Yes / The ‘Polyphonic Organisation’ is an emerging root-metaphor for the multiple voices that constitute an organisation. In this article, we explore the narrative concept of the ‘chronotope’ as a feature of the ‘polyphonic organisation’. The ‘chronotope’, in a general sense, refers to the matrix of time-space-value in organisations. We argue that the chronotope is important because it introduces boundaries between voices within organisations and helps to explain the difficulties in getting to dialogue with voices in different spaces in the ‘Polyphonic Organisation’. More particularly, there are multiple kinds of chronotopes which lead to different kinds of time-spaces matrices within the polyphonic organisation. Our aim is to examine chronotope crossings within polyphonic organisations as part of the work of being heard. This is a theoretical argument drawing significantly from Bakhtin’s work on chronotope. To examine the argument in practice we draw on original fieldwork within the comedy industry. Here we found three kinds of chronotopes: 1) The comedy-offense boundary; 2) The commissioning landscape 3) Platform spaces. We also found that moving within and between these involved a variety of adventures in experience (such as hope and disappointment), which also have their own specific chronotopes. Overall, we argue that the polyphonic organisation is significantly enhanced as an organisational concept through a turn to the role of chronotope. This is because chronotope helpfully describes the barriers and porous boundaries between voices

Yes / In this chapter, I will interpret the Zone of Proximal Development from the perspective of chronotope or time-space configuration. From here, I will explore the ‘zone of playful proximal development’ and contrast it with a zone of serious proximal development. At the heart of the playful I suggest is the possibility of joint, spontaneous improvisation.

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In the narrative painting series Discount Meat, I employ grotesque realism to emphasize the rupture of corporeal and social boundaries, reframing the body as a site of discontinuity whose physical and perceptual structures are in constant flux. Through this approach, I synthesize fragments of lived and observed experience into invented narratives with an emphasis on embodiment. By emphasizing the apertures connecting the body’s interior with the outside world, I seek to problematize the image of a discrete self, suggesting instability as a central element of physical identity. Across this web of disjointed narratives, I strive to portray the emotional range and complexity of human experience in terms of vivid physicality, depicting tedium and pain while allowing space in the work for levity and imagination.

Orientador: Luciane de Paula / Resumo: O presente trabalho tem como objetivo compreender como se dá a constituição do personagem Severo Snape, deslocado de sua imagem na obra literária de Rowling para estar ressignificado em um vídeo criado por fãs. Nascido a partir do fenômeno mundial Harry Potter, esse enunciado transmidiático denominado Severo Snape e os marotos é veiculado na plataforma Youtube e será analisado como um objeto que traz em si o posicionamento ideológico desse determinado grupo de fãs em relação ao personagem. O vídeo, em seu acabamento estético, revela-nos como esses fãs-autores compreendem a figura de Snape, tanto nos livros de Rowling quanto nos filmes e, a partir deles, criam uma resposta verbivocovisual transmidiática, assim como materializam o jogo entre leitura, recepção e produção de livros e filmes. Nossa proposta está fundamentada nos estudos do Círculo de Bakhtin e, como tal, a partir de sua proposta de linguagem, desenvolveremos esta pesquisa pautada em alguns conceitos base do pensamento bakhtiniano, tais como: diálogo, enunciado, autoria e sujeito. Por propormos um trabalho com um objeto resultado de um fenômeno massivo, denominado como fanfilm, embasaremos esta reflexão nos estudos de Jenkins, voltando nosso olhar, sobretudo ao que este pensa acerca da Cultura da Convergência. A partir da constituição material do vídeo, a qual inclui trabalho de cena, figurino – bastante semelhante ao dos filmes produzidos pela Warner Bros –, efeitos sonoros e especiais é que faremos nossa análise ... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The current research has as its focus to comprehend how it is worked the Severus Snape character constitution, which is dislocated from its image from Rowling’s books and given another meaning in a video created by fans. Born from the Harry Potter global phenomenon, this transmidiatic utterance, Severus Snape and the marauders, is uploaded on Youtube and will be analyzed as an object that brings on it this fan group’s ideological position about the character. The video, in its aesthetic construction, reveals how these fan-authors comprehend Snape’s image, both in books and films and, from them (re)create a transmidiatic verbivocovisual answer, and materialize the game between reading, reception and production of books and films. Our proposition is reasoned on the Bakhtin Circle studies and concerning its language proposition, we will base this research in some concepts from the bakhtinian thinking, such as: dialogue, utterance, authorship and subject. Developing a work with an object which is a massive world phenomenon result, denominated as fanfilm, this research will be basedon the Convergence Culture, from Jenkins. From this video’s constitution material, this includes scene work, costumes – very similar to the one from the Warner Bros Harry Potter films –, sound and special effects, we will comprehend about the reader-authors’ fanfilm axiological position. This architectonical piece is what reveals this utterance’s social voices, which is a collective massive consumption ... (Complete abstract click electronic access below) / Mestre

