Dissertations / Theses on the topic 'Oral narrators'

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Esta tese compreende um estudo da poesia oral pantaneira no momento de sua atualização, ou seja, durante a performance. Para tanto, ela se divide em três partes principais. Na primeira, com base em relatos de viagem, foram identificados embates discursivos entre o narrador e o viajante. A partir desses embates, foi demonstrado como, durante a performance, a presença do auditório exige do narrador uma postura frente àquilo que conta, ou seja, como ele cria uma identidade, que se manifesta pelo discurso da narrativa. Outro ponto discutido diz respeito ao registro da poesia oral pelo viajante, em que enfatizei como elementos ligados à performance foram ignorados e como a transcrição interfere na compreensão do texto oral. Na segunda parte, foram analisados os aspectos discursivos da narrativa oral. Constatei que o narrador cria uma autoridade (relação frente ao auditório) e autoria (atualização do texto que ouviu), pelas quais ele engendra um discurso identitário. A questão das variáveis e invariantes no texto oral foi estudada na terceira parte. Assim, detive-me no estudo das narrativas de enterro pantaneiras. Identifiquei elementos invariantes (origem, anunciação, marcação, provação, desenlace), que congregam algumas variáveis (tipos de origem, formas diferenciadas de anunciação, etc.). Além disso, as narrativas se reorganizam mudando de significado, como constatei com o protoconto, a explicativa, o logro e a descritiva. O último capítulo tratou da performance, em que foi analisada a manifestação da narrativa na performance e, também, alguns dos mecanismos que o narrador emprega para persuadir o seu auditório. Os estudos assim divididos visam a dar uma visão sincrônica da poesia oral, pois partem do texto oral em seu espaço de constituição, levando em conta a voz (identidade e ruído) do narrador.
This thesis contains an oral poetry study at the moment of its updating (sometimes subtractions are possible), that is to say, during the performance. For clarification's sake, it is divided in three main parts. In the first part, I identified the discoursive clashes between the narrator and the foreign traveler, based on travelers' reports. After that, it was demonstrated that the audience presence requires from the narrator, during the performance, an attitude about what he tells, i.e., an identity creation manifested by the narrative discourse. Another item is about the oral poetry recorded by the traveler. At this point, I emphasized that some performance features were ignored and that the transcription interferes in oral text comprehension. In the second part, the oral narrative discursive aspects were analyzed. I verified that the narrator creates an authority (the relationship face the audience) and an authorship (the listened text update) by which he engenders an identity discourse. The matter of variables and invariables was studied in the third part. Thus, I detained myself in the study of burial pantaneira narrative. I identified invariable elements (origin, annunciation, marking, probation, epilogue) that have some variables (kinds of origin, different forms of annunciation, etc.). Besides, the narratives reorganize themselves by changing their meanings such as the prototale, the explicative, the bluff and the descriptive, according to my verification. In the last chapter, I discussed the performance. I also analyzed the narrative manifestation in the performance and some of the narrator's mechanisms used to persuade his audience. Divided this way, the studies intend to make a synchronic approach of oral poetry, because they depart from oral text in its composition space taking into consideration the narrator's voice (identity and noise)

