Dissertations / Theses on the topic 'Narrative diary'

The diary film as a unique, personal, and private cinematic genre for a long time has not received its fair share of attention in academic research. This thesis therefore focuses mainly on the historical development, characteristics, and aesthetics of the diary film per se, conducting a critical dialogue between them in order to explore a field of study that should be clarified instead of staying ambiguous. The discussion of this thesis can be divided into two parts: first, I pay specially attention to the historical context of the diary film in the 1950s to 1960s in America. Combing through different film theories regarding amateurism and different personal filmmaking approaches proposed by Marie Menken, Maya Deren, and Jonas Mekas, the first part of the thesis aims to locate the origins of the diary film. Moreover, with the discovering of the early historic material of the avant-garde film movement and the diary film in Taiwan, a transnational connection of the diary film between America and Taiwan has been established. The second part of the thesis focuses on the analyses of the diary film texts from various filmmakers in America and in Taiwan across different periods of time: they include Jonas Mekas, Hollis Frampton, Saul Levine, George Kuchar, Shine Lin, and myself. By the close reading of these films, I provide concepts from different perspectives as analytic tools in the diary film research: the parenthetical structure of the voice-over and the image in the diary film, and the different modes of diary filmmaking (perceptive, retrospective, and access) in terms of temporality and technology. To conclude, this thesis not only wishes to suggest forward-looking views on this marginal field, but also to reconstruct and reinvent the research of the diary film in Taiwan.

Coetzee’s last novel Diary of a Bad Year (2007) has an intriguing triple-voiced narrative structure and deals with the grey area of shame. The narrative is divided between a writer, his written contribution to a book called “Strong Opinions”, and his secretary’s thoughts about both the opinions in the manuscript and her employer’s circumstances. This essay explores the relation between form and theme in Diary of a Bad Year; to see in what way these two fundamental elements of the novel intervene and support each other. By doing so the narrative structure is read through Freud’s structural model of personality, whereby each narrator’s voice is related to the notions of the super-ego, the ego and the id. In other words, this essay argues that the specific threefold narrative structure in Diary of a Bad Year, by reflecting the interrelated parts of human identity, helps in creating and developing the theme of shame, which only exists connected to the human psyche. This connection in turn gives special meaning to the entire narratology of the novel.

This dissertation analyses Ermanno Rea’s Mistero napoletano (1995), Walter Siti’s Troppi paradisi (2006) and Wu Ming 2 & Antar Mohamed’s Timira. Romanzo meticcio (2012) as three case-studies of how writing connected to personal experiences and essayistic genres are combined in such a way as to give way to what can be defined as a first-person essay-novel. This literary form can also be considered as a typical example of what the literary scholar Raffaele Donnarumma has called “hypermodernity” in contemporary Italian literature, a multifaceted literary trend consisting in the critical and creative exploration of the possible interactions between literary forms and societal issues. The expression “personal experience writing” is used for a broad variety of life-writing, ranging from “traditional” forms of autobiography, biography and diary entries to creative literary adaptations of these forms (autofiction, biofiction, narrative diary). The “essayistic writing” that has been addressed include a wide set of discursive and argumentative modules through which authors elaborate and reflect on the literary, cultural, political and social contexts with which they interact as creative writers.

