The thesis will provide suggestion for cooperation of a kindergarten and a family in contemporary life conditions by the means of authorial musical dramatic script. The diplomate will partially utilise results of her bachelor's thesis that she will elaborate theoretically, methodically and practically. She will carry out the pedagogical-psychological characteristics of a preschool age child from the point of view of his or her ethical profile and aesthetic feeling creation especially through the medium of project teaching. The practical part will consist of authorial script that the student will design as an integration of musical, dramatic and artistic activities in a creative cooperation of preschool age children, parents, grandparents and other contributors. The results of this thesis will be realised artistically and publicly. The diplomate will examine the efficacy of this artistic aesthetic aim by the means of analysis authorial script, surveys and interviews with actors and the audience.

Les fins du voyage chez Peter Fleming sont entendues comme déclins, comme lignes de rupture, comme aboutissements, comme principes moteurs et comme finalités. Trois pistes sont explorées pour comprendre ces fins ; la première postule une volonté anesthétique de la part de l’auteur : la finalité de nier son expérience esthétique et en même temps de rechercher l’extrême en tant qu’anesthésique, en tant que palliation, reproduction et transfert d’expériences traumatiques. La seconde concerne son utilisation de l’art rhétorique pour reproduire et en même temps se jouer des conventions et des attentes du lecteur. On peut parler ici d’une psychologie inversée qui va lui permettre de brouiller ses pistes, de multiplier les interprétations potentielles et de réfléchir son identité de manière protéiforme. Enfin, la troisième propose l’étude des aspects dunamiques de ses récits – un néologisme faisant référence à la sphère de la potentialité. Ce modèle permet de construire une analyse littéraire et anthropologique des alternatives pensées, envisagées et narrées par l’auteur qui va complémenter celle des discours et des itinéraires actualisés. L’identité auctoriale est définie dans ce contexte comme un espace intermédiaire, trans-mondes et hétérotopique, qui se situe entre tous les possibles et ce qui est. / The ends of travel in Peter Fleming’s works are seen as declines, lines of rupture, outcomes, driving principles and goals. Three paths are explored to understand these ends. The first postulates an anaesthetic intention on the part of the author: the purpose of denying his aesthetic experience and at the same time of seeking extreme sensation as an anesthetic, as palliation, reproduction and transfer of traumatic experience. The second focuses on his use of rhetorical art to reproduce and, at the same time, to play with the conventions and expectations of the reader. His use of reverse psychology allows the creation of a broad spectrum of interpretations and the projection of his identity in a protean manner. Finally, the third aims at analyzing the dunamic aspects of his narratives – a neologism referring to the sphere of potentiality. This model allows the literary and anthropological analysis of the potential alternatives contemplated, suggested and narrated by the author, one that is meant to complement the study of his actual itineraries and discourses. Authorial identity is defined in this context as an intermediate, trans-world and heterotopic space which lies between what is and everything that could be.

This essay considers the interplay between character narrators, the implied author, and the authorial audience in Octavia Butler’s Parable of the Talents. The aim of the study was to investigate how narrators, the implied author, and readers position themselves in relation to each other and in relation to the novel’s ethical dimensions. The theoretical framework is based on James Phelan’s theories on the rhetorical and ethical aspects of fiction. The essay argues that the implied author’s communication to the authorial audience is one of the reasons that the novel, like its prequel Parable of the Sower, often succeeds to function as warnings to the audience of dangers ahead. This is especially true regarding one of the implied author’s most consistent messages to the audience throughout the Parable novels: every choice has consequences, and those consequences need to be considered when we decide how to act and react in different circumstances, both as individuals and as a society.

No description available.

