Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-04-03T13:13:04Z No. of bitstreams: 1 marlucealvesmarchiori.pdf: 654482 bytes, checksum: 1f5420b4d2b65148e0db7da609750e16 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-04-03T19:52:37Z (GMT) No. of bitstreams: 1 marlucealvesmarchiori.pdf: 654482 bytes, checksum: 1f5420b4d2b65148e0db7da609750e16 (MD5) / Made available in DSpace on 2018-04-03T19:52:37Z (GMT). No. of bitstreams: 1 marlucealvesmarchiori.pdf: 654482 bytes, checksum: 1f5420b4d2b65148e0db7da609750e16 (MD5) Previous issue date: 2014-04-04 / PROQUALI (UFJF) / Este estudo analisa o sentimento de luto e de melancolia como elementos temáticos na obra A noite escura e mais eu, de Lygia Fagundes Telles (2009). Nesta pesquisa, buscou-se identificar as representações da morte e da solidão em alguns contos dessa obra. A ficção narrativa dos contos escolhidos instiga o insólito, podendo perpassar pelos problemas sociais e individuais presentes na vida. A tensão das narrativas marca os jogos do destino associados à procura da percepção sobre morte e solidão. Este estudo objetiva, portanto, identificar, nesta produção literária, as questões psicológicas que envolvem o fenômeno do luto e da melancolia – enigmas da vida – que o ser humano busca desvendar. Os contos “Boa noite, Maria”, “A rosa verde” e “Uma branca sombra pálida”, selecionados para a pesquisa, revelam reflexões sobre a existência humana, característica marcante na obra de Lygia Fagundes Telles. A escritora parece retratar, nessa coletânea, por meio das personagens, elementos do cotidiano e que permitem ao leitor questionamentos existenciais e uma (re)organização da vida e dos valores da sociedade. Seus escritos focalizam momentos particulares da vida de alguns protagonistas, que, quando em momentos narrativos, uma dramática percepção da realidade ou revelações subjetivas se impõem à consciência. Tal processo arrasta as personagens à dor e à lucidez. A pesquisa permite ressaltar que o luto e a melancolia são fenômenos encobertos por uma nuvem de incertezas que requer um aprofundamento não em busca de certezas, mas, sim, em busca de compreensão ou, pelo menos, aceitação. Tentar decifrar os enigmas da vida com o olhar sobre as inseguranças humanas foi um desafio. / This study analyses bereavement and melancholia feeling as thematic elements in Lygia Fagundes Telles´s book, A noite escura e mais eu (2009). In this research, we sought to identify death and loneliness representations in some tales of this work. The narrative fiction of chosen tales instigates the unusual and may pervade the social and individual problems that are found in life. The narratives tension brands fortune games that are related to the perception about death and loneliness. This study aims therefore to identify, in this literary production, psychological issues surrounding bereavement and melancholy phenomenon - riddles of life – that the human being seeks to discover. The tales "Boa noite, Maria", "A rosa verde" and "Uma branca sombra pálida", selected for the study reveal reflections on human existence, remarkable feature in Lygia Fagundes Telles´ work. The writer seems to portray, in this collection, through the characters, everyday elements that allow the reader existential questioning and (re) organization of life and society values. Her writings focus on particular moments of life of certain actors who, when in narrative moments, a reality dramatic perception or subjective revelations are brought to consciousness. This process leads the characters to pain and lucidity. The research lets highlight that bereavement and melancholia phenomena are veiled in a cloud of uncertainty that require further development not searching for certainties, but rather in search of understanding, or at least acceptance. Trying to decipher the riddles of life with the look on human insecurities was a challenge.

