The storyline approach is a group centred and cross-curricular teaching method focusing on the creation of a story and a fictive world in the classroom. The story develops by the pupils’ answers to different key questions, which represent tasks and activities. One of these questions often concerns the making of characters, which then are used throughout the story. The storyline approach has become a quite well-used method in first language contexts, but is less used in foreign language teaching, especially when it comes to the younger learners. This study will therefore discuss if the method could encourage pupils’ motivation for English language learning and if the creative aspects of the storyline approach may enhance the pupils’ English learning. The essay is a literature study, using scholarly studies of the storyline approach, young language learners, motivation in language learning and creativity related to language learning. By relating and comparing these studies, I find that the storyline approach may be used in English teaching for younger learners, that it may indeed be used to motivate pupils and that the creativity that the approach encourages may affect pupils in a positive way.

Vår avsikt med detta arbete har varit att utforma ett arbetsmaterial, en Storyline som vi har kallat ”This is it”, ett komplement till de läromedel som finns i skolan idag. Storyline är en redan beprövad metod i en del skolor och ligger som underlag för detta utvecklingsarbete.För att få insikt i hur erfarna lärare i Storyline ser på detta arbetssätt har vi som vetenskaplig metod valt att genomföra en kvalitativ intervju i kombination med enkäter. Dessa har, tillsammans med teoretiska belägg mynnat ut i ”This is it”. Vi ville undersöka om Storyline som undervisningsmetod skapar förutsättningar för utveckling av ”speciella” kompetenser hos eleverna, kompetenser som vi anser innefattas av eller är en grund till utvecklingen av handlingskompetens. Förmågorna som avses är: kritisk granskning, empati, respekt, tillit, samarbetsförmåga, problemlösning och ansvarstagande. Arbetet består av två delar: den ena är resultatet från vårt empiriska material och den andra är den Storyline som utgör den färdiga produkten. / Teaching action competence through Storyline – a bridge to future science education

This dissertation explores the regimes of truth surrounding Muslims in Sweden. The main focus lies on the production of knowledge regarding Muslims in the context of the guided tours of a mosque in Stockholm. Special attention is given to how regimes of truth regarding Muslims inform the conversations during the visits, how they are debated in this particular arena and how that is dependent on positionality. It is a situation in which a Muslim, in the position of the guide, has an opportunity to present alternative storylines, or stories, about who Muslims are and what they do. The visitors for their part can assess, respond to and challenge those stories. In other words, the study explores who can speak with authority. The study is based mainly on participant observations made during 14 guided tours from 2003-2006 and on interviews with guides and visitors regarding their experiences on the respective tours. Most of the visitor groups were making study visits as a part of educational training. Seven of these were in primary and secondary education and two of them at the college level. Four groups came from social clubs at a workplace or from interest groups, and one was organised by Stockholm City Museum. To frame and contextualise the tours I have furthermore used data from mass media, mainly press clippings, but also features from TV shows. Other categories have been archival data, leaflets and brochures handed out at the mosque, as well as fictional books and a mailing list for Muslims. These sources have helped me discern regimes of truth that are, and are not, articulated on the guided tours. The central results concern the fact that the guides see the tours as a chance to alter other stories about Muslims and allow the visitors who tour the mosque to hear something that is not mediated or taught in school; however, they experience difficulties in terms of gaining credibility with regard to their presentation of alternative stories. Even when the guides talk about their private life, as is often the case, they are challenged and sometimes mistrusted. The guides, and hosts, use their private lives to explain their position in Sweden, but the visitors also expect them to expose their personal opinions regarding how they, as Muslims, would act in morally difficult scenarios; thus, the tours present a situation where the visitors seem more comfortable than the hosts. Another significant result is that both the guides and visitors expressed the importance of the tours becoming a respectful meeting place. Religiosity, religion and secularism seem in themselves to represent otherness. What is respectful in practice, however, is not very clear. There is an ongoing debate in Swedish society concerning whether it is respectful to shake hands with a Muslim in a working situation, as is customary in Sweden. Moreover, the showing of respect is given a gender dimension on the tours, since the main way to perform respect is for every woman to wear a robe when entering the mosque. Respect as a practice seems to be mired in social inequality. It seems difficult to become a guest if you are simultaneously appropriated the position of a Swede, and difficult to pass as a host if you position yourself as a Muslim.

