Thesis (Ph. D.)--University of California, San Diego, 1998. / Vita. Includes bibliographical references (leaves 91-101).

Thesis(M.A.)--Auburn University, 2005. / Abstract. Vita. Includes bibliographic references (p.110-121).

Thesis (M. Sc.)--University of Western Sydney, Hawkesbury, 1993. / Includes bibliographical references (p. 246-257).

Drawing from literary criticism, ecological philosophy, psychoanalysis, and the wisdom of the female principle - or what Paula Gunn Allen perceives as "Her presence," the "power to make and relate"- this interdisciplinary study challenges dominant assumptions that habitually prevail in western cultural thinking. Let Them Run Wild investigates alternative, "buried" articulations which emerge in nineteenth-and early twentieth-century narratives that especially engage an audience of both children and adult readers. Recognizing the fictions inherent in linear-driven thought, these articulations celebrate narrative moments where reason is complicated and reconjectured, where absence is affirmed as presence, and where tale-tellers disappear behind the messages they relate. By spotlighting legendary characters, Chapter One, "The Jowls of Legend," explains how "wild consciousness" resists legendary status. Chapters Two and Three discuss the interweaving journey of the wild arabesque in the Arabian Nights and untamed desire within Anne's transformative language in L.M. Montgomery's Anne of Green Gables. Chapter Four, examining the death drive in Frank Norris's The Octopus, describes how it is reconceived in E. Nesbit's The Railway Children. Lastly, the Epilogue explores Juliana Ewing's "Lob Lie-By-the-Fire," tracing the manifestation of the female principle through its most wild activity - not hindered by gender - of service rendered through mystery and adventure. Wild consciousness advances through the collective identity of what Frederic Jameson has called the "political unconscious"and commissions older, better approximations of ideology through willing, spontaneous service. / It acknowledges Homi K. Bhabha's articulation of "cultural hybridity," while, simultaneously, it directs such hybrid constructions of history, space, and negotiation outward toward a wild feminist critic Elaine Showalter has characterized as the "wild zone," customarily understood as a borderland space, is further reinterpreted as a borderless, expressive, timeless calling forth of receptive minds to engage in wildly compassionate, nonsensical acts and cunning, non-heroic feats in order to transform the inert, polemic systems that define our western collective mind. In short, this study refigures what Vandana Shiva identifies as cultural "patents on life," where "civilization" becomes small - a mere idea in a forest's deep heart. / by Val Czerny. / Vita. / Thesis (Ph.D.)--Florida Atlantic University, 2009. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2009. Mode of access: World Wide Web.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A presente dissertação intitulada Anáforas encapsuladoras na voz do narrador de Menino de engenho tem como objetivo primeiramente identificar os encapsulamentos anafóricos que ocorrem em alguns fragmentos da voz do narrador da obra literária de José Lins do Rego. Sobre as anáforas, observamos a sua importância no contexto em que estão sendo utilizadas, facilitando a compreensão do sentido dos objetos-de-discurso previamente colocados no texto. Levando-se em consideração os estudos sobre a Linguística textual, especificamente a teoria da Referenciação, baseamo-nos no referencial teórico dos trabalhos de Koch (2011b, 2014); Koch & Elias (2012); Mondada & Dubois (2003); Cavalcante (2013); Cortez (2012) para respaldar a investigação sobre as anáforas. Além disso, temos como objetivo discutir as anáforas encapsuladoras na voz do narrador, que, concedeu-nos, à luz da polifonia de Oswald Ducrot (1987), distinguir o narrador/locutor do narrador/enunciador. Ademais, há um jogo de vozes, haja vista que surge a indagação: ora é o narrador/locutor que surge ou o narrador/enunciador? A partir disso, evidenciamos a relevância do contexto para identificação da voz que se enuncia. Analisamos, a partir dos estudos realizados sobre as anáforas encapsuladoras e a teoria polifônica de Ducrot, alguns fragmentos da obra que comprovam os encapsulamentos e sua relação com a voz do narrador. As expressões anafóricas fortalecem o dito pelo narrador e revelam os enunciados pelas vozes que surgem no contexto. A escolha do referido cânone literário deve-se à analogia entre a narrativa memorialista e a própria anáfora pelo fato de que em ambas há um movimento de retorno, que faz retomar algo que foi vivido (no caso da narrativa) ou que foi dito (no caso da anáfora). A narrativa memorialista trabalhada não no viés da literariedade em si, mas na análise da profusão de vozes que surgem nas expressões anafóricas evidencia a relevância dos estudos linguísticos bem como seus usos na obra literária em pauta que, por sua vez, reflete a pluralidade da ação e diz algo sobre o mundo real. / This Anaphoras dissertation entitled encapsulating the voice of the Menino de engenho narrator aims to first identify the anaphoric tunnels that occur in some fragments of the voice of the narrator of the novel by José Lins do Rego. About the anaphora, observe its importance in the context in which they are being used, facilitating the understanding of the meaning of the objects of-speech previously placed in the text. Taking into account the studies on the textual linguistics, specifically the theory of referencing, we rely on the theoretical framework of Koch's work (2011b, 2014); Koch & Elias (2012); Mondada & Dubois (2003); Cavalcante (2013); Cortez (2012) to support research on anaphora. In addition, we aim to discuss the encapsulation anaphora in the narrator's voice, which gave us the light of polyphony Oswald Ducrot (1987), distinguish the narrator / announcer of the narrator / enunciator. In addition, there is a "mess" of voices, given that arises the question: now is o narrador / announcer who comes or the narrator / enunciator? From this, we saw the relevance of voice identification context that sets out. Analyzed, from studies on the encapsulation anaphora and polyphonic theory Ducrot, some fragments of the work that prove the tunnels and their relationship to the voice of the narrator. Anaphoric expressions strengthen said by the narrator and reveal the statements by the voices that arise in the context. The choice of such literary canon is due to the analogy between narrative and memoir itself anaphora by the fact that in both there is a return movement, which is getting back something that was lived (in the case of the narrative) or what was said (in case of anaphora). The narrative memoir worked not in the bias of literariness itself, but the analysis of the multitude of voices that arise in anaphoric expressions highlights the relevance of linguistic studies and their uses in the literary work in question which, in turn, reflects the plurality of action and says something about the real world.

