<p>Mina erfarenheter av utvecklingsarbete kring media och IT i skolan har fått mig att undra hur undervisningen kan utvecklas genom att lärare sprider sina kunskaper och lär av varandra. Detta har väckt mitt intresse för pedagogisk handledning som verktyg för utveckling av lärares yrkessamtal det vill säga kollegiesamtal. Denna studie syftar till att beskriva och ge en förståelse för huruvida handledning av kollegiesamtal kan vara ett led för pedagogen att förändra sina strategier och handlingar när det gäller användning av datorn som verktyg för elevers tidiga läs- och skrivinlärning. I studien utgår jag från teorier om kunskap som socialt konstruerad och att den sociala världen är av narrativ natur. Studien genomfördes under läsåret 2006-07 inom projektet Att skriva sig till läsning med datorn där 24 pedagoger och tio klasser från sju olika skolor i Piteå kommun deltog. Projektets syfte var att implementera och pröva en metod där eleverna använde datorn istället för pennan för att lära sig att skriva sig till läning. Lärarna deltog under projektåret i handledda kollegiesamtal där man delade erfarenheter och reflektioner utifrån klassrumspraktiken. Både handledare och lärare har efter kollegiesamtalen skrivit loggbok. För att söka svar på frågorna i syftet samt intervjuade jag nio lärare som deltagit i projektet. I analysarbetet har jag använt mig av narrativ analys.</p><p>I resultatet framträder tre mönster Motstånd, Tvekan och Acceptans i lärarnas uppfattning av kollegiesamtalen. En slutsats av studien är att om läraren accepterar kollegiesamtalen ger detta ett gott stöd för att föra utvecklingsarbetet framåt där vinsterna för de deltagande lärarna blir personlig utveckling, gruppens utveckling och processuell utveckling.</p>

<p>Storytelling serves many purposes. People often tell stories as a coping mechanism, as a way of self-representation, and as a means for self-reflection. Through stories, narrators construct identities and gain perspective on events in their lives. This thesis is a discourse analysis of a single narrative told by a young man staying at a children&rsquo / s home in Cape Town. The study explores how life events are presented and evaluated in narrative and analyses the construction of identities. The objectives of the study are threefold. Firstly it aims to explore how the narrator draws on different social discourses in the telling of his narrative. Secondly, it analyses how, through the telling of these events, identities are constructed. Finally, the study assesses how the participant builds evaluation into his narrative. The study&rsquo / s overall purpose is to gain an understanding of narrative identities. The analysis reveals that Lucas develops three Master Narratives relating to the themes of family, education and drugs. His attitudes towards all three are ambivalent and he weaves competing discourses into his narrative in relation to each. He seeks, through his story, to construct himself as a wise young man who &ndash / having experimented with drugs and dropped out of school &ndash / makes the decision to redeem himself by going back to school, rejecting drugs, and mending his ties with his family. In this sense, his narrative is like an archetypal Bildungsroman. The study takes a qualitative approach and is situated within the fields of Discourse Analysis, more specifically, narrative analysis. The main theoretical influences in the study include Tannen (1989/2007 / 2008) and Labov (1972). The analysis of this study focuses on identifying the Master Narratives that shape Lucas&rsquo / s story as well as the discourses and competing ideologies which support these Master Narratives.</p>

Barnfilmen har länge haft en undanskymd plats inom filmteori. Man har tidigare intresserad sig för den i termer av ideologisk påverkan eller pedagogisk nytta alternativt onytta, men intresse för frågor som rör mer specifika textmekanismer har hittills dröjt. En sådan fråga är, exempelvis, hur barnfilmen konstruerar eller implicerar sin egen åskådare. Med tanke på att motsvarande problema¬tik har dragit till sig många barnlitteraturforskares intresse, är det märkligt att en liknande omsorg inte har uppstått inom barnfilmstudier. Mot denna bakgrund, är denna studies syfte att utforska några samtida animerade barnfilmtexter för att förstå hur de relaterar sig till en tilltänkt publik. Filmerna i fokus är Shrek (Andrew Adamson, Vicky Jenson, 2001), The Incredibles (Brad Bird, 2004), Shark Tale (Bibo Ber¬geon, Vicky Jenson, Rob Letterman, 2004) och Madagascar (Eric Darnell, Tom McGrath, 2005). Med hjälp av bacthinska begrepp så¬som dialogism, parodi, heteroglossia och karneval undersöks berättelsens struktur och ton; möjliga åskådarpositioner; textmekanismer som möjliggör samlevnaden av olika tolkningsalternativ i en och samma mainstreamfilm. I uppsatsen argumenteras för att filmerna bättre kan förstås som ambivalenta texter, som både upprepar och ifrågasätter typiska barnkulturella berättarstrukturer och motiv. De erbjuder möjlig¬heten till en lineär, traditionell tolkning av filmernas barnkulturella teman och en parodisk omvandling av dessa. Samtidigt anspelar de också till texter och praktiker som ligger utanför barnkulturens gränser, vilka också behandlas parodiskt. Detta öppnar ut¬rymme för flera möjliga läs¬arter och tilltalar en tilltänkt heterogen publik, framför allt i fråga om ålder. De olika åskådarpositionerna kan leva tillsammans i en och samma text förhållandevis friktionsfritt, tack vare att filmerna erbjuder en upprorisk och gränsöverskridande upplevelse, som här betecknas som karnevalisk.

