It is evident in Antjie Krog's oeuvre that autobiographical aspects and themes play an important role in her work, and that such aspects are in fact characteristic of all her work. In this study the relation between the autobiographical material in 'n Ander Tongval (2003) and in some of her volumes of poetry is researched. It is clear from the theoretical works that were consulted that the relation between the text and "reality" can be extremely complex, because all autobiographical texts always contain both autobiographical and fictional aspects. In the autobiographical text the writer must constantly negotiate between the public and the private; in other words what the writer chooses to remember and reveal, and what is concealed. There are significant similarities between the autobiographical memories in 'n Ander Tongva/ and a number of Antjie Krog's poems from the volumes Dogter van Jefta, Otters in bronslaai, Jerusa/emgangers, Lady Anne, Gedigte 1989 - 1995 and Kleur kom nooit aileen nie. It is evident, however, that the same information is presented very differently in the poetic and narrative texts. Krog uses her memory very selectively and she manipulates her memories in the representation of the poems. A reason for this may be that she regards her poetry as personal, while the autobiographical text was written for a bigger audience. The same argument applies to her use of different voices ("I" as well as other voices) which is used in both texts. / Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2009.

It is evident in Antjie Krog's oeuvre that autobiographical aspects and themes play an important role in her work, and that such aspects are in fact characteristic of all her work. In this study the relation between the autobiographical material in 'n Ander Tongval (2003) and in some of her volumes of poetry is researched. It is clear from the theoretical works that were consulted that the relation between the text and "reality" can be extremely complex, because all autobiographical texts always contain both autobiographical and fictional aspects. In the autobiographical text the writer must constantly negotiate between the public and the private; in other words what the writer chooses to remember and reveal, and what is concealed. There are significant similarities between the autobiographical memories in 'n Ander Tongva/ and a number of Antjie Krog's poems from the volumes Dogter van Jefta, Otters in bronslaai, Jerusa/emgangers, Lady Anne, Gedigte 1989 - 1995 and Kleur kom nooit aileen nie. It is evident, however, that the same information is presented very differently in the poetic and narrative texts. Krog uses her memory very selectively and she manipulates her memories in the representation of the poems. A reason for this may be that she regards her poetry as personal, while the autobiographical text was written for a bigger audience. The same argument applies to her use of different voices ("I" as well as other voices) which is used in both texts. / Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2009.

The dissertation is a collection of eighteen short stories. These stories relate the life experiences of the first-person narrator and chronicle a period of twenty years. They are arranged in five thematic groups: Expectations, Questions, Lighter Moments, Answers, and Separation. The focus of each one represents the narrator's experiences with his father, as the narrator attempts to understand a man who exerts such control over his life. Expectations contains three stories, with the first depicting the narrator's earliest association with his father. The other two represent significant growth experiences. The five stories in the Questions portion focus on the youthful narrator as he tries to understand the reasons behind his father's values and moral lessons. In the section, Lighter Moments, there are four stories in which the narrator is in his late teens and recalls four incidents that lacked the usual serious undertones prevalent in most of his experiences with his father. Answers is composed of three stories in which the narrator, nearing manhood, struggles with feelings of disillusionment with the life his father has planned for him, as well as the realization that his father controls every aspect of his life. The final section of three stories, Separation, depicts the narrator, a young man in his twenties with his own family, coping with the need to escape his father's control.

Madness has long been a popular theme for literature, featuring as a trope of horror, mystery, tragedy and comedy genres in varying degrees of amplitude. The topic has provided a significant access point for analysing historical, socio-political and cultural issues as it addresses controversial themes of alienation and criminality as well as philosophical theories of perception and consciousness. As a result, studies on the representation of madness in literature have been dominated by historical approaches that focus directly on social, political, philosophical and psychoanalytical interpretive models. Comparatively little has been done to analyse madness in literature from a narratological perspective. It is for this reason that I will conduct a narratological study on the impact of madness on narrative and fictional world structures. I am specifically interested in the way in which madness can be embedded across multiple levels of the narrative and the effect that this has on readers’ imaginative and interpretive processes. Close readings of Chuck Palahniuk’s Fight Club (1996) Bret Easton-Ellis’ American Psycho (1991) and John Banville’s The Book of Evidence (1989) will uncover some of the techniques that are used to embed madness into the textual and imaginative structures of a narrative, and will demonstrate how this works to deceive and challenge the reader. I will demonstrate the need for an expansion of terms within the narratological model that can cope specifically with the theme of madness.