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-06-27T12:13:36Z No. of bitstreams: 1 fernandadutramaracaja.pdf: 1274198 bytes, checksum: 48321750872ccd474458da9c943d6fa7 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-06-27T12:25:26Z (GMT) No. of bitstreams: 1 fernandadutramaracaja.pdf: 1274198 bytes, checksum: 48321750872ccd474458da9c943d6fa7 (MD5) / Made available in DSpace on 2018-06-27T12:25:26Z (GMT). No. of bitstreams: 1 fernandadutramaracaja.pdf: 1274198 bytes, checksum: 48321750872ccd474458da9c943d6fa7 (MD5) Previous issue date: 2018-04-24 / Esta dissertação propõe um debruçar teórico sobre algumas questões relativas à literatura infantil, a partir de uma análise da obra A bolsa amarela (1976/2015), de Lygia Bojunga., tomando-se como pano de fundo a teoria psicanalítica, a estética da recepção, a sociologia da infância e as teorias e críticas da literatura infantil. Entre diversos questionamentos, alguns deles foram indispensáveis ao delineamento da presente pesquisa: o que pode ser considerado como "infância"? O que delimita uma literatura dita infantil? Como ocorre o processo de leitura realizado por uma criança? É possível aproximar a leitura criativa ao brincar? A leitura, como o brincar, pode ser considerado um recurso de articulação de significantes que opera, portanto, efeitos no sujeito-leitor? O campo hoje nomeado literatura infantil é de difícil abordagem, tendo em vista que envolve uma série de fatores sociais, culturais, econômicos e políticos. Por isso, busca-se, também, localizar tais impasses para que o tema seja tomado em sua complexidade, sem ser reduzido aos estereótipos que o acompanham, considerando que o lugar atribuído ao leitor-criança interfere na produção cultural voltada para tal público. Além das ferramentas teóricas utilizadas, recorre-se aos livros, da mesma autora, Paisagem (2013), Fazendo Ana Paz (2007a) e Livro - um encontro (2007b), devido ao fato de essas obras exprimirem o seu olhar, de forma criativa, quanto ao processo de leitura, de escrita e a relação entre eles. / This dissertation proposes a theoretical approach on some issues related to children's literature, based on an analysis of Lygia Bojunga's The Yellow Handbook (1976/2015), taking as a background psychoanalytic theory, the aesthetics of reception, the sociology of childhood and the theories and critiques of children's literature. Among several questions, some of them were indispensable to the delineation of the present research: what can be considered as "childhood"? What delimits a so-called children's literature? How does the reading process carried out by a child occur? Is it possible to consider that creative reading has similarities to playing? Can reading, like playing, be considered a resource of articulation of signifiers that operates, therefore, effects on the subject-reader? The field today named children's literature is difficult to approach, considering that it involves social, cultural, economic and political factors. Therefore, it is also sought to locate such impasses so that the theme is taken in its complexity, without being reduced to the stereotypes that accompany it, considering that the place attributed to the child-reader interferes in the cultural production aimed at such a public. In addition to the theoretical tools used, it is used the books of the same author, Paisagem (2013), Fazendo Ana Paz (2007a) and Livro - um encontro (2007b), due to the fact that these works express the author's gaze, in a creative way , on the process of reading, writing and the relation between them.

Ouverture et optimisme marquent les années cinquante au Brésil, culminant par l’édification de Brasilia. Les arts se renouvellent sur l’axe de Rio de Janeiro et Sao Paolo, avec l’avènement de deux mouvances artistiques, le Concretismo et le Neoconcretismo. L’art concret s’édifie comme un système autoréférentiel, considéré par cet artifice comme universel, et devient le plus important mouvement artistique de l’époque. Lygia Pape prend part à la création de ces deux mouvements et à leur développement grâce à une riche production artistique. Elle est en contact direct avec Mário Pedrosa, théoricien qui oriente le groupe concret de Rio de Janeiro autour de l’empathie de la forme, sous l’influence des sciences cognitives, de la Gestalt et de la phénoménologie. Lygia Pape s’implique dans diverses manifestations artistiques, comme la peinture, la gravure, la poésie concrète, la danse, le cinéma et le happening. Elle s’abstrait progressivement d’un art universel et rationnel vers un art qui baigne dans l’individualité et la subjectivité. Sa production contrarie la rigueur concrète pour évoluer vers un art participatif engageant d’abord l’esprit, puis tout le corps. Ainsi, la figure, auparavant écartée, est réintroduite par l’inclusion de l’homme dans l’œuvre, passant de l’abstraction géométrique et des rigides règles du Concrétisme, vers la liberté de création introduite par le Néoconcrétisme. Traditionnellement envisagé comme une suite logique du Concrétisme, le Néoconcrétisme semble avoir toujours été présent dans l’œuvre de Pape. / Open-mindedness and optimism mark the fifties in Brazil, culminating with the construction of Brasilia. The arts undergo a renewal on an axis going from Rio de Janeiro to Sao Paulo, with the rise of two artistic avant-garde movements, Concretismo and Neoconcretismo. Concrete art is built as a self-referential system, considered by this artifice as universal, and becomes the most important artistic movement at that time. Lygia Pape participates actively in the creation and the development of both, thanks to a rich artistic production. She is in close contact with Mário Pedrosa, a theoretician steering the artists of the Rio de Janeiro concrete group towards the form empathy, under the influence of cognitive sciences, Gestalt, and phenomenology. Lygia Pape gets involved in various fields, such as painting, engraving, concrete poetry, dance, cinema, and happening. She progressively abstracts from a universal and rational art to an art diving into individuality and subjectivity. Her production contradicts the concrete rigor to move towards a participatory art engaging at first the mind, and then the whole body. Thus, the figure, previously discarded, is reintroduced by the inclusion of the man inside the work, moving from Concretism with its geometric abstraction and rigid rules towards Neoconcretismo and its creative freedom. Traditionally considered as a logical continuation of the Concretism, it seems that the Neoconcretism has been always present in Lygia’s work.