Orientador: Irene Jeanete Lemos Gilberto
Banca: Luiz Roberto Velloso Cairo
Banca: Mário César Silva Leite
Banca: Maria Lídia Lichtscheidl Maretti
Banca: Ivete Lara Camargos Walty
Resumo: Esta tese compreende um estudo da poesia oral pantaneira no momento de sua atualização, ou seja, durante a performance. Para tanto, ela se divide em três partes principais. Na primeira, com base em relatos de viagem, foram identificados embates discursivos entre o narrador e o viajante. A partir desses embates, foi demonstrado como, durante a performance, a presença do auditório exige do narrador uma postura frente àquilo que conta, ou seja, como ele cria uma identidade, que se manifesta pelo discurso da narrativa. Outro ponto discutido diz respeito ao registro da poesia oral pelo viajante, em que enfatizei como elementos ligados à performance foram ignorados e como a transcrição interfere na compreensão do texto oral. Na segunda parte, foram analisados os aspectos discursivos da narrativa oral. Constatei que o narrador cria uma "autoridade" (relação frente ao auditório) e "autoria" (atualização do texto que ouviu), pelas quais ele engendra um discurso identitário. A questão das variáveis e invariantes no texto oral foi estudada na terceira parte. Assim, detive-me no estudo das narrativas de enterro pantaneiras. Identifiquei elementos invariantes (origem, anunciação, marcação, provação, desenlace), que congregam algumas variáveis (tipos de origem, formas diferenciadas de anunciação, etc.). Além disso, as narrativas se reorganizam mudando de significado, como constatei com o protoconto, a explicativa, o logro e a descritiva. O último capítulo tratou da performance, em que foi analisada a manifestação da narrativa na performance e, também, alguns dos mecanismos que o narrador emprega para persuadir o seu auditório. Os estudos assim divididos visam a dar uma visão sincrônica da poesia oral, pois partem do texto oral em seu espaço de constituição, levando em conta a voz (identidade e ruído) do narrador.
Abstract: This thesis contains an oral poetry study at the moment of its updating (sometimes subtractions are possible), that is to say, during the performance. For clarification's sake, it is divided in three main parts. In the first part, I identified the discoursive clashes between the narrator and the foreign traveler, based on travelers' reports. After that, it was demonstrated that the audience presence requires from the narrator, during the performance, an attitude about what he tells, i.e., an identity creation manifested by the narrative discourse. Another item is about the oral poetry recorded by the traveler. At this point, I emphasized that some performance features were ignored and that the transcription interferes in oral text comprehension. In the second part, the oral narrative discursive aspects were analyzed. I verified that the narrator creates an "authority" (the relationship face the audience) and an "authorship" (the listened text update) by which he engenders an identity discourse. The matter of variables and invariables was studied in the third part. Thus, I detained myself in the study of burial "pantaneira" narrative. I identified invariable elements (origin, annunciation, marking, probation, epilogue) that have some variables (kinds of origin, different forms of annunciation, etc.). Besides, the narratives reorganize themselves by changing their meanings such as the prototale, the explicative, the bluff and the descriptive, according to my verification. In the last chapter, I discussed the performance. I also analyzed the narrative manifestation in the performance and some of the narrator's mechanisms used to persuade his audience. Divided this way, the studies intend to make a synchronic approach of oral poetry, because they depart from oral text in its composition space taking into consideration the narrator's voice (identity and noise)
Doutor

Oral history is a method of preserving historical information through in-depth interviews. Because the process requires narrators to use remote recall while sharing their life experiences, it can also be considered a reminiscence-related activity. Before this study, the positive effects on narrators of providing an oral history were noted in the research literature but had not been evaluated through quantitative methods. Based on theoretical constructs of Erikson and Butler, it was hypothesized that participation in oral history interviews would improve the life satisfaction of narrators. Life satisfaction was operationalized and measured using the Life Satisfaction Index Version A (LSIA). The purposes of this study were to evaluate the influence of an oral history intervention on the life satisfaction of community-dwelling elders and to identify participant characteristics associated with change in life satisfaction scores.Sixty community-dwelling, older adults who were free of cognitive impairment and mental illness were recruited from agencies serving the social and recreational needs of elders in Richmond, VA. Participants were randomly assigned to an intervention group or a control group. LSIA scores were collected pretest, posttest, and again at retest, ten weeks after the intervention. Mean LSIA scores from the control and treatment groups were compared for differences at posttest and retest using an analysis of covariance (ANCOVA). Regression analysis was used to identify participant characteristics associated with improved life satisfaction at posttest and retest. Oral history interviews were conducted by Virginia Commonwealth University students enrolled in a gerontology course. Participants discussed lifetime events with students on three occasions for approximately one hour per session using a researcher-developed interview guide. No statistically significant differences in LSIA scores were found between groups at posttest (p=0.74) or retest (p=0.051) although retest scores may indicate a trend toward improvement. Lower LSIA scores at pretest were associated with positive change in LSIA scores at retest (p=5.001). These results suggest that oral history may not improve life satisfaction immediately but there may be a trend toward improvement given time and that elders least satisfied with their lives at the onset are most likely to show positive change by retest.

