FARIA, Maria da Graça dos Santos. Alusão e citação como estratégias na construção de paródias e paráfrases em textos verbo-visuais. 2014. 118f. – Tese (Doutorado) – Universidade Federal do Ceará, Departamento de Letras Vernáculas, Programa de Pós-graduação em Linguística, Fortaleza (CE), 2014. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-08-27T13:08:43Z No. of bitstreams: 1 2014_tese_mgsfaria.pdf: 2482699 bytes, checksum: 996b3e417effe8e2bdc1b05c035e7345 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-08-27T14:48:42Z (GMT) No. of bitstreams: 1 2014_tese_mgsfaria.pdf: 2482699 bytes, checksum: 996b3e417effe8e2bdc1b05c035e7345 (MD5) / Made available in DSpace on 2014-08-27T14:48:42Z (GMT). No. of bitstreams: 1 2014_tese_mgsfaria.pdf: 2482699 bytes, checksum: 996b3e417effe8e2bdc1b05c035e7345 (MD5) Previous issue date: 2014 / Os trabalhos sobre intertextualidade são em grande número, entretanto muito do que foi estudado diz respeito às tipologias intertextuais presentes em textos literários. Nesta pesquisa, apresentamos um caminho diferente, pois buscamos investigar aspectos ainda não presentes nas propostas classificatórias de Genette (2010), Piègay-Gros (1996) e Sant’Anna (2003) em textos literários e também em trabalhos mais recentes, como o de Koch, Bentes e Cavalcante (2007), particularmente sobre variados gêneros textuais, com o propósito de contribuir com as pesquisas intertextuais, destacando, dessa forma, a importância desse fenômeno na construção dos sentidos de um texto, em especial dos verbo-visuais. Uma contribuição deste trabalho encontra-se no fato de ir além de estabelecer critérios para a classificação das manifestações intertextuais em textos verbo-visuais, pois o propósito maior é investigar se a intertexualidade por derivação pode se redefinir a partir da inserção das relações de copresença nas derivacionais. Principalmente, verificamos a hipótese de que existem diferentes recursos linguísticos e/ou imagéticos responsáveis pelas alusões, que podem ser citações ou referências. Também investigamos a hipótese de que as citações e referências e alusões terminam sendo estratégias para um propósito maior do locutor de estabelecer paródias. Por fim, demonstramos que algumas charges e cartuns guardam entre si uma relação de parafraseamento. Trabalhamos com um exemplário formado por textos verbo-visuais publicados na internet como charges, tirinhas e cartuns em que buscamos investigar como as relações intertextuais se manifestam nesses textos que se inscrevem na circulação de textos informativos e que recuperam notícias veiculadas na mídia. A análise permitiu constatar até o momento que as intertextualidades de copresença explícitas e implícitas como citação e alusão mostram que são importantes estratégias - isoladas ou simultaneamente - para a construção de paródias e de parafraseamentos.

Teachers in the 21st century are confronted with students who are mass consumers of visual texts via social apps on smart devices, media on television, and information in textbooks. Teaching students to analyze and question visual texts may help them construct meaning and critique what they see. Yet, very little is known about teachers’ pedagogical decisions when planning and teaching with visual texts. This study attempted to fill that gap. The purpose of this study was to explore how eighth grade history teachers utilize historical visual texts in their classrooms. Three eighth grade history teachers participated in this study. Data collection consisted of semi-structured interviews, teacher analyses of visual texts, video recorded lessons, and teacher reflections. Data obtained in this study addressed the following questions: How do teachers analyze a historical visual text for use in the classroom? What previous experiences do teachers utilize when planning to teach with a historical visual text? What do teachers’ reflections of a video recorded lesson reveal about the teachers’ instructional experiences with historical visual texts? What do video analyses of teachers utilizing historical visual texts reveal about teachers’ historical thinking and visual literacy pedagogical decisions? The results of this study indicated that the participants lack formal pedagogical content knowledge and prior experiences in teaching with historical visual texts. Yet, the participants reported that their lessons in this study were engaging and meaningful for students. Findings from this study suggest that historical visual texts can be effective in the teaching and learning of history.