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Este trabalho propõe-se a investigar como o linguajear e o emocionar da docência modificam-se no início da carreira. O estudo foi desencadeado pelo desconforto que a metodologia do ensino de Matemática, baseada em sua maioria na apresentação do conteúdo e na realização de exercícios, causava tanto nos estudantes quanto na professora. A situação vivenciada nos primeiros anos da docência indicava a necessidade de estabelecer outro linguajear e emocionar com os estudantes, que favorecesse suas aprendizagens e não mais os negasse enquanto sujeitos aprendentes. Escolhemos a metodologia de Projetos de Aprendizagem como proposta facilitadora da aprendizagem, o que demandou a construção do saber no coletivo. Para conhecermos as transformações no linguajear e no emocionar foi necessário utilizar um instrumento de acompanhamento das atividades docente. Escolhemos o diário de aula como instrumento para o registro da experiência vivida no ensino de Matemática, de junho a dezembro de 2012, com os alunos do sexto e sétimo anos, de uma escola da rede pública de ensino. Analisamos e discutimos a narrativa presente no “Diário de uma professora iniciante” a partir da Investigação Narrativa, que se constitui tanto como fenômeno que se investiga quanto método de investigação. O conversar no diário mostrou uma professora iniciante com muitas inquietações em relação ao seu fazer docente, trazendo indicadores da insatisfação com a metodologia de ensino utilizada e o quanto o trabalho na perspectiva reprodutiva refletia-se na falta de desejo de aprender dos estudantes. Revelou também um emocionar de conflito com as certezas relacionadas aos processos de ensinar e aprender. Na experiência, aprendemos a respeitar os diferentes sujeitos e aceitá-los na sua singularidade, a refletir na ação e a tomar decisões a respeito do que já estava determinado de antemão (sistema escolar, ambiente físico, relações sociais, finalidades e objetivos educativos) que normalmente não questionávamos. Refletir na e sobre a ação permitiu-nos compreender os fundamentos de um fazer que emergiu da constituição docente que, em sua maioria, ocorre pela incorporação de um modo de viver. Estar em constante processo de formação foi o que nos mobilizou e forneceu subsídios para realizarmos a reflexão e, consequentemente, modificarmos as condutas estabelecidas com os estudantes. Problematizar a própria ação e as questões que permeiam a profissão docente possibilitou-nos questionar e compreender as razões pelas quais definimos nosso linguajear e emocionar no espaço de sala de aula e qual cultura de escola queremos gerar com os alunos. Tomamos a reflexão sobre a reflexão na ação como estratégia que nos permitirá fazer a docência na objetividade-entre-parênteses e gerar uma cultura que legitime a ação de todos os sujeitos como protagonistas dos processos de ensinar e aprender, de forma recíproca e igualmente válida.
This study aims to investigate how the language and the emotion of teaching are modified in teacher's early career. The study was triggered by the discomfort that the methodology of teaching Mathematics, based mostly on the presentation of content and exercises, caused both the students and the teacher. The situation experienced in the early years of teaching indicated the need to establish another language and emotion with the students, which may favor their learning and no longer deny them as learners. We chose the Learning Projects methodology as learning facilitator proposal, which required the collective construction of knowledge. To find out the changes in language and emotion, it was necessary to use a monitoring tool for teaching activities. We chose the diary as a tool to record the experience in teaching Mathematics, from June to December 2012, with students of the sixth and seventh years of a public school education. We analyze and discuss the narrative present in "Diary of a beginning teacher" from Narrative Research perspective, which is both a phenomenon that is being investigated and an investigation method. The conversation in the diary showed a beginner teacher with many concerns regarding their teaching. It brings indicators of dissatisfaction with the teaching methodology applied and how the work in reproductive perspective was reflected in the students' lack of learning desire. It also revealed an emotion of conflict about the certainties of the teaching and learning processes. In this experiment, we've learned to respect the different subjects and accept them in their uniqueness; to reflect in the course of action and to make decisions about what was in advance already determined (school system, physical environment, social relationships, educational goals and objectives), which normally there were no questioning about. Reflecting in the course and about the action has allowed us to understand the acting bases, which has emerged from the teacher's constitution, which mostly occurs by the incorporation of a way of living. Being in a constant process of study mobilized us and provided subsidies to accomplish a strong reflection about our practices and, as a result, a modified behavior with the students. Problematizing the action itself and the issues that underlie the teaching profession enabled us to question and understand the reasons why we define our language and emotion in the classroom space and which school culture we want to create with the students. We take the reflection about the reflection in course of action as a strategy that will allow us to make the objectivity- between-parenthesis teaching and to generate a culture that legitimizes the action of all the subjects as protagonists of the processes of teaching and learning, in a reciprocal and equally way.

This thesis investigates and contextualises as a historical subject a woman textile artist, Annie Gamett (1864-1942). It explores her personal writings, in particular the diary which she kept between the years 1899 and 1909. The use of autolbiographical writings requires a reflexive methodology. In recognising this I engage with the fragmentary material in the archive using feminist theories and discourses to produce an 'intellectual biography', within which the elements of Annie Gamett's life, revealed through her own words, interact with the cultural narratives which challenged and impinged on her individual life. In engaging with Annie's subjectivity, as a historical 'site', I aim to reveal the subtle complexities of 'real' lived experience, and show how a woman, who was inspired by her love of nature and troubled by the effects of industrialisation, was able to develop her creative skills and run a successful textile business within the remit of the Arts and Crafts Movement. My approach to this historical subject unites a feminist perspective with an endorsement of the discipline of Women's History and its central commitment to the recovery of lost vOIces.

Through examining the positionality of Hayashi Fumiko as well as the changing socio-political, economic and historical contexts in which she lived in, I look to better understand how Hayashi navigated through the patriarchal systems of society as a woman writer. This thesis includes a survey of the Meiji, Taisho and Showa periods as well as a comparative analysis of Hayashi's prewar, interwar and post-war works.

Abstract Both Pride and Prejudice (Jane Austen) and Bridget Jones’s Diary (Helen Fielding) have been thoroughly examined by literary critics. When discussed from a feminist perspective, critics are ambiguous as some claim that the novels work against feminist values rather than the reverse. This essay aims to add to the existing discussion, with focus on narration, specifically the narrative authority heroines Elizabeth and Bridget claim. Thus, it is situated within feminist narratology, examining the discourse of the narrative rather than the story. Analysis is conducted with Alison Case’s concept feminine narration, where women traditionally have been narrative witnesses without authority. Through acts of plotting and preaching, authority is claimed by which the narrator can control the meaning the reader is meant to derive from the narrative. I argue that Elizabeth and Bridget both assert narrative authority throughout their stories, thus breaking gendered conventions by claiming agency in traditionally male positions. Additionally, the comparative analysis enables discussion on “Chick lit” literary status, which has been questioned by critics.             Analysis shows that both Elizabeth and Bridget assert narrative authority throughout their stories, by acts of plotting and preaching. Often, both heroines meet male characters attempting to usurp narrative authority by assuming the role of master-narrator, a figure who traditionally possesses more authority. By avoiding these attempts, Elizabeth and Bridget escape the position as narrative witnesses and claim authority, thus directing the readers towards the intended meaning of respective narratives. Furthermore, the comparative analysis opens up for a broader discussion of issues women have faced, and continue to face, throughout time.

