In his literary works, the Swedish author Peter Pohl (b. 1940) persistently deals with the issue of friendship which is described as a source of joy and consolation as well as a cause for difficulties and pain. Another common theme in his writing is vulnerability, especially that of children and adolescents, as he regards them as particularly exposed to violence and injustice. Pohl features the act of telling as an important instrument in the process of personal development on many different levels. Finally, his authorship shows that his purpose is to be a spokesman for those who cannot speak for themselves. These four topics which are visible in the main part of his production represent the most important aspects of Pohl's literary project which may be described as a desire to improve the conditions of less privileged groups of society. This thesis deals with the works by Pohl written between 1985 and 2007. In the first chapter, the author is presented. The second chapter is an analysis of his first novel Janne, min vän with a special focus on the above-mentioned themes. Chapter three deals with the novel Malins kung Gurra, a story for young readers that can be looked upon as second, but simpler version of Janne, min vän. In chapter four, the five novels Regnbågen har bara åtta färger, Medan regnbågen bleknar, Vi kallar honom Anna, Vilja växa and Klara papper är ett måste are analyzed and discussed. The last chapter is an attempt at dealing with the remaining books written by Pohl. The aim is to establish whether these works are compatible with the general picture given of Pohl’s literary project.

The study focuses the evil within human beings and evil actions against other humans and the human kind. The evil is defined as evil actions such as murder and actions in war. The questions asked is whether the evil has a face and if it is possible in that case to paint that kind of face. The medieval mural paintings in old churches include Cain murdering his brother Abel based on the Bible. The study also includes reliefs, sculptures in stone describing Cains´s murder of Abel and sculptures with the Massacre of the Innocents in Bethlehem according to the Bible. These pieces of medieval art are compared with the paintings of evil faces by some modern artists. The method used in the analysis is Panofsky´s iconological method. The result shows that the medieval art is formally more strictly structurer and that the modern artists have a more personal style. In addition to this fact is the different purpose of the different kinds of art. The medieval mural paintings are storytelling from the Bible and modern art is based on influences from other artists in art history and the artists´own ideas and thoughts in a more persoanl way of painting. The meaning in medieval art is more clear and obvious than that in the modern art. The conclusion reached at is that evil exists but that one cannont talk about a special face of the evil.

This document outlines the research, development and production of a creative work and accompanying exegesis in partial fulfilment of the requirements for the Master of Communication Studies (MCS) programme. It includes the first draft of a feature film screenplay and an exegesis that explores the research conducted, the theoretical context of the work, and analyses the screenwriting process undertaken. The Bobby Calf (2008) is the first draft of a feature film screenplay that uses a non-classical and non-linear narrative structure to tell the story of its main characters and advance the plot. A psychological drama set in rural New Zealand, The Bobby Calf (2008) was originally inspired by the Janet Frame short story The Reservoir (1963), a story based on a group of youngsters who venture forth to discover the forbidden reservoir; a place their parents had forbid them from going. Set in the outskirts of a small farming settlement, the story is a dark and gothic depiction of rural life and the harshness of reality faced by those brought up in a lifestyle they did not choose. The story focuses on the journey of ADAM (21); both as a young boy in 1988 (called JOHNNY) and as a young adult in 1997, and his mother CATH; a woman whose dreams and aspirations for her son and indeed her own life are slowly slipping away. The story centres on Adam as he grows more uncomfortable with how his life has ended up, and his discovery that the life he has been destined to fulfil is not the one he has chosen. Accompanying the screenplay is an exegesis that explores the research conducted previously on the history of non-classical/non-linear narrative structures and the rationale behind the success and limitations of this now-popular form of storytelling. These types of narrative structures are not a new phenomenon, and as many authors have attested, the basis of this form of storytelling is rooted in the history of screenwriting and film making, and borrows many techniques from theatre and literature.