Thesis advisor: Marilyn Cochran-Smith / In recent years, the theme of social justice in teacher education programs has been the subject of considerable controversy, as it has become at once more popular and more vulnerable to criticism. More and more teacher education programs claim to prepare teachers to teach for social justice. Yet we know little about the experience of teacher candidates learning to teach in programs with explicit social justice agendas, and we know little about the impact of this agenda on teachers, and in turn, on the students they teach. This dissertation aims to increase our understanding of what it means for teacher candidates/graduates to be prepared in a teacher education program with a stated commitment to social justice. By focusing in depth on two cases studies with very different outcomes, my study examines the impact of this agenda on teachers and the students they teach over a relatively long period of time. A qualitative case study design was employed to collect and analyze data for two master's level teacher candidates/graduates over three years. Data included extensive interviews and observations, teacher candidates' coursework, the assignments the teachers created, and their students work in response to these assignments. In addition, interviews were conducted with teacher education faculty, as well as with cooperating teachers, mentors, supervisors, and principals. Based on a sociocultural framework, and drawing on Bakhtin's theories of discourse and ideological becoming, this dissertation argues that learning to teach in a program with a stated social justice agenda was a complex process of negotiating several different and, at times, competing discourses of social justice. These discourses represented a range of ideas, interpretations, and practices that the teachers had to investigate and adapt as they developed their own authentic perspective. Furthermore, the development of an authentic perspective as teachers for social justice required embracing tensions within and among these discourses, and recognizing that these tensions were essential to their development as educators for social justice. Finally, this dissertation argues that the case study teachers' relative success or failure engaging in this ideological struggle was influenced by the contexts in which their learning took place, the support they had to negotiate the challenges and tensions associated with learning to teach for social justice, and their own personal capacity to handle the conflicts they encountered. / Thesis (PhD) — Boston College, 2009. / Submitted to: Boston College. Lynch School of Education. / Discipline: Teacher Education, Special Education, Curriculum and Instruction.

The field of language learning motivation has traditionally been a 'self'-centred one, characterising the individual learner as subject to influence by, but essentially separate from, the sociocultural environment. Models of language learning motivation have been concerned with theorising the self, but have not fully accounted for the role of the other. The recent emergence of sociocultural approaches has seen a welcome move towards addressing this gap, theorising the language learner as engaged in complex relationships with various others, all constituted by and constituting their sociocultural contexts. Within this paradigm, researchers have begun to consider ways in which language learning motivation may be part of broader motivation for learning in various life domains - intellectual, social, emotional, ethical - though this is as yet an emergent area of scholarship. This study adopts one such sociocultural approach, namely Ushioda's person-in-context relational view (2009, 2011). Using a theoretical framework and innovative dialogical research design based on the work of Mikhail Bakhtin, I present dialogues describing the learning experience and motivation of six English-language learners, and create a definition and interpretation of language learning motivation as ideological becoming, a process of learning to be in the world. This definition and interpretation integrate the language learner and their social context in ways which understand language learning motivation as socially constructed, involving relations with many different others; which understand language learning motivation as part of motivation towards broader personal and social growth and development; and which foreground learners' own voices and perspectives. In accounting for the reciprocal influence between the language learner and the world as heard through learners' own voices, this study offers an important conceptual contribution to the language learning motivation field. Furthermore, it represents a methodological contribution to both the language learning motivation field and to qualitative inquiry more broadly. Finally, it offers political and practical contributions, and makes suggestions for future research and researchers.

As a reassessment of the southern grotesque, this dissertation places Flannery O’Connor, Carson McCullers, and William Faulkner in context and conversation with the fiction of Fyodor Dostoevsky. While many southern artists and intellectuals have testified to his importance as a creative model and personal inspiration, Dostoevsky’s relationship to southern writers has rarely been the focus of sustained analysis. Drawing upon Mikhail Bakhtin’s deeply positive understanding of grotesque realism, I see the grotesque as an empowering aesthetic strategy that, for O’Connor, McCullers, and Faulkner, captured their characters’ unfinished struggles to achieve renewal despite alienation and pain. My project suggests that the preponderance of a specific type of character in their fiction—a physically or mentally deformed outsider—accounts for both the distinctiveness of the southern grotesque and its affinity with Dostoevsky’s artistic approach. His grotesque characters, consequently, can fruitfully illuminate the misfits, mystics, and madmen who stand at the heart—and the margins—of modern southern fiction. By locating one source of the southern grotesque in Dostoevsky’s fiction, I assume that the southern literary imagination is not directed incestuously inward toward its southern past but also outward beyond the nation or even the hemisphere. This study thus offers one of the first evaluations of Dostoevsky’s impact on southern writers as a group.