<p>Den här uppsatsen är en undersökning av undervisningsmetoden storyline och den eventuella möjligheten att använda sig av rollspel i lärande och undervisning. Det jag frågar mig är</p><p>• hur väl storyline står sig som läro- och undervisningsmetod</p><p>• vilka eventuella pedagogiska och didaktiska kvalitéer som rollspel har och</p><p>• om storyline och rollspel kan påverka jämställdheten i undervisning och skolan i en positiv riktning.</p><p>Uppsatsen är helt igenom en litteraturanalys där jag studerat ett antal böcker och uppsatser om de teorier som ligger till grund för metoden, själva storylinemetoden, rollspel, berättande och lek. Jag tillför dessutom analysen en extra dimension genom min tjugoåriga erfarenhet av rollspel.</p><p>Arbetet ger följande resultat:</p><p>Till att börja med att storyline, vilande på vetenskaplig grund, står sig väl som metod för lärande och undervisning. Inte minst för dess fokus på bl a elevernas förkunskaper, aktivt lärande och elevernas kritiska tänkande.</p><p>För det andra att rollspel absolut har pedagogiska och didaktiska kvalitéer. Bland annat visar sig detta genom att rollspelandets många positiva sidor passar för lärande och undervisning, och att berättande och lek – självklara delar av fenomenet – också har många goda lärande och undervisande kvalitéer.</p><p>Vad gäller den tredje frågeställningen blir resultatet mer osäkert. Jag hittar inte några övertygande bevis för att rollspel och storyline främjar jämställdhet, även om det finns vissa tecken som pekar i den riktningen.</p><p>Som det allra sista i uppsatsen lyfter jag fram olika problem och svårigheter med storyline och rollspel. Det finns flera stycken, men inga som inte går att hantera eller åtgärda, konstaterar jag.</p>

Den här uppsatsen är en undersökning av undervisningsmetoden storyline och den eventuella möjligheten att använda sig av rollspel i lärande och undervisning. Det jag frågar mig är • hur väl storyline står sig som läro- och undervisningsmetod • vilka eventuella pedagogiska och didaktiska kvalitéer som rollspel har och • om storyline och rollspel kan påverka jämställdheten i undervisning och skolan i en positiv riktning. Uppsatsen är helt igenom en litteraturanalys där jag studerat ett antal böcker och uppsatser om de teorier som ligger till grund för metoden, själva storylinemetoden, rollspel, berättande och lek. Jag tillför dessutom analysen en extra dimension genom min tjugoåriga erfarenhet av rollspel. Arbetet ger följande resultat: Till att börja med att storyline, vilande på vetenskaplig grund, står sig väl som metod för lärande och undervisning. Inte minst för dess fokus på bl a elevernas förkunskaper, aktivt lärande och elevernas kritiska tänkande. För det andra att rollspel absolut har pedagogiska och didaktiska kvalitéer. Bland annat visar sig detta genom att rollspelandets många positiva sidor passar för lärande och undervisning, och att berättande och lek – självklara delar av fenomenet – också har många goda lärande och undervisande kvalitéer. Vad gäller den tredje frågeställningen blir resultatet mer osäkert. Jag hittar inte några övertygande bevis för att rollspel och storyline främjar jämställdhet, även om det finns vissa tecken som pekar i den riktningen. Som det allra sista i uppsatsen lyfter jag fram olika problem och svårigheter med storyline och rollspel. Det finns flera stycken, men inga som inte går att hantera eller åtgärda, konstaterar jag.

Die term speurverhaal impliseer ’n spesifieke soort verhaal of genre, tradisioneel triviaalliteratuur of ontspanningslektuur, met spesifieke kodes en konvensies. Enige konvensies is egter aanpasbaar en die grense tussen hoë kuns en populêre kultuur is vloeibaar, sodat dit moontlik is dat daar wel ʼn vertakking of subgenre wat die literêre speurverhaal genoem kan word, kon ontwikkel het. Die doel van hierdie verhandeling is om die volgende navorsingsvrae te beantwoord: Is daar wel speurverhale wat as literêre speurverhale gekategoriseer kan word? Indien nie, waarom word die kodes van die speurverhaal as narratiewe strategie gekies vir sekere romans? Wat is die verskille en ooreenkomste tussen die tradisionele speurverhaal en die sogenaamde literêre speurverhaal? Die verskynsel word ondersoek word deur twee romans wat moontlik as literêre speurverhale geklassifiseer kan word, nl. Een vir Azazel (Leroux, 1984) en Die boek van toeval en toeverlaat (Winterbach, 2006), te vergelyk met twee tradisionele speurverhale, nl. Reuk van die dood (Mouton, 2008) en Plaasmoord (Brynard, 2009), aan die hand van sekere struktuurelemente, nl. spanningslyn, plot, intrige, karakterisering, verteller, vertellersperspektief, tyd, en ruimte. ENGLISH : The term detective story indicates a specific kind of story or genre, traditionally recreational and light reading, with specific codes and conventions. However, any set of conventions are pliable and the boundaries between recreational and high art are fluid and constantly shifting. It is therefore possible that a subgenre of the detective story that can be called the literary detective story could have developed. The goal of this dissertation is to answer the following research questions: Are there detective stories that can be categorised as literary detective stories? If not, why is the detective element chosen as a narrative strategy for some novels? What are the differences and similarities between the traditional detective story and the so called literary detective novel? / Dissertation (MA)--University of Pretoria, 2010. / Afrikaans / unrestricted