Aquesta tesi es basa en l’anàlisi i interpretació qualitativa i reflexiva dels recursos narratius, visuals i sonors que articulen els assajos cinematogràfics “Diary” (1973-1983), “Updated Diary” (1990-1999) i “My Stills” (1952-2002), per descriure les poètiques de l’interval que el seu autor, el cineasta, fotògraf i artista visual brasiler-israelià David Perlov (Rio de Janeiro, 1930 - Tel Aviv, 2003) desplega per representar el desarrelament. El conjunt d’aquests diaris conforma un corpus cinematogràfic únic; un film-fleuve de prop de deu hores que canalitza l’experiència quotidiana de Perlov al llarg de cinquanta anys de la seva vida i esdevé un monumental passatge que connecta els diversos plans en els què oscil·la la realitat representada pel cineasta, entre ells, la seva intimitat afectiva i personal, la seva identitat com a nòmada i les crisis i conflictes bèl·lics en els que Israel es va veure involucrat durant la segona meitat de segle XX. Per modelar una subjectivitat fracturada i en trànsit, Perlov convoca una diversitat d’estratègies assagístiques d’autorepresentació que operen tant a nivell discursiu, com estètic i polític, i que travessen les diverses manifestacions artístiques que va conrear al llarg de la seva vida. Així, les recerques expressives que emprenen els seus diaris recullen elements propis no tan sols de les arts cinematogràfiques, sinó també de la fotografia, la pintura, la literatura i la música. Per aquest motiu la mirada documental de Perlov comporta una gran complexitat audiovisual, rica en girs intertextuals, gests, rostres, cossos, trajectòries, espais, coses, cases, sons, veus i reflexions que s’imbriquen formant un teixit fílmic obert, fluid i intersticial. La investigació aspira a interrogar aquesta multiplicitat de recursos des d’una aproximació interrelacional que examini aquelles pràctiques intersticials que formulen una estètica de l’interval característica en els diaris de Perlov. A partir d’aquest enfocament i fruit de la correspondència entre teoria i anàlisi, la tesi proposa delimitar el concepte de “imatge frontissa” per simbolitzar els passatges, relacions i tensions entre vida i art; entre el privat i el públic; interior i exterior; dins i fora —metaforitzats a la llar i al carrer-; entre el domèstic i el polític; la microhistòria i la macrohistòria; el temps passat i el temps present; entre l’univers dels vius i l’univers dels morts; entre el jo i els altres; entre desterraments i retorns; entre nomadismes, fronteres, pàtries i ciutats (Tel Aviv, Sâo Paulo, Rio de Janeiro, Belo Horizonte, París); pertinença i desarrelament, entre la imatge fixa i la imatge en moviment; entre tecnologies analògiques —el cel·luloide— i dispositius electromagnètics -el vídeo-; entre so i sentit; veu i paraula, per esmentar alguns dels múltiples trànsits a través dels llindars que ens ofereix l’obra de Perlov. Entre d’altres elements, la poètica intersticial de la imatge frontissa es tradueix visualment en la persistent presència de finestres, portes i llindes, com xarneres que regulen els fluxos entre els diferents universos de representació entrellaçats en els diaris de Perlov i les relacions que operen a la problematització del seu desarrelament i estrangeria substancials.
Esta tesis se basa en el análisis e interpretación cualitativa y reflexiva de los recursos narrativos, visuales y sonoros que articulan los ensayos cinematográficos “Diary” (1973-1983), “Updated Diary” (1990-1999) y “My Stills” (1952-2002), para describir las poéticas del intervalo que su autor, el cineasta, fotógrafo y artista visual brasileño-isarelí David Perlov (Río de Janeiro, 1930 - Tel Aviv, 2003) despliega para representar el desarraigo. El conjunto de estos diarios conforma un corpus cinematográfico único; un filme-fleuve de cerca de diez horas que canaliza la experiencia cotidiana de Perlov a lo largo de cincuenta años de su vida y deviene en un monumental pasaje que conecta los diversos planos en los que oscila la realidad representada por el cineasta, entre ellos, su intimidad afectiva y personal, su identidad como nómade y las crisis y conflictos bélicos en los que Israel se vio involucrado durante la segunda mitad del siglo XX. Para modelar una subjetividad fracturada y en tránsito, Perlov convoca una diversidad de estrategias ensayísticas de autorrepresentación que operan tanto a nivel discursivo, como estético y político, y que atraviesan las diversas manifestaciones artísticas que cultivó a lo largo de su vida. Así, las búsquedas expresivas que emprenden sus diarios congregan elementos propios no solo de las artes cinematográficas, sino también de la fotografía, la pintura, la literatura y la música. De ahí que la mirada documental de Perlov detente una gran complejidad audiovisual, rica en guiños intertextuales, gestos, rostros, cuerpos, trayectorias, espacios, cosas, casas, sonidos, voces y reflexiones que se imbrican formando un tejido fílmico abierto, fluido e intersticial. La investigación aspira a interrogar esta multiplicidad de recursos desde una aproximación interrelacional que examine aquellas prácticas intersticiales que formulan una estética del intervalo característica en los diarios de Perlov. A partir de dicho enfoque y fruto de la correspondencia entre teoría y análisis, la tesis propone delimitar el concepto de “imagen bisagra” para simbolizar los pasajes, relaciones y tensiones entre vida y arte; entre lo privado y lo público; interior y exterior; adentro y afuera —metaforizados en el hogar y la calle—; entre lo doméstico y lo político; la microhistoria y la macrohistoria; el tiempo pasado y el tiempo presente; entre el universo de los vivos y el universo de los muertos; entre el yo y los otros; entre destierros y retornos; entre nomadías, fronteras, patrias y ciudades (Tel Aviv, Sâo Paulo, Río de Janeiro, Belo Horizonte, París); pertenencia y desarraigo, entre la imagen fija y la imagen en movimiento; entre tecnologías analógicas —el celuloide— y dispositivos electromagnéticos —el vídeo—; entre sonido y sentido; voz y palabra, por mencionar algunos de los múltiples tránsitos a través de los umbrales que nos ofrece la obra de Perlov. Entre otros elementos, la poética intersticial de la imagen bisagra se traduce visualmente en la persistente presencia de ventanas, puertas y dinteles, como goznes que regulan los flujos entre los distintos universos de representación entrelazados en los diarios de Perlov y las relaciones que operan en la problematización de su desarraigo y extranjería sustanciales.
This thesis is based on a qualitative and reflexive analysis in order to interpret the narrative, visual and sound resources that articulate the cinematographic essays “Diary” (1973-1983), “Updated Diary” (1990-1999) and “My Stills” (1952-2002). These operations seek to describe the poetics of the interval that its author, Brazilian-Israeli filmmaker, photographer and visual artist, David Perlov (Rio de Janeiro, 1930 - Tel Aviv, 2003), displays to represent his uprooting. The set of these diaries forms a unique cinematographic corpus; a filme-fleuve of around ten hours that shapes the daily experience of Perlov throughout fifty years of his life, and becomes a monumental passage that connects the different spheres in which his reality oscillates: his affective and personal intimacy, his identity as a nomad and the crises and wars in which Israel was involved during the second half of the 20th century. In order to depict a fractured and “in transit” subjectivity, Perlov convenes diverse essayistic self-representation strategies that operate on a discursive, aesthetic and political level, and which travers the various artistic manifestations he developed throughout his life. The expressive searches set out by his diaries gather together elements not only from the cinematographic arts, but also from photography, painting, literature and music. Hence, Perlov’s documentary gaze holds a great audiovisual complexity, rich in intertextual winks, gestures, faces, bodies, trajectories, spaces, objects, houses, sounds, voices and reflections that imbricate to shape an open, fluid and interstitial filmic weave. This research aims to interrogate this multiplicity of resources from an inter-relational approach, able to examine those interstitial practices that formulate an aesthetic of the interval, characteristic in Perlov’s diaries. Based on this scheme and as a result of the correspondence between theory and analysis, the thesis proposes to delimit the concept of “hinge image” to symbolize the passages, relations and tensions between life and art; the private and the public; interior and exterior; inside and outside —metaphorized in the home and the street—; between domestic and political; microhistory and macrohistory; past and present; between the universe of the living and the realm of the dead; between the self and the others; between exile and returns; between nomadism, borders, homelands and cities (Tel Aviv, Sâo Paulo, Rio de Janeiro, Belo Horizonte, Paris); belonging and uprooting, between the still and the moving image; between analogue technologies —celluloid— and electromagnetic devices —video—; between sound and sense; voice and word, just to mention some of the multiple transits through the thresholds offered by Perlov’s ouvre. Among other elements, the interstitial poetic of the hinge image visually decodes into a persistent presence of windows, doors and archways, as mechanisms of fluctuation that regulate both the flows between the different universes of representation intertwined in Perlov’s diaries, and the relations that operate in the problematization of his substantial uprooting and foreignness.
Universitat Autònoma de Barcelona. Programa de Doctorat en Comunicació Audiovisual i Publicitat