Esta tese de doutorado apresenta um estudo e formulações teóricas sobre o conceito de espect-autoria e defende os conceitos de Poética da Autoria Aberta, Poética da Autoração e Poéticas em Coletividade como praxis artística de apropriação dos dispositivos de produção das representações sociais, no contexto da autoria dos espectadores nas artes participativas e interativas. Numa transferência interdisciplinar de conceitos a exemplo do conceito espect-autor de Gellouz (2007), o estudo propõe as noções de autorabilidade, obra autorável, agenciamento autoral do espectador e trinômio produção/recepção/produção bem como os conceitos formulados de função-espect-autor, espect-autor em coletividade, particip-autor, inter-autor e trans-autor, que privilegiam a noção de autoria em suas notações, configurando uma taxonomia mais apropriada para compor um vocabulário que permita designar e compreender a noção de espect-autoria, ou seja, a produção autoral dos espectadores, enquanto forma, repertório e significados, nas obras cuja abertura poética propõe desafios autorais aos seus espectadores. A principal referência artística e fonte desta pesquisa é a série Autorretrato Coletivo (1987-), um conjunto de obras participativas e interativas que eu proponho como repositório dialógico e polifônico da identidade coletiva, tendo como princípio a apropriação dos espectadores enquanto autores de suas identidades no corpus da obra. Em suma, a função-autor exercida pelos espectadores, mais precisamente a sua função-espect-autor, em processos de criação/co-criação ou recriação (por recombinação e/ou repertoriação) no contexto das artes participativas e interativas, tem profundas implicações para nossa compreensão da evolução da arte como um fenômeno coletivo. / This thesis presents a study and theoretical formulations about the concept of spect-authorship on participatory and interactive artworks and defends the concepts of Poetics of the Open Authorship, Authoring Poetics and Multi-Poetics in Collectivity as artistic praxis of apropriation of the production devices of the social representations in the context of the spectators authorship in the participatory and interactive arts. Through an interdisciplinary transfer of concepts as Gellouz concept of spect-author (2007) , this study proposes the notions of authorability, authoriable artwork, authorial agency of the spectator, trinomial production/reception/production as well the concepts of function-espect-author, spect-author in collectivity, particip-author, inter-author and trans-author, which privilege the notion of authorship, setting a taxonomy more appropriate to compose a vocabulary that describes and increases the understanding of the concept of spect-authorship, the authorial production of the spectators as form, repertory and meanings, in the artworks whose poetic openness proposes authorial challenges to their spectators. The main artistic reference and source of this research is the series Collective Self-Portrait (1987-), a set of participatory and interactive artworks that I propose as a dialogic and polyphonic repository of the collective identity, based on the principle of appropriation of the spectators as authors of their own identities in the corpus of the artwork. Summing up, the author-function experienced by the spectators, more precisely their spect-author-function, in creation/co-creation or recreation process in the context of participatory and interactive arts, holds profound implications for our understanding of art evolution as a collective phenomenon.

The work confronts prosaic pieces with noticeable autobiographical features. It deals namely with works of Edgar Dutka, Eliška Vlasáková and Antonín Bajaja. It was not a coincidence to choose right these three Czech authors. They have quite a few features in common. They all belong to the same generation. They are born in the 40's of the 20th century, so they have spent an essential part of their lives (childhood, adolescence and substantial part of their working age) in the second half of the 20th century - in the time of political convulsions and social changes. A childhood spent during this period has become their common literary theme. They all make their memories a literary piece. Each of them does it in a different way and with a different amount of accuracy. Their inspiration comes from their real life, from their memories. The next common feature of these three authors is that they all wrote some of their texts without a vision to make them public. They wrote them for themselves. Book editions were carried out after the year 2000. Last but not least mutual fact is that all of these three authors have been nominated for a prestigious literary price. Edgar Dutka's works show the interdigitation of fictional worlds and also the diffusion of these worlds in the real life of the author. Eliška...

