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Дисертації з теми "Barns – Fiction"

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Автор: Grafiati

Опубліковано: 27 липня 2024

Оновлено: 29 липня 2024

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Böröy, Marie. "Barns Uppfattningar om Stjärnorna och Solen : En undersökning med 4-5-åringar." Thesis, Karlstads universitet, Fakulteten för teknik- och naturvetenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-26528.

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Denna studie visar vad 4-5-åringar har för uppfattningar om stjärnorna och solen, vad de tror att stjärnorna och solen är för något och vad de har för tankar om fenomen kring dem. Genomförandet av studien bygger på kvalitativa intervjuer i samband med att barnen målar. Metoden har gjort det möjligt för barnen att uttrycka sina egna tankar. Resultatet visar att det finns många uppfattningar inom området hos barn 4-5 år. En del uppfattningar är realistiska, en del fiktiva. Ett barn förklarar att stjärnorna nästan är som blommor medan ett annat barn beskriver dem som något som finns i rymden och bara syns när det är natt. Slutsatsen är att barn kan lära sig saker som anses svåra, bara de har intresset. Barnen menar att de inte fått sina kunskaper från förskolan utan från föräldrar och syskon. Slutsatsen av detta är att barnen har ett intresse för rymden, att de ställer frågor för att få veta saker.
This study shows 4-5 year-olds perceptions about the stars and the sun, what they think the stars and the sun is and what their thoughts of them are. Implementation of the study is based on qualitative interviews in connection with painting. The method has made it possible for the children to express their own thoughts. The result shows that there are many perceptions in the field of children 4-5 years. Some ideas are realistic, some fictitious. One child explains that the stars are almost like flowers, while another child describing them as something that exists in space and only visible when it´s night. The conclusion is that children can learn things that are considered difficult only they have an interest in it. The children say that they have not received their knowledge from preschool but from parents and siblings. The conclusion is that the children have an interest in space, they are asking questions to get to know things.

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Winegardner, Emily J. "Beyond the barn door : short stories." Scholarly Commons, 1994. https://scholarlycommons.pacific.edu/uop_etds/2269.

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These four stories are stories about life. The central characters are at a time in their lives when decisions become crucial and they have to act or become lost. Each of the dominant characters has experienced something in life that was beyond their control and they haven't recovered. These stories bring out and explore their recoveries. They are stories of rediscoveries of the self. In the story Gray, Margaret, is not in control of her life. She has had the trauma of losing her only daughter, and there is the intervention of a family friend who has only greed at heart. Margaret and her husband cannot cope and their situation is rapidly moving out of their control. Margaret discovers inner strength, and in her own subtle way, conveys this to her husband. She rebounds from the death of her daughter by becoming stronger herself. In the end, she has found peace within herself and the grief will take a more natural course. The characters in Revenge, parody people in repressed situations. The three women, a farce on three fairy tales, are out for revenge. They comically plot the deaths of the men who have repressed them. Their feminist attitudes lead them through adventures until, at last, they are free. Red Hood, Locks, and Beauty represent women who when bonded together become strong. They gain support from one another and then have the courage to act out their plans. Monica in A Strangled Cry, is not quite so strong. She has a history of problems. These problems are being compounded without her knowledge. She is repressed and controlled by Jeff, her doctor. She finally reaches a point where she knows that she either has to break free of the downward spiral of her life or give in to it forever. She cannot do it alone, however, and she has the help of her brother zack for her final escape. Finally, in Nine Lives, Katherine is in a relationship which is keeping her repressed. She tries to escape but cannot seem to. Finally she relies on help from her mother and her mother's attorney to help her flee from her abusive husband. She achieves her freedom after a long and trying escape. All four of the stories are a brief outlook on a side of life. The main characters have to make decisions which will affect the rest of their lives. The decisions are not always completely conscious or deliberate, but the results are consequential.

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Guignery, Vanessa. "Postmodernisme et effets de brouillage dans la fiction de Julian Barnes." Paris 4, 2000. http://www.theses.fr/1999PA040160.