[pt] O Museu da Literatura Brasileira (MLB), idealizado por Lygia Fagundes Telles, reuniu número apreciável de documentos literários de diversos autores, mas não chegou a se concretizar como instituição e constitui uma lacuna tanto para a historiografia da literatura, quanto da museologia e da arquivologia – três áreas articuladas nesta dissertação. A massa, até agora pouco conhecida, de manuscritos, fotografias e cartas, sob a guarda do Instituto de Estudos Brasileiros (IEB) desde 1977, foi organizada em duas categorias: documento/ movimento. Na categoria documento estão os itens que comporiam a coleção do Museu; enquanto na categoria movimento encontram-se aqueles com notícias dos bastidores de seu nascimento, a partir da articulação entre Olga Savary, José Geraldo Nogueira, Almeida Fischer, Plínio Doyle e Lygia Fagundes Telles, cujo perfil de escritora importará menos que o gestora pública. Para compreender a complexidade da iniciativa de criação do Museu, o recorte temporal oferece quatro abordagens: recrudescimento da ditadura militar, consolidação de políticas de preservação, desenvolvimento dos estudos da crítica genética, e revisão dos estudos museológicos. Fontes primárias de outras instituições foram usadas como pontes, o que indica a metodologia adotada por esta dissertação, que, a partir do objeto MLB, busca repensar a noção de arquivo literário pelo tripé vínculo, comunidade e desejo, assim como a relação entre espaços da memória/pensamento. Como uma proposta de materialização do museu que não nasceu, foi criado o endereço museudaliteratura.com.br, onde estarão disponibilizados todos os itens que originalmente fariam parte da instituição. / [en] The Museum of Brazilian Literatura Collection (MLB), conceived by the writer Lygia Fagundes Telles, holds an appreciable number of literary documents from different authors, but it was never finalized as a real institution. Therefore, it constitutes a gap both for the historiography of literature, museology, and archivology – three areas articulated in this dissertation. The unknown manuscripts, photographs and letters, under the custody of the Institute of Brazilian Studies (IEB) since 1977, were organized in two categories: document and movement. The researchable items in the document category are in the Museum s collection; while there are those with news behind the scenes in the movement category, revealing a fine articulation between Olga Savary, José Geraldo Nogueira, Almeida Fischer, Plínio Doyle and Lygia Fagundes Telles. Telles will be the principal character whose profile as a writer will matter less than the public manager. To understand the complexity of the Museum s creation initiative, the time frame offers four approaches: hardening military dictatorship, consolidation of preservation policies, development of studies on genetic criticism, and review of museum studies. Primary sources from other institutions were used as bridges, which indicates the methodology adopted by this dissertation, which based on the MLB as the main object, seeks to rethink the notion of literary archive by the volition, community, and desire, as well as the relationship between memory and thought spaces. To materialize the museum that was not born, museudaliteratura.com.br was created, where one can find all the items that originally would have been part of the institution.

