Made available in DSpace on 2016-08-10T11:07:33Z (GMT). No. of bitstreams: 1 MARIA LUCIA CASASANTA BRUZZI.pdf: 780827 bytes, checksum: 829f068d041e0d0caf80373a3e85b672 (MD5) Previous issue date: 2011-08-15 / This essay presents in its first chapter the concepts of images and symbols. In the second chapter, it deals with Gaston Bachelard s theories applied to examples from the poems of Fazendeiro do Ar, written by Carlos Drummond de Andrade. The metaphors are studied in the third chapter. They are based in Susanne Langer s theories and are also applied to examples from the poems of the same masterpiece. In its fourth chapter the conclusion is a deeper study of images, symbols and metaphors of two poems, namely Estrada and Elegia . / Esta dissertação apresenta, em seu primeiro capítulo, os conceitos de imagens e símbolos. No segundo, as teorias de Bachelard, aplicando-as a exemplos extraídos da obra poética Fazendeiro do Ar, de Carlos Drummond de Andrade. As metáforas são tratadas no terceiro capítulo. Orientam-se pelas teorias de Susanne Langer e também são aplicadas a exemplos extraídos da mesma obra poética. No quarto capítulo, conclui-se o trabalho, com uma análise mais aprofundada de imagens, símbolos e metáforas de dois poemas, Estrada e Elegia .

This essay is based on Judith A. Langer’s many years of literacy research and her concepts of ‘the literate mind’ and ‘envisionment building’ in the classroom. In addition to Langer’s theories, I consider several other strategies for reading, some of which have evolved from Langer’s ideas and are adapted to fit the teaching of English for Swedish upper secondary school. Furthermore, I discuss the benefits of teaching a foreign language with the help of literature in general and Young Adult (YA) literature in particular. Working with YA literature in the classroom can not only help students develop a greater empathy towards others, but is also well suited for teaching reading strategies to teenagers. In the analysis, I demonstrate a didactic approach with the help of extracts from Ruta Sepetys’ Between Shades of Gray (2011). My findings indicate that reading Young Adult literature can benefit teenagers’ personal growth as well as their language learning and general knowledge. Lastly, I assert that envisionment building can both lead to reevaluation of the readers themselves as well as to a greater understanding of different texts and the readers’ perception of the historical and contemporary world.

Repertoire comprises the curriculum of school music ensembles, yet its selection by music educators is unsystematic, commonly influenced by publishers, and lacking in thoughtful critique (Budiansky, 2005; Forbes, 2001). Research reports that musical worth and pedagogical value are foremost criteria in repertoire selection (Devore, 1989; Ostling, 1978). This ethnographic research explored relationships between musical worth and pedagogical value in works and perspectives of Emma Lou Diemer and Alice Parker, two prominent female composers whose extensive catalogs include music written for educational settings. Data were collected via methods consistent with qualitative inquiry. Smith’s (2003) Interpretative Phenomenological Analysis was employed to facilitate co-construction of the composers’ lived experience through personal interviews. Data analysis also incorporated previous texts written about and by the composers, and three choral works of each composer. In this study, Panofsky’s (1972) method of visual art analysis was applied to musical analysis. Findings were presented within single-case and cross-case narratives. Although the composers’ work and perspectives are distinctive, their perceptions of musical worth and pedagogical value transcend their individual qualities. Criteria for creating art for educational settings include: using text as a basis for creating musical meaning, recognizing and emulating the work of composers that they find exceptional; and engaging in an artful, synergistic treatment of musical elements. Diemer and Parker share the belief that longevity, originality, expressivity, and sustained interest are characteristics of music of worth. They offered authentic engagement, holistic learning, and matching skill with challenge as integral aspects of pedagogical value. The motivation that compels Diemer and Parker to compose is both external and internal, and is more oriented toward process than product. In creating works for educational settings, they internalize parameters applicable to specific learners and settings. A “spark” they experience in the creative process indicates the origin of musical worth. Pedagogy derived from and integral to the musical worth of a work allows musically engaged students to recreate the “spark” and thus realize pedagogical value. Within the works and perspectives of Diemer and Parker, musical worth and pedagogical value become unified as a composite whole, though the “spark” is realized in a cyclic process.