Notre projet de thèse vise à analyser ce qui porte la trace du travail de la mémoire collective dans un discours de littérature orale, de la transmission qui assure la compréhension et la conservation du message. Il s'agit pour nous d'expliquer comment la profération du discours de littérature orale et la performance à laquelle il donne lieu restitue les valeurs culturelles des loma.Cette épopée retrace l'histoire d'un chef de guerre qui fait encore de nos jours partie de la culture populaire au pays des loma en République de Guinée. Nous assurons la transcription en langue locale lɔɠɔmagooy et la traduction en français de cette épopée dont il n'existe aucune version écrite.Au-delà de la présentation géographique et culturelle du pays des loma, l'analyse proprement dite du corpus pour laquelle nous mobilisons à la fois la performance et la rhétorique prend en compte la pluricodicité des messages socio-historico-culturel et la dynamique de réception. Nous focalisons l'attention sur des procédés discursifs spécifiques de l'oralité à travers le conte et le proverbe.Notre travail ne se limite pas à la transcription-traduction du discours épique, l'analyse montre comment l'oralité constitue une dimension essentielle de l'épopée dont l'épaisseur discursive et référentielle atteste du travail de composition artistique et mémorielle de l'orateur
This thesis aims at analyzing the collective memory content imbedded in an oral literature speech performance, right from the message transmission to its understanding and preservation. We are to explain how an oral literature speech production and its performance can retitute the Loma cultural values.The epic retraces the history of a former war leader among the Loma people of the Republic of Guinea; a history which still remains a vibrant part of the people's culture in that country. Because it doesn't exist any former written version of the epic, we ensured its transcription into Lɔɠɔmagooh language (a loma variant) and also its translation into French language.Beside the geographical and cultural presentation of the Loma area and people, the real corpus analysis in which we mobilize both performance and rethorics also takes into account the multicoding nature of the social, historical and cultural messages and their reception dynamics. We focus attention on the specific discursive technics of oral literature or tradition which exist in tales and proverbs.However, our work is not just limited to transcription and translation of the epic production. Our analysis shows how oral tradition constitutes an essential dimension of the epic genre whose discursive and referential deepness is the reflection of the artistic and memorial work of the orator

Une premiere partie theorique s'applique a analyser d'un point e vue linguistique trois theorisations du recit : - la theorie semiotique (greimas), selon laquelle la narrativite correspond a l'organisation syntagmatique de la signification ; -la theorie hermeneutique (ricoeur), selon laquelle le recit est reponse poetique a l'aporie de la reflexion philosophique du temps; -la theorie sociopragmatique, selon laquelle les tructures (micro ou macro) du recit sont faconnes par l'interaction narrateur narrataire. A partir de ces trois entrees est developpee une approche praxematique de la narrativite, principalement autour de deux points: -les programmes narratifs sont derives des programmes phrastiques ; -le recit est, a differents niveaux, mise en ascenance du temps dont se construit le sujet. La seconde partie propose es etudes pratiques du recit oral. Apres presentation e la collecte et du traitement du corpus uquel sont extraits les recits soumis a etude, sont analyses la negociation du recit ans l'interaction e l'interview et, plus longuement, la production d'identite sociale dans deux types de recit : le recit de lutte et le recit socio-contresociotypique
The first theorical part leads to analyze from a linguistic point of view three theorisations of narrative: -the semiotic theory : (greimas), according to which narrativity corresponds to the syntagmatic organization of sgnificance; -the hermeneutic theory : (ricoeur), according to which narrative is a poetic response to the dead of philosophical thought about time; -the sociopragmatic theory according to which narrative structures (micro and macro) are modelled by the narrator listener interaction. We develop, from these three approaches, a praxematic approach of narrativity mainly around two points: -narrative programs derive from phrastic programs ; -narrative put time in and upward movement on which the subject build himself. The second part proposes practical studies of oral nrrative. We present the recollection and teatment of the corpus from which are extracted nrratives we study. Then we analyse first, negotiation of narrative within the interaction of interview, second and longly, the production of social identity in two kinds of narrative : the fight narrative and the socio-contresociotypic narrative