This thesis is an annotated and edited typescript of a primary source, the handwritten diary of Chriss A. Bell, of the Second Oregon Volunteer Infantry state militia. The diary concerns the events of Oregon's National Guard state militia in the Spanish-American war in the Philippines, and the Philippine Insurrection that followed. The period of time concerned is from the beginning of May, 1898 to the end of June, 1899.

碩士
國立高雄師範大學
特殊教育學系
104
The purpose of this study was to investigate effects of diary writing on narrative ability of a moderate autistic elementary child. The A-B-A design of single subject study was adopted. The research included three phases: baselines, intervention, and maintenance. After accumulating and evaluating data, the researcher proceeded quantitative data analysis using graphics, visual inspection, and effect size analysis. The researcher also analyzed the interview data of the child’s teacher and the speech therapist as well as the researcher’s observations of the child. The results of this research showed that diary writing had immediate and maintenance effects on narrative ability of a moderate autistic elementary child. The teacher and the speech therapist also saw the positive effects of the implementation of diary writing teaching. The results indicated the following implications: the diary writing teaching could promote the narrative ability of a moderate autistic elementary child by writing about the child’s daily events, applying structured design and the prompt steps from few to more, reviewing the daily events by verbally reciting the diary entries, and combined with repeated daily life events.

碩士
國立臺南藝術大學
動畫藝術與影像美學研究所
105
Anticipating the film producers to own real things around as a theme, and author who has strong qualities, and show the real creative concepts. In Chapter I, second part by technology and the liberation of the camera, makes the film isn't confined to photography equipment cumbersome, need to mobilize the huge manpower and other cost considerations. In the generation in which the author, spreads through network platform, globalization, personal log-image creation is a trend of form. Influence of Chinese-language films are also affected by this image campaign, many film producers in the form of diary movie authored for the technique, Chun chun in the use of Break Up Club journal film style. Europe diary movie sequence differences in images, so that in the chapter II, the author of the paper on the research method, to evaluate the real over the work, look for the yellow true shooting style. Analyze the uniqueness of the Break Up Club , yellow really looking for a Chinese film context position in the Hong Kong film. Look to the film producers to own real things around as a theme, and author who has strong qualities, and show the real creative concepts. Chapter I, second part by technology and the liberation of the camera, makes the film isn't confined to photography equipment cumbersome, need to mobilize the huge manpower and other cost considerations. In the generation in which the author, spreads through network platform, globalization, personal log-image creation is a trend of form. Influence of Chinese-language films are also affected by this image campaign, many film producers in the form of diary movie authored for the technique, Chun chun in the use of Break Up Club journal film style. Europe diary movie sequence differences in images, so that in the chapter II, the author of the paper on the research method, to evaluate the real over the work, look for the yellow true shooting style. Analyze the uniqueness of the Break Up Club , yellow really looking for a Chinese film context position in the Hong Kong film. In Chapter III, diary thread of the film backtracks, alienated the differences between prose of diary films and movies. Subjective lens, the identity of the author of the study, from Europe to find Chinese-language diary movie diary movie context similarities. Analysis of mainland China, Taiwan has in the movie diary movie aesthetic qualities tries to find in these texts, unlike European diary movie aesthetic. qualities, construct belonging to Chinese diary movie images, and looking for the possibility of dialogue with the yellow really works. Established after the chapter IV has images of aesthetics and difference, in the fifth chapter the conclusion, introduction the issues referred to in the guide more correct results.

The story behind this research project begins in 1962 when, at age 11, I developed an eating disorder and began to keep a diary. The themes and threads that bind the story together, however, began to weave a pattern almost as soon as I was born. In early childhood, the world through my eyes comprised a small, beautiful valley adjoining the Mitchell River National Park in Victoria, Australia. I lived on a dairy farm with my parents and sister. For my first 11 years, my home had no electricity, television or Internet, but my days were full. The farm, river and adjacent bushland provided a natural outdoors playground, seeding my imagination. Indoors, on rainy days and at night by lantern-light, at the solid oak kitchen table, I would ask my mother for pen and paper and write a note or two about my day. A friendship with words was already taking hold.