Den här är en läromedelsanalys som studerar hur lyrik framställs och presenteras i tre läromedelsserier. Det perspektiv som används för att studera representationen av manligt och kvinnligt är ett genusperspektiv som utgår från Judith Butlers teorier om genus och kön. Den metod som används i studien är både kvantitativ och kvalitativ textanalys och utgår från tre olika faser. Den kvantitativa analysen används för att se förekomsten av manliga och kvinnliga lyriker medan den kvalitativa analysen används för att studera hur lyriken framställs. Det material som används i studien är läroböcker från läromedelsserierna svenska impulser, Svenska helt enkelt samt Formativ svenska. I dessa serier ingår tre böcker vardera. Det vi undersöker i materialet är hur kvinnliga respektive manliga lyriker framställs, hur mycket plats lyrikgenren får ta i läroböckerna samt hur det presenterade materialet svarar mot det centrala innehållet för kurserna svenska 1, 2 och 3 i gymnasieskolan. Resultatet visar att det manliga lyrikerna är överrepresenterade vad gäller representationen av lyriker i läroböckerna. Detta visas i den kvantitativa analysen där vi räknar hur många gånger män respektive kvinnor nämns i läroböckerna. Läroböckerna visar att det förekommer lyrik men att det sker på olika sätt och i olika utsträckning beroende på vilken läromedelsserie det är samt vilka författarna till läroböckerna är. Slutsatsen som kan dras utifrån den här studien är att läroböckerna som studeras har goda möjligheter att användas i (lyrik-)undervisningen. En annan slutsats som kan dras av studiens resultat är att kvinnor och män blir representerade i olika utsträckning. Män nämns fler gånger och får mer utrymme i läroböckerna än vad kvinnorna får. Detta ser vi både genom den kvantitativa och den kvalitativa analysen.

This thesis examines the poetry of poets who officially entered the Czech literary scene in 1990s - after The Velvet Revolution. That was a period of time when Czech literary life changed completely. The thesis focuses on the artists born during the 1960s and the early 1970s - Petr Borkovec, Martin Langer, Pavel Kolmačka and Petr Hruška. The thesis concentrates on the analysis of their first two individual collections published between 1990-1998. What is important is the fact that the authors are not negatively influenced by the cultural politics from the communism era. First, the thesis outlines the events on the Czech literary scene after the revolution. Then it offers a view of the individual poets' works. This part also presents the critical reflection of the period, while the main focus is on the interpretation of poetic works. Through analytical reading this thesis follows the fundamental motive constants and it also reflects other important components of the early authorial poetics. The aim is to point out the tendencies in young Czech poetry at the time of sudden multiplicity of possibilities and to prove or disprove the presence of traditional poetics. Keywords: Czech poetry, 1990, poetic debut, Petr Borkovec, Martin Langer, Pavel Kolmačka, Petr Hruška

The purpose with this essay is to investigate how different theories about literary competence can help us understand why Sven Delblanc’s novel Änkan and Mara Lee’s novel Ladies have generated so many various interpretations as they have. To fulfill this purpose a comparative study of book reviews about the two novels Änkan and Ladies has been made. The theories about literary competence that have been used in this study are Joseph Appleyard’s theory about reader-roles, Judith Langer’s theory about imaginary worlds and Magnus Persson’s theory about genre perspectives. The results that are presented in this study are that those book reviews that express expectations about the novels as being genre-typical are often more disappointed about the reading experience than those readers who have expectations about the novels as being genre-transgressing and with deeper meaning. The discussion about genres has therefore given an interesting perspective about the correlation between the readers’ expectations and the many, various interpretations that follow.

<p>“ if you only read the book … you get the knowledge into your head once. If you talk about it, you get a more distinct memory of it, I think” (Emma, 11)</p><p>This thesis shows how a novel by Maj Bylock, Drakskeppet, was used in education within thematic work, the Viking Age, among ten-year-olds and eleven-year-olds for five weeks. The aim of the project was to investigate if and how pupils create or develop an historical consciousness when they had written and talked about the text in a novel. The study examines and analyses how three pupils in particular look upon history and ‘time’ in this process and if identification with characters in the novel takes place.</p><p>In the theoretical framework, which focuses on Judith Langer and her theories on ‘envisionment building’, that is on how children create text worlds , a general survey presents research findings about how children (10-12 years) interpret fiction. Furthermore the very complex construct of ‘historical consciousness’ is discussed.</p><p>In the second part, the study is described and its results are discussed: When these children form their personal historical consciousness their focus on the past and the present is apparent, while they have few links to the future. From the way characters’ lives are presented in Drakskeppet these young readers notice social differences in this fictional society of the past. Even though they also see parallels with the time they live in, they often conclude that ”things were worse” in the past. Another result is that an historical consciousness is generally developed when children can emotionally connect to their own lives.</p><p>A second conclusion drawn in the analysis of this project is that children should read fiction to learn about and understand History. In thematic work of this kind, pupils are offered opportunities to develop their reading and interpreting capacities even though the purpose of the work is the emergence of the pupils’ historical consciousness. It should be understood from this investigation, though, that reading without talking about the texts seems to have very little effect on how children develop their understanding of texts or an historical consciousness.</p>

