografia de matriz vidaliana. Também demarcamos o concurso para a Cadeira de História da Civilização Americana de 1946 como ponto fulcral da trajetória intelectual de Alice Canabrava, uma vez que após ser preterida neste certame, estabeleceu-se na Faculdade de Ciências Econômicas e Administrativas (FCEA) da USP, fundada no mesmo ano. Esse novo lugar lhe forneceu os subsídios para incorporar a Ciência Econômica em sua produção historiográfica. Esperamos que este trabalho possa contribuir para a compreensão de um momento ímpar da História da Historiografia brasileira: da constituição da produção historiográfica no âmbito universitário / On this dissertation, we pervade the historiographical production of Alice Piffer Canabrava (1911-2003) from the major concerns of History of Historiography. We privilege the period comprehended between 1935, the year of Canabrava‘s join in the Geography and History‘s graduation on the Faculty of Philosophy, Sciences and Letters (FFCL) of São Paulo University (USP), and, 1961, the foundation year of the Higher Education Professores on History Association (APUH), in the FFCL of Marília-SP. We have tried to comprehend Alice Piffer Canabrava‘s Writing History trough the notion of Michel De Certeau‘s historiographical operation. The Canabrava‘s formative place, which is, the several Chairs‘ classes of the V sub section on Geography and History of II Sciences section of USP‘s FFCL during the period in which she was a student, between 1935 and 1937, helped us to comprehend her choices and historiographical practices, like her notions of History and Document, as well as a long term mobilization knowledge: the vidalian Geography. We also have demarcated the 1946‘s competition for the American Civilization History as the focal point of Alice Canabrava‘s intellectual trajectory, once after having been deprecated on this event, settled down on the Faculty of Administration and Economics Sciences, founded in the same year. This new place provided her aids to incorporate Economics on her historiographical production. We expect that this work can contribute to the comprehension of a special moment the History of Historiography: the constitution of university historiographical production

Submitted by OISE DE OLIVEIRA MATTOS BAZZOLI null (oise.bazzoli@yahoo.com.br) on 2016-07-13T02:16:10Z No. of bitstreams: 1 Dissertação final conferida.pdf: 1405978 bytes, checksum: b7fb12e30e61115862c45b416fe0cf44 (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-07-14T16:52:42Z (GMT) No. of bitstreams: 1 bazzoli_oom_me_arafcl.pdf: 1405978 bytes, checksum: b7fb12e30e61115862c45b416fe0cf44 (MD5) / Made available in DSpace on 2016-07-14T16:52:42Z (GMT). No. of bitstreams: 1 bazzoli_oom_me_arafcl.pdf: 1405978 bytes, checksum: b7fb12e30e61115862c45b416fe0cf44 (MD5) Previous issue date: 2016-05-20 / Esta pesquisa tem como objetivo principal analisar, sob o ponto de vista da narratologia, três contos: “The Peace of Utrecht”, “Meneseteung” e “Fiction”, presentes, respectivamente, nas coletâneas Dance of the Happy Shades (1968), Friend of my Youth (1991) e Too Much Happiness (2009), da escritora canadense contemporânea Alice Munro, vencedora do Prêmio Nobel de Literatura em 2013, cujos contos, elaborados de forma renovada, são caracterizados pelos finais em aberto, contém descrições realistas do sudoeste de Ontário, retratam cenas familiares que facilitam a introdução do estranho, do misterioso, do desconhecido e até fantástico. Esta união, do familiar e do estranho, cria um senso de ironia e duplicidade de observação em relação a lugares e às pessoas, permitindo que se explore a luta canadense com a identidade evidenciada na escritora. A ambivalência que Munro sente como escritora é uma de suas preocupações pessoais que contribuem para essa profundidade emocional e vivacidade em sua ficção. Algumas de suas melhores histórias expressam sentimentos que provocam questionamentos em qualquer leitor mais sensível e que são, ao mesmo tempo, explorações e descobertas da própria emoção da autora. Para o desenvolvimento deste estudo, apoiamo-nos nas reflexões de Osman Lins, Bachelard, Ozíris Borges Silva no que diz respeito à espacialização da narrativa, como também em estudos de Bakhtin que explora a ideia de cronotopo. Também constitui objetivo identificar os momentos de epifania e os elementos góticos que atuam na configuração das personagens de Munro. / The main goal of this paper is to analyse, from the point of view of narratology, three short stories: “The Peace of Utrecht”, “Meneseteung” and “Fiction”, present, respectively, in the collections Dance of the Happy Shades (1968), Friend of my Youth (1991) and Too Much Happiness (2009), from the contemporary Canadian writer Alice Munro, winner of the 2013 Nobel Prize in Literature, whose short stories, elaborated in a renewed way, are characterized by open ends, have realistic descriptions of southwest Ontario, depict familiar scenes that facilitate the introduction of the strange, the mysterious, the unknown and even the fantastic. This connection of the familiar and the strange, creates a sense of irony and duplicity in observation concerning places and people, allowing that the Canadian fight for identity is evidenced. The ambivalence Munro feels as a writer is one of her personal concerns that contribute to emotional and vivacious depth in her fiction. Some of her best stories show feelings that raise a lot of questions in any sensitive reader and that are, at the same time, the writer´s explorations and discoveries. To the development of this study, we will base our reflections in Osman Lins, Bachelard and Ozíris Borges Silva concerning narrative space as well as Bakhtin that explores the idea of cronotopos. It is also the aim of the paper to identify the epiphanic moments and the gothic elements that act in the description of Munro´s characters.