L’histoire des réfugiés espagnols de 1939 dans le sud-ouest de la France est, depuis la fin des années 1990, au centre d’un important processus de transmission et de mise en patrimoine. Portée par une multiplicité d’acteurs, dont les associations de descendants, les artistes, les universitaires, les institutions politiques locales et nationales, cette histoire ne cesse d’être représentée, narrée, mise en récit et revécue. Après avoir réfléchi sur l’émergence du passé des réfugiés espagnols en tant que produit historique profondément lié aux politiques du passé françaises, à la fièvre d’histoire qui a caractérisé l’Europe des dernières décennies et à la manière dont en Espagne on parle de l’histoire du conflit des années 1930 et du franquisme, ce travail analyse les pratiques discursives de ces différents acteurs. Chacun d’entre eux construit, dans les différents contextes d’énonciation, des événements fondateurs et élabore des interprétations du passé qui peuvent, à certains moments, s’affronter. Il s’agit donc de questionner ces moments de rupture et les conflits entre les acteurs et d’envisager le passé des réfugiés espagnols comme un enjeu du présent à travers la mise en narration où les acteurs, individuels et collectifs, affirment leurs instances (de subjectivation, politiques, d’appartenance, économiques, etc. . . ). Cette étude questionne également la dimension expérientielle du rapport à ce passé, caractérisant le processus. Cette histoire, au delà de sa dimension narrative et discursive, est revécue et traversée physiquement. Il s’agit donc de regarder les lieux du passé, habités de différentes manières par les acteurs, les corps du présent et des ailleurs temporels, l’art et le travail créatif, comme d’autres vecteurs privilégiés de cette transmission. À travers l’exploration des dimensions narrative et expérientielle du rapport au passé des réfugiés espagnols, ce travail tente de restituer le dynamisme et la complexité d’un processus saisi dans le présent de l’enquête
Since the end of the 1990s, the history of Spanish refugees who migrated in 1939 to the southwest of France is the centre of an important process of transmission and conservation of heritage. Driven by a multiplicity of actors - including associations of descendants, artists, academics, local and national political institutions - this story continues to be represented, narrated, acted and relived. After reflecting on the past of Spanish refugees as a historical product - deeply linked to the French political past, to the new passion for history that has charcterized Europe over the past few decades and, to the way in which the history of the conflict in the 1930s and francoism is perceived and studied in Spain - this work analyses the discursive practices of each of these actors. Each of them build up originating events - depending on their backgrounds - and develop interpretations of the past that can, at times, clash. So this research is about questioning these breaking moments and conflicts between actors and considering the history of spanish refugees as an issue of the present through the narration where actors - individual and collective - claim their authority (subjective, political, as members, economic, etc. . . ). The study also questions the experimental dimensions of the relationship with this past. This story - beyond its narrative and discursuve dimensions - is physically relived and experienced. So it is necessary to consider the spaces of the past - lived in different ways by the actors - the bodies of the present and of other periods, the arts and creative works as other privileged vectors of this transmission. This work aims to report the dynamism and complexity of a process seized in the present of this investigation, through the exploration of narrative and experiential dimensions of the Spanish refugees' relationship with the past