Submitted by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-06-02T15:02:33Z No. of bitstreams: 1 DIS_JOAO_PEDRO_RODRIGUES_SANTOS_COMPLETO.pdf: 1122243 bytes, checksum: 0b40673550b8dccffdfa05218284514f (MD5) / Made available in DSpace on 2017-06-02T15:02:34Z (GMT). No. of bitstreams: 1 DIS_JOAO_PEDRO_RODRIGUES_SANTOS_COMPLETO.pdf: 1122243 bytes, checksum: 0b40673550b8dccffdfa05218284514f (MD5) Previous issue date: 2017-01-18 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / This dissertation presents a study about the fictionalization and the representation of death in the short stories of the Brazilian writer Lygia Fagundes Telles. Starting from the idea that the perspective of finitude has always threatened the human beings, it was analyzed how death unfolds and varies in different short stories from different works of Telles? literary trajectory. Therefore, the aforementioned writer writes and rewrites death in different ways in her narratives, showing diverse aspects of this matter, also seeking to deepen the comprehension of the biggest enigma of all times, the one that chases the mankind since the beginnings until nowadays. It was verified that in the studied short stories there are two kinds of approaches to death that are portrayed: the death of the other and the death of oneself. Besides, it was discussed how the aesthetic fruition of literature can pacify and help people in the searching for comprehension and acceptance of death. Due to complexity of death?s matter, it was necessary to get into theories and concepts of other subjects, such as: anthropology, philosophy, history of mentalities, psychology, psychoanalysis and sociology. Mainly, Lygia Fagundes Telles, while fictionalizing the finitude, seeks to immerse and get into the mysteries of human existence, calling her readers to embark on narratives where death and life seem to be amalgamated. / Esta disserta??o apresenta um estudo sobre a ficcionaliza??o e a representa??o da morte nos contos da escritora brasileira Lygia Fagundes Telles. Partindo da ideia de que a perspectiva da finitude sempre amedrontou o ser humano, analisou-se como a morte vai se desdobrando e variando em diferentes contos de diferentes obras da trajet?ria liter?ria de Telles. Assim sendo, a escritora em quest?o escreve e reescreve a morte de diferentes formas em suas narrativas, mostrando diversas faces desta quest?o, buscando, tamb?m, aprofundar a compreens?o deste grande enigma atemporal que persegue o homem desde os prim?rdios at? os dias de hoje. Verificou-se que nos contos estudados, existem dois tipos de abordagens da morte que s?o retratadas: a morte do outro e a morte de si mesmo. Al?m disso, discutiu-se como a frui??o est?tica da literatura pode apaziguar e auxiliar as pessoas na busca por compreens?o e aceita??o da morte. Devido ? complexidade do tema da morte, fez-se necess?rio, no desenrolar da pesquisa, adentrar teorias e conceitos de outras disciplinas, tais como: antropologia, filosofia, hist?ria das mentalidades, psicologia, psican?lise e sociologia. Sobretudo, Lygia Fagundes Telles, ao ficcionalizar a finitude, procura penetrar e aprofundar os mist?rios da exist?ncia humana, convocando seus leitores a embarcarem em narrativas onde morte e vida parecem se amalgamar.

Esta dissertação pretende uma breve análise da posição que as três personagens principais de As meninas, de Lygia Fagundes Telles, assumem no seu mundo ficcional. Pareceu-me que suas vidas tem forte componente de ilogicidade pois os seres humanos são limitados, impelidos e ameaçados por obscuras forças, e não encontram justificação para suas existências. Por isso, seguindo as trajetórias das "meninas", tentei captar suas características e reações, bem como provar certo determinismo que configura seus destinos. Finalmente, procurei tragar um pequeno paralelo entre Lygia Fagundes Telles e alguns dos maiores "autores do absurdo". Talvez esse procedimento nos leve a uma melhor compreensão do absurdo da condição humana, conforme no-lo apresenta esse romance. / This dissertation intends to make a brief analysis of the position the three main characters of As meninas, from Lygia Fagundes Telles, assume in their fictional world. It seemed to me that their lives have a strong component of illogicity: they are limited, impelled and menaced by obscure forces, and find no justification for their existences. Therefore, following the trajectories of the "girls", trying to point out their characteristics and reactions, I made a tentative to prove certain determinism that configures their destinies. Finally, I tried to trace a small parallel between Lygia Fagundes Telles and some of the greatest "authors of the absurd". Perhaps this procedure could lead us to a better understanding of the absurdity of human condition in this novel.