Made available in DSpace on 2016-12-09T13:52:16Z (GMT). No. of bitstreams: 0 Previous issue date: 2010. Added 1 bitstream(s) on 2016-12-09T13:55:20Z : No. of bitstreams: 1 000871323.pdf: 395521 bytes, checksum: 483ed1cc0892c0fb633f6edbd9749811 (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Emerging Leaders in the Americas Program (ELAP) / Este trabalho tem como objetivo demonstrar que o ponto central unificador dos contos Chaddeleys and Flemings e The Moons of Jupiter, do volume The Moons of Jupiter, de Alice Munro, é o uso das associações que ligam o retorno ao passado através da narrativa de uma protagonista adulta, que reconta alguns fatos ocorridos em sua infância e em sua vida familiar. Nesta trajetória, o que é revelado é o conflito feminino na busca por outros papeis além de esposa e mãe. As estratégias narrativas usadas pela autora canadense para obter este resultado estão fundamentadas no uso da memória por suas personagens. Para demonstrar como isso funciona no texto de Munro, os estudos freudianos são utilizados na análise, enfatizando o trabalho e a força do inconsciente manifesta no exercício de anamnese da protagonista-narradora. / This thesis aims to demonstrate that the unifying central point of the short stories Chaddeleys and Flemings and The Moons of Jupiter, from the volume The Moons of Jupiter, by Alice Munro, is the use of associations that link the return to the past through the narrative of the adult protagonist, who retells some facts occurred in childhood and those related to family life. In this trajectory, what is revealed is the women's conflict by seeking other roles than that of wife and mother. The narrative strategies used by the Canadian author to achieve this result are founded in the use of memory by her characters. To show how that works in Munro's text, Freudian studies are used in the analysis, emphasizing the work of the unconscious force manifested in the exercise of anamnesis of the protagonist-narrator.

This essay is about how to achieve the course goals of English A, at upper secondary school, by using literature. The novel Go Ask Alice is targeted and a number of exercises are presented as different examples of how to achieve course goals.

It seems unwise to compare Eileen Chang and Alice Munro, because at first glance the urban traits of Chang's Shanghai and Hong Kong romances are dissimilar to the rural idiosyncrasies of Munro's southwestern Ontario stories. However, both the female writers describe in their fiction the women characters' romantic fantasies and their interrelationships with reality. In Chang's Romances, in the westernized and commercialized cosmopolitan set, a new age is coming, and the traditional patriarchal familial and moral systems are disintegrating. The women try to escape from frustrating circumstances through the rescue of romantic love and marriage. In Munro's fiction, the women attempt to get ride of their banal small-town cultures in order to search for freedom of imagination and expression through the medium of art, although at ; the center of their quest for selfhood is always their love and hate relationship with men. The women are in the dilemma of "female financial reality" and romantic love; they express their desires and fears through immoral and abnormal love relationships and vicarious escapades in their imagination; their interpretation of life and love is in reference to art in general, but such interpretation is full of disguise. Only in their unbound daydreams and imagination can they express their desires freely. Alice Munro and Eileen Chang's fictional worlds bespeak a sense of femininity. / Arts, Faculty of / English, Department of / Graduate