Bakgrunden till denna studie är att förskoleverksamheten i Sverige har genomgått förändringar sedan läroplanens införande 1998. Tyngdpunkten ligger på barns lärande i högre grad än tidigare. Den utvecklingen ställer även andra krav på pedagogerna, som behöver fortbildning för att kunna följa målen. I Stockholms stad har läsombud utsetts på många förskolor, med uppdraget att utveckla arbetet med högläsning på sin förskola. Syftet med studien är att få kunskap om hur pedagogerna upplever uppdraget som läsombud och hur det fungerar i förhållande till arbetet på förskolan och arbetslagen. Metoden bestod av intervjuer med fem läsombud. Resultatet visar att dessa pedagoger tog uppdraget på grund av ett intresse för litteratur och högläsning i förskolan. Alla hade en positiv syn på uppdraget. Flera av pedagogerna hade fått fördjupade kunskaper och ökad medvetenhet om betydelsen av högläsning för barns språkutveckling och hur arbetet med det kan utföras. Samarbetet kring högläsning förskolan hade gått bra på den egna avdelningen, men inte på övriga avdelningar. Analysen gjordes med Erving Goffmans teori om roller som grund. Han menade att individen alltid spelar en roll i samspelet med andra människor. Genom olika uttryck påverkar individen de andra i syfte att styra hur de definierar situationen. Mina analys är att pedagogerna fick en större tro på sina egna uttryck genom uppdraget som läsombud och kunde därför påverka sitt team, det vill säga sitt arbetslag. Däremot var det svårare att påverka de andra teamen, eftersom varje team hålls samman genom det intima samarbetet. I ett större perspektiv är det tydligt att det ställs högre krav på förskolepedagoger än tidigare samtidigt som arbetsbelastningen har ökat.

Made available in DSpace on 2014-06-11T19:25:59Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-09-30Bitstream added on 2014-06-13T19:33:08Z : No. of bitstreams: 1 rodrigues_mea_me_prud.pdf: 9054819 bytes, checksum: 996ed1494d73b7182de16e4e4f79a34a (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O presente trabalho, vinculado à linha de pesquisa ‘Infância e Educação’, do Programa de Pós-Graduação em Educação da FCT/UNESP, apresenta uma pesquisa-intervenção desenvolvida no ano de 2009, em um Centro de Convivência Infantil da UNESP, com um grupo de crianças de três a quatro anos de idade e teve como objetivos investigar se os contos de fadas contribuem para o uso dos elementos da narrativa pelas crianças de três a quatro anos de idade, e se o trabalho intencional com tais instrumentos favorece a construção das narrativas infantis. Essa pesquisa originou-se da inquietação perante a tendência de os contos de Fadas que, por não serem vistos como prática que pode auxiliar no processo de construção de narrativas infantis, não serem trabalhados intencionalmente, não serem privilegiados tempo e espaço para a narrativa oral das crianças. Para realização da pesquisa foram necessários dois momentos: o primeiro chamado de “Fase da observação”, realizado com a premissa de conhecer o grupo analisado e assim ser aceito por ele, visando... / This research, related to the “Childhood and Education” investigation group, was developed in the Post-Graduation Program in Education of Faculdade de Ciências e Tecnologia – UNESP. It describes an interventional-research which was performed in 2009 and involved a group of three/four-year-old children enrolled in the university Day Care. The investigation aimed to reinforce, among other important proposals, the role of children education pedagogical job in enhancing children’s oral narrative. Its starting point was the perception that fairy tales are neither intentionally used nor conceived as a tool in order to help children in their narrative construction process. Two steps were needed to develop the research: the first one, the observation stage, had the purpose of making the researcher familiar to the group as well as being accepted by them so the interactive moments could be observed as a support to the intervention itself. This second stage included seven meetings that always started with story telling, preceded by some explanation about the authors, and followed by the conversation time: a discussion concerning the tale by... (Complete abstract click electronic access below)