Este trabalho procura dissertar a respeito da maneira como o processo criativo de Lygia Bojunga, autora gaúcha de livros infanto-juvenis reconhecida e premiada internacionalmente, é exposto ao leitor, peça-chave em sua obra. A partir da abertura desse processo ao público ocorre uma interação efetiva com o leitor, ampliando as relações deste com a autora. Transformar o leitor em alguém que acompanha de perto a autoria, de modo a tornar-se quase que co-autor, é um dos pressupostos da trilogia do livro da autora - composta por Livro - um encontro, Fazendo Ana Paz e Paisagem. Isso também pode ser constatado nas obras publicadas por sua editora, Casa Lygia Bojunga, mais especificamente nos prefácios/posfácios “Pra você que me lê” das obras Tchau, O Meu Amigo Pintor e Feito à Mão, assim como na obra Retratos de Carolina. Tais textos são representativos do que pretendemos demonstrar: a relação íntima entre autora e leitor e a tentativa bem sucedida de desmistificar o papel do autor como alguém genial e inatingível. Lygia Bojunga descompõe essa imagem e constrói um novo modelo de relacionamento com o público leitor. A conquista desse público foi desenvolvida em aproximadamente 35 anos de história como escritora, trajetória iniciada em 1972 com Os colegas. Desde então, Lygia Bojunga tem se destacado na literatura infanto-juvenil, construindo uma obra tão plurissignificativa que ultrapassa as fronteiras do infanto-juvenil e atinge públicos diversos. Inclassificável, não sujeita a rótulos, a autora constrói uma literatura cativante, elo de comunicação com o leitor, única em seu modo de lidar com os temas escolhidos (também diversos) e com seu fiel público. Participar do processo criativo da autora é uma experiência gratificante, e tal participação é realizada da maneira mais simples e completa: através da leitura. / This essay is aimed at discussing the means by which the creative process of Lygia Bojunga, who is internationally renowned for her books for children and young readers, is exposed to the reader, who is a key element in her work. The unveiling of the process to her readership leads to an effective interaction with readers, intensifying their relations with the author. Turning the reader into a close follower of her authorial process, almost becoming a co-author, is one of the prerequisites for her book trilogy - made up of Livro - um encontro (Book – an encounter), Fazendo Ana Paz (The Making of Ana Paz) and Paisagem (Landscape). It is also observable in the books published by her own publishing house, named Casa Lygia Bojunga, more specifically in the foreword/afterword Pra você que me lê (For you, my reader) to the works Tchau (Ciao), O Meu Amigo Pintor (My Friend The Painter) and Feito à Mão (Handmade), as well as Retratos de Carolina (Portraits of Carolina). These books are representative of what is being argued for in this essay: the close relationship between author and reader and the successful attempt at demystifying the role of the writer as a sacred genius. Lygia Bojunga undermines this image and presents a new model of interaction with her readership. Ever since the beginning of Lygia Bojunga’s career as a writer 35 years ago, with the book Os colegas (The companions) published in 1972, she has been captivating readers and standing out in children’s and youth literature, developing a rich work which crosses limits and reaches other readerships. With a work that lies beyond labels, she writes a fascinating literature, establishing a communication link with the reader and adopting a unique approach to the (diverse) themes and to her faithful readership. Participating in her creative process is a gratifying experience that one enjoys in its simplest, most complete form through reading.