Niniejsza rozprawa doktorska jest zestawieniem i analizą dwóch zagadnień: nauczania form wypowiedzi (edukacji tekstotwórcza w kształceniu językowym) oraz pracy z uczniami ze specjalnymi potrzebami edukacyjnymi i próbą odpowiedzi na pytanie – Jak rozwijać wiedzę, świadomość i kompetencje tekstotwórcze (w odniesieniu do funkcjonalnego modelu nauki o języku/języka) u uczniów z ASD na drugim etapie edukacji w szkole podstawowej? W jaki sposób uczyć tworzenia tekstów narracyjnych uczniów szkoły podstawowej posiadających specyficzne potrzeby edukacyjne i całościowe jakościowe zaburzenia w komunikowaniu się wynikające z diagnozy ASD? Zaprezentowane rozważania mają charakter interdyscyplinarny, czerpią przede wszystkim z doświadczeń i stanu badań z zakresu lingwodydaktyki, psychiatrii (neurologii) i psychologii oraz pedagogiki (dydaktyki). Skupiają się na pisanych formach narracyjnych: opowiadaniu i kartce z pamiętnika ze względu na obligatoryjną obecność tych form w kształceniu polonistycznym na etapie szkoły podstawowej (wprowadzanych w prostej formie już na pierwszym etapie edukacji, czyli na poziomie klas 1-3). Praca podzielona jest na wstęp, pięć głównych rozdziałów i podsumowanie. W części teoretycznej zostały omówione kolejno następujące zagadnienia: ASD, tekst w kształceniu polonistycznym, opowiadanie i kartka z pamiętnika jako przykłady pisanych form narracyjnych. Pierwszy rozdział części teoretycznej to prezentacja stanu badań dotyczących autyzmu i jego definiowania w literaturze czterech dziedzin naukowych zajmujących się ASD. Zawiera genezę i opis badań nad autyzmem (ASD) w psychiatrii, neurologii i psychologii, a także wyjaśnia kolejne definicje tego zaburzenia i podaje symptomy klasyfikujące dane zaburzenie. Następnie przedstawiono znaczenie pojęcia ASD w pedagogice. Istotny jest fakt, że specjaliści przekierowali swoje zainteresowania tym zaburzeniem na praktyczne działania ukierunkowane na teorie służące poprawie funkcjonowania dzieci z ASD w środowiskach społecznych, jakimi są przedszkola i szkoły. Drugi rozdział części teoretycznej zawiera wyjaśnienia kluczowych pojęć z zakresu polonistyki. Punktem wyjścia jest teza o tekstocentrycznym charakterze kształcenia polonistycznego. Ten rozdział podzielony jest na trzy podrozdziały opisujące coraz węższe pojęcia z zakresu edukacji tekstotwórczej: tekst pisany, tekst uczniowski, opowiadanie i kartka z pamiętnika. Część badawcza składa się z trzech rozdziałów. Pierwszy jest wprowadzeniem do części analitycznej, opisuje: cel, sposób prowadzenia badań i grupę badawczą, prezentuje hipotezy i wstępne wnioski kluczowe dla dalszego etapu analizy prac uczniowskich. W rozdziale 3.3. Twórcze pisanie czy realizacja formy?- dokonuję omówienia dwóch wymiarów nauczania form narracyjnych i realizacji wypowiedzi pisemnych przez uczniów na poziomie klas 4-6 szkoły podstawowej: twórczego pisania oraz praktycznego ćwiczenia językowego, polegającego na zredagowaniu narracji wokół komponentów i cech formalnych. Prezentuję i omawiam stworzone przez siebie schematy opowiadania i kartki z pamiętnika, pomocne uczniom z ASD w tworzeniu wypowiedzi pisemnych. Zaprezentowane przeze mnie schematy stanowiły ważny element w procesie badawczym, ponieważ uwzględniały specyficzne trudności i potrzeby uczniów z ASD, odpowiednio dostosowane łączyły treści kształcenia językowego z celami terapeutycznymi (i funkcjonalnością). Pomogły badanym zrozumieć konkretną formę narracyjną i jej stylistykę, przypominały o cechach językowych niezbędnych w prawidłowym redagowaniu wypowiedzi, które posłużyły jako materiał badawczy rozprawy. Materiał badawczy stanowią dokumenty szkolne (orzeczenia poradni psychologiczno-pedagogicznej) poszczególnych uczniów oraz prace (testy osiągnięć szkolnych) realizujące te dwie formy gatunkowe, pisane na przestrzeni trzech lat (od klasy czwartej do klasy szóstej szkoły podstawowej) przez uczniów z ASD uczących się w szkole podstawowej z oddziałami integracyjnymi. Kolejne dwa rozdziały (4 i 5) właściwej części analitycznej zawierają analizę i wnioski materiału badawczego - tekstów uczniowskich tworzonych przez uczniów z ASD na przestrzeni lat 2012 - 2019. Analogicznie rozdziały 4 i 5 podzielone są na podrozdziały szczegółowo opisujące poszczególne elementy warstwy tekstowej oraz poziomy analizy tekstów uczniowskich (zgodnie ze schematami zaprezentowanymi w rozdziale 3.). Są to odpowiednio: 1. Poziom umiejętności na początku klasy czwartej 2. Komponenty formalne 3. Spójność i poprawność językowa 4. Oryginalność narracji 5. Ortografia i interpunkcja Punktem wyjścia w badaniach nad rozwojem umiejętności tekstotwórczych jest test diagnozujący, sprawdzający poziom opanowania podstawowych treści z pierwszego etapu edukacji, przeprowadzony na początku klasy czwartej, czyli odpowiednio w latach 2012, 2013, 2015, 2016. Testy diagnozujące nie były dostosowane do specyficznych trudności wynikających z dysfunkcji i zaburzeń uczniów, miały sprawdzać poziom wiedzy każdego badanego ucznia w odniesieniu do normy. Natomiast w niewielkim stopniu różniły się od siebie w poszczególnych latach treścią i poleceniami. Analiza materiału badawczego, komentarze i wnioski poparte są także obserwacją pedagogiczną uczniów w danych zespołach klasowych, prowadzoną w ramach codziennej, czynnej pracy nauczyciela języka polskiego w jednej z warszawskich szkół podstawowych z oddziałami integracyjnymi.