Des d'una perspectiva situada de la cognició, i concebent l'escriptura com una activitat social i culturalment mediada (Camps i Castelló, 1996; Candlin & Hyland, 1999; Lea & Stierer, 2000; Flowerdew & Peacock, 2001; Johns, 2002; Castelló, Iñesta i Gonzalez, 2008), hem plantejat un estudi comparatiu de dos casos centrat en una tasca autèntica com és l'escriptura d'articles de recerca en condicions ecològiques. Els objectius específics que ens hem plantejat són:1. Identificar, caracteritzar i comparar les activitats de regulació que els nostres escriptors posen en marxa en el procés d'escriptura dels articles de recerca en castellà com a primera llengua (L1) i en anglès com a llengua internacional (ALI) 2. Conèixer si l'ús de la L1 i de l'ALI té un impacte diferencial en els Episodis de Regulació 3. Conèixer si l'ús de la L1 i de l'ALI té un impacte diferencial en l'organització de la informació dels textos finals4. Analitzar la relació entre els reptes que activen els Episodis de Regulació i els suggeriments de millora proposats pels revisors, membres de la mateixa comunitat discursivaLa recollida de dades ha implicat l'ús de metodologies com ara les entrevistes semiestructurades, els diaris d'escriptura, les entrevistes retrospectives, l'anàlisi de casos de pensament, les fitxes d'anàlisi d'esborranys i l'enregistrament de l'activitat escriptora tal i com aquesta es desenvolupa en la pantalla del processador de textos gràcies al programari Camtasia. A més, hem utilitzat una unitat d'anàlisi, l'Episodi de Regulació, que permet considerar de manera integrada els reptes o dificultats identificades pels escriptors i les accions que implementen per resoldre-les. De l'anàlisi de les dades i dels resultats obtinguts podem extreure diferents conclusions. En primer lloc, hem constatat que la regulació de l'activitat escriptora pot donar-se a nivell explícit i a nivell implícit. Aquest resultat indica, doncs, la necessitat de revisitar la conceptualització de la regulació com a fenomen exclusivament explícit. Els resultats obtinguts també mostren que els reptes l'abordament dels quals implica l'ús de coneixements lingüístics o metalingüístics romandrien a un nivell més implícit que els reptes que tenen a veure amb la gestió del procés d'escriptura. En segon lloc, els resultats obtinguts han mostrat que la regulació de l'activitat escriptora a nivell genèric o de procés té a veure amb un patró diferencial d'escriptura (regit per l'acció o regit pel text que es va escrivint) que es manté tant en L1 com en ALI i del qual els escriptors només es mostren parcialment conscients. En tercer lloc, hem pogut constatar que no es produeixen grans diferències entre el procés d'escriptura en L1 i el procés d'escriptura en ALI i que les que s'observen tenen a veure amb reptes molt específics i locals (l'ús intensiu d'ajudes a l'escriptura i d'accions orientades a aconseguir una formulació adequada en ALI), no vinculats a qüestions molars, més relacionades amb la gestió del procés d'escriptura. En quart lloc, l'anàlisi micro ens ha permès constatar que totes les accions que els escriptors implementen durant l'escriptura dels articles responen a una intencionalitat específica i, d'entre les intencionalitats destaca el grau de consens dels escriptors pel que fa a l'atenció a qüestions que tenen a veure amb l'expressió de la veu en el text i la cerca de la precisió i la claredat. Finalment, els resultats obtinguts ens han permès comprovar la gran coincidència entre els reptes que els escriptors aborden en els Episodis de Regulació explícits i els suggeriments de millora proposats pels revisors. Això posaria de manifest que la regulació del procés de composició és una activitat que requereix de la negociació entre la forma habitual de fer (patró d'escriptura), construïda a partir de la pràctica efectiva, i les particularitats de la situació d'escriptura. / Desde una perspectiva situada de la cognición, y considerando la escritura como una actividad social y culturalmente mediada (Camps y Castelló, 1996; Candlin y Hyland, 1999; Lea y Stierer, 2000; Flowerdew y Peacock, 2001; Johns, 2002; Castelló, Iñesta y Gonzalez, 2008), hemos planteado un estudio comparativo de dos casos centrado en una tarea auténtica como es la escritura de artículos de investigación en condiciones ecológicas. Los objetivos específicos que nos hemos planteado son:5. Identificar, caracterizar y comparar las actividades de regulación que los escritores ponen en funcionamiento en el proceso de escritura de los artículos de investigación en español como primera lengua (L1) y en inglés como lengua internacional (ILI) 6. Conocer si el uso de la L1 y de la ILI tiene un impacto diferencial en los Episodios de Regulación 7. Conocer si el uso de la L1 y de la ILI tiene un impacto diferencial en la organización de la información de los textos finales8. Analizar la relación entre los retos que activan los Episodios de Regulación y las sugerencias de mejora propuestas por los revisores, miembros de la misma comunidad discursivaLa recogida de datos ha implicado el uso de metodologías como las entrevistas semiestructuradas, los diarios de escritura, las entrevistas retrospectivas, el análisis de casos de pensamiento, las fichas de análisis de borradores del texto y la grabación de la actividad escritora tal y como ésta se desarrolla en la pantalla del procesador de textos gracias al programa Camtasia. Además, hemos utilizado una unidad de análisis, el Episodio de Regulación, que permite considerar de manera integrada los retos o dificultades identificadas por los escritores y las acciones que implementan para resolverlas. Del análisis de los datos y de los resultados obtenidos podemos extraer diferentes conclusiones. En primer lugar, hemos constatado que