nÃo hà / CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / Os trabalhos sobre intertextualidade sÃo em grande nÃmero, entretanto muito do que foi estudado diz respeito Ãs tipologias intertextuais presentes em textos literÃrios. Nesta pesquisa, apresentamos um caminho diferente, pois buscamos investigar aspectos ainda nÃo presentes nas propostas classificatÃrias de Genette (2010), PiÃgay-Gros (1996) e SantâAnna (2003) em textos literÃrios e tambÃm em trabalhos mais recentes, como o de Koch, Bentes e Cavalcante (2007), particularmente sobre variados gÃneros textuais, com o propÃsito de contribuir com as pesquisas intertextuais, destacando, dessa forma, a importÃncia desse fenÃmeno na construÃÃo dos sentidos de um texto, em especial dos verbo-visuais. Uma contribuiÃÃo deste trabalho encontra-se no fato de ir alÃm de estabelecer critÃrios para a classificaÃÃo das manifestaÃÃes intertextuais em textos verbo-visuais, pois o propÃsito maior à investigar se a intertexualidade por derivaÃÃo pode se redefinir a partir da inserÃÃo das relaÃÃes de copresenÃa nas derivacionais. Principalmente, verificamos a hipÃtese de que existem diferentes recursos linguÃsticos e/ou imagÃticos responsÃveis pelas alusÃes, que podem ser citaÃÃes ou referÃncias. TambÃm investigamos a hipÃtese de que as citaÃÃes e referÃncias e alusÃes terminam sendo estratÃgias para um propÃsito maior do locutor de estabelecer parÃdias. Por fim, demonstramos que algumas charges e cartuns guardam entre si uma relaÃÃo de parafraseamento. Trabalhamos com um exemplÃrio formado por textos verbo-visuais publicados na internet como charges, tirinhas e cartuns em que buscamos investigar como as relaÃÃes intertextuais se manifestam nesses textos que se inscrevem na circulaÃÃo de textos informativos e que recuperam notÃcias veiculadas na mÃdia. A anÃlise permitiu constatar atà o momento que as intertextualidades de copresenÃa explÃcitas e implÃcitas como citaÃÃo e alusÃo mostram que sÃo importantes estratÃgias - isoladas ou simultaneamente - para a construÃÃo de parÃdias e de parafraseamentos.

The purpose of this qualitative study was to explore what 4th-grade teachers could learn about African American students’ knowledge of social studies content through children’s drawings and to understand what they communicated through visual texts. This study was grounded in social semiotics and critical race theory (CRT). Social semiotics allowed for close readings of children’s drawings and interpretation of teachers’ interests in using art as an assessment tool. CRT challenges applying the experiences of White people as the standard by which others are measured. CRT was used to analyze structural barriers, such as high-stakes standardized testing, as primary in determining what students knew. Research questions were as follows: (a) When teachers are instructed in how to read images structurally and semantically, what do they learn about their low achieving African American students’ understanding of a social studies text through their drawings? (b) How do teachers understand and talk about images through the lens of sign systems? (c) How do low-achieving African American students demonstrate social studies content knowledge in a written assessment compared to how they demonstrate content knowledge in a visual representation of a social studies text? The setting was in an urban elementary school and the study involved 4 teachers and 7 students from their collective classes. Analysis of data included constant comparative analysis and visual discourse analysis (VDA), including student drawings and teacher/student interviews. Three findings emerged from teacher data analysis. Teachers varied in their beliefs about art as a communicative system; teachers intentionally studied their children’s visual texts differently after professional development; teachers intentionally integrated visual arts as a part of assessment in social studies. Two key findings emerged from student data analysis: Students visually represented key concepts in social studies in their visual texts and they found art to be a “fun” way to demonstrate social studies learning. The significance of this study offers insight into other communicative systems-art and specifically drawings—as a viable way to assess students’ knowledge and skills in content areas.