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Cette étude propose d'analyser le concept de brouillage en tant que modalité du postmodernisme dans la fiction de Julian Barnes. La notion de brouillage est envisagée d'une part au sens neutre de mélange, et d'autre part au sens plus actif de confusion délibérée. Il apparait tout d'abord que les ouvrages de Barnes se caractérisent par une prédilection pour l'hybridité : prônant la multiplicité et le décloisonnement, ils s'appliquent à gommer les frontières entre les genres, les textes, les arts et les langues. La subversion des conventions génériques et l'oscillation entre la célébration et l'ironisation du passé littéraire et artistique se présentent comme autant de modes de réenchantement de l'héritage culturel. Dans un deuxième temps, l'analyse porte sur la métafiction en tant que transgression des cadres de la fiction et montre comment les figures de l'auteur, du narrateur et du lecteur sont soumises à une déstabilisation ontologique. La troisième étape conduit à l'examen de la mise en crise de l'histoire et du discours historiographique dans la fiction de Julian Barnes. Le brouillage se révèle à la fois épistémologique, car les modes et conditions de connaissance du passé sont remis en cause, ontologique, car la frontière entre histoire et fiction s'avère poreuse, et politique, car le récit historique officiel perd sa légitimité et est remplacé par des versions hétérodoxes. .

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Eriksson, (Barajas) Katarina. "Life and Fiction : On intertextuality in pupils’ booktalk." Doctoral thesis, Linköpings universitet, Tema Barn, 2002. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-15146.

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This study examines booktalk, that is, teacher-led group discussions about books for children in a Swedish school. The empirical data comprise 24 hours of videorecorded booktalk in grades 4–7. In total, 40 children (aged 10–14 years) were recorded during 24 sessions. The present approach diverges from previous readerresponse studies in that it draws on authentic data, and in that it examines talk at a micro level, applying an approach from discursive psychology. By focusing on authentic book discussions, the study contributes to the development of readerresponse methods. All eight books applied in the booktalk sessions involved some type of existential issue: freedom, separation, loyalty, and mortal danger (Chapter 4). Yet, such issues were rarely discussed. An important task of the present thesis was to understand why such issues did not materialise, that is, what did not take place. In Chapter 5, a series of booktalk dilemmas were identified. The booktalk sessions were generally lively and informal. Yet, booktalk as such was often transformed into other local educational projects; e.g. time scheduling, vocabulary lessons or reading aloud exercises. Gender was invoked in all booktalk sessions (Chapter 6). In line with predictions from reader-response theory, progressive texts were, at times, discussed in gender stereotypical ways. The findings also revealed a generational pattern in that the pupils discussed fictive children in less traditional ways than adult characters. The interface between texts and life was invoked in all booktalk sessions (Chapter 7). There was, again, a generational pattern in that children entertained ideas other than those of their teachers concerning legitimate topics in a school context. Also, the discussions revealed a problem of balance between pupils’ privacy, on the one hand, and engaging discussions on texts and life, on the other.

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Tsoulou, Martha. "After postmodernism : contemporary theory and fiction." Thesis, Brunel University, 2014. http://bura.brunel.ac.uk/handle/2438/13753.

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There is a consensus today that we have witnessed the end of postmodernism in both fiction and theory. Due to contemporary fiction’s break with postmodernism being recent, little research has been done to outline the parameters of what exactly this break entails and its relationship to theory and current socio-political issues. The aim of this thesis is to attempt to differentiate between postmodernist fiction and contemporary fiction that was produced from the late 90’s up to today, outline its main characteristics and suggest alternative ways theory may be used to critically analyse fiction. We will be looking at how Habermas’s, Agamben’s, Žižek’s and Badiou’s theories, as well as, a reconsideration of some of Derrida’s and Baudrillard’s theories, can help elucidate certain aspects of contemporary fiction and vice versa. Some of the novelists that will be considered in this discussion are Paul Auster, Don DeLillo, Douglas Coupland, J G Ballard, Julian Barnes, Jonathan Coe and Michel Houellebecq due to their close association with postmodernism and its aftermath. The thesis is divided thematically in five chapters. In the first chapter we will be discussing the impact of 9/11 on contemporary fiction in relation to Derrida’s, Habermas’s, Baudrillard’s and Žižek’s responses to the attacks. The second chapter is concerned with notions of reality and its representations in contemporary fiction. It will be discussed how they differ from Baudrillard’s conceptualisation of hyperreality during postmodernity in light of Badiou’s and Žižek’s theory mainly. The realist/antirealist debate will also be addressed. The third chapter is a consideration of notions of subjectivity in both contemporary theory and fiction and how they may be said to differ from playful, schizophrenic representations of the subject during postmodernity. The fourth chapter is concerned with the return of the political in both theory and fiction after the supposed apoliticality of the postmodern novel, which we will also be addressing. The final chapter is an investigation of the re-emergence of the religious in contemporary culture, including the novel, which proves that the death of meta-narratives may not have been that final after all.