la regulación de la actividad escritora puede darse a nivel explícito y a nivel implícito. Este resultado indica, pues, la necesidad de revisitar la conceptualización de la regulación como a fenómeno exclusivamente explícito. Los resultados obtenidos también muestran que los retos cuyo abordaje implica el uso de conocimientos lingüísticos o metalingüísticos permanecerían a un nivel más implícito que los retos que tienen que ver con la gestión del proceso de escritura. En segundo lugar, los resultados obtenidos han mostrado que la regulación de la actividad escritora a nivel genérico o de proceso está relacionada con un patrón diferencial de escritura (regido por la acción o regido por el texto que se va escribiendo) que se mantiene tanto en L1 como en ILI y del cual los escritores sólo se muestran parcialmente conscientes. En tercer lugar, hemos podido constatar que no se producen grandes diferencias entre el proceso de escritura en L1 y el proceso de escritura en ILI y que las que se observan tienen que ver con retos muy específicos y locales (el uso intensivo de ayudas a la escritura y de acciones orientadas a conseguir una formulación adecuada en ILI), no vinculadas a cuestiones molares, más relacionadas con la gestión del proceso de escritura. En cuarto lugar, el análisis micro nos ha permitido constatar que todas las acciones que los escritores implementan durante la escritura de los artículos responden a una intencionalidad específica y, de entre las intencionalidades destaca el grado de consenso de los escritores en cuanto a la atención a cuestiones que tienen que ver con la expresión de la voz en el texto y la búsqueda de la precisión y la claridad. Finalmente, los resultados obtenidos nos han permitido comprobar la gran coincidencia entre los retos que los escritores abordan en los Episodios de Regulación explícitos y las sugerencias de mejora propuestas por los revisores. Esto pondría de manifiesto que la regulación del proceso de composición es una actividad que requiere la negociación entre la forma habitual de proceder (patrón de escritura), construida a partir de la práctica efectiva, y las particularidades de la situación de escritura. / From a situated perspective on cognition and conceiving writing as a socially and culturally mediated activity (Camps & Castelló, 1996; Candlin & Hyland, 1999; Lea & Stierer, 2000; Flowerdew & Peacock, 2001; Johns, 2002; Castelló, Iñesta & Gonzalez, 2008), we have conducted a comparative study of two cases focusing on the authentic task of research article writing in ecological conditions. Our specific objectives have been:1. To identify, characterize and compare the regulation activities that writers implement while writing two research articles: one in Spanish as a first language (L1) and one in English as an International Language (EIL)2. To know if L1 and EIL use has a differential impact on the activities writers implement while writing the research articles 3. To know if L1 and EIL use has a differential impact on the organization of information in the final versión of the articles4. To analyze the relationship between the challenges that actívate the Regulation Episodes and the improvement suggestions made by the editors, members of the same discourse communityData collection has implied the use of methodological instruments such as semistructured interviews, writing diaries, retrospective interviews, thinking case analysis, draft-comparison templates and recording the writing activity as it unfolds in the Word processor screen thanks to the Camtasia software. Moreover, we have used a unit of analysis, the Regulation Episode, that has allowed us to analyze in an integrated way the challenges or difficulties identified by the writers and the actions they have implemented to solve them. From the analysis of the data and the results obtained we the following conclusions can be derived. Firstly, we have observed that writing activity regulation can take place at an explicit and at an implicit level. This result indicates, therefore, the need to reconsider the conceptualization of regulation as an exclusively explicit phenomenon. Our results also show that the challenges whose resolution implies the use of linguistic or metalinguistic knowledge seem to remain at a more implicit level tan those which have to do with writing process management. Secondly, the results obtained show that writing activity regulation at a global or process level is related to a differential writing pattern for each writer (action-driven or text-driven), which is maintained both in L1 and in EIL, and of which writers appear to be only partially aware. Thirdly, no important difference seems to appear between L1 and EIL writing processes, and those which do appear have to do with very specific and local challenges (intensive use of writing helps, and actions oriented towards the attainment of an adequate EIL formulation), and not related with global and writing process management issues. Fourthly, the micro analysis has allowed us to know that the actions writers implement while writing the research articles obey specific communicative intentionalities and, among such intentionalities, it is important to underline that both writers pay attention to the expression of their voice in the text and the search for precision and clarity. Finally, our results have allowed us to see the clear coincidence between the challenges which writers address in the explicit Regulation Episodes and the editors' suggestions for revision. This would show that writing process regulation is an activity which requires the negotiation between the habitual way of writing (the writing pattern), constructed through effective practice, and the particularities of the writing situation.