Children are often involved in the legal system as victims of maltreatment, and their disclosure of adult wrongdoing is necessary to initiate effective legal responses and protect them from continued abuse. However, external pressures and children's perceptions of the consequences of truth-telling (e.g., punishment, removal from the home) may result in the delay of disclosure or failure to disclose altogether. Research examining techniques for promoting children's truth-telling has almost exclusively relied on explicit requests to tell the truth (e.g., a promise, reassurance, assessments of conceptual knowledge and moral discussions), and the success of these techniques has varied. The present study examined the benefit of priming honesty (i.e., indirectly or non-consciously activating the goal of honesty) on children's disclosure of an adult's transgression. One-hundred fifteen 6- to 9-year-olds (M age = 7.47 years) participated in a first aid/safety event during which an adult (mother or stranger) engaged the child in play with a box of forbidden puppets, broke a puppet that was designed to break, and requested that the child keep it a secret. Before responding to questions about the puppets, children were either (1) primed for the goal of honesty (prime condition), (2) asked to promise to tell the truth (oath condition), or (3) not provided with any further instructions or information (control condition). Then, children were asked open-ended, direct, and suggestive questions about whether they or the adult touched, played with, or broke any puppets. Regression analyses revealed that children’s truthful disclosures to direct questions increased when children witnessed a stranger transgressing rather than their mother. However, children’s truthful disclosures across the question types did not differ by age or when a prime relative to a promise to tell the truth was used. Results advance our understanding of how children disclose negative events and the effectiveness of different techniques (including a novel technique) in encouraging children’s true disclosures of a parent or stranger’s transgression.

Made available in DSpace on 2014-12-17T15:06:50Z (GMT). No. of bitstreams: 1 ArandiRMC_DISSERT.pdf: 656412 bytes, checksum: e923b91a086ae889a3e2509f2bc043d4 (MD5) Previous issue date: 2008-10-28 / Researching about the art of tell and the tales told by Jo?o Cota is somehow revisiting the oral tradition and social practice in the story-telling art. It takes into consideration the resistance this art still exerts, mainly by using the performance of oral transmission and receptiveness to tales. The study of this practice contributes to the vivacious and dynamcis permanence of this authentic and traditional storyteller of his repertory and of his form to tellin our culture. Story-telling is part of the humankind living heritage communicated by means of popular wisdom. Despite the risk of vanishing into thin air, along with their narrators, the tales still manage to resist the contemporary mass culture model. How long further will stories like the ones narrated by Jo?o Cota be able to resist to strong and stronger structures dictated by writing and other communication means? Jo?o Cota s practice in story-telling will be studied not only as a proposal to identify the presence of this practice and the oral cultural resistance but also, through the performance prospective, to identify the oral transmission and receptiveness to the tales that are part of this storyteller s repertoire. In other words: what he tells, how he tells it, and why he tells it. The advent of new technologies such as internet, through which people can easily communicate with others in different parts of the world, and the greater and greater expansion in the writing skill concept interfere the maintenance of the oral tradition elements present in Jo?o Cota s narratives and inserted in the Brazilian culture. This has become more visible in the latest decades although we still notice the living tradition and permanence of the story-telling practice in several parts of the country through their wise storytellers. Our research target will require - in each of its study stages reference to works by several theoreticians namely Paul Zumthor, Mikhail Bakhtin, C?mara Cascudo, theoreticians from the receptiveness aesthetic, from the written culture history, from oral cultures and reading practices, from tradition and the Brazilian Culture of oral story-telling. In order to get to know and draw a profile of this storyteller, we ve chosen to use the comprehensive interview method by French Sociologist Jean Claude Kaufmann. The originality in the method consists of the qualitative data put together in situ , concentrated on the storyteller s narratives/speeches recorded on tape, which will be the focal point of this study. Our analysis method is based on tireless sessions of listening to interviews out of which we gathered information related to the storyteller, his practice in telling the tales, and his repertoire / Pesquisar sobre a arte de contar e as hist?rias contadas por Jo?o Cota ?, de certo modo, encontrar-se com a tradi??o oral e a pr?tica social de contar, considerando, sobretudo, a resist?ncia que essa arte