The role of a writer in selected metafictional novels Bc. Eva Šulcová Abstract This diploma thesis deals with the genre of metafictional novel. The aim of the diploma thesis is to identify various internal motivations for the usage of metafiction technique in literature and to describe the role of a writer. The first part summarizes the theoretical background of the genre and formulates some characteristic features of metafictional novel (emphasized vicariousness of the narrative, reflection of the creative act, personality of the writer, or the problematized relationship between reality and fiction), which were all illustrated by the analysis of André Gide's novel The Counterfeiters. The second part consists of interpretations of three metafictional novels. The interpretations aim at a complex analysis of the author and at a description of various functions of the metafiction technique as a constituent of the work's meaning. Gide uses metafiction to display the discrepancy between reality and illusion, thus uncovering hypocrisies of society and passing judgement on it. To Čapek, metafiction is a tool for applying multiperspectivity to his storyline, thus creating a metaphor of varying epistemic principles. Metafictional genre was further utilized by Řezáč in his novel Rozhraní to illustrate the polarity...

Made available in DSpace on 2016-04-28T19:59:21Z (GMT). No. of bitstreams: 1 Aline Aparecida de Souza Gomes.pdf: 297002 bytes, checksum: 2b39f2eec846156044b2cf82c8ed7261 (MD5) Previous issue date: 2010-04-26 / Secretaria da Educação do Estado de São Paulo / Situated in the field of literature and Literary criticism, the objective of this research is to investigate the characteristics of the play O Santo e a Porca (1957) THE saint and the sow (1957) , by Ariano Suassuna, seeking to highlight the elements that represent his artistic-literary aspect. The study starts relying on the basis used and recreated by the author on an attempt to enlight the elements of popular northern culture. For that, on Chapter I Miscellanea of traditions : we reflect about a mythical-dramatic speech, o Romanceiro the Romancer, the actors/singers, the correlation author-actors-public, sham and the irony. After that, we work on Chapter II The frame of the fabling in The Saint and the Sow , the scene as reinvention of reality, Caroba s treacherous dialog and the disconnections between word, scene and action, using them related to the treason to life. On Chapter III The theatre of the nonsense on the Saint and the Sow s storyline : we think about the theme variations provoked by the imaginary, the reinvention of the common based on the sintatic-semantics mismatch and the revelation of the meaning of life that reaches the northeastern men through the storyline. We take as support Mikhail Bakhtin that helped us comprehend the popular culture on Middle Ages and on the Renaissance; Vladimir Propp who gave basis on the comic feature. Henri Bergson was also used to help in the Teoria do Riso and Idelette Muzart Santos, researcher, that helped us analyze the universality of the Suassunian Theatre , among others. The methodology in use was marked by the inductive-deductive and descriptive-analytic procedures, contributing to the recognizing and interpretation of the presence of indicators of the intertextuality of the form and the theatre storyline s speech of The Saint and the Sow , and to score the novelty marks of his literary creation in a new scenario: the universal / Situada na área da Literatura e Crítica Literária, esta pesquisa tem como objetivo investigar as características peculiares à peça O santo e a porca (1957), de Ariano Suassuna, buscando dar relevância aos elementos que lhe conferem o cunho artístico-literário. O estudo parte, primeiramente, das fontes utilizadas e recriadas pelo autor na tentativa de valorizar os elementos da cultura popular nordestina. Para isso, no capítulo I Miscelâneas de Tradições : refletimos sobre a narrativa míticodramática, o Romanceiro, os atores/cantadores, a correlação autor-atores-público, a farsa e a ironia. Na sequência, trabalhamos no capítulo II A Moldura da Efabulação em O santo e a porca , a questão da cena como reinvenção da realidade, o diálogo traiçoeiro de Caroba e as desconexões entre a palavra, a cena e a ação, correlacionando-as com a traição à vida. No capítulo III O Teatro do absurdo no enredo de O santo e a porca refletimos sobre as variações temáticas provocadas pelo imaginário, a reinvenção do popular com base nos desencontros sintático-semânticos e a revelação do sentido da vida que se desprende do enredo e atinge o homem nordestino. Tomamos como suporte o teórico Mikhail Bakhtin que nos auxiliou a compreender a questão da cultura popular na Idade Média e no Renascimento; Vladimir Propp que nos fundamentou com a questão do cômico. Também nos servimos de Henri Bergson com a teoria do riso e Idelette Muzart Santos, estudiosa e pesquisadora, que nos ajudou a refletir sobre a universalidade do teatro suassuniano, dentre outros. A metodologia em uso caracterizou-se pelo procedimento indutivo-dedutivo e descritivo-analítico, contribuindo para o reconhecimento e interpretação da presença dos indicadores na intertextualidade da forma e da linguagem do roteiro teatral de O santo e a porca, e para se alcançar as marcas da novidade de sua criação literária em novo cenário, o universal