Writing the speculative fiction novel, Birthright, and this accompanying exegesis, led me to challenge the validity of the disclaimer usually found in the front matter of most novels that the story is purely imaginary, bears no relationship to reality, with the characters not being inspired by anyone known or unknown to the author. For the first time in my career, I began to consider how writers including myself might frequently revisit themes and ideas which resonate with our lived experiences. I call this restorying, an unconscious process whereby aspects of one's life history are rewritten through one's creative work to achieve a more satisfactory result. Through personal contact, studying authors' accounts of their creative practices, and surveying current literature on narrative therapy, a case is made that, far from being generated purely from imagination, writers' creative choices are driven by an unconscious need to restory ourselves.

The characterization of the Markan disciples has been and continues to be the object of much scholarly reflection and speculation. For many, the Markan author's presentation of Jesus' disciples holds a key, if not the key, to unlocking the purpose and function of the gospel as a whole. Commentators differ as to whether the Markan disciples ultimately serve a pedagogical or polemical function, yet they are generally agreed that the disciples in Mark come off rather badly, especially when compared to their literary counterparts in Matthew, Luke, and John. This narrative-critical study considers the characterization of the Markan disciples within the Sea Crossing movement (Mark 4:1-8:30). While commentators have, on the whole, interpreted the disciples' negative characterization in this movement in terms of lack of faith and/or incomprehension, neither of these, nor a combination of the two, fully accounts for the severity of language leveled against the disciples by the narrator (6:52) and Jesus (8:17-18). Taking as its starting point an argument by Jeffrey B. Gibson (1986) that the harshness of Jesus' rebuke in Mark 8:14-21 is occasioned not by the disciples' lack of faith or incomprehension but by their active resistance to his Gentile mission, this investigation uncovers additional examples of the disciples' resistance to Gentile mission, offering a better account of their negative portrayal within the Sea Crossing movement and helping explain many of their other failures. In short, this study argues that in Mark 4:1-8:26, the disciples are characterized as resistant to Jesus' Gentile mission and to their participation in that mission, the chief consequence being that they are rendered incapable of recognizing Jesus' vocational identity as Israel's Messiah (Thesis A). This leads to a secondary thesis, namely, that in Mark 8:27-30, Peter's recognition of Jesus' messianic identity indicates that the disciples have finally come to accept Jesus' Gentile mission and their participation in it (Thesis B). Chapter One: Introduction: offers a selective review of scholarly treatments of the Markan disciples, which shows that few scholars attribute resistance, let alone purposeful resistance, to the disciples. Chapter Two: The Rhetoric of Repetition: introduces the methodological tools, concepts, and perspectives employed in the study. It includes a section on narrative criticism, which focuses upon the story-as-discoursed and the implied author and reader, and a section on Construction Grammar, a branch of cognitive linguistics founded by Charles Fillmore and further developed by Paul Danove, which focuses upon semantic and narrative frames and case frame analysis. Chapter Three: The Sea Crossing Movement, Mark 4:1-8:30: addresses the question of Markan structure and argues that Mark 4:1-8:30 comprises a single, unified, narrative movement, whose action and plot is oriented to the Sea of Galilee and whose most distinctive feature is the network of sea crossings that transport Jesus and his disciples back and forth between Jewish and Gentile geopolitical spaces. Following William Freedman, Chapter Four: The Literary Motif: introduces two criteria (frequency and avoidability) for determining objectively what constitutes a literary motif and provides the methodological basis and starting point for the analyses performed in chapters five and six. Chapter Five: The Sea Crossing Motif: establishes and then carries out a lengthy narrative analysis of the Sea Crossing motif, which is oriented around Mark's use of ‎θάλασσα (thalassa) and πλοῖον (ploion), and Chapter Six: The Loaves Motif: does the same for The Loaves motif, oriented around Mark's use of ἄρτος (artos). Finally, Chapter Seven: The Narrative Logic of the Disciples (In)comprehension: draws together all narrative, linguistic, and exegetical insights of the previous chapters and offers a single coherent reading of the Sea Crossing movement that establishes Theses A and B.

