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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
21

There and Back Again: Tolkien's Epic Writing and Revising Process Informs Composition Theory

Beeler, Christmas 29 April 2013 (has links)
In an attempt to better understand writing as process, this thesis blends textual genetics with observations from the holograph manuscripts of J.R.R. Tolkien’s first chapter of The Lord of the Rings. Tracking his revisions demonstrates complex revision techniques that can inform composition theory—especially revision studies. Discussed are revision terms and their applications, several of Tolkien’s revisions and their significance, and textual genetics as a lens to better understand an author’s motivations and influences. Some largely uncharted territory for composition studies is explored through examining Tolkien’s unique and multifaceted use of visual images to aid his writing process. In addition, Tolkien’s novels were part of an ecosystem which influenced his view of the fantasy genre and vice versa. All of these observations have profound implications for understanding the development of a text and for teaching writing.
22

Instantâneos de ausências: Perec e as relações entre texto, fotografia e memória / Snapshots of absences: Perec and the relationship between text, photography and memory

Cavalari, Tatiana Barbosa 12 September 2014 (has links)
O trabalho tem por objetivo realizar uma leitura de imagens a partir de dois projetos autobiográficos de Perec: W ou a memória da infância e Récits dEllis Island, levando em conta as relações entre texto literário, fotografia e memória autobiográfica. Essa leitura será marcada, sobretudo, pelas ideias de Barthes, já que ao longo dessa pesquisa serão citados diversos trechos do seu livro A câmara clara - Nota sobre a fotografia, a partir do qual o crítico nos levará a levantar alguns questionamentos concernentes à obra de Perec. Na primeira parte do trabalho, serão apresentadas algumas interações entre o texto de Perec e outras artes, partindo em seguida para a delimitação dessa interação entre texto e fotografia. Essa será a questão principal no trabalho, discutida detalhadamente em relação aos dois textos mencionados, na segunda parte em relação à W e na terceira em relação à Ellis Island. Nessas duas partes, o objetivo principal será investigar de que maneira as imagens fotográficas farão parte do processo de escrita e quais os desdobramentos dessa inter-relação na produção do texto literário. / The study aims to perform an image reading of two autobiographical projects by Perec: W, or the memory of childhood and Ellis Island, taking into account the relationship between the literary text, photography and autobiographical memory.This reading is led, mainly, by Barthes considerations, since many aspects brought to this study are originally taken from his text Camera Lucida - Reflections on photography, in which the critic supports us to raise some issues related to Perecs work. In the first part of the study some interactions between Perecs text and other arts are presented, so later this interaction is delimited to text and photography. This is the leading issue of the study, specifically discussed with regards to the two mentioned texts, i.e., in the second part related to W and in the third part related to Ellis Island. In these two sections, the main purpose is to investigate how the photographic images take part into the writing process and which are the consequences of this inter-relationship in the literary text production.
23

Plataforma Arte, Estação Clínica: fronteiras entre arte e vida / Art Platform, Clinical Station: boundaries between art and life