This dissertation investigates how the project of abstraction, initiated in interwar Europe, was reconstructed, continued, and transformed in mid-twentieth-century South America. Through an examination of the work and thought of three key artists (Tomás Maldonado of Argentina, Alejandro Otero of Venezuela, and Lygia Clark of Brazil), it posits historical continuity and universality as both central problems of mid-century South American projects of abstraction and potential avenues toward a new understanding of their historical specificity. I identify three key features of interwar abstraction that were consciously continued in the work of Maldonado, Otero, and Clark: the adoption of abstraction not as a style, but as a progressive teleology with a linear history and singular goal; the ambition to reach the end of painting as an autonomous activity and integrate abstraction into the built environment; and the belief in the power of abstraction to forge new subjects and collectivities. In all three cases, the encounter of a universalistic project with particular socio-historical realities had resonances unanticipated by their European predecessors. Whereas abstraction in interwar Europe was intimately tied to struggles against bourgeois subjectivity and for a new form of egalitarian collectivity, artists in mid-century South America were rather faced with accelerated, state-driven developmentalism and the emergence of populist politics. Against this background, I demonstrate how each artist envisioned abstraction as a tool to contribute to or disrupt newly emerging forms of collectivity, contrasting Maldonado's insistence on an international, class-based collective, Otero's efforts to forge a modern national community, and Clark's advocating for a contingent intersubjectivity as a way of resisting top-down projects of collectivity. Finally, I investigate how the engagement with ideas of continuity and universality, as exemplified by these three artists, intersected with broader conceptions of historical progress and development circulating in Latin America between the Second World War and the Cuban Revolution. The rise and fall of abstraction in South America during this period, I conclude, was closely linked to the dream of catching up with "universal history" and its eventual abandonment. / History of Art and Architecture

For almost 35 years the work carried out by the Brazilian artist Lygia Clark between the 1950s and until her death, in 1988, has attracted the attention of both Brazilian and European scholars and critics. Since special attention has only been given to her post-1969 work, the work carried out until 1969 has been overlooked. In particular, I would argue that through the incorporation of the human body Clark's 1959-1964 Bicho series is the first spatial performative strategy developed by Clark during the 1960s and against which all her subsequent production needs to be read. / The present essay is thus an attempt to read as spatial performative strategies Clark's Bicho series with and against the Brazilian reception of Mondrian, reception which, as I would argue has been overlooked in the context of her work. Furthermore, I would argue that in order for us to better understand how the Bicho series unfold as spatial performative strategies the Brazilian reception of Mondrian must be approached through the Brazilian reception of Merleau-Ponty's phenomenology and political and cultural movements of the time. While the role played by Merleau-Ponty's incorporation of the human body in Clark's work has not been closely examined, Clark's engagement with the political and cultural movements of her time has been underestimated. I would argue that any attempt to give an account of Clark's practice needs to take into consideration the role these three aspects played in her engagement with the problem of representation.

Made available in DSpace on 2014-06-11T19:26:54Z (GMT). No. of bitstreams: 0 Previous issue date: 2001-10-23Bitstream added on 2014-06-13T20:16:00Z : No. of bitstreams: 1 pauli_aam_me_assis.pdf: 663265 bytes, checksum: b1099fb41cef9cbca8d27d1416f11a73 (MD5) / A proposta desta dissertação é analisar e interpretar o livro Corda bamba (1979), de Lygia Bojunga Nunes (1932, - ), com o objetivo de observar como se dá a recepção pelo público jovem. Para alcançar seus objetivos, o trabalho prevê duas partes: uma análise e interpretação do texto, verificando a constituição literária da obra; depois, o estudo de sua recepção. A análise de Corda bamba limita-se aos recursos literários que mais se destacam na composição do livro. Em relação à recepção, privilegiou-se um estudo de caso, em que se analisou uma pesquisa realizada com duas turmas de oitava série de uma escola pública de Cornélio Procópio, Paraná, no ano de 2000, após a leitura de Corda bamba. Procurou-se, na análise das entrevistas, valorizar o leitor histórico, enfatizando sua prática de leitura. / The purpose of this research is to analyse and interpret the book Corda bamba (1979), by Lygia Bojunga Nunes (1932, - ) and has the objective to observe the way it was received by young readers. In order to achieve such an aim, the work was developed into two parts: firstly the analysis and interpretation of the text itself, checking the characteristics of the literary composition and, afterwards, the study of its reception. The analysis of Corda bamba is primary focussed on the literary resources which are noteworthy in the composition of the book. As far as the reception is concerned, it was privileged a case study and it was made an analysis of a research of two groups of students from the eight grade of a public school, in Cornélio Procópio, Paraná state, during the whole year of 2000, after the reading of Corda bamba. All through the analysis of the interviews, it was attempted to give the due value on the historical readers as well as to emphasize their reading practices.