No decorrer de vários anos de leituras e intervenções práticas, foram recolhidos ideias e eixos temáticos, alinhavados e sistematizados na troca de passes entre a arte do futebol brasileiro e seus principais narradores, a partir dos conceitos de hegemonia, sociedade civil e intelectual orgânico em Gramsci. Paralelamente, captou-se o narrador em Walter Benjamin e a sua visão sobre a modernidade. A tese abordará basicamente esses pontos. Tudo em Cenários e Personagens de décadas distintas, em espaços geográficos não necessariamente iguais ou limítrofes, mas capazes de dialogar através dos temas escolhidos. Cenários e personagens que percorrem uma trajetória iniciada na Inglaterra na segunda metade do século XIX, até sua consolidação no Brasil na década de 1960. Dos personagens, percorremos as trilhas de Gentil Cardoso, Dori Kürschner, Neném Prancha, Nelson Rodrigues e João Saldanha, tendo como inspiração os seus grandes solistas: de Marcos Carneiro de Mendonça a Gerson, passando por Friedenreich, Fausto, Leônidas, Didi, Garrincha e Pelé. / During several years of readings and practical interventions, ideas and axial themes were collected, sketched, and systematized in the exchange of passes between the art of Brazilian soccer and major narrators, from Gramsci\'s concepts of hegemony, civil society, and organic intellectuals. Similarly, the narrator is captured in Walter Benjamin and his vision of modernity. The thesis will mainly deal with these points. The content addresses Characters and Settings of distinctive decades, and geographic spaces not necessarily equal or bordering, but able to dialogue through the chosen themes. Characters and settings that cover a trajectory started in England in the second half of the nineteenth century until its consolidation in Brazil in the 1960s. Among the historical personalities, we followed the paths of Gentil Cardoso, Dori Kürschner, Neném Prancha, Nelson Rodrigues and João Saldanha; taking as inspiration the great soloists: from Marcos Carneiro de Mendonça to Gerson, in addition to Friedenreich, Fausto, Leônidas, Didi, Garrincha and Pelé.

Ao defender a hipótese de que os conteúdos do ensino e aprendizagem da arte podem contribuir para a formação de contadores de histórias contemporâneos, a presente pesquisa focaliza o universo do contador de histórias tradicional e os possíveis modos como ele aprende sua arte no seu contexto cultural, para observar transformações que levam à situação atual da arte de contar histórias, que algumas vezes se caracteriza como espetáculo visando atender às necessidades do mercado cultural contemporâneo. O tema é investigado por meio da pesquisa qualitativa que se assemelha ao tipo participante e compreende análise bibliográfica, pesquisa de campo e relato de experiência. Foram realizadas entrevistas com contadores de histórias urbanos com o objetivo de investigar seus percursos de formação e modos de aprendizagem e feita observação em campo de contadores de histórias em atuação e de projetos de pesquisa e formação de narradores. O texto propõe que aprender a arte narrativa, por meio da experiência estética e da educação artística, implica potencializar a ação transformadora que ocorre quando se aprende arte com arte. A aprendizagem é compreendida como uma construção progressiva do contador de história, alimentada por situações de produção, leitura e reflexão sobre a arte narrativa de acordo com a Proposta Triangular de Ana Mae Barbosa. A educação artística e estética favorece o desenvolvimento de recursos necessários a serviço da arte da narração e a capacidade de incorporar elementos de outras linguagens artísticas, o que promove uma qualidade artística que possa ser verdadeiramente chamada de arte, a arte de contar histórias. / Defending the hypothesis that the contents of the teaching and the learning art can contribute to the formation of contemporary stories tellers, this research it focuses the universe of traditional stories tellers and the possible ways that they learn their art inside their cultural context, in order to observe transformations that take the current situation of the stories teller art, which it is sometimes characterized as an entertainment to attend the needs of the contemporary cultural market. The subject is investigated through the qualitative research and considers bibliographical analysis, field research and experience report. It was accomplished interviews with urban stories tellers with the objective of investigating their formation courses and ways of learning. Also, it was made field observation of stories tellers in action, research projects and narrators\' formation. The text proposes that learning the narrative art through the aesthetic experience and the artistic education it ends up enlarging the transforming action that happens when to learn art with art. The learning is understood as a progressive construction of the story teller, fed by situations of production, reading and reflection about the narrative art in agreement with the Triangular Proposal from Ana Mae Barbosa. The artistic and aesthetic education promotes the development of necessary resources to attend the narration art and the capacity of incorporating elements of other artistic languages, what promotes an artistic quality that can truly be called art; the art of telling stories.