Buelau, Renata Monteiro 22 October 2013 (has links)
Desenvolver reflexões sustentadas na possibilidade do estranhamento acerca da adjacência da arte com a vida que partem de diferentes vivências clínicas circunscritas pela prática como terapeuta ocupacional, mas a extravasam por todos os lados. Esse é o enunciado desta pesquisa. A escrita é amparada na construção de narrativas, que intentam produzir enunciados coletivos e favorecer a constituição de um plano de duplo devir, onde ao mesmo tempo em que recria o vivido, o próprio narrador cria-se a si próprio. A seleção das cenas para se colocar em jogo inquietações e encantamentos advindos dos pontos de contato entre uma prática clínica e certos acontecimentos estéticos e/ou artísticos parte de achados da memória que emergem em seu caráter violento e indecifrável, que obriga a vida a transgredir-se a si própria e criar novos campos de alastramento. A exploração do tema parte de dois lugares de enunciação e ancoragem, apresentados como Plataforma Arte e Estação Clínica. A Plataforma Arte se ocupa de percorrer passagens de estado na história da arte que ajudam a pensar a transitoriedade das certezas sobre a produção estética e sua indissociabilidade com acontecimentos de ordem política e social. A história é pensada a partir do ponto de vista de Walter Benjamin, ou seja, como um discurso que é sempre do colonizador, ao que caberia então escovar a história a contrapelo, buscando uma história menor dentro de uma história maior. Trabalhos de artistas, cenas da experiência como monitora da 27a Bienal de São Paulo Como Viver Junto e da prática profissional são mobilizadas para favorecer a construção de um pensamento contemporâneo da arte, entendido como aquele que, em seu caráter estrangeiro, permite a liberação de novas possibilidades da experiência; a escritura de outras histórias. Essa conceituação aproxima-se inevitavelmente de um posicionamento ético-político, o que justifica sua relevância para a pesquisa. A Estação Clínica, por sua vez, passeia por cenas de atendimentos feitos em Centros de Atenção Psicossocial (CAPS) da cidade de São Paulo e outras advindas de situações cotidianas quaisquer. Os pontos de atenção são aqueles nos quais algo se desencaixa sutilmente do previsto e onde, a despeito das funções institucionalmente designadas, não se sabe mais ao certo quem acompanha quem. Ditos de outros, tais como Barthes, Deleuze, Guattari, Agamben, Blanchot e Walter Mignolo; e conceitos como o silêncio, a delicadeza, o eterno retorno, o acontecimento, a comunidade que vem; comparecem ao longo da pesquisa como amizades que partilham encantos, permitem e acompanham minúsculas conexões que se fazem na tentativa de desobrigar a vida de seus aprisionamentos. Ao invés da linha de chegada, trata-se aqui da declaração e perseguição de um desejo, o qual se delineia a partir do olhar para o que se dá entre elementos estabelecidos e deles desmanda. Trata-se da afirmação da fronteira como lugar onde se pode, eventualmente, experimentar liberações que fortalecem a vida em sua potência de criação de si, e de uma comunidade que vem. / This research aims to develop reflections sustained by the feeling of strangeness as a possibility on the contiguity of art and life, from clinical experiences in occupational therapy and the context beyond them. Narratives support the writing process in the attempt of producing collective enunciations and with the purpose of constructing a pattern of double becoming, in which the narrator recreates the experience at the same time that he creates himself. The selection of scenes was based on memory findings in order to reveal inquietudes and delights resulting from points of contact between clinical practice and certain esthetic and/or artistic events. Those memories findings emerge with their violent and undecipherable nature, forcing life to trespass itself and creating new spreading fields. The theme is explored from two points of enunciation and anchorage, presented here as Art Platform and Clinical Station. Art Platform deals with passages of state in History of Art, considering the transience of certainty on esthetic production and its inseparability from political and social events. History is interpreted according to Walter Benjamin, i.e., as a speech that always belongs to the colonialist, what gives us the task to brush history against the grain, looking for a minor history within a major one. Works of art, scenes from the author\'s experience as a staff member of 27th São Paulo Art Biennial How to live together and her professional practice are mobilized towards the production of a contemporary concept of Art, understood by its foreign nature, which allows new possibilities of experience and the writing of new histories. This concept is inevitably linked to an ethical and political point of view, what justifies its importance in this work. Clinical Station, by its turn, encompass scenes from clinical sessions performed by the author at CAPS (Centros de Atenção Psicossocial/ Psychosocial Care Centers) in São Paulo and other scenes from everyday life. The focus is directed to scenes in which something is subtly displaced from what is expected and when, in despite of institutional functions, it is impossible to distinguish who accompanies who. This research includes thoughts of Barthes, Deleuze, Guattari, Agamben, Blanchot and Walter Mignolo; and concepts such as silence, delicacy, eternal return, event, community that comes. They appear throughout the research in the context of friendships that share delight, allow and accompany minuscule connections made in attempt to release life from its imprisonments. Instead of reaching for a finish line, this research aims to declare and search for a desire, outlined from the regard to what happen with and what trespass established elements. It is about affirming boundaries as places where it is possible to experience releases that empower the creation in life itself and of a community that comes.
24

Do pensamento-ação à inundação da escrita : a dramaturgia a partir da experiência junto à comunidade haitiana no Rio Grande do Sul