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
O objetivo desta dissertação é apresentar análises para quatro narrativas orais indígenas da Comunidade São Jorge, localizada na Terra Indígena Raposa Serra do Sol, no Estado de Roraima, a partir das expressões orais dos narradores,buscando perceber como as narrativas concorrem para a difusão da cultura indígena. A proposta metodológica da História Oral serviu de base para a realização dos registros orais, possibilitando eleger dois narradores de etnia Makuxi, que se propuseram a evidenciar as narrativas ligadas as suas vidas e às da Comunidade. No estudo dialogamos com disciplinas de outras áreas, dando ênfase às teorias ligadas às narrativas orais, para refletirmos como uma sociedade pode ser representada pelas suas histórias, deixando rastros específicos de sua cultura. Assim, a dissertação foi dividida em três capítulos. No primeiro, chamamos atenção para o contexto histórico da Comunidade, onde estão inseridos os dois narradores que se sustentam na memória para relatarem os episódios da sociedade indígena, efetivada pela performance narrativa,evidenciando que essas pessoas são legitimadas pelo grupo para tal ofício e, por último,apresentamos as narrativas que congregam questões sobre o universo mítico e lendário da região. No segundo capítulo discutimos sobre a relevância das narrativas orais na perspectiva de Paul Zumthor, como um campo fértil de conhecimento, destacando a relação que a oralidade tem com o passado e o presente, e com a performance narrativa. Para tornar capaz o desenvolvimento da proposta de análise utilizamos o aporte teórico de Alan Dundes, na obra Morfologia e estrutura no conto folclórico, que serviu de fio condutor para a leitura das narrativas. Por fim, no terceiro capítulo, realizamos as análises estruturais das narrativas, a fim de esboçar em qual modelo sequencial de padrões motivêmico se ajustam, para depois fortalecermos os estudos com uma análise interpretativa, destacando a relevância das narrativas para a difusão de práticas sociais, além de evidenciarmos a performance dos narradores ao contarem as fatos recorrentes da memória.

Les enfants et adolescents dysphasiques présentent un trouble spécifique du langage qui se manifeste, en absence d'un déficit cognitif, sous la forme d'une perturbation profonde à l'oral et qui persiste au-delà de l'âge de 6 ans. Basée sur des éléments de psychologie pragmatique développementale (principe de coopération de Grice, 1979, et passage de la phase inter-psychologique à la phase intra-psychologique de Vygotski, 1997), et inspirée des travaux de Berman (2005), cette thèse défend l'idée que dans la dysphasie le langage n'est pas uniformément déficitaire. En d'autres termes, les performances langagières des enfants et des adolescents dysphasiques devraient varier en fonction de la situation de production dans laquelle ils se trouvent (tache standardisée vs. tache communicative), mais aussi en fonction de la modalité de production (oral vs. écrit), et enfin de l'indice linguistiques considéré (e.g. orthographe lexicale vs. orthographe morphologique). Les résultats obtenus montrent que les dysphasiques ont de meilleures performances langagières en situation de communication qu'en situation standardisée, que leurs performances en situation communicative sont meilleures à l'écrit qu'à l'oral, et enfin que le profil développemental de leurs capacités langagières évolue différemment, entre 7-11 ans et 12-18 ans, selon l'indice linguistique considéré. La psychologie pragmatique développementale permet donc de souligner que, dans le cadre de l'évaluation des capacités langagières des enfants et des adolescents dysphasiques, le choix des tâches influence les performances obtenues. De plus, comme le préconisait Ringard (2000), les enfants et adolescents dysphasiques bénéficient pleinement d'une scolarisation en milieu ordinaire et y progressent sur le long terme
Children and adolescents with a specific language impairment (SLI) present a language disorder that appears in the absence of a cognitive impairment and persists beyond the age of 6. Based on elements of developmental pragmatics (Grice cooperative principle, 1979 and transition from the interpsychological to intrapsychological functioning, Vygotsky, 1997) and inspired by the work of Berman (2005), this thesis defends the idea that in SLI the language is not a uniform deficit. In other words, the language performances of children and adolescents with SLI should vary according to the situation in which they produce language (standardized test vs. communicative situation), but also according to the production modality (oral vs. written), and finally the linguistic measure considered (e.g. morphological spelling vs. lexical spelling). The results show that the participants with SLI perform better in a communicative than in a standardised test situation, and in written than in spoken language. Finally, their performance varies differently according to the measure considered, from 7 to 11 and 12 to 18. The developmental pragmatics framework chosen made it possible to emphasize that, when assessing language abilities in children and adolescents with SLI, the choice of a task affects the performance obtained. Moreover, as advocated by Ringard (2000), children and adolescents with SLI fully benefit from a mainstream school environment, where they can progress in the long term, up to the age of 18