exerce na atualidade, utilizando-se da performance na transmiss?o e recep??o orais dos contos. Estudar essa pr?tica ? contribuir para perman?ncia viva e din?mica desse contador de hist?ria, de seu repert?rio e de sua forma de contar. Os contos orais s?o partes do patrim?nio vivo da humanidade, transmitidos em forma de sabedoria popular. Entretanto, apesar do risco de desaparecer juntamente com seu narrador, as hist?rias ainda conseguem resistir a esse modelo da cultura de massa contempor?neo. At? quando hist?rias orais como as de Jo?o Cota resistir?o as estruturas cada vez mais fortes impostas pela escrita e outros meios de comunica??o? A pr?tica de contar de Jo?o Cota ser? estudada com a proposta n?o s? de identificarmos a presen?a desta pr?tica e a resist?ncia da cultura oral, mas tamb?m, sob ? luz da performance, estudar a transmiss?o e a recep??o orais dos contos e as partes do repert?rio desse contador de hist?rias. Isto ?, o que ele conta como conta e o porqu? de contar. O advento de novas tecnologias, como a Internet onde as pessoas se comunicam com diferentes partes do mundo, e da expans?o cada vez maior da escrita interferem na manuten??o de elementos da tradi??o oral no seio das narrativas contadas por Jo?o Cota e as inseridas na cultura brasileira. Essa hip?tese ? mais vis?vel ao longo das ?ltimas d?cadas, embora, constatamos ainda viva a tradi??o e perman?ncia dessa pr?tica de contar hist?ria nas diversas partes do pa?s atrav?s de seus s?bios contadores de hist?rias. O objeto de pesquisa vai exigir em cada uma de suas etapas de estudo obras de v?rios te?ricos, entre eles, Paul Zumthor, Mikhail Bakhtin, C?mara Cascudo, te?ricos da est?tica da recep??o, da hist?ria da cultura escrita, das culturas orais e das pr?ticas de leitura, da tradi??o e do conto oral na cultura brasileira. Para conhecer e assim esbo?ar um perfil desse contador, escolhemos o m?todo da entrevista compreensiva do soci?logo-franc?s Jean Claude Kaufmann. A originalidade no m?todo consiste nos dados qualitativos recolhidos in situ , que s?o concentrados na palavra do contador recolhida sobre fita magn?tica, que ser? o elemento central do dispositivo. Desta forma, o m?todo de an?lise fundamentou-se na incans?vel escuta das entrevistas das quais fui colhendo dados relacionados ao contador, a sua pr?tica de contar e ao seu repert?rio

Tese (doutorado)-Universidade Federal do Rio Grande, Programa de Pós-Graduação em Educação Ambiental, Instituto de Educação, 2010. / Submitted by eloisa silva (eloisa1_silva@yahoo.com.br) on 2012-11-28T17:49:21Z No. of bitstreams: 1 moacir langoni de souza.pdf: 4681725 bytes, checksum: d837dbaaded20708668f05f0d6eceb0b (MD5) / Made available in DSpace on 2012-11-28T17:49:21Z (GMT). No. of bitstreams: 1 moacir langoni de souza.pdf: 4681725 bytes, checksum: d837dbaaded20708668f05f0d6eceb0b (MD5) Previous issue date: 2010 / A Tese defendida é das Rodas de Formação em Rede como espaços privilegiados na ambientalização de professores que escrevem, lêem e contam suas histórias. Daí a aposta na narrativa e no exercício de contar histórias e partilhá-las nessas Rodas. No contexto dessas histórias encontram-se grupos de professores de Ciências de três instituições (PUCRS, Unijuí e FURG), atuando em projetos interinstitucionais de formação permanente. No foco das análises estão as narrativas de um grupo de licenciandos que, no ano de 2004, ingressou no curso de Química – Licenciatura da FURG. Doze conjuntos de quinze narrativas semanais, parte dos relatórios dos estágios realizados pelo grupo durante o segundo semestre de 2007 – Roda do Estágio V. Fragmentos destas narrativas entrecruzam-se com outros, nossos e de outros professores na rede, compondo histórias que constituem e delineiam a feitura de uma Colcha de Retalhos. E é nesse processo que toda a rede se explicita. Quadrados de colcha feitos de uma diversidade de retalhos. Histórias de muitos sujeitos, numa multiplicidade de cores e texturas, alinhavadas na busca do equilíbrio que possa, de certo modo, sustentar a Tese. Ao longo dos capítulos, termos como “ambientalização de professores” e “partilha”, fundamentais no encaminhamento dos argumentos, são discutidos nas perspectivas dos referenciais assumidos. Em alguns capítulos alternam-se retomadas de determinadas abordagens, ampliando aspectos destacados ou introduzindo outros, como o que vai contar a história do curso de licenciatura em Química e suas transformações concebidas e acalentadas nos projetos interinstitucionais no âmbito da Rede. Esta história encontra-se enredada na história da Rede, especialmente no sentido da explicitação de movimentos de grupos de professores de Ciências que, desde a década de 80, articulam parcerias no desenvolvimento de projetos interinstitucionais implicados