Corá, Carina Zatti January 2018 (has links)
Essa é uma pesquisa sobre meu processo de criação dramatúrgica a partir de minha experiência junto à comunidade haitiana no Rio Grande do Sul. Através das ferramentas de relatos de experiência, inspirados no método etnográfico, e do caderno de rascunhos, realizei quatro escrituras dramatúrgicas: Parada Cristal, Coordenadas, manual para criar uma casa no LIMBO, e limbo. A experiência junto à comunidade haitiana através de entrevistas de história oral, aulas de português e aulas de teatro culminaram em uma dramaturgia preocupada com questões sobre local de fala e a desaprendizagem (SPIVAK, 2010), com uma noção mais ampla do entendimento de cultura (GEERTZ, 1989) na época de imigração constante em que vivemos, em um momento de diáspora cultural (HALL, 2003). Repenso a própria noção de dramaturgia através de autores como Joseph Danan, Jean-Pierre Sarrazac e Bernard Dort e de um mergulho em meu processo como dramaturga. E chego à conclusão de que dramaturgia é a organização daquilo que chamo de pensamento-ação. Emprego as formas de linguagem poetisante (NAUGRETTE, 2003), coralidade, oralidade, monólogo, desvio (SARRAZAC, 2012) em prol da criação de uma dramaturgia na qual pude observar uma pulsão rapsódica (SARRAZAC, 2013). Também trabalho novas formas de utilizar as didascálias ao longo das escrituras dramatúrgicas: didascálias poéticas, didascálias de intervenção e didascálias-narradoras. Ao longo desse processo de criação, descubro um estado de fluxo, de jorrar da escrita chamado de estado de inundação da escrita. Esse estado é crucial para a criação de uma escritura dramatúrgica, para transbordar o pensamento-ação no papel. / This is a research about my dramaturgical creative process from my experience with the Haitian community in Rio Grande do Sul. Through the tools of experience reports, inspired by the ethnographic method and the sketchbook, I performed four dramaturgic writings: Parada Crystal, Coordinates, manual to create a house in LIMBO, and limbo. The experience with the Haitian community through oral history interviews, Portuguese lessons and drama classes culminated in a dramaturgy concerned with questions about standpoint issues and unlearning (SPIVAK, 2010), with a broader notion of the understanding of culture GEERTZ, 1989) in the period of constant immigration in which we live, at a time of cultural diaspora (HALL, 2003). I rethink the very notion of dramaturgy through authors such as Joseph Danan, Jean-Pierre Sarrazac and Bernard Dort, and a dip in my process as a playwright. And I come to the conclusion that dramaturgy is the organization of what I call action-thought. I use the forms of poetising language (NAUGRETTE, 2003), choir, orality, monologue, deviation (SARRAZAC, 2012) for the creation of a dramaturgy in which I could observe a rhapsodic drive (SARRAZAC, 2013). I also work on new ways of using didaschalias throughout the dramaturgical writings: poetic didaschalias, didaschalias of intervention and didaschalias-narrators. Throughout this process of creation, I discover a state of flow, of flowing from the writing called the flood state of writing. This state is crucial to the creation of a dramaturgical writing, to overflow the action-thought on paper.
25

Tessitura da escrita acadêmica: aprender a e ao escrever. / The academic writing process: learning how to write and learning while writing.