Nesta investigação, refletimos sobre as avaliações impressas em textos de periódicos contemporâneos tiras e crônicas , que retomam narrativas da tradição oral, em circulação entre os séculos XVII e XIX, a fim de compreender aspectos de diferentes visões de mundo e o posicionamento valorativo do sujeito-autor e do sujeito-contemplador previsto, como forma de resposta compromissada com seu tempo. Ao longo das edições dos periódicos, a tematização dessas narrativas aconteceu de forma aleatória, em meio a conteúdos diversos e como parte do repertório cultural dos artistas. Em levantamento realizado, o corpus de análise ficou composto da seguinte forma: (1) cinquenta e quatro tiras do cartunista Fernando Gonsales que, publicadas no jornal Folha de S. Paulo entre os anos de 2004 e 2011, tematizam os contos maravilhosos Chapeuzinho Vermelho, Branca de Neve e A história dos três porquinhos; (2) três crônicas de Millôr Fernandes, que circularam nas revistas semanais Veja e IstoÉ na década de 1980, tematizando os mesmos contos, o que viabiliza um trabalho comparativo. Para orientar nosso olhar, fundamentamos nossa análise na concepção bakhtiniana de arquitetônica, desenvolvida principalmente nos primeiros textos produzidos por Bakhtin e o Círculo, na década de 1920. Essa concepção nos permite compreender como os elementos do texto forma, conteúdo e material são organizados pelos centros de valores estabelecidos na relação autor-criador, herói, autor-contemplador. Associadas a essa noção, tratamos das categorias de espaço e tempo, desenvolvidas pelo pensador Bakhtin (1937-1938, 1973). Essas categorias nos instrumentalizam para a compreensão da interação entre autor-criador e/ou autor-contemplador e objeto artístico, em determinado contexto espaço-temporal. No diálogo com o objeto de pesquisa, partimos da seguinte hipótese: se todo texto é um ato responsivo ao tempo de que emerge, então a visão de mundo contemporânea é refratada em textos de humor da esfera periodística que circularam no final do século XX e início do XXI, quando esses textos retomam narrativas da tradição oral difundidas entre os séculos XVII e XIX. Ao final do trabalho, mostra-se que, no entrecruzamento das tiras de Fernando Gonsales e das crônicas de Millôr Fernandes com os contos maravilhosos, transita a paródia de um mundo idealizado: nas tiras, ela se configura também como deboche do modo de vida contemporâneo; nas crônicas, como crítica social e reflexão sobre a existência humana. / In this thesis, we reflect on the standpoints printed on contemporary journal texts - strips and chronics that retake oral tradition narratives, between the seventeenth and nineteenth centuries, in order to understand aspects of different worldviews and the evaluative positioning of the subject-author and of the expected subject-contemplator as a way to give a committed answer to their time. Along the issues of the journals, the theming of these narratives was done at random, amid diverse contents and as part of the cultural repertoire of the artists. In the survey that was conducted, the corpus was composed as follows: (1) fifty-four strips by the cartoonist Fernando Gonsales, published in the newspaper Folha de S. Paulo between 2004 and 2011, that bring as the theme the fairy tales Little Red Riding Hood, Snow White and The story of the three little pigs; (2) three chronics by Millor Fernandes, that circulated in the weekly magazines Veja and IstoÉ in the 1980s, thematising the same tales, which enables a comparative work. To guide our vision, we base our analysis on Bakhtin\'s architectonic design, developed mainly in the first texts written by Bakhtin and the Circle in the 1920s. This concept allows us to understand how the text elements - form, content and materials - are organized by centers of values established in the relation between author-creator, hero, author-contemplator. Associated with this notion, we deal with the categories of space and time, developed by Bakhtin (1937-1938, 1973). These categories lead us to the understanding of the interaction between author-creator and/or author-contemplator and artistic object, in a particular spatial-temporal context. In dialogue with the research object, we start from the following hypothesis: if all text is a responsive act to the time that it emerges from, then the contemporary world view is refracted in humor texts from the journal sphere that circulated in the late twentieth and early twenty-first centuries, when these texts resume narratives of the oral tradition spread between the seventeenth and nineteenth centuries. At the end of the work, it is shown that, in the crossing of the strips by Fernando Gonsalves and the chronics by Millor Fernandes with the fairy tales, the parody moves from an idealized world: in the strips, it also sets as a mockery of the contemporary way of life; in the chronics, as a social critique and reflection on human existence.