Esta tese de doutorado apresenta um estudo e formulações teóricas sobre o conceito de espect-autoria e defende os conceitos de Poética da Autoria Aberta, Poética da Autoração e Poéticas em Coletividade como praxis artística de apropriação dos dispositivos de produção das representações sociais, no contexto da autoria dos espectadores nas artes participativas e interativas. Numa transferência interdisciplinar de conceitos a exemplo do conceito espect-autor de Gellouz (2007), o estudo propõe as noções de autorabilidade, obra autorável, agenciamento autoral do espectador e trinômio produção/recepção/produção bem como os conceitos formulados de função-espect-autor, espect-autor em coletividade, particip-autor, inter-autor e trans-autor, que privilegiam a noção de autoria em suas notações, configurando uma taxonomia mais apropriada para compor um vocabulário que permita designar e compreender a noção de espect-autoria, ou seja, a produção autoral dos espectadores, enquanto forma, repertório e significados, nas obras cuja abertura poética propõe desafios autorais aos seus espectadores. A principal referência artística e fonte desta pesquisa é a série Autorretrato Coletivo (1987-), um conjunto de obras participativas e interativas que eu proponho como repositório dialógico e polifônico da identidade coletiva, tendo como princípio a apropriação dos espectadores enquanto autores de suas identidades no corpus da obra. Em suma, a função-autor exercida pelos espectadores, mais precisamente a sua função-espect-autor, em processos de criação/co-criação ou recriação (por recombinação e/ou repertoriação) no contexto das artes participativas e interativas, tem profundas implicações para nossa compreensão da evolução da arte como um fenômeno coletivo. / This thesis presents a study and theoretical formulations about the concept of spect-authorship on participatory and interactive artworks and defends the concepts of Poetics of the Open Authorship, Authoring Poetics and Multi-Poetics in Collectivity as artistic praxis of apropriation of the production devices of the social representations in the context of the spectators authorship in the participatory and interactive arts. Through an interdisciplinary transfer of concepts as Gellouz concept of spect-author (2007) , this study proposes the notions of authorability, authoriable artwork, authorial agency of the spectator, trinomial production/reception/production as well the concepts of function-espect-author, spect-author in collectivity, particip-author, inter-author and trans-author, which privilege the notion of authorship, setting a taxonomy more appropriate to compose a vocabulary that describes and increases the understanding of the concept of spect-authorship, the authorial production of the spectators as form, repertory and meanings, in the artworks whose poetic openness proposes authorial challenges to their spectators. The main artistic reference and source of this research is the series Collective Self-Portrait (1987-), a set of participatory and interactive artworks that I propose as a dialogic and polyphonic repository of the collective identity, based on the principle of appropriation of the spectators as authors of their own identities in the corpus of the artwork. Summing up, the author-function experienced by the spectators, more precisely their spect-author-function, in creation/co-creation or recreation process in the context of participatory and interactive arts, holds profound implications for our understanding of art evolution as a collective phenomenon.