This doctoral dissertation is a juxtaposition and an analysis of two issues: students with special educational needs and teaching forms of expression as well as an attempt to answer the question: how to develop knowledge, language awareness and text creation skills (a functional model of teaching) among students with ASD (autism spectrum disorder) on the second educational level in elementary school? Considerations presented in this dissertation are interdisciplinary, they mainly draw from experiments and the status of research from linguodidactics, psychiatry (neurology) and pedagogy (didactics). The dissertation centres on written narrative forms: a narrative essay and a page from a diary due to the fact that these two forms are obligatory in Polish education in elementary school (these forms are introduced in a simplified manner at the first level of education in grades from first to third). The dissertation in divided into an introduction, five main chapter and a conclusion. The theoretical segment on the dissertation concentrates on discussing the following issues: ASD, the text in Polish education, a narrative essay and a page from a diary as the example of written narrative forms. The first chapter of the theoretical segment in a presentation of the status of the research considering autism and its definition in literature of four scientific areas dealing with ASD. The chapter contains the genesis and the description of research on autism (ASD) in psychiatry, neurology and psychology and also it explains subsequent definitions of this disorder along with presenting symptoms that classify given disorder. Afterwards, the meaning of ASD in pedagogy is presented. The important fact is that specialists redirected their interests in this disorder to practical steps aimed at theories used to improve functioning of children with ASD in social environments such as kindergarten or school. The analysis segment consists of three chapters. The first chapter is an introduction to the analysis segment, and it describes: the goal, the method of conducting the research and the experimental group. This chapter also presents hypotheses and preliminary conclusions which are key to the further stage of students texts analysis. Chapter 3.3: Creative writing or realisation of the form? discusses the two aspects of teaching narrative forms and realisation of written expression by elementary school students in grades from fourth to sixth. I discuss and present narrative essay and a page from a diary models I created which are helpful to students with ASD when they attempt to create a written narrative form. The models I presented were the important element in the research process because they took into consideration specific difficulties and needs of students with ASD, they were properly adapted for the students and they combined the content of language education with therapeutic goals (and functionality). The models helped the examined students to understand the particular narrative form as well as its style, they reminded them about linguistic characteristics that are necessary in the correct editing of written narrative forms which were used as the research material for this dissertation. The research material consists of school documents (diagnoses by psychological and pedagogical counselling centre) of particular students and their work (the narrative essay and the card from a diary) that meet the criteria of the two written narrative forms which were written over the period of three years (from the fourth grade to the sixth grade of elementary school) and that were created by students with ASD attending school with integration classes. The following two chapters (4 and 5) of the main analysis section contain the analysis and conclusions of the research material – written narrative forms created by students with ASD from 2012 to 2019. Both chapters are divided into subsections describing in detail particular elements of text layers and levels of students written narrative forms analysis (in accordance with models presented in chapter 3). The subsections are as follows: 1. Abilities level at the beginning of the fourth grade. 2. Formal components 3. Coherence and language correctness 4. Originality of narration 5. Orthography and punctuation The starting point in research on developing text creating skills is the diagnostic test verifying the level of mastering basic content from the first level of education which is carried out at the beginning of the fourth grade so in 2012, 2013, 2015, 2016. Diagnostic tests were not adapted to particular difficulties connected to students’ disabilities because the goal was to verify the level of knowledge of the examined student in accordance with the norm. The test varied in instruction and content to a small extent in different years. The analysis of research material, comments and conclusions are supported by pedagogical observation of the students in given students’ groups that were performed as part of the daily, routine Polish teacher’s work in one of the Warsaw’s elementary schools with integrated classes.