Nesta investigação, refletimos sobre as avaliações impressas em textos de periódicos contemporâneos tiras e crônicas , que retomam narrativas da tradição oral, em circulação entre os séculos XVII e XIX, a fim de compreender aspectos de diferentes visões de mundo e o posicionamento valorativo do sujeito-autor e do sujeito-contemplador previsto, como forma de resposta compromissada com seu tempo. Ao longo das edições dos periódicos, a tematização dessas narrativas aconteceu de forma aleatória, em meio a conteúdos diversos e como parte do repertório cultural dos artistas. Em levantamento realizado, o corpus de análise ficou composto da seguinte forma: (1) cinquenta e quatro tiras do cartunista Fernando Gonsales que, publicadas no jornal Folha de S. Paulo entre os anos de 2004 e 2011, tematizam os contos maravilhosos Chapeuzinho Vermelho, Branca de Neve e A história dos três porquinhos; (2) três crônicas de Millôr Fernandes, que circularam nas revistas semanais Veja e IstoÉ na década de 1980, tematizando os mesmos contos, o que viabiliza um trabalho comparativo. Para orientar nosso olhar, fundamentamos nossa análise na concepção bakhtiniana de arquitetônica, desenvolvida principalmente nos primeiros textos produzidos por Bakhtin e o Círculo, na década de 1920. Essa concepção nos permite compreender como os elementos do texto forma, conteúdo e material são organizados pelos centros de valores estabelecidos na relação autor-criador, herói, autor-contemplador. Associadas a essa noção, tratamos das categorias de espaço e tempo, desenvolvidas pelo pensador Bakhtin (1937-1938, 1973). Essas categorias nos instrumentalizam para a compreensão da interação entre autor-criador e/ou autor-contemplador e objeto artístico, em determinado contexto espaço-temporal. No diálogo com o objeto de pesquisa, partimos da seguinte hipótese: se todo texto é um ato responsivo ao tempo de que emerge, então a visão de mundo contemporânea é refratada em textos de humor da esfera periodística que circularam no final do século XX e início do XXI, quando esses textos retomam narrativas da tradição oral difundidas entre os séculos XVII e XIX. Ao final do trabalho, mostra-se que, no entrecruzamento das tiras de Fernando Gonsales e das crônicas de Millôr Fernandes com os contos maravilhosos, transita a paródia de um mundo idealizado: nas tiras, ela se configura também como deboche do modo de vida contemporâneo; nas crônicas, como crítica social e reflexão sobre a existência humana. / In this thesis, we reflect on the standpoints printed on contemporary journal texts - strips and chronics that retake oral tradition narratives, between the seventeenth and nineteenth centuries, in order to understand aspects of different worldviews and the evaluative positioning of the subject-author and of the expected subject-contemplator as a way to give a committed answer to their time. Along the issues of the journals, the theming of these narratives was done at random, amid diverse contents and as part of the cultural repertoire of the artists. In the survey that was conducted, the corpus was composed as follows: (1) fifty-four strips by the cartoonist Fernando Gonsales, published in the newspaper Folha de S. Paulo between 2004 and 2011, that bring as the theme the fairy tales Little Red Riding Hood, Snow White and The story of the three little pigs; (2) three chronics by Millor Fernandes, that circulated in the weekly magazines Veja and IstoÉ in the 1980s, thematising the same tales, which enables a comparative work. To guide our vision, we base our analysis on Bakhtin\'s architectonic design, developed mainly in the first texts written by Bakhtin and the Circle in the 1920s. This concept allows us to understand how the text elements - form, content and materials - are organized by centers of values established in the relation between author-creator, hero, author-contemplator. Associated with this notion, we deal with the categories of space and time, developed by Bakhtin (1937-1938, 1973). These categories lead us to the understanding of the interaction between author-creator and/or author-contemplator and artistic object, in a particular spatial-temporal context. In dialogue with the research object, we start from the following hypothesis: if all text is a responsive act to the time that it emerges from, then the contemporary world view is refracted in humor texts from the journal sphere that circulated in the late twentieth and early twenty-first centuries, when these texts resume narratives of the oral tradition spread between the seventeenth and nineteenth centuries. At the end of the work, it is shown that, in the crossing of the strips by Fernando Gonsalves and the chronics by Millor Fernandes with the fairy tales, the parody moves from an idealized world: in the strips, it also sets as a mockery of the contemporary way of life; in the chronics, as a social critique and reflection on human existence.