Que viennent apporter à la lecture d'un récit le format du volume, sa mise en page, son illustration, le type ou la force de ses caractères ? Ne constituent-ils qu'une enveloppe contingente, chargée de transmettre un texte achevé et invariant, ou ne viennent-ils pas manifester, au-delà de ce que le verbe exprime, une intention éditoriale porteuse d'une signification ? Dans les narrations en prose vernaculaire publiées à la Renaissance, la forme fait sens : les choix éditoriaux établissent des parentés entre les textes, le paragraphe narratif tient lieu d'unité linguistique, tandis que la disposition en chapitres conditionne les pratiques de lecture. La définition des productions, politiques et déclarations d'intention des imprimeurs et libraires du Palais dessine le contexte de production des narrations sentimentales. L'analyse de leur mise en page, envisagée d'un point de vue sémiotique, met ainsi en évidence combien la matérialité de l'objet-livre infléchit l'identité générique des récits. Loin de proposer une simple interprétation des textes, l'intervention éditoriale constitue alors parfois un acte de création à part entière : aussi l'étude des Angoysses douloureuses qui procèdent d'amours met-elle en lumière comment une supercherie éditoriale, née d'un montage de citations, peut donner naissance à un best-seller qui deviendra, selon Gustave Reynier, le " premier roman sentimental français "
What do the format of a volume, its layout, its illustration, the style or weight of its characters contribute to the way a story is read ? Do they constitute a contingent envelope, whose role is to transmit a finished invariable text, or do they indicate an editorial intention that bears meaning beyond what the words themselves express ? In vernacular prose narrations published during the Renaissance, form bears meaning. Editorial choices establish relationships between texts, the narrative paragraph acts as a linguistic unit, while the ordering into chapters conditions reading practices. The types of production, politics, and declared intentions of Parisian “Palais” printers and booksellers reveal the context in which sentimental narratives were produced. From a semiotic point of view, analysis of their layout reveals to what extent the materiality of the book as object influences the genre of stories. Far from proposing a simple interpretation of texts, editorial intervention can constitute an independent act of creation. Study of Angoysses douloureuses qui procèdent d'amours illuminates how an editorial fabrication, developed from a montage of quotes, could give rise to a best seller which became, according to Gustave Reynier, “the first French sentimental novel. ”

Este trabalho está centrado na Arte de Contar Histórias e o sopro do narrador, fundamento da vocalidade poética. Ao pensar nos diversos caminhos possíveis para a sua composição, foi aprofundada uma visão direcionada para o entrelaçamento das experiências subjetivas com a própria narrativa. Essa é uma vereda que tem como base a Palavra Viva, proveniente dos narradores tradicionais, onde é ressaltado o seu aspecto artesanal. Paralelos com a contemporaneidade foram cercados, assim como imagens e metáforas, dentre os quais se destacam a criança, o peregrino e o selvagem, que permeiam a reflexão sob ângulos diversos. Para abordá-los é sugerida a ideia de despreparo que se contrapõe a uma ideia de formação mais linear e acentua o chamado à experiência.
This work is centered on the Art of Storytelling and the breath of the narrator, the foundation of the poetic vocality. In thinking about the different possible paths for its composition, a vision was focused on the intertwining of subjective experiences with the narrative itself. This is a path based on the Living Word, from the traditional narrators, where their artisan aspect is emphasized. Parallels with contemporaneity have been surrounded, as well as images and metaphors, among which the child, the pilgrim and the savage stand out, which permeate the reflection under different angles. To address them is suggested the idea of unpreparedness that opposes a more linear idea of formation and accentuates the call to experience.