The promising agenda of the EU-Russia strategic partnership has resulted in mutual frustration manifested in continuous crises between the partners. This study explores possibilities for political transformation in the EU-Russia relationship. In search of the key to understanding this complex relationship, I develop a three-fold argument. First, an ongoing crisis in EU-Russia cooperation cannot be understood without revealing the underlying problem of tension between the subjects’ autonomy and their ability to cooperate. Second, this problem produces a paradoxical form of “autonomous cooperation,” imposing limits on the prospects for political transformation in the EU-Russia relationship. Third, Bakhtin’s dialogism holds a significant potential to re-imagine the contradictions of autonomous cooperation in an alternative relational way. Despite the existence of a considerable body of literature on EU-Russia cooperation, little work has been done to investigate the connection between the intricacies of political discourse and problems in EU-Russia cooperation. By drawing on Bakhtin’s account of a “dialogic imagination,” I develop a model, which exposes the processes of mutual constitution of the Self and the Other. This dialogic model reveals that in their political statements, both the EU and Russia privilege the pattern of autonomy or cooperation. The partners produce prevalent discursive practices that reinforce these contradictory patterns of autonomy and cooperation, systematically inflicting crises in the EU-Russia relationship. By establishing dialogic connections between the chosen political statements, the model demonstrates that Russia and the EU co-create perceived differences between each other, isolate each other or try to form an autonomous, self-sufficient Self through imposition, self-exclusion, resistance or dominance. This model, I argue, permits an alternative vision of contemporary trends and possible futures for the EU-Russia relationship as an exemplar of an international relationship viewed through a dialogic lens. My study is also relevant under the conditions of ongoing conflicts in EU-Russia cooperation, which expose the inability of the partners to cooperate effectively. I conclude with practical implications for the partners to overcome the current stalemate. In Bakhtin’s words: “When dialogue ends, everything ends. Thus dialogue, by its very essence, cannot and must not come to an end.” / Graduate

Ce mémoire en recherche-création explore l’enfermement volontaire et les différents types de tensions qu’il provoque. Court roman prenant la forme du journal intime, La Parenthèse met en scène un jeune homme qui décide de s’enfermer chez lui une semaine durant et s’interdit tout contact avec l’extérieur – autant pour prendre un congé temporaire de la vie qu’il mène que pour examiner les raisons de sa détresse quotidienne. Le monologue intérieur se transforme rapidement en dialogue, dès lors qu’un double vindicatif, interrompant la voix principale par des « répliques » entre parenthèses, fait son apparition. Une relation houleuse – sous tension – se tisse entre ces deux facettes du personnage tout au long des sept jours de la réclusion, les passages de dispute alternant avec des récits de souvenirs. En somme, le roman tente de dramatiser la question de l’emprisonnement de soi-même et de la limitation de l’écriture, cette limitation pouvant être à la fois malsaine et libératrice. Quant à l’essai, Tensions et enfermement dans les Cent Vingt Journées de Sodome du marquis de Sade, il part du thème de l’enfermement (en l’occurrence, celui des quatre amis qui exécutent le projet de passer quatre mois dans un château isolé) pour postuler une « architecture du désir » dans Les Cent Vingt Journées de Sodome. L’essai mobilise les ressources de la narratologie en prenant en compte les effets du texte sur le lecteur ; sont ainsi mises en évidence les tensions – sexuelle pour les protagonistes, narrative pour le lecteur – élaborées par cette écriture de l’enfermement et de la contrainte, dans laquelle le désir est toujours maintenu mais rarement satisfait. / This M.A. thesis combining research and creative writing globally focuses on self-confinement and the various tensions that it creates. La Parenthèse, a novel in the form of a diary, depicts a young man who decides to confine himself in his apartment for a week without any contact with the outside world, taking a break of his life in order to question himself about his daily angst. The inner monologue changes quickly into a dialogue, as soon as a vindictive alter ego begins to interrupt the main voice with “repartees” in parenthesis. A stormy – tense – relationship builds itself between these two sides of the character throughout the seven days he stays locked indoors, passages of arguments alternating with recollections of memories. In short, the novel proposes a reflection about self-confinement and constrained writing, which is both unwholesome and liberatory. As for the essay, Tensions et enfermement dans Les Cent Vingt Journées de Sodome du marquis de Sade, it takes us from self-confinement (namely, the four friends deciding to confine themselves for four months in a distant castle) to an “architecture of desire” in Les Cent Vingt Journées de Sodome. The essay is based on narratology without neglecting the effects the text has on its reader to bring out the tensions – sexual ones regarding the protagonists, narrative ones regarding the reader – elaborated by Sade’s confinement writing, which unfolds a desire much celebrated but seldom fulfilled.