Evelyn Jephson Cameron (1868-1928) was born to a wealthy merchant family outside London. At the age of twenty-five, she moved to Terry, Montana to raise horses and homestead with her husband, Ewen Cameron. Evelyn Cameron recorded their time in eastern Montana in her daily diary entries, which span over thirty-five years from 1893 to 1928. She became a self-taught professional photographer, and made thousands of photographs with large-format cameras of the people in the towns of Terry, Fallon, and Marsh. She photographed the landscape, birds, and other animals she kept as pets or encountered in the wild. She wrote in her private diary nearly every day, offering a first-person point of view of life for women in the late nineteenth-century in the American West. This thesis focuses on three particular aspects of Cameron’s life. The first chapter focuses on spaces or mediums that Cameron had access to that offered her autonomy and privacy, things which were often difficult for women to find at this time. These spaces and mediums include her photography, her diary, and her darkroom, all of which gave her different sorts of calm or control. The second chapter delves into Cameron’s photographic portraits of herself and other women, looking into how women portrayed themselves and others in the American West. Cameron depicted herself as a part of the natural world, and she also did so when capturing other women. The final chapter analyzes Cameron’s identity as a Montanan, from her conscious choice to move there to her refusal to return to Britain permanently. She gained American citizenship in 1918 and took living in Montana seriously. Her diary reveals a deep awareness of the natural world and records accomplishments and events that help to build and strengthen her relationship with her chosen home.
Graduate
2018-08-25

O objectivo principal desta dissertação é desenvolver uma análise comparativa, a partir da temática da morte, nas seguintes obras em prosa dos dois autores abaixo: Brief einer Unbekannten 1922, (Carta de uma desconhecida, 2008), Angst, 1920, (O Medo, 1965), Vierundzwanzig Stunden aus dem Leben einer Frau, 1927, (Vinte e quatro horas na vida de uma mulher, 2008), Amok, 1922, (Amok, 1961) do austríaco Stefan Zweig [1881- 1942)]; e Dor Surda, 1957, Diário Íntimo, 1957, e Cartas, 1943, do português Manuel Laranjeira [1877-1912]. Embora tendo vivenciado culturas diferentes (a portuguesa e a germânica), ambos partilharam o início do século XX e o terrível facto biográfico do suicídio. Começase este trabalho com uma contextualização biográfica e histórico-cultural da época em que viveram, e uma discussão sobre as respectivas biografias e bibliografias. Dado ambos terem recorrido aos géneros epistolar e diarístico, serão considerados os modos como neles foi usado evoluíram estes tipos de expressão. Será depois efectuada uma análise dos textos, de carácter narratológico, que terá em conta as estruturas narrativas, caracterização das personagens, os espaços, tempos, os modos e as vozes, e as marcas dos discursos. Procurarse- á, a partir dos textos, descortinar as representações de forças antagónicas associadas às temáticas do amor e da morte, da opressão e liberdade, da solidão e da convivência, tópicos que traduzem a complexidade imagética do Homem, do cidadão, partilhada por estes dois pensadores e visionários. Consolida-se, assim, a partir das construções narrativas, um pensamento crítico em torno das imagens literárias da morte, do suicídio e das figurações do feminino. Serão destacadas semelhanças e diferenças entre os aspectos psicológicos, sociais e históricos das respectivas literaturas e culturas, como se reflectem particularmente nas práticas de Zweig e Laranjeira, de modo a evidenciar uma linha de pensamento unificadora entre duas culturas tão diferentes quanto a portuguesa e a alemã.
The main objective of this dissertation is to develop a comparative analysis of the representation of death in the following prose works of two authors: Brief einer Unbekannten, 1922, (Carta de uma desconhecida, 2008/ Letter from an Unknown Woman), Angst, 1920, (O Medo, 1965/ Fear), Vierundzwanzig Stunden aus dem Leben einer Frau, 1927, (Vinte e quatro horas na vida de uma mulher, 2008/ Twenty-four hours in the life of a woman), Amok, 1922, (Amok, 1961) by the Austrian author Stefan Zweig [1881-1942]); and Dor Surda, 1957 (novel), Diário Íntimo (intimate diary), 1957, and Cartas, 1943 (letters) by the Portuguese author Manuel Laranjeira [1877-1912]. Although they experienced different cultures (Portuguese and German), both shared the onset of the twentieth century, and the terrible biographical circumstance of suicide. This work begins with a biographical and historic-cultural contextualization of the time in which both lived, and with a discussion about their respective biographies and bibliographies. Given that both resorted to epistles and diaries, the ways in which these genres were employed and evolved will be considered. Subsequently, a narratological text analysis it will be carried out which will take into account plot structures, characters depiction, the use of spaces and times, modes, voices, and discourses. Furthermore, the texts will be delved to expose representations of antagonistic forces associated with the themes of love and death, oppression and freedom, solitude and coexistence, topics that convey and contribute to an image of human complexity, of the citizen’s dilemmas shared by these two thinkers and visionaries. Thus, starting from the works’ analysis a critical thinking will be developed and consolidated around the literary images of death, suicide and feminine issues. The similarities and differences between the psychological, social and historical facets of their respective literatures and cultures will be emphasised as echoed particularly in the practices of Zweig and Laranjeira, in order to highlight a unifying train of thought between two cultures as diverse as the Portuguese and the German.