Les épopées d’Homère et de Virgile, la Chanson de Roland sont marquées par une alternance qui peut paraître capricieuse. En fait, on la saisit beaucoup mieux dès lors qu’on prend en compte la présence des corps : ceux du jongleur, de l’aède, du récitant ; le corps du public. Postures, gestuelle, mouvements, regard, souffle, musique s’articulent à cette alternance pour en faire une véritable danse. Cette thèse étudie d’abord comment dansent chacun des temps principaux du récit dans ces épopées, en accordant la priorité à Homère et au Roland ; puis elle étudie comment cette danse des temps prend corps dans chacune des petites pièces dont nous décelons que sont composées les épopées anciennes comme le Roland : les laisses
The Homeric and Virgilian epics, as well as the Chanson de Roland are full of tenseswitching, the use of which might seem capricious to the modern reader. It is in fact much better understood when bodies’ presence is taken into account — these bodies being the bard’s one as well as the audience’s. Postures, gestures, moves, eyes, breath, music are joint partners to tenseswitching, so that tenses really dance in epics. This study is firstly about how each one of the main narrative tenses dances in Homer and the Roland, and also in the Æneid. Then it studies the way tenses dance in each of the small pieces we find in the classical epics as well as in the Roland : the laisses

La situation des garçons à l'école est un sujet omniprésent dans l'actualité des dernières années ; la question de leur réussite est souvent à l'ordre du jour. Le ministère de l'Éducation, du Loisir et du Sport du Québec, de même que des commissions scolaires et des écoles se penchent sur la question et mettent sur pied des initiatives pour améliorer le rendement scolaire des garçons, par exemple, l'utilisation de méthodes d'enseignement et d'évaluation différenciées (MELS, 2006a). D'un point de vue international, des conclusions ont été tirées à partir, notamment, des test PISA (2000) quant à la moins bonne performance des garçons que des filles en lecture. La présente recherche, de nature descriptive, se veut une exploration dans le domaine de l'évaluation de la compréhension en lecture des textes narratifs. Dans cette étude, nous expérimentons un mode d'évaluation qui, dans une perspective plus large de différenciation des pratiques, pourrait améliorer les résultats obtenus par les garçons lors d'épreuves de compréhension en lecture. L'objectif consiste à vérifier si des garçons de 5e secondaire expriment mieux leur compréhension en lecture de textes narratifs lorsqu'ils répondent oralement à des questions de compréhension que lorsqu'ils y répondent par écrit. Pour atteindre cet objectif, nous avons retenu une épreuve d'appoint conçue par le MELS en 2006 et nous y avons soumis 32 élèves issus de deux groupes de français de 5e secondaire d'une école secondaire privée montréalaise, dont 22 sujets à l'épreuve à l'écrit et 10 sujets à l'épreuve à l'oral. Les analyses descriptives des résultats montrent qu'aux questions relevant des macroprocessus et des processus d'élaboration, les garçons évalués par une épreuve à l'oral obtiennent des résultats supérieurs à ceux obtenus par les garçons évalués par une épreuve à l'écrit et même, dans une moindre mesure, à ceux obtenus par les filles évaluées par une épreuve à l'écrit. Quant aux questions relevant des processus d'intégration, les garçons évalués à l'oral obtiennent des résultats plus élevés que les garçons qui ont été évalués par une épreuve à l'écrit, sans toutefois rattraper les filles évaluées à l'écrit. L'analyse des données nous a donc permis de constater que l'évaluation de réponses exprimées oralement lors d'une épreuve de compréhension de textes narratifs peut profiter aux garçons et leur permettre de mieux démontrer leur compréhension que lorsqu'ils sont évalués à partir de leurs réponses écrites. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : lecture, garçons, compréhension en lecture, évaluation à l'oral, enseignement secondaire