“ if you only read the book … you get the knowledge into your head once. If you talk about it, you get a more distinct memory of it, I think” (Emma, 11) This thesis shows how a novel by Maj Bylock, Drakskeppet, was used in education within thematic work, the Viking Age, among ten-year-olds and eleven-year-olds for five weeks. The aim of the project was to investigate if and how pupils create or develop an historical consciousness when they had written and talked about the text in a novel. The study examines and analyses how three pupils in particular look upon history and ‘time’ in this process and if identification with characters in the novel takes place. In the theoretical framework, which focuses on Judith Langer and her theories on ‘envisionment building’, that is on how children create text worlds , a general survey presents research findings about how children (10-12 years) interpret fiction. Furthermore the very complex construct of ‘historical consciousness’ is discussed. In the second part, the study is described and its results are discussed: When these children form their personal historical consciousness their focus on the past and the present is apparent, while they have few links to the future. From the way characters’ lives are presented in Drakskeppet these young readers notice social differences in this fictional society of the past. Even though they also see parallels with the time they live in, they often conclude that ”things were worse” in the past. Another result is that an historical consciousness is generally developed when children can emotionally connect to their own lives. A second conclusion drawn in the analysis of this project is that children should read fiction to learn about and understand History. In thematic work of this kind, pupils are offered opportunities to develop their reading and interpreting capacities even though the purpose of the work is the emergence of the pupils’ historical consciousness. It should be understood from this investigation, though, that reading without talking about the texts seems to have very little effect on how children develop their understanding of texts or an historical consciousness.

<p>“ if you only read the book … you get the knowledge into your head once. If you talk about it, you get a more distinct memory of it, I think” (Emma, 11)</p><p>This thesis shows how a novel by Maj Bylock, Drakskeppet, was used in education within thematic work, the Viking Age, among ten-year-olds and eleven-year-olds for five weeks. The aim of the project was to investigate if and how pupils create or develop an historical consciousness when they had written and talked about the text in a novel. The study examines and analyses how three pupils in particular look upon history and ‘time’ in this process and if identification with characters in the novel takes place.</p><p>In the theoretical framework, which focuses on Judith Langer and her theories on ‘envisionment building’, that is on how children create text worlds , a general survey presents research findings about how children (10-12 years) interpret fiction. Furthermore the very complex construct of ‘historical consciousness’ is discussed.</p><p>In the second part, the study is described and its results are discussed: When these children form their personal historical consciousness their focus on the past and the present is apparent, while they have few links to the future. From the way characters’ lives are presented in Drakskeppet these young readers notice social differences in this fictional society of the past. Even though they also see parallels with the time they live in, they often conclude that ”things were worse” in the past. Another result is that an historical consciousness is generally developed when children can emotionally connect to their own lives.</p><p>A second conclusion drawn in the analysis of this project is that children should read fiction to learn about and understand History. In thematic work of this kind, pupils are offered opportunities to develop their reading and interpreting capacities even though the purpose of the work is the emergence of the pupils’ historical consciousness. It should be understood from this investigation, though, that reading without talking about the texts seems to have very little effect on how children develop their understanding of texts or an historical consciousness.</p>

“ if you only read the book … you get the knowledge into your head once. If you talk about it, you get a more distinct memory of it, I think” (Emma, 11) This thesis shows how a novel by Maj Bylock, Drakskeppet, was used in education within thematic work, the Viking Age, among ten-year-olds and eleven-year-olds for five weeks. The aim of the project was to investigate if and how pupils create or develop an historical consciousness when they had written and talked about the text in a novel. The study examines and analyses how three pupils in particular look upon history and ‘time’ in this process and if identification with characters in the novel takes place. In the theoretical framework, which focuses on Judith Langer and her theories on ‘envisionment building’, that is on how children create text worlds , a general survey presents research findings about how children (10-12 years) interpret fiction. Furthermore the very complex construct of ‘historical consciousness’ is discussed. In the second part, the study is described and its results are discussed: When these children form their personal historical consciousness their focus on the past and the present is apparent, while they have few links to the future. From the way characters’ lives are presented in Drakskeppet these young readers notice social differences in this fictional society of the past. Even though they also see parallels with the time they live in, they often conclude that ”things were worse” in the past. Another result is that an historical consciousness is generally developed when children can emotionally connect to their own lives. A second conclusion drawn in the analysis of this project is that children should read fiction to learn about and understand History. In thematic work of this kind, pupils are offered opportunities to develop their reading and interpreting capacities even though the purpose of the work is the emergence of the pupils’ historical consciousness. It should be understood from this investigation, though, that reading without talking about the texts seems to have very little effect on how children develop their understanding of texts or an historical consciousness. / <p>Licentiatavhandling i litteraturvetenskap: alternativet Svenska med didaktisk inriktning</p>