Andrade, Emari 27 June 2008 (has links)
O presente trabalho toma como objeto o processo de escrita do texto acadêmico. Analisa os efeitos do trabalho de escrita conceito elaborado por Riolfi (2003) que ocorrem quando aquele que redige um texto se permite um processo de mão dupla: a) por um lado, permite que tanto a linguagem quanto os saberes já inscritos na cultura ressoem em seu corpo e; b) por outro, consegue distanciar-se o suficiente deste lugar de caixa de ressonância de modo a poder circunscrever um lugar enunciativo desde onde buscar respostas para questões que lhe sejam caras. Mobilizando o conceito de pulsão (FREUD, 1915, 1920; LACAN, 1964), uma vez que desejei vincular o ato de escrever com as maneiras por meio das quais preferencialmente cada pessoa obtém suas satisfações ao longo de sua existência, selecionei duas informantes com trajetória muito similar e economia pulsional bastante diversa. Como resultado da análise dos dois dossiês, que reúnem todos os rascunhos das dissertações das duas mestrandas, foi possível pontuar duas facetas pedagógicas diferentes envolvidas no percurso de construção do texto acadêmico: aprender a escrever e aprender ao escrever. Aprender a escrever foi a expressão utilizada para recobrir as operações necessárias para incluir o outro na escrita, considerando os efeitos de sentido potencialmente suscitados pelo texto. Trata-se, portanto, de uma mudança na economia da pulsão oral. Aprender ao escrever, por sua vez, consiste na possibilidade de utilizar a escrita como dispositivo de ensino para aprender uma teoria até o ponto de oferecê-la subjetivada ao leitor. Trata-se, portanto, de uma mudança na economia da pulsão anal. No processo de tessitura da dissertação das duas informantes, também analisei as intervenções realizadas pelo orientador, as quais permitiram a ocorrência de deslocamentos da relação do aluno com o saber no percurso de formação. Sendo assim, o estudo mostrou que a escrita é um poderoso dispositivo de ensino e sublimação. Quem decide enfrentar este processo jamais sairá ileso das ações que a linguagem exercerá no seu corpo. Concluí, portanto, que a condição necessária, por parte de um pesquisador, para escrever e ser formado é pautar suas ações na responsabilização (HANS JONAS, 2006). / This work deals with the academic writing process. It analyzes the effects of the Writing Work a concept elaborated by Riolfi (2003). According to her, this process occurs when the one who writes an academic text allows himself to go into a two-way process: a) on one hand allows either the language or the knowledge that is already inscribed in culture to resound in its body and; b) on the other hand, is able to be distant enough from this place of resonance box in order to circumscribe an enunciative place, since the location one can look for answers to the questions that are important to him/her. Using the concept of pulsion (FREUD, 1915, 1920; LACAN, 1964), as I aimed to link the writing act with the ways through each person mainly gets his/her satisfactions lifelong, Ive chosen two Masters degree students whose trajectory was very similar, but with the pulsional economy widely different. As a result of the two dossiers analysis, which put together all the drafts of the informants dissertations, it was possible to demonstrate two different pedagogical facets involved in the academic writing process: learning how to write and learning while writing. Learning how to write was the expression used in order to cover the necessary operations to include another person in the writing task, considering the meaning effects potentially raised by the text itself. It is, therefore, a change in the oral pulsion economy. Learning while writing is the possibility of using writing as a teaching device to learn a theory until it can be available on a subjective way to the reader. It is, therefore, a change in the anal pulsion economy. Observing the dissertation writing process of the two informants, I also analyzed the interventions made by the adviser, which provided some displacement of the student relationship with knowledge during the development journey. In such case, this study has shown that writing is a powerful device for teaching and sublimation. The one who decides to face this process will never be unharmed of the actions which language is going to perform in his/her body. I concluded, therefore, that the necessary condition in the researchers rule, in order to write and be graduated is guiding his/ her actions through responsibleness. (HANS JONAS, 2006).
26

Instantâneos de ausências: Perec e as relações entre texto, fotografia e memória / Snapshots of absences: Perec and the relationship between text, photography and memory

Tatiana Barbosa Cavalari 12 September 2014 (has links)
O trabalho tem por objetivo realizar uma leitura de imagens a partir de dois projetos autobiográficos de Perec: W ou a memória da infância e Récits dEllis Island, levando em conta as relações entre texto literário, fotografia e memória autobiográfica. Essa leitura será marcada, sobretudo, pelas ideias de Barthes, já que ao longo dessa pesquisa serão citados diversos trechos do seu livro A câmara clara - Nota sobre a fotografia, a partir do qual o crítico nos levará a levantar alguns questionamentos concernentes à obra de Perec. Na primeira parte do trabalho, serão apresentadas algumas interações entre o texto de Perec e outras artes, partindo em seguida para a delimitação dessa interação entre texto e fotografia. Essa será a questão principal no trabalho, discutida detalhadamente em relação aos dois textos mencionados, na segunda parte em relação à W e na terceira em relação à Ellis Island. Nessas duas partes, o objetivo principal será investigar de que maneira as imagens fotográficas farão parte do processo de escrita e quais os desdobramentos dessa inter-relação na produção do texto literário. / The study aims to perform an image reading of two autobiographical projects by Perec: W, or the memory of childhood and Ellis Island, taking into account the relationship between the literary text, photography and autobiographical memory.This reading is led, mainly, by Barthes considerations, since many aspects brought to this study are originally taken from his text Camera Lucida - Reflections on photography, in which the critic supports us to raise some issues related to Perecs work. In the first part of the study some interactions between Perecs text and other arts are presented, so later this interaction is delimited to text and photography. This is the leading issue of the study, specifically discussed with regards to the two mentioned texts, i.e., in the second part related to W and in the third part related to Ellis Island. In these two sections, the main purpose is to investigate how the photographic images take part into the writing process and which are the consequences of this inter-relationship in the literary text production.
27