Orientador: Aurea Maria Guimarães / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-06T22:34:29Z (GMT). No. of bitstreams: 1 Gianei_BeatrisCristinaPossato_M.pdf: 6413296 bytes, checksum: fdf5aed07e7ceba87de9489527b1e7df (MD5) Previous issue date: 2006 / Resumo: Nesta pesquisa, as memórias e as histórias de uma tribo da Dança do Oriente do Brasil são expostas pelo foco da narrativa. Utilizando a estrutura literária de ¿As Mil e Uma Noites¿ permitiu-se que a memória e a história da personagem-narradora se entrecruzasse com outras memórias e histórias, formando um grande arabesco, onde as imagens ambivalentes apresentadas se enlaçam, sem reduzir a memória pessoal e coletiva, os fios orientais plurais e os fios contemporâneos, as tensões e a sensibilidade expressas nos depoimentos. Por meio da transcriação dissolve-se a dicotomia entre sujeito e objeto, penetrando de maneira profunda na temática, descrevendo o imaginário de uma tribo de Dança do Oriente e as modulações de violências ocultas e manifestas. O alento para a transcriação foi composto por depoimentos colhidos por meio de entrevistas e da participação nos principais eventos brasileiros de Dança do Oriente nos anos de 2004 e 2005. Compreendeu-se que a Dança do Oriente no Brasil encontra-se envolta de imaginários sociais, em que elementos sagrados e profanos dinamicamente associam-se, sempre permeados pelas manifestações de violência / Abstract: In this research, memories and stories about a Brazilian Oriental Dance Tribe are told by the narrative focus. The use of the literary structure from ¿One Thousand And One Nights¿ allowed that the memory and the story of the narrator-protagonist was used in other memories and stories creating a great Arabian world, where ambivalent images could be tied to each other, without reducing individual or collective memory, oriental and contemporary lines, sensibility and tension expressed on the reports. By this transcreation, the differences between subject and objects almost disappears, immerging deeply in the thematic, describing the imagination of a Oriental Dance Tribe and the modulations of their occulted and manifested violence. The base for this transcreation was made through reports gained by interviews and participations on the main Brazilian events of Oriental Dance at 2004 and 2005. It was understood that¿s the Brazilian Oriental Dance was alive through the socials imaginations, where holly and profane elements could be associated, always involved by violent manifestations / Mestrado / Ensino, Avaliação e Formação de Professores / Mestre em Educação