<p>Storytelling serves many purposes. People often tell stories as a coping mechanism, as a way of self-representation, and as a means for self-reflection. Through stories, narrators construct identities and gain perspective on events in their lives. This thesis is a discourse analysis of a single narrative told by a young man staying at a children&rsquo / s home in Cape Town. The study explores how life events are presented and evaluated in narrative and analyses the construction of identities. The objectives of the study are threefold. Firstly it aims to explore how the narrator draws on different social discourses in the telling of his narrative. Secondly, it analyses how, through the telling of these events, identities are constructed. Finally, the study assesses how the participant builds evaluation into his narrative. The study&rsquo / s overall purpose is to gain an understanding of narrative identities. The analysis reveals that Lucas develops three Master Narratives relating to the themes of family, education and drugs. His attitudes towards all three are ambivalent and he weaves competing discourses into his narrative in relation to each. He seeks, through his story, to construct himself as a wise young man who &ndash / having experimented with drugs and dropped out of school &ndash / makes the decision to redeem himself by going back to school, rejecting drugs, and mending his ties with his family. In this sense, his narrative is like an archetypal Bildungsroman. The study takes a qualitative approach and is situated within the fields of Discourse Analysis, more specifically, narrative analysis. The main theoretical influences in the study include Tannen (1989/2007 / 2008) and Labov (1972). The analysis of this study focuses on identifying the Master Narratives that shape Lucas&rsquo / s story as well as the discourses and competing ideologies which support these Master Narratives.</p>

La diffusione di Internet e delle Nuove Tecnologie nella vita quotidiana ha offerto la possibilità agli utenti di costruire liberamente diversi profili, anche protetti dall’anonimato. Molti autori si sono interessati del rapporto tra immagine online e Identità e il dibattito ha spostato il focus da un concetto monolitico di Identità all’adozione di una prospettiva dialogica. La domanda di ricerca nasce dall’esigenza di chiarire come si prenda forma online e quanto queste parziali presentazioni si discostino dalle immagini create durante le interazioni faccia a faccia. La ricerca si basa su una proposta teorica focalizzata sui concetti di Soggettività (parziale immagine di sé adattata alle condizioni contestuali) e Intersoggettività (dimensione polilogica entro la quale gli interlocutori negoziano le proprie immagini). Dopo aver costruito un sistema di categorie con cui analizzare la comunicazione via chatline (primo studio), il secondo e il terzo studio, invece, sono incentrati sulla variabilità, sull’adattabilità e sulla natura connettiva della Soggettività. I risultati mostrano che la Soggettività è in grado di adattarsi alle condizioni contestuali facendo emergere un’immagine parziale, ma specifica che è frutto dell’interazione con l’interlocutore. Adattabilità e parzialità non sono necessariamente segni di instabilità, ma costituiscono un strumento con cui evitare un rapporto rigido con la realtà. / The increased use of Internet and New Technologies gives the possibility to users to create many real or anonymous, images/profiles. Scholars have been studying the correlation between Identity and the online profiles, and are shifting from the concept of Identity in to a dialogic perspective. The aim of this study is to understand how users present their selves in online environments and if these partial images are so different compared to face to face interactions’ ones. This work is based on a new theoretical proposal based on two concepts: Subjetivity (partial presentation of the Self adapted to external conditions) and Intersubjectivity (dialogical/polilogical dimension in which interlocutors negotiate their subjectivities). A codebook for the analysis of communication via chat line was created in the first study. The second and the third studies are focused on the adapting and connectivistic nature of Subjectivity; results show how users are able to present strategically their selves thanks to negotiation with interlocutors. Adaptability is not necessary a sign of instability, it is a just tool to improve a good relations with ever changing reality.