No decorrer de vários anos de leituras e intervenções práticas, foram recolhidos ideias e eixos temáticos, alinhavados e sistematizados na troca de passes entre a arte do futebol brasileiro e seus principais narradores, a partir dos conceitos de hegemonia, sociedade civil e intelectual orgânico em Gramsci. Paralelamente, captou-se o narrador em Walter Benjamin e a sua visão sobre a modernidade. A tese abordará basicamente esses pontos. Tudo em Cenários e Personagens de décadas distintas, em espaços geográficos não necessariamente iguais ou limítrofes, mas capazes de dialogar através dos temas escolhidos. Cenários e personagens que percorrem uma trajetória iniciada na Inglaterra na segunda metade do século XIX, até sua consolidação no Brasil na década de 1960. Dos personagens, percorremos as trilhas de Gentil Cardoso, Dori Kürschner, Neném Prancha, Nelson Rodrigues e João Saldanha, tendo como inspiração os seus grandes solistas: de Marcos Carneiro de Mendonça a Gerson, passando por Friedenreich, Fausto, Leônidas, Didi, Garrincha e Pelé. / During several years of readings and practical interventions, ideas and axial themes were collected, sketched, and systematized in the exchange of passes between the art of Brazilian soccer and major narrators, from Gramsci\'s concepts of hegemony, civil society, and organic intellectuals. Similarly, the narrator is captured in Walter Benjamin and his vision of modernity. The thesis will mainly deal with these points. The content addresses Characters and Settings of distinctive decades, and geographic spaces not necessarily equal or bordering, but able to dialogue through the chosen themes. Characters and settings that cover a trajectory started in England in the second half of the nineteenth century until its consolidation in Brazil in the 1960s. Among the historical personalities, we followed the paths of Gentil Cardoso, Dori Kürschner, Neném Prancha, Nelson Rodrigues and João Saldanha; taking as inspiration the great soloists: from Marcos Carneiro de Mendonça to Gerson, in addition to Friedenreich, Fausto, Leônidas, Didi, Garrincha and Pelé.

Made available in DSpace on 2014-06-11T19:32:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2003-05-05Bitstream added on 2014-06-13T21:04:56Z : No. of bitstreams: 1 fernandes_fag_dr_assis.pdf: 1284451 bytes, checksum: cf6d97ecf9ce82a56850a7d557f3df33 (MD5) / Esta tese compreende um estudo da poesia oral pantaneira no momento de sua atualização, ou seja, durante a performance. Para tanto, ela se divide em três partes principais. Na primeira, com base em relatos de viagem, foram identificados embates discursivos entre o narrador e o viajante. A partir desses embates, foi demonstrado como, durante a performance, a presença do auditório exige do narrador uma postura frente àquilo que conta, ou seja, como ele cria uma identidade, que se manifesta pelo discurso da narrativa. Outro ponto discutido diz respeito ao registro da poesia oral pelo viajante, em que enfatizei como elementos ligados à performance foram ignorados e como a transcrição interfere na compreensão do texto oral. Na segunda parte, foram analisados os aspectos discursivos da narrativa oral. Constatei que o narrador cria uma autoridade (relação frente ao auditório) e autoria (atualização do texto que ouviu), pelas quais ele engendra um discurso identitário. A questão das variáveis e invariantes no texto oral foi estudada na terceira parte. Assim, detive-me no estudo das narrativas de enterro pantaneiras. Identifiquei elementos invariantes (origem, anunciação, marcação, provação, desenlace), que congregam algumas variáveis (tipos de origem, formas diferenciadas de anunciação, etc.). Além disso, as narrativas se reorganizam mudando de significado, como constatei com o protoconto, a explicativa, o logro e a descritiva. O último capítulo tratou da performance, em que foi analisada a manifestação da narrativa na performance e, também, alguns dos mecanismos que o narrador emprega para persuadir o seu auditório. Os estudos assim divididos visam a dar uma visão sincrônica da poesia oral, pois partem do texto oral em seu espaço de constituição, levando em conta a voz (identidade e ruído) do narrador. / This thesis contains an oral poetry study at the moment of its updating (sometimes subtractions are possible), that is to say, during the performance. For clarification's sake, it is divided in three main parts. In the first part, I identified the discoursive clashes between the narrator and the foreign traveler, based on travelers' reports. After that, it was demonstrated that the audience presence requires from the narrator, during the performance, an attitude about what he tells, i.e., an identity creation manifested by the narrative discourse. Another item is about the oral poetry recorded by the traveler. At this point, I emphasized that some performance features were ignored and that the transcription interferes in oral text comprehension. In the second part, the oral narrative discursive aspects were analyzed. I verified that the narrator creates an authority (the relationship face the audience) and an authorship (the listened text update) by which he engenders an identity discourse. The matter of variables and invariables was studied in the third part. Thus, I detained myself in the study of burial pantaneira narrative. I identified invariable elements (origin, annunciation, marking, probation, epilogue) that have some variables (kinds of origin, different forms of annunciation, etc.). Besides, the narratives reorganize themselves by changing their meanings such as the prototale, the explicative, the bluff and the descriptive, according to my verification. In the last chapter, I discussed the performance. I also analyzed the narrative manifestation in the performance and some of the narrator's mechanisms used to persuade his audience. Divided this way, the studies intend to make a synchronic approach of oral poetry, because they depart from oral text in its composition space taking into consideration the narrator's voice (identity and noise)