Made available in DSpace on 2017-06-01T18:24:59Z (GMT). No. of bitstreams: 1 maria_jose_cavalcanti_andrade.pdf: 436937 bytes, checksum: 8ab382af3eae020e751f66cf2c1bbe0b (MD5) Previous issue date: 2015-03-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This Anaphoras dissertation entitled encapsulating the voice of the Menino de engenho narrator aims to first identify the anaphoric tunnels that occur in some fragments of the voice of the narrator of the novel by José Lins do Rego. About the anaphora, observe its importance in the context in which they are being used, facilitating the understanding of the meaning of the objects of-speech previously placed in the text. Taking into account the studies on the textual linguistics, specifically the theory of referencing, we rely on the theoretical framework of Koch's work (2011b, 2014); Koch & Elias (2012); Mondada & Dubois (2003); Cavalcante (2013); Cortez (2012) to support research on anaphora. In addition, we aim to discuss the encapsulation anaphora in the narrator's voice, which gave us the light of polyphony Oswald Ducrot (1987), distinguish the narrator / announcer of the narrator / enunciator. In addition, there is a "mess" of voices, given that arises the question: now is o narrador / announcer who comes or the narrator / enunciator? From this, we saw the relevance of voice identification context that sets out. Analyzed, from studies on the encapsulation anaphora and polyphonic theory Ducrot, some fragments of the work that prove the tunnels and their relationship to the voice of the narrator. Anaphoric expressions strengthen said by the narrator and reveal the statements by the voices that arise in the context. The choice of such literary canon is due to the analogy between narrative and memoir itself anaphora by the fact that in both there is a return movement, which is getting back something that was lived (in the case of the narrative) or what was said (in case of anaphora). The narrative memoir worked not in the bias of literariness itself, but the analysis of the multitude of voices that arise in anaphoric expressions highlights the relevance of linguistic studies and their uses in the literary work in question which, in turn, reflects the plurality of action and says something about the real world. / A presente dissertação intitulada Anáforas encapsuladoras na voz do narrador de Menino de engenho tem como objetivo primeiramente identificar os encapsulamentos anafóricos que ocorrem em alguns fragmentos da voz do narrador da obra literária de José Lins do Rego. Sobre as anáforas, observamos a sua importância no contexto em que estão sendo utilizadas, facilitando a compreensão do sentido dos objetos-de-discurso previamente colocados no texto. Levando-se em consideração os estudos sobre a Linguística textual, especificamente a teoria da Referenciação, baseamo-nos no referencial teórico dos trabalhos de Koch (2011b, 2014); Koch & Elias (2012); Mondada & Dubois (2003); Cavalcante (2013); Cortez (2012) para respaldar a investigação sobre as anáforas. Além disso, temos como objetivo discutir as anáforas encapsuladoras na voz do narrador, que, concedeu-nos, à luz da polifonia de Oswald Ducrot (1987), distinguir o narrador/locutor do narrador/enunciador. Ademais, há um jogo de vozes, haja vista que surge a indagação: ora é o narrador/locutor que surge ou o narrador/enunciador? A partir disso, evidenciamos a relevância do contexto para identificação da voz que se enuncia. Analisamos, a partir dos estudos realizados sobre as anáforas encapsuladoras e a teoria polifônica de Ducrot, alguns fragmentos da obra que comprovam os encapsulamentos e sua relação com a voz do narrador. As expressões anafóricas fortalecem o dito pelo narrador e revelam os enunciados pelas vozes que surgem no contexto. A escolha do referido cânone literário deve-se à analogia entre a narrativa memorialista e a própria anáfora pelo fato de que em ambas há um movimento de retorno, que faz retomar algo que foi vivido (no caso da narrativa) ou que foi dito (no caso da anáfora). A narrativa memorialista trabalhada não no viés da literariedade em si, mas na análise da profusão de vozes que surgem nas expressões anafóricas evidencia a relevância dos estudos linguísticos bem como seus usos na obra literária em pauta que, por sua vez, reflete a pluralidade da ação e diz algo sobre o mundo real.