com formação permanente de professores. As análises sustentam-se em dois referenciais: o da Análise Textual Discursiva proposta por Moraes e Galiazzi (2007), em que se busca produzir novas compreensões a respeito do que é narrado e apostando na emergência de categorias, num movimento interpretativo de caráter hermenêutico; e o da narrativa como uma técnica de pesquisa fenomenológica, tal como propõe Dutra (2002). Categorias emergentes, como “tempos da Escola” e “insegurança”, impregnam cinco histórias – quadrados da Colcha – contadas, constituídas numa diversidade de fragmentos/retalhos de narrativas. Por um lado, as memórias do acontecido, as narrativas nos Relatórios de Estágio e as anotações dos encontros efetivamente subsidiaram os textos e sustentaram diálogos; por outro, assume-se a perspectiva de fusão entre história e ficção, na perspectiva do proposto por Paul Ricoeur, uma vez que o enredo e o espaço-tempo de cada história e seus episódios foram inventados. A proposta aqui é contar um pouco destas histórias. “E estas foram histórias que se quis e que se pôde contar” é a frase que encerra a escrita da Tese. É uma manifestação que anuncia. Assume-se que sempre há possibilidades para outros arranjos dos retalhos, outros desenhos na feitura da Colcha. E como a harmonia do conjunto é, também, estabelecida em relação com o Outro, cujo olhar amplia essas possibilidades em relação à feitura, esta Tese é um convite à partilha de histórias. / This Dissertation defends Wheels of Network Education as privileged spaces in the environmentalization of teachers who write, read, and tell their stories. Therefore, I bet on narrative and on the exercise of telling stories and sharing them in these Wheels. In the context of these stories, there are Science professors who work with interinstitutional projects in in-service education at three higher education institutions (PUCRS, Unijuí, and FURG). The analyses focus on narratives written by seniors who started pursuing a teaching degree in Chemistry at FURG in 2004. The corpus comprises twelve sets of fifteen narratives and parts of the apprenticeship reports which were written during the second semester in 2007 – the Wheel of Apprenticeship V. Fragments of these narratives interweave with others which I and other professors wrote in the net, thus, composing stories that constitute and outline a Patchwork Quilt. It is in this process that all the net becomes explicit. Quilts pieces made of a diversity of patches. Many subjects’ stories, in a multiplicity of colors and textures, sewn together in search of balance to support the Dissertation. Fundamental terms such as “teachers’ environmentalization” and “sharing” are discussed in the chapters in order to defend the arguments from the perspective of the references I have selected. Some chapters address approaches which had been presented before so that certain aspects can be broadened and new ones can be introduced, e. g., the chapter about the History of the Chemistry course and the transformations that were suggested and supported in interinstitutional projects in the Net. This story is intertwined with the story of the Net, mainly regarding the movements of groups of Science teachers who have worked as partners in the development of interinstitutional projects of in-service education since the 80’s. The analyses are based on: a) Discursive Textual Analysis (proposed by Moraes and Galiazzi, 2007) which aims at producing new understanding of what is narrated and bets on the emergence of categories in an interpretative movement with hermeneutical features; and b) narrative as a technique in phenomenological research, such as the approach proposed by Dutra (2002). Emergent categories, e. g., “School time” and “lack of safety” have impregnated five stories – Quilt pieces – which were told and comprised of an array of fragments/patches of narratives. On one hand, the memories of the event, the narratives of the Apprenticeship Reports and the notes of the meetings have effectively subsidized the text and supported dialogues; on the other hand, I have taken on the perspective of the fusion between History and fiction, as proposed by Paul Ricoeur, since the plot and the space-time of each story and its episodes were made up. “My proposal is to tell a little bit of these stories, the ones that I wanted to tell and the ones that I could tell.” This is the sentence that closes my Dissertation. It is a manifestation that announces. I believe that there are always other possibilities to place the patches, other designs to use for the Quilt. Since the harmony of the whole set is also established in relation to the Other whose look broadens these possibilities, this Dissertation is an invitation to share stories.