v anglickém jazyce The subject of this diploma thesis is the work of the francophone writer Patrick Chamoiseau. The thesis reflects especially the theme of slavery in short stories and fairy tales of this Martinique author. The diploma thesis puts Patrick Chamoiseau's work in a historical and political context as well as the personal life of the writer. The diploma thesis describes geographic and cultural particularities of the Lesser Antilles and analyzes in more detail the story The Slave Old Man and the Giant Dog and selected fairy tales. Based on this analysis, the thesis describes typical themes and language tools used by Patrick Chamoiseau. The thesis also deals with oral literature and culture of Martinique and the current problems of society are also discussed through a reflection of another work by Patrick Chamoiseuau.

(English) The aim of this diploma thesis is to introduce possibilities of oral history, specifically its elements and principles, into services included in tourism. The theoretical part states the essential terms and definitions used in this thesis concerning oral history and tourism. This part also includes a vision of using oral history and its elements within the field of tourism. The empiric part shows the current use of oral history in tourism giving specific examples and supports them by interviews with narrators who work in Open-Air Museum of Mining and a travel agency and their interpretation. A few pages of the empiric part are dedicated for a research of tourist's demand for services in tourism that include oral history elements and a SWOT analysis of integrating oral history into tourism services including tourist guiding and other supplementary services in tourism. The aim is to introduce the strengths, weaknesses, opportunities and threats of this integration. The diploma thesis also notices the understudying of both tourism and oral history in connection with each other and shows the potential of such connection with the benefits for both subjects, travel agencies' clients and visitors to sights such as museums or open-air museums. Keywords: Oral history, tourism, narrator in tourism,...

The main aim of the study is to make a historical-biographical analysis of four selected Northern Sotho dramatic texts. Chapter one illustrates that the texts we have selected are historical dramas since they deal with the life histories of historical characters. In order to comprehend these texts, it is important to view them as evidence of oral history. The chapter also discusses the approach used by Fleischman which consists of the following parameters: authenticity, intention, reception, social function, narrative syntax and finally narrator involvement. Chapter two discusses the play Marangrang as a reflection of the consequences of Shaka's imperialism and how this affected the Eastern Transvaal in 1820. The chapter illustrates that in order to understand the life history of Marangrang, it is important to discuss it in relation to this period, popularly known as difaqane. It is clear that information about Marangrang has been deliberately distorted because of fear. Chapter three deals with the destructive consequences of Western religion on the traditional African religion. The chapter is based on the life history of Kgasane, who was murdered in 1884, allegedly for his devotion to Christianity. The chapter shows the importance of the need to make a re-interpretation of missionary writings, specifically those surrounding the Berlin Mission Society in South Africa. Chapter four focuses on the role of formal education in the destruction of the Bakgaga ba GaMphahlele history. The chapter is based on the life history of Kgosi Mmutle Ill in bringing formal education to the people of Mphahlele and how this destroyed certain traditional institutions such as chieftainship. Chapter five deals with the problems experienced by mineworkers and also shows the sufferings of Africans at the hands of the government. The chapter is based on the life of Serogole Mathobela, who once worked in the mine. Chapter six is a conclusion where the findings of the previous chapters are made. The reasons why the authors of these texts suspended certain information while highlighting other information varies from fear to propaganda. In conclusion, it is observed that in order to do justice to oral history more financial support is needed.
African Languages
D.Litt. et Phil. (African Languages)