The aim of this study is to investigate how five boys in grade 3 of compulsory school structure and use language when they write narrative texts retelling and assessing personally experienced events. This is studied by interpreting how the boys use genre steps that are typical of the structure of personal narrative texts and by detecting and naming different linguistic features in the texts. The material in the study consists of five boys’personal reports and the method, which is based on the theories of genre pedagogy (see Johansson & Sandell Ring 2012:28ff, 223f), comes from systemic functional linguistics. A central finding of the study is that the boys structure their texts in varying combinations of genre steps which commonly occur in texts of a narrative kind. Another central finding is that the language in the boys’ texts consists of many verbs and verb groups which explain that someone is acting or doing something, different discourse connectives to indicate time, along with expressions for emotions and descriptions of experiences or objects.

The present study has two purposes. One aim is to investigate to what extent 20 pupils in grade 3 use two different forms of presentation in their narrative texts and how these choices of forms of presentation create certain patterns in the pupils’ texts. Another aim is to study to what extent the pupils use various features of spoken language in their narrative texts and whether these features correlate with the forms of presentation. The material in the study consists of 20 narrative texts from the national test in Swedish in 2011. The analytical models are based, among other things, on the theory of linguistic variation (see Nordberg 2013). A central finding of the study is that the pupils mainly choose to write their narrative texts from their own standpoint and that the choice of forms of presentation creates two different patterns in the pupils’ texts. One pattern that is found in several pupils’ texts builds on an interplay between the pupils’ own voice and the voice of other characters. Another central finding is that the pupils use many colloquial forms of pronouns, and that the features of spoken language are more common in various dialogue contexts than when the pupils tell the story in their own voice.

The purpose of this study is to investigate whether there are differences between students' narrative texts written by hand or with an iPad (with keyboard). This comparative study analyzes 54 narrative texts written by students in grade 6. The method of analysis is a combination of a qualitative text analysis model with a quantitative content analysis of the texts, with different measurable variables. The text analysis model systematizes the content of the texts in the categories content, structure and linguistic features, and writing rules. The quantitative analysis is based on measurable variables within the framework of the categories and these are text length, word class distribution, nominal quota, paragraph classification, word length and word variation, readability index, misspellings and spelling and verbal words. The quantitative study has been processed statistically with Swegram. The results show that there are differences in the student grades written by hand and digitally in all three categories. The digital texts are longer, contain more descriptive descriptions, a clearer structure, a more varied language and less spelling errors. But the entirety of the digital texts is not exceptional. Students use a more complicated writing style, vary their language and use more difficult words. However, many students do not have the knowledge, skills or the technical writing ability to compose a clarity of communicate the content in the text. Writing digitally has great advantages over handwriting, but there are also disadvantages. / Syftet med denna studie är att undersöka om det finns skillnader i elevers berättande texter när de skriver för hand med papper och penna eller skriver på iPad med tangentbord (digi­talt verktyg). I denna jämförande studie analyseras 54 berättande texter skrivna av elever i årskurs 6. Analysmetoden är en kombination av en kvalitativ textanalysmodell och en kvantitativ innehållsanalys av texterna, med olika mätbara variabler. Textanalysmodellen systematiserar texternas innehåll i kategorierna innehåll, struktur samt språkliga drag och skrivregler. Den kvantitativa analysen bygger på mätbara variabler inom ramen för kate­gorierna. Dessa är textlängd, ordklassfördelning, nominalkvot, styckeindelning, ordlängd och ordvariation, läsbarhetsindex, stavfel och särskrivningar och talspråk. Den kvantita­tiva studien har bearbetats statistiskt med hjälp av Swegram. Resultatet visar att det finns skillnader i elevtexterna skrivna för hand och digitalt inom alla tre kategorierna. De digitala texterna är längre, innehåller fler gestaltande beskrivningar och har tydligare struktur, ett mer varierat språk och färre stavfel. Men de digitala texternas helhet är inte alltid bättre. Eleverna använder ett mer avancerat skrivsätt, varierar sitt språk och använder svårare ord. Emellertid har flera elever inte kunskapen eller den skrivtekniska förmågan att komponera tydlighet i budskap och innehåll. Att skriva digitalt har stora fördelar framför att skriva för hand men det finns även nackdelar.

Submitted by admin tede (tede@pucgoias.edu.br) on 2016-12-12T17:45:59Z No. of bitstreams: 1 IVONETE FERREIRA DA COSTA.pdf: 1144206 bytes, checksum: 112aea88b52fbaed3f56007447beaf47 (MD5) / Made available in DSpace on 2016-12-12T17:46:00Z (GMT). No. of bitstreams: 1 IVONETE FERREIRA DA COSTA.pdf: 1144206 bytes, checksum: 112aea88b52fbaed3f56007447beaf47 (MD5) Previous issue date: 2016-03-23 / The text brings the analysis of aspects of the literary discourse as the processes of construction of the scenes and the magical universe, in which the narratives of Marina Colasanti are realized, having as it shows the tales of the works Doze reis e a moca no labirinto do vento (2006): "The woman ramada", Uma ideia toda azul (2006): "Beyond the frame", "Between the leaves of green ó" and "Yarn after yarn". The general and specific objectives are to highlight and distinguish the encompassing and generic scenes present in the narratives, to identify the nature of the verbal sign in its relation to the nonverbal sign, and to analyze intertext resources, paratext, among others, as an artistic procedure. The narrative plans are approached, in which the characters are realized mimically, starting from the initial assumption formulated by Dominique Maingueneau. Non-verbal language is an invitation to read verbal language and vice versa. Both are associated with the signs that are constructed through the textual writing: loom and fabric. They can be seen now either explicitly or implicitly, and put in the service of a power that is realized by the act of reading. Thus, in the narrative text, there are traces of a speech in which the text is staged. / O texto traz a análise de aspectos do discurso literário como os processos de construção das cenas e o universo mágico, em que se realizam as narrativas de Marina Colasanti, tendo como mostra os contos das obras Doze reis e a moca no labirinto do vento (2006): “A mulher ramada”, Uma ideia toda azul (2006): “Além do bastidor”, “Entre as folhas do verde ó” e “Fio após fio”. Os objetivos geral e específicos são destacar e distinguir as cenas englobante e genérica presentes nas narrativas, identificar a natureza do signo verbal na sua relação com o signo não verbal e analisar recursos de intertexto, paratexto, entre outros, como procedimento artístico. Abordam-se os planos narrativos, nos quais se dá a realização dos personagens mimeticamente, partindo do pressuposto inicial formulado por Dominique Maingueneau. A linguagem não verbal é um convite à leitura da linguagem verbal e vice-versa. Ambas se associam aos signos que se constroem por meio da escritura textual: tear e tecido. Elas podem ser vistas ora de modo explícito, ora implícito, e se colocam a serviço de um poder que se realiza pelo ato de leitura. Assim, no texto narrativo, há rastros de um discurso em que o texto é encenado.