O texto que se segue pretende traduzir algumas possibilidades no trabalho do ator no que diz respeito à experiência a partir da palavra, como dizer vindo de um texto, originada no aprofundamento da escuta. O texto nasce de minha prática, iniciada formalmente em 1987, como atriz, professora de teatro, preparadora de atores e aluna, e refere-se a experiências em montagens de peças, aulas (dadas e recebidas) em universidades, estágios, workshops, oficinas, e em encontros em outros espaços nãopertencentes ao campo teatral, acontecidos principalmente nos estados de São Paulo e Rio de Janeiro, e pontualmente em outros estados brasileiros (MG, PR, SC, CE) e em outros países. Dialoga, ainda, com aquilo que nomeio teorias-moventes para as práticas, fontes teóricas nascidas de meu contato com textos de naturezas diversas, de não-ficção de teatro e de outras áreas e de ficção, além do contato específico com uma tradição oral, a do griot africano, que, em meu caso específico, se deu pelo encontro vivo, em duas viagens ao Mali e ao Burkina Faso, na África Ocidental, e em seis estágios realizados a partir dessa aliança. / The following text aims at translating some possibilities in the actors work in experience with the word, as a telling coming from the text, originated in the deepening of the listening. The text is born from my practice, formally begun in 1987, as an actress, theater teacher, actors coach and student, and refers to experiences in staging plays, classes (given and taken) in universities, internships, workshops, and in meetings at spaces not belonging to the theatrical field, mostly taking place in the states of São Paulo and Rio de Janeiro, and occasionally in other Brazilian states (MG, PR, SC, CE) and in other foreign countries. It also dialogues with what I call moving-theories into practices, theoretical sources sprung from my contact with texts of different nature, non-fictional from theater and other areas and fictional, in addition to the specific contact with an oral tradition, namely the African griot that, in my particular case, happened by means of living contact in two trips to West Africa, to Mali and Burkina Faso, and in six internships brought about by this alliance.