Ao defender a hipótese de que os conteúdos do ensino e aprendizagem da arte podem contribuir para a formação de contadores de histórias contemporâneos, a presente pesquisa focaliza o universo do contador de histórias tradicional e os possíveis modos como ele aprende sua arte no seu contexto cultural, para observar transformações que levam à situação atual da arte de contar histórias, que algumas vezes se caracteriza como espetáculo visando atender às necessidades do mercado cultural contemporâneo. O tema é investigado por meio da pesquisa qualitativa que se assemelha ao tipo participante e compreende análise bibliográfica, pesquisa de campo e relato de experiência. Foram realizadas entrevistas com contadores de histórias urbanos com o objetivo de investigar seus percursos de formação e modos de aprendizagem e feita observação em campo de contadores de histórias em atuação e de projetos de pesquisa e formação de narradores. O texto propõe que aprender a arte narrativa, por meio da experiência estética e da educação artística, implica potencializar a ação transformadora que ocorre quando se aprende arte com arte. A aprendizagem é compreendida como uma construção progressiva do contador de história, alimentada por situações de produção, leitura e reflexão sobre a arte narrativa de acordo com a Proposta Triangular de Ana Mae Barbosa. A educação artística e estética favorece o desenvolvimento de recursos necessários a serviço da arte da narração e a capacidade de incorporar elementos de outras linguagens artísticas, o que promove uma qualidade artística que possa ser verdadeiramente chamada de arte, a arte de contar histórias. / Defending the hypothesis that the contents of the teaching and the learning art can contribute to the formation of contemporary stories tellers, this research it focuses the universe of traditional stories tellers and the possible ways that they learn their art inside their cultural context, in order to observe transformations that take the current situation of the stories teller art, which it is sometimes characterized as an entertainment to attend the needs of the contemporary cultural market. The subject is investigated through the qualitative research and considers bibliographical analysis, field research and experience report. It was accomplished interviews with urban stories tellers with the objective of investigating their formation courses and ways of learning. Also, it was made field observation of stories tellers in action, research projects and narrators\' formation. The text proposes that learning the narrative art through the aesthetic experience and the artistic education it ends up enlarging the transforming action that happens when to learn art with art. The learning is understood as a progressive construction of the story teller, fed by situations of production, reading and reflection about the narrative art in agreement with the Triangular Proposal from Ana Mae Barbosa. The artistic and aesthetic education promotes the development of necessary resources to attend the narration art and the capacity of incorporating elements of other artistic languages, what promotes an artistic quality that can truly be called art; the art of telling stories.

In the prison society of Circadia, the Jury doesn’t need chains or locks to keep citizens tame, only routine—but Valerie and Brennan break the routine. Valerie allows a hospital patient who hurt her in the past to die from cardiac arrest. Her twelve-year term will be reset if anyone finds out she didn’t try to save him; she’ll start over in the dangerous Twelfth Circle. With 455 days left in Circadia, she must lie not only to the authorities but also to her family. And she’s a terrible liar. Most conversations halt near Brennan, the Warden’s son, but even he catches the whispers after a police officer attempts to escape from Circadia. When Brennan learns that his mother and a Juror are rigging the officer’s public trial, they give him a choice: side with the Circadians and lose his safety, or side with the Jury and lose his self-respect. Structured in chapters that alternate between Valerie and Brennan, this novel—influenced by George Orwell, Suzanne Collins, and Michel Foucault—suggests that the best prison makes you comfortable. It makes you want to stay.