Without consciousness we become victim instead of actors- even if it is only a question of acting victims. And in the make belief of our lives, the audience is self (Fugard in Frank 2004: 53). The primary concern of this study is the comparison of video interpretations of Athol Fugard with their adaptations as visual texts. It has been argued that 'the playwright's creative labour ends with the completion of the script' (Kidnie 2009: 15).Therefore, amongst other issues this dissertation will explore the politics of production at play during adaptation from printed version to screenplays. My assumption is that a comparison between the printed texts and video versions will add to the understanding of the effectiveness of Fugard's dramatic techniques and comprehension of literary texts; images are easy to decipher by inexperienced interpreters if guided. For the purpose of my presentation I adapt the reader response theoretical position of Stanley Fish based on a comparison that will be explored in terms of my own response to both the written text and visual texts, and in line with other responsed to the play. / English Studies / M.A.

This thesis aims to contribute to the growing body of knowledge concerning the adult basic literacy education in the Nordic countries and broaden research on literacy from its traditional focus on verbal texts to include images and visual texts. The thesis comprises a research survey concerning adult literacy and two empirical, exploratory studies focusing on the use of visual texts in the basic Swedish language programme for adult immigrants, Svenskundervisning för invandrare (sfi). The first study presents international and Nordic research on literacy with a focus on current sociocultural, and critical perspectives. Together with the three concepts of mutual respect, meaningfulness and participation, an ‘expansive’ model for adult literacy instruction is also presented. The second study deals with the teachers´ views on appropriate visual materials for second language and literacy teaching. The results show an extensive but diversified usage of visual material but also that literacy teachers pay very close attention to participants´ sociocultural background in their image selection but tend to underestimate their cognitive ability. From a critical perspective the teachers´ statements can be regarded as part of a discursive practice in which they unintentionally contribute to a discourse construction of an identity of deficiency of the learners. The third study examines and compares, how adult second language learners interact with and understand a number of Swedish election posters. The analyses identify processes and variations in the learners´ interaction. The results show that the reconstructions of the visual texts are influenced by the participants´ linguistic, educational and cultural ‘repertoires’, as well as the posters´ graphic, visual and textual design. A certain level of linguistic proficiency as well as formal schooling and knowledge of the current discourse seem to be indispensable for making the intended interpretations.

Without consciousness we become victim instead of actors- even if it is only a question of acting victims. And in the make belief of our lives, the audience is self (Fugard in Frank 2004: 53). The primary concern of this study is the comparison of video interpretations of Athol Fugard with their adaptations as visual texts. It has been argued that 'the playwright's creative labour ends with the completion of the script' (Kidnie 2009: 15).Therefore, amongst other issues this dissertation will explore the politics of production at play during adaptation from printed version to screenplays. My assumption is that a comparison between the printed texts and video versions will add to the understanding of the effectiveness of Fugard's dramatic techniques and comprehension of literary texts; images are easy to decipher by inexperienced interpreters if guided. For the purpose of my presentation I adapt the reader response theoretical position of Stanley Fish based on a comparison that will be explored in terms of my own response to both the written text and visual texts, and in line with other responsed to the play. / English Studies / M.A.