Abstract This is an overview of five substudies, which are based on autobiographical stories of teachers working in early childhood education and general education. By the concept of 'relational moral', I refer to human relationships between teachers and children or adolescents. I approached the main question 'How is the storied relational moral of teachers constructed in a re-storying process?' through two subquestions: 1. What is relational moral like as a moral horizon in teachers' narrative identity? and 2. What is relational moral like as a storied educational practice? Teachers' relational moral was considered to find its expression in the language of the mother. This view has its roots in feminist research, which has pointed out that identities are gendered, and that the historical and cultural roots of relational moral in the Western culture lie in the practices of mothers. This view also emphasizes that gender constitutes an important distinction in language use. Since the voices of women do not have the same power as the voices of men, the voices of relational moral are not heard. Basing on the applications of the narrative-biographical approach I analysed the stories as representative of the language of practice, i.e. as moral, multivoiced and dialogical. In the process of re-storying, I interpreted the moral words denoting vocation, hope, love, change and body as Other-oriented concepts implying the need to listen to children and a future orientation. Teachers construct their narrative embodied identities under the cross-pressure of different and contradictory voices. The loudest contradictory voices come from the administration, social and educational policies, and the media. The relational moral was storied as an embodied practice, as physical work in which many silent voices become audible through touching, gentleness and closeness. The concept of body position was developed as a tool to understand the concrete working bodies that carry moral meanings. Teachers' stories involve many body positions, of which the positions of relational moral are not always officially appreciated. / Tiivistelmä Tutkimus pohjautuu viiteen osatutkimukseen, joissa on analysoitu lastentarhanopettajien ja yleissivistävän koulutuksen opettajien omaelämäkerrallisia kertomuksia. Ihmissuhteisiin perustuvan moraalin käsitteellä viittaan suhteisiin opettajien ja lasten / nuorten välillä. Tutkimuskysymystäni, millaiseksi opettajien ihmissuhteisiin perustuva moraali rakentuu uudelleenkerrottuna, tarkastelin kahden alakysymyksen kautta. Ensin kuvasin, millaiseksi moraaliseksi horisontiksi rakentuu ihmissuhteisiin perustuva moraali opettajien narratiivisessa identiteetissä. Toiseksi tarkastelin sitä, millaiseksi ihmissuhteisiin perustuva moraali rakentuu kerrotuissa kasvatuskäytännöissä. Osatutkimusten pohjalta muotoutui uudelleen kertomista ohjaavaksi lähtökohdaksi opettajien ihmissuhteisiin perustuva moraali eräänlaisena äidin kielenä. Feministinen tutkimus on osoittanut, että identiteetit ovat sukupuolittuneita, ja että ihmissuhteisiin perustuvan moraalin historialliset ja kulttuuriset juuret nousevat länsimaissa äitiyden käytännöistä. Myös kieli on sukupuolittunutta. Tätä tutkimusta on innoittanut pyrkimys kuunnella äidin kielen hiljaisia ääniä, jotka jäävät helposti miehisen isän kielen korkeamman yhteiskunnallisen statuksen alle ja kuulumattomiin. Osatutkimuksissa sovellettiin narratiivis-biografista lähestymistapaa. Kertomukset valittiin laajemmasta aineistosta harkinnanvaraisesti ja niitä tarkasteltiin käytännön kielenä, moraalisina, moniäänisinä ja dialogisina. Analyyseissä pyrittiin kertomusten empaattiseen ja responsiiviseen lukemiseen, ja niissä käytettiin erilaisia temaattisia ja narratiivisia menetelmiä. Osatutkimusten uudelleenkerronnassa tulkitsin opettajien narratiivista identiteettiä kutsumuksen, rakkauden, toivon, muutoksen ja ruumiillisuuden käsitteiden avulla. Moraalisessa horisontissa ne ilmenevät Toiseen suuntautumisena, jolloin korostuu lasten kuuleminen ja tulevaisuuteen kurottautuminen. Opettajat kertovat identiteettinsä ruumiillisuutensa kautta: erilaiset moraaliset kielet luovat erilaisia odotuksia ja rajoituksia opettajan toiminnalle. Ristiriitojen keskellä muotoutuva moraalinen horisontti rakentuu ristiriitaiseksi ja epäyhtenäiseksi. Opettaja joutuu valitsemaan, millaisia moraalisia ääniä hän voi ja haluaa kuunnella ja millaista moraalista kieltä käyttää. Kuuluvimmat äänet, jotka kertomuksissa uhkasivat ihmissuhteisiin perustuvaa moraalia tulivat hallinnosta, sosiaali- ja koulutuspolitiikasta ja mediasta. Ihmissuhteisiin perustuva moraali konkretisoituu kertomuksissa ruumiillisena työnä, jossa monet hiljaiset äänet, kuten koskettaminen, hellyys ja läheisyys tulevat kuultaviksi. Ruumiinasennon käsitteen avulla kuvasin opettajien ruumiillisuuden moniäänisyyttä ja sitä, miten Toiseen suuntautuvia, ihmissuhteisiin perustuvan moraalin ruumiinasentoja voidaan helposti pitää ei-suotavina tai vähäarvoisina.