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-09-19T12:34:00Z No. of bitstreams: 1 Roseneide Simões da Silva.pdf: 30064485 bytes, checksum: 175fc7aec4a367b5e339d5798115e5cc (MD5) / Made available in DSpace on 2017-09-19T12:34:00Z (GMT). No. of bitstreams: 1 Roseneide Simões da Silva.pdf: 30064485 bytes, checksum: 175fc7aec4a367b5e339d5798115e5cc (MD5) Previous issue date: 2017-08-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This dissertation is linked to the research line: Text and Speech in oral and written format, the Program of Studies in Portuguese language of PUC-SP. It is therefore subject to present a proposal for a teaching of gender-textual narrative discourse of history for students of the 5th year of elementary education at a public school peripheral areas of the city of São Paulo.The problem addressed in this research is to find out what strategies are applied to the construction of the narrative genre of history. It is a general objective to contribute to the teaching proposal of the genre textual-discursive narrative of history. Specific objectives are: Diagnose what the student already knows about the production of written text of the narrative genre of history; To propose a didactic sequence that propitiates an improvement in the written production of the textual genre: history narrative; Apply activities of production of written text of the narrative genre of history; It is general objective contribute with the proposal of teaching of gender textual-discursive narrative of history. Are specific objectives: to diagnose what students already know about the production of written text of the narrative genre of history; Propose a didactic sequence that drives an improvement in written production of textual genre: narrative of history; apply the production of written text of the narrative genre of history; To verify the use of textual categories (presentation, conflict, resolution, followed by evaluation or morality) in the production of written text of the narrative textual genre of history.The methodological procedure is qualitative analytical with application of a didactic sequence in the classroom. The analysis material was collected from students-informants of the 5th year. The results obtained indicate that the proposal made in this dissertation, permitted them to differentiate into narrative report of narrative of history; as well as produce texts of the narrative of history as well organized. We conclude that the proposed strategies are effective and that teachers, in general, have difficulties to teach the difference between narrative account of the narrative of history, because they have little theoretical knowledge of the subject treated / Esta dissertação está vinculada à linha de pesquisa: Texto e discurso nas modalidades oral e escrita, do Programa de Estudos Pós-Graduados em Língua Portuguesa da PUC-SP. Tem-se por tema apresentar uma proposta de ensino do gênero textual–discursivo narrativa de história para alunos do 5º ano do Ensino Fundamental de uma escola estadual periférica da cidade de São Paulo. É objetivo geral contribuir com a proposta de ensino do gênero textual-discursivo narrativa de história. São objetivos específicos: Diagnosticar o que o aluno já sabe sobre a produção de texto escrito do gênero narrativo de história; Propor uma sequência didática que propicie uma melhora na produção escrita do gênero textual: narrativa de história; Aplicar atividades de produção de texto escrito do gênero narrativo de história; Verificar o uso das categorias textuais (apresentação, conflito, resolução, seguidas de avaliação ou moral) na produção de texto escrito do gênero textual narrativo de história. O procedimento metodológico é analítico qualitativo com aplicação de uma sequência didática em sala de aula. O material de análise foi coletado de alunos-informantes do 5º ano. Os resultados obtidos indicam que a proposta feita, nesta dissertação, possibilitou-lhes diferenciar em narrativa de relato de narrativa de história; assim como produzirem textos de narrativa de história bem organizados. Concluímos que as estratégias propostas são eficazes e que os professores, de forma geral, têm dificuldades para ensinar a diferença entre narrativa de relato da narrativa de história, por terem pouco conhecimento teórico da questão tratada

In 1994, almost a million Tutsi and some Hutu were massacred in Rwanda during the 100 day genocide. Between 1995 and 1998, nearly the same number of Hutu and some Tutsi died, while in flight, primarily in the former Zaire. In the years following genocide, hundreds of thousands of Rwandans have been accused of genocide related crimes. There is not a person in Rwanda who is not directly affected by past violence and the country is in a process of healing and reconciliation. Much of the violence in Rwanda can be traced to perceptions of history and identity. This thesis seeks to unearth narratives of history and identity as a way of exploring possibilities for healing and reconciliation. Through an in-depth examination of four life stories, interviews with leaders in the field of reconciliation in Rwanda and informal interviews with a broad spectrum of Rwandans, this research sheds light on the challenges and opportunities in terms of healing. It finds that through critical engagement with our own and broader socio-political narratives we can expand the possibilities of our own narratives, allowing scope for personal healing as well as leading to a deeper understanding of the other. This can form the basis for sustainable reconciliation. / Thesis (Ph.D.)-University of KwaZulu-Natal, Westville, 2010.

Thesis (M.A.)--State University of New York at Binghamton, Department of Philosophy, 2009. / Includes bibliographical references (leaves 55-56).