This narrative inquiry explores the implementation of multimodal, aesthetic responses to literature in my 12th grade English Language Arts classroom during the spring of 2018. Specifically, the study examines a unit of study for the novel The Color Purple, in which student received arts-based instruction from three different guest teaching artists and were asked to create multimodal final projects that expressed their understanding of the novel. Informed by social semiotic multimodality, the aesthetic theories of Dewey and Rosenblatt, and Bakhtin’s dialogism, this dissertation investigates the ways in which multimodal response to literature serves as a mechanism for making meaning and relevance for students. In light of the dominance of verbocentric modalities of constructing and expressing meaning within institutional schooling, this study explores the possibilities of non-verbocentric modalities and their potential role within the ELA classroom. Examining my data – field notes, audio recordings, video recordings, student surveys and student artifacts – through the lenses of the creation-reflection semiotic cycle (Dewey), and of modal affordances and modal fixing (Kress), I conclude that multimodal response can provide students with important mechanisms for understanding and engaging with literature. Specifically, I lay forth guiding principles for anchoring multimodal response to literary meaning, and for using multimodal response to invite students into the discourse community of the classroom.

The Color Purple (1982) is a well-known feminist work of literature written by the ‘womanist’ Alice Walker. This analysis sought to analyse Walker’s novel in order to identify and discuss the criticism of patriarchal power relations in the novel. This was done by looking closely at the character of Celie and the characters around her, focusing on, especially, the female characters’ empowerment but also on how the male characters are liberated from patriarchy. The observations were then analysed through a filter based partly on feminist criticism and partly on psychoanalytic concepts adopted and interpreted by feminists. The relevant narrative and story arcs were also analysed through the lens of Walker’s brand of feminism called womanism to explore the importance of female bonding and sisterhood for gaining power and overcoming oppression. In the end, it was concluded that the novel displays an overt breakdown of patriarchy as a destructive force and provides the ideology of womanism as an alternative to the patriarchal ideology.

The ALICE (A Large Ion Collider Experiment) detector at the CERN Large Hadron Collider (LHC) is dedicated to studying the deconfined medium called the quark-gluon plasma (QGP), which is formed at extreme energy densities in heavy-ion collisions. ALICE can study hadrons, photons, electrons and muons up to the highest multiplicities expected at the LHC and down to very low transverse momentum (p_T ~ 30 MeV/c) by employing excellent particle identification (PID) and tracking over a broad momentum range (p ~ 100 MeV/c – 100 GeV/c). It consists of the central barrel which covers mid-rapidity (|y|< 0.9) and the Muon Spectrometer covering the forward rapidity region (2.5<y<4). The Muon Spectrometer detects dimuons decaying from heavy quarkonia (e.g. J/Ψ) which are hard, penetrating probes as well as high-p_T single muons from W^± bosons which are initial-state observables. These probes are essential tools for determining medium induced effects and studying the initial conditions of the interaction. The W^± boson has a high mass of M_W = 80.385 ± 0.015 GeV and is therefore formed in the early stages of the collision. It decays to single muons (μ^±←W^±) which are detected in the high-p_T region (30 – 80 GeV/c). The high centre-of-mass energies (√s) obtained during proton-proton (pp) and lead-lead (Pb-Pb) collisions at the LHC are sufficient for the formation of the W^± boson. Due to the increase in luminosity for the LHC in 2011 it is now thought possible to perform a data analysis of the W^± boson in ALICE. The results can then be compared to previous performance studies and to results from other LHC experiments (ATLAS, CMS and LHCb). As a first requirement of the analysis, the effect of the alignment of the Muon Spectrometer has to be determined. Misalignment of the Muon Spectrometer could result in a systematic uncertainty in the measurement of the muon track, thereby influencing the efficiency of the detector. By analysing simulations of W^± boson signals generated with PYTHIA in pp collisions at √s = 8 TeV with ideal and residual misalignment configurations of the detector, these alignment effects on the p_T and pseudorapidity (η) distributions, as well as the ratio (μ^+←W^+)/(μ^-←W^- ) (charge asymmetry) were studied using the AliROOT framework. It was found that the misalignment does cause a systematic uncertainty in the p_T distributions and charge asymmetry, especially in the region p_T > 40 GeV/c where the systematic uncertainty grows above 50 %. Analyses of Pb-Pb collisions conducted in 2011 at √(s_NN ) = 2.76 TeV were then performed on data reconstructed with original alignment information and data refitted with improved alignment information. They were compared to establish the effect of alignment on the single muon distributions. The improved alignment has a limited effect in the high-p_T region and therefore also on possible W^± boson studies. Due to lack of statistics at high-p_T the W^± boson signal and the nuclear modification factor (R_AA) could not be extracted, but it is foreseen that the extraction will later be possible with the use of 2012 pp and Pb-Pb data. / Dissertation (MSc)--University of Pretoria, 2013. / Physics / unrestricted