Cette étude porte sur la dimension intersubjective de la souffrance qui affecte le rapport du souffrant à son corps, au temps et à l’espace vécus de même que son identité narrative et sa mémoire narrative. Mon argument principal est que la voix narrative constitue le rapport intersubjectif dans les récits de maladie que les proches écrivent sur leurs partenaires souffrant de cancer de cerveau ou de la maladie d’Alzheimer. Ma discussion est basée sur l’éthique, la phénoménologie, les théories de l’incorporation, les études des récits de vie, la sociologie et l’anthropologie médicales et la narratologie. L’objet de mon étude est l’expérience incorporée de la souffrance dans les récits de maladie et je me concentre sur la souffrance comme perte de la mémoire et du soi narratif. J’analyse le journal How Linda Died de Frank Davey et les mémoires de John Bayley, Iris: A Memoir of Iris Murdoch et Iris and Her Friends: A Memoir of Memory and Desire. J’explore comment les récits de maladie constituent le rapport éthique à l’Autre souffrant de la rupture de la mémoire. La discussion de la voix est située dans le contexte des récits de vie et se propose de dépasser les limites des approches sociologiques et anthropologiques de la voix dans les récits de maladie. Dans ce sens, dans un premier temps je porte mon attention sur des études narratologiques de la voix en indiquant leurs limites. Ma propre définition de la voix narrative est basée sur l’éthique dans la perspective d’Emmanuel Levinas et de Paul Ricœur, sur l’interprétation du temps, de la mémoire et de l’oubli chez St-Augustin et la discussion levinasienne de la constitution intersubjective du temps. J’avance l’idée que la “spontanéité bienveillante” (Ricœur, Soi-même comme un autre 222) articule la voix narrative et l’attention envers l’Autre souffrant qui ne peut plus se rappeler, ni raconter sa mémoire. En reformulant la définition augustinienne du temps qui met en corrélation les modes temporels avec la voix qui récite, j’avance l’idée que la voix est distendue entre la voix présente de la voix présente, la voix présente de la voix passée, la voix présente de la voix future. Je montre comment la voix du soignant est inscrite par et s’inscrit dans les interstices d’une voix interrompue, souffrante. Je définis les récits de vies comme des interfaces textuelles entre le soi et l’Autre, entre la voix du soi et la voix du souffrant, comme un mode de restaurer l’intégrité narrative de l’Autre.
In this research I examine the intersubjective dimension of suffering which affects the relation of the sufferer to his/her lived body, time and space, as well as to his/her narrative identity and narrative memory. I argue that narrative voice constitutes the intersubjective relation in illness narratives that caregivers write about partners or spouses who suffered from brain cancer or Alzheimer’s disease. My discussion draws on ethics, phenomenology, theories of embodiment, life-narratives studies, medical anthropology and sociology, and narratological theory. The object of my study is the embodied, subjective experience of suffering in illness narratives and the main focus is cast on suffering as loss of memory and loss of the narrative self. I analyse Frank Davey’s diary How Linda Died, and John Bayley’s memoirs Iris: A Memoir of Iris Murdoch, and Iris and Her Friends: A Memoir of Memory and Desire. I explore how illness narratives as embodied stories constitute an ethical relation to the suffering Other who bears a lived impossibility of remembering. I situate the discussion of voice in the context of life-narratives and aim at filling in the theoretical gaps of sociological and anthropological approaches of voice in illness narratives. For this, I examine and question narratological studies of narrative voice and focalization. My own definition of narrative voice is based on Emmanuel Levinas’s and Paul Ricœur’s ethics, Saint Augustine’s interpretation of time, memory, and forgetfulness, and on Levinas’s discussion of time as intersubjective relation. I suggest that “spontanéité bienveillante” (Ricœur, Soi-même comme un autre 222) modulates narrative voice as the attention towards the suffering Other whose voice is silenced. Reformulating the Augustinian definition of time that correlates the temporal modes with the reciting voice, I suggest that through the ethical stance towards the Other, voice is distended between the present voice of voice present, the present voice of voice past and the present voice of voice future. I show how the voice of the caregiver is inscribed by and inscribes itself in the interstices of an interrupted, suffering voice. I define life-narratives as textual interfaces between the self and the Other, between one’s own voice and the sufferer’s voice, as a mode of restoring the Other’s narrative integrity.