Building an application for the writing process

Lele, Amod Jayant 18 November 2016 (has links)
The idea that writing is a process and not a product is now generally accepted in writing education, but discussions of digital scholarly communication often neglect the idea, in theory and in practice. This thesis report introduces a Mac OS X software package to support the early stages of the writing process, called Brouillon. Brouillon’s features include: the concatenation of discrete note files into notebooks; notes appearing in multiple notebooks; note intake from mobile devices via Dropbox; and an open standard file format. The report also provides a model of the organization of products of the writing process, with a focus on Brouillon’s most unusual feature, multi-notebook notes. It discusses difficulties in implementation and identifies possibilities for future improvement.
28

Skillnaden mellan plagiat och imitation är milsvid : Fyra lärare om elevtexter i gränslandet mellan imitation och plagiat / There is a huge difference between plagiarism and imitation : Four teachers about pupils’ texts in the borderland between plagiarism and imitation

Tefke, Frida, Morgin, Nina January 2013 (has links)
In school, pupils learn to critically relate to sources of various texts. In the course of time they also learn how to make references and cite properly. Yet, alarming reports show increasing cheating and plagiarism in colleges and universities. Plagiarism prevention services are used today in Swedish high schools. We are questioning how this relates to the sociocultural perspective and curriculum view of imitation as a natural part of the learning process, communication and language. Material from depth interviews, with four teachers in the school subject Swedish about their theoretical and practical approach to students' writing process and writing development are used to deal with the issues of this thesis. The results from the interviews are analyzed in relation to a literature study on the subject. Research on the sociocultural perspective shows that imitation is a natural part of the learning process, communication and language. The form of intertextuality that occurs when texts are imitated and voices are borrowed - dialogism - is not only natural but also necessary for all writing development. We seem to be unable to discern the natural role of imitation in students’ writing development among all respondents.
29

Mall och mening : En undersökning av hur mallar påverkar skrivarbetet på en socialförvaltning / Templates, sentences and sense : Researching what impact templates have on paper work at a social welfare office

Bloom, Barbro January 2013 (has links)
No description available.
30

Guided Wanderings: An A/r/tographic Inquiry into Postmodern Picturebooks, Bourdieusian Theory, and Writing

Pourchier, Adrianne Nicole M. 07 August 2012 (has links)
This dissertation is an a/r/tographic inquiry (Irwin & Springgay, 2008) that explores postmodern picturebooks and writing theory. Postmodern picturebooks have been described as texts that blur traditional literary boundaries and text-image relationships, while employing devices like metafiction and playfulness (Goldstone, 2002; Sipe, 2008). As meaning becomes more ambiguous, readers are positioned as co-constructors of meaning (Serafini, 2005). Research has shown students enjoy reading postmodern picturebooks and constructing meaningful transactions despite the complex nature of these texts (McGuire, Belfatti, & Ghiso, 2008; Pantaleo, 2004, 2007, 2008), but few have begun to explore how these texts are written. Therefore, I used a/r/tography (Irwin & Springgay, 2008) to theorize about the relationship between these texts and what it means to write. As a method of inquiry, a/r/tography is an arts-based approach to research that is interested in how artistic practices produce meaning and a/r/tographers use art to “construct the very ‘thing’ [they] are attempting to make sense of” (Springgay, 2008, p. 159). In this study, I wrote and illustrated a postmodern picturebook and interpreted how this experience generated understandings about what it means to write. In response to the process model of writing (Flower & Hayes, 1981), the data led to representations that offer new perspectives on contemporary writing theory, in particular, the interpretive, public, and situated nature of writing (Kent, 1999). As a result, I use theories of metaphor (Lakoff & Johnson, 1980/2003; Lakoff & Turner, 1989) to critique writing process theory (Elbow, 1973, 1981; Flower & Hayes, 1981) and propose that a/r/tographic inquiry creates openings for new possibilities within the post-process movement (Kent, 1999) by demonstrating how a writer’s evolving questions (Irwin & Springgay, 2008) relate to writing pedagogy.

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