Mina erfarenheter av utvecklingsarbete kring media och IT i skolan har fått mig att undra hur undervisningen kan utvecklas genom att lärare sprider sina kunskaper och lär av varandra. Detta har väckt mitt intresse för pedagogisk handledning som verktyg för utveckling av lärares yrkessamtal det vill säga kollegiesamtal. Denna studie syftar till att beskriva och ge en förståelse för huruvida handledning av kollegiesamtal kan vara ett led för pedagogen att förändra sina strategier och handlingar när det gäller användning av datorn som verktyg för elevers tidiga läs- och skrivinlärning. I studien utgår jag från teorier om kunskap som socialt konstruerad och att den sociala världen är av narrativ natur. Studien genomfördes under läsåret 2006-07 inom projektet Att skriva sig till läsning med datorn där 24 pedagoger och tio klasser från sju olika skolor i Piteå kommun deltog. Projektets syfte var att implementera och pröva en metod där eleverna använde datorn istället för pennan för att lära sig att skriva sig till läning. Lärarna deltog under projektåret i handledda kollegiesamtal där man delade erfarenheter och reflektioner utifrån klassrumspraktiken. Både handledare och lärare har efter kollegiesamtalen skrivit loggbok. För att söka svar på frågorna i syftet samt intervjuade jag nio lärare som deltagit i projektet. I analysarbetet har jag använt mig av narrativ analys. I resultatet framträder tre mönster Motstånd, Tvekan och Acceptans i lärarnas uppfattning av kollegiesamtalen. En slutsats av studien är att om läraren accepterar kollegiesamtalen ger detta ett gott stöd för att föra utvecklingsarbetet framåt där vinsterna för de deltagande lärarna blir personlig utveckling, gruppens utveckling och processuell utveckling.

Uppsatsens syfte är att undersöka om det går att se förändringar i gymnasieskolans skrivundervisning över en tidsperiod på tretton år. Den teoretiska utgångspunkten är ett sociokulturellt synsätt där dialogismens tankar är dominerande. Materialet består av enkätsvar från gymnasieelever, fokusgruppsamtal med gymnasieelever och intervjuer med gymnasielärare. Det samlades in under 2013 och har analyserats med hjälp av innehållsanalys och tematisering för att se mönster i hur eleverna uttalar sig om responsen. Elevernas perspektiv är i fokus och deras tankar och känslor gällande lärarnas respons jämförs med andra elevers upplevelser från tidigt 2000-tal. Dessa upplevelser, tankar och känslor är hämtade från Suzanne Parmenius Swärds avhandling som berör samma ämne. Jämförelsen visar stora skillnader. I denna undersökning berättar eleverna om en dialogisk respons och aktiva klassrum medan Parmenius Swärds avhandling visade motsatsen, nämligen en monoligisk bristfokuserad responskultur. Detta pekar mot att skrivundervisningen håller på att förändras till att bli mer formativ.

Representations of the Other in Contemporary Australia is a thesis consisting of a novel, Brother Nation, and an exegesis in a separate volume. Brother Nation is set in Australia at the beginning of the twenty-first century, a time of great political and social change. The novel explores ambiguities in issues of race, crime and moral justice through the eyes of an adolescent who comes of age amidst a chain of disturbing events. Omar Assaf is a sensitive sixteen-year-old with a problem—he needs to lose his virginity. However, like most boys his age, he is anxious and naive about matters of sex and love. When a young female friend, Belle, rejects his romantic overtures, Omar is crushed. He rapidly falls under the corrupting influence of his older brother, Sam, and Sam’s motley band of miscreant friends. Fuelled by drugs, alcohol and pornography, the boys roam the migrant suburbs of southwest Sydney, alleviating their boredom and frustration by flirting with crime, cruising in cars and pursuing girls. However, Omar soon learns that being involved with Sam and the boys has dangerous consequences. In compensating for his sense of emasculation, Omar finds himself taking part in a series of attacks, including a betrayal of Belle. Though ambivalent about and at times sickened by his complicity, Omar realises much too late that he and his brother have entered a theatre where their fate will be determined by broader, more powerful forces than he could ever have imagined. The exegesis charts the creation of Brother Nation via the author’s movement from a mode of autopoiesis to allopoiesis, through the practice of narrative research. That is, the essay is structured to illustrate how the process of researching the novel resulted in the production of knowledge external to the creative work itself. In doing this I discuss the genesis of the idea to write the novel, the basis and modes of my narrative research, the style of the finished work in relation to the genre of the ‘faction’ or ‘non-fiction novel’, and the internal and external conflicts that arose in relation to the representation of demonised Arabic Other characters in the story. I also contextualise the work in relation to other relevant fiction and non-fiction texts that address similar subject matter, and make a case for holding a non-essentialised notion of cultural identity regarding my own speaking position. In particular, this exegesis investigates problematic questions in relation to representations of contemporary characters with an immigrant Other background; and, via the framework of Bakhtinian theories of dialogism and heteroglossia, considers the extent to which seemingly incompatible moral viewpoints can be coherently instantiated in fiction through a multiplicity of characters’ voices. / v. 1 [Novel]: Brother Nation -- v. 2 [Exegesis]: Representations of the Other in contemporary Australia. / Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2007