The Swedish curriculum emphasizes the importance of pupils’ active learning, influence over the education and communicative skills in language learning. The Storyline approach has since its entry in the educational context in the 1960s, influenced teaching all over the world. The approach emphasizes pupils’ interest, meaning-making processes and creativity and thus agrees well with the content of the Swedish curriculum. This research overview aims to offer insight into how the Storyline approach can affect pupils in an English as a second language context, in different ways. It focuses primarily on how the Storyline approach can promote pupils’ second language acquisition, what impact the story and its characters have on pupils’ motivation and what effects the aesthetics in Storyline have on pupils. It also gives an overview of challenges that pupils and teachers might encounter while working with a Storyline project. The findings of the study indicate that the Storyline approach, through group work and communicative, meaningful tasks, promote pupils’ learning of English. Moreover, the context of the story and the characters seem to enhance pupils’ intrinsic motivation to learn the English language and the aesthetics can make pupil active agents in their learning process and mediate their knowledge. However, the Storyline approach also involves different challenges for both pupils and teachers, such as trying to find a balance between the teacher’s and the pupils’ control, keeping the story and the characters alive throughout the whole project, dealing with lack of time, group work issues and presenting the work in front of other pupils.

Ten spyte daarvan dat die meeste skoolgaande jongmense in die Ned Geref Kerk kategese deurloop, en self in die finale jaar van kategese, word daar nie veel aandag aan lewenstories van die katkisante geskenk nie. Hierdie studie oor geloofsontwikkeling by `n groep katkisante word gedoen vanuit pastoraal teologiese perspektief en `n sosiale konstruksieteorie diskoers. Oor `n tydperk van `n jaar is daar deur middel van kwalitatiewe navorsing `n proses gevolg met `n finalejaarsgroep van nege-en-twintig katkisante met die doel om geloofsontwikkeling te laat plaasvind, deur aandag aan hulle geloofsverhale te gee met die oog op die skryf van `n eie geloofsbelydenis. Na die tyd is oor die proses gereflekteer. Drie aspekte het die studie gerig. Die konteks waarbinne die studie plaasgevind het, wat bestaan uit die gemeente, breër samelewing, paradigmas, verbande en verhoudinge waarbinne die proses plaasgevind het. Die inhoud van die kategese, wat deelnemend gekonstrueer was. Die groep van nege-en-twintig jongmense wat met finalejaarkategese besig was, word binne konteks betrek by deelnemende pastorale kategese. My metode was om binne die gemeente, in die kategese, `n ruimte te skep waarbinne die katkisante deelnemend die kategetiese proses gekonstrueer het. Sodoende sou die klem op deelname val wat die hooffokus van die studie is. Die aandag wat daar aan die katkisante se lewensverhale gegee word maak die narratiewe diskoers relevant vir hierdie studie. Kategese binne hierdie studie het 'n deelnemende karakter. Die volgende benaderings het die deelnemende karakter ondersteun. Die kategesepraktyk skuif na `n pastorale benadering. Die leerinhoude se klem verskuif na verhoudings. Die kategetiese inhoud word sosiaal gekonstrueer. Despite the fact that most youth from the Dutch Reformed Church are of school going age during their final year of catechism, insufficient attention is given to the life stories of these young people. My research project on faith development with a group of young people involved in catechism was shaped by a pastoral theological perspective and a social constructionist discourse. Over a period of a year a process of qualitative research was conducted with a group of twenty-nine young conformants. The aim was to encourage faith development by given attention to their faith stories with the intention for them to write their own confessions of faith. Afterwards the process was reflected on. The study was guided by three themes. The context in which the study was conducted, consisted of the congregation, society at large, paradigms and relationships in which the process took place. The context of the catechism was conducted is a participatory manner. The third theme was the group of twenty-nine young people that participated in their final year of catechism in which the context of participatory pastoral catechism was focused on. The approach that was followed, was create space within the congregation for catechism to be conducted in a participatory manner with the twenty-nine young participants. In this way participation which is the main focus of this study is accentuated. The attention to the life stories of these young people makes the narrative discourse relevant to the study. Catechism according to this study has a participatory character that is supported by the following approaches. The practice of catechism shifts to a pastoral approach. The content of the catechism shifts to relationships. The content of the catechism becomes socially constructed. / Practial Theology / D. Th. (Pastoral Therapy)