Om ‘geletterd’ te wees, beteken letterlik die vermoë wat die mens het om te kan lees en skryf. Dit kan ook op die vermoë dui om tekens, behalwe woorde, te kan lees, nl. gebare en beelde. In die samelewing word die mens vandag aan baie visuele elemente blootgestel, baie meer as slegs die gedrukte woord – in koerante, tydskrifte, televisie, advertensies, spotprente, strokiesprente, musiekvideo’s, die internet, ens. Om visueel geleterd te wees, is ‘n dus ‘n belangrike vaardigheid wat die mens of in hierdie geval, die leerder, moet aanleer om onderskeidend na die visuele te kan kyk. In hierdie opsig lê die verantwoordelikheid by die onderwyser, en in ‘n groot mate die taal-onderwyser om die leerders die vaardighede wat nodig is om krities en denkend te kan waarneem, aan te leer en te ontwikkel. Visuele geletterdheid is dan die vermoë om te sien, te verstaan, om grafies te dink, te skep en te kommunikeer. In hierdie geval sal die visueel geletterde persoon in staat wees om krities na enige beeld te kyk om dít wat die kunstenaar vir die kyker wil deurgee, te kan ontleed en vertolk. Hierdie vaardighede kan deurgaans op die verskillende visuele elemente toegepas word, nl. foto’s, prente, tekeninge, grafiese kunsvorme soos spotprente, strokiesprente en illustrasies, films, kaarte, ens. Al hierdie visuele elemente stel inligting vry wat die kyker moet kan vertolk. Visuele geletterdheid gee dus die kyker die geleentheid om idees en inligting i.v.m. voorgehoue beelde in konteks te plaas en te bepaal of dit geldend is of nie. Visuele geletterdheid vereis meer as een vaardigheid. Soos by die tradisionele geletterdheid waar dit slegs ‘n vereiste is om woorde en sinne te kan ontleed, maar om met begrip te lees, is ‘n verdere vaardigheid wat verkry moet word. Hier help die onderwyser die leerder om nie net woorde en klanke te onderskei nie, maar te verstaan wat hulle lees. Hierdie vaardigheid sluit ‘n breë woordeskat en kritiese denke in. Hiervoor gebruik die onderwyser verskillende strategieë om by sy uiteindelike doelwit uit te kom, nl. om die leerders kontekstuele begrip teenoor dit wat hulle lees, te laat verkry. Die eerste vlak van visuele geletterdheid is die basiese identifisering van elemente in ‘n prent, foto of grafiese uitbeelding. Die vaardighede wat hiervoor nodig is, is fyn waarneming, maar terselfdertyd die begrip van dít wat gesien word ook in verhouding met ander elemente. Dit gee aanleiding tot kritiese denke, wat noodsaaklik vir die leerder is om afleidings en analisering uit die gegewe visuele te kan maak. Dit sal ook vir die leerder help om uit die oorvloed inligting waarmee hy daagliks op webtuistes en tekste wat aan hom voorgehou word en mee gekonfronteer word, betekenis te vind. Uitkomsgebaseerde Onderwys wat ten doel het om kritiese denke by leerders aan te wakker en te ontwikkel, kan die vaardighede in hierdie studie met vrug toepas. ENGLISH : Literacy literally means the ability of a human to read and write. It can also indicate the ability to read and interpret signs other than words - for example actions and images. Today in civilised society, mankind is exposed to a multitude of visual elements, so much more than only the printed word - in newspapers, magazines, on television, in advertisements, cartoons, comic strips, music videos, the internet: - the list is endless. To be visually literate is an important skill that man, in this case the learner, has to master to be able to look at the visual and distinguish differences in meaning. In this regard, the responsibility lies with the Education department and especially the language teacher. Learners have to be taught the skills to evaluate thoughtfully and critically and to be led to the development of this skill. Visual literacy is the skill to see, understand, think, create and communicate graphically. The visually literate person will be capable of assessing any image critically as well as analysing and interpreting what the artist wanted the viewer to know. These skills can be applied to any visual material - photo's, pictures, drawings and graphic art forms like cartoons, comics, illustrations, films and maps. All these visual elements give information that the viewer must be able to analyse. Visual literacy grants the viewer the opportunity to place ideas and information, relating to an image, in context and to evaluate whether those ideas and information are relevant. Visual literacy demands more than just one skill. Like traditional literacy there is one skill to analyse words and sentences and to read with comprehension, an additional skill must be mastered. The teacher helps the learner not only to identify words and sounds, but also to understand what he reads. This competence includes a wide vocabulary and critical thinking skills. The teacher uses different strategies to achieve his ultimate goal - to have learners gain contextual understanding of their reading. The first level of visual literacy is the basic identification of elements in a picture, photograph or graphic image. Here the necessary skills are careful observation as well as comprehension of what is seen in relation to other elements. This develops critical thinking which is essential for the learner to make deductions from and analyse the given visual material. It will also help the learner to make relevant meaning of the flood of information that he is confronted with in cyberspace and visual texts on a daily basis. Outcomes Based Education, which has as its goal the creation and development of critical awareness in learners, can use the skills explained in this study, with great success. / Thesis (DLitt)--University of Pretoria, 2011. / Afrikaans / unrestricted