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Eriksson, Katarina. "Life and fiction : on intertextuality in pupils' booktalk /." Linköping : Tema Barn, Univ, 2002. http://www.bibl.liu.se/liupubl/disp/disp2002/arts251s.pdf.

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Taylor, Clare L. "Female cross-gendered behaviour in the fiction of Radclyffe Hall, Anais Nin, H.D. and Djuna Barnes." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302589.

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Groves, Robyn. "Fictions of the self : studies in female modernism : Jean Rhys, Gertrude Stein and Djuna Barnes." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/27310.

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Анотація:

This thesis considers elements of autobiography and autobiographical fiction in the writings of three female Modernists: Jean Rhys, Gertrude Stein and Djuna Barnes. In chapter 1, after drawing distinctions between male and female autobiographical writing, I discuss key male autobiographical fictions of the Modernist period by D.H. Lawrence, Marcel Proust and James Joyce, and their debt to the nineteenth century literary forms of the Bildungsroman and the Künstlerroman. I relate these texts to key European writers, Andre Gide and Colette, and to works by women based on two separate female Modernist aesthetics: first, the school of "lyrical transcendence"—Dorothy Richardson, Katherine Mansfield and Virginia Woolf—in whose works the self as literary subject dissolves into a renunciatory "female impressionism;" the second group—Rhys, Stein and Barnes--who as late-modernists, offer radically "objectified" self-portraits in fiction which act as critiques and revisions of both male and female Modernist fiction of earlier decades. In chapter 2, I discuss Jean Rhys' objectification of female self-consciousness through her analysis of alienation in two different settings: the Caribbean and the cities of Europe. As an outsider in both situations, Rhys presents an unorthodox counter-vision. In her fictions of the 1930's, she deliberately revises earlier Modernist representations, by both male and female writers, of female self-consciousness. In the process, she offers a simultaneous critique of both social and literary conventions. In chapter 3, I consider Gertrude Stein's career-long experiments with the rendering of consciousness in a variety of literary forms, noting her growing concern throughout the 1920's and 1930's with the role of autobiography in writing. In a close reading of The Autobiography of Alice B. Toklas, I examine Stein's parody and "deconstruction" of the autobiographical form and the Modernist conception of the self based on memory, association and desire. Her witty attack on the conventions of narrative produces a new kind of fictional self-portraiture, drawing heavily on the visual arts to create new prose forms as well as to dismantle old ones. Chapter 4 focuses on Djuna Barnes' metaphorical representations of the self in prose fiction, which re-interpret the Modernist notion of the self, by means of an androgynous fictional poetics. In her American and European fictions she extends the notion of the work of art as a formal, self-referential and self-contained "world" by subverting it with the use of a late-modern, "high camp" imagery to create new types of narrative structure. These women's major works, appearing in the 1930's, mark a second wave of Modernism, which revises and in certain ways subverts the first. Hence, these are studies in "late Modernism" and in my conclusion I will consider the distinguishing features of this transitional period, the 1930's, and the questions it provokes about the idea of periodization in general.
Arts, Faculty of
English, Department of
Graduate

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Pateman, Matthew Elliot. "A critical study of the fiction of Julian Barnes with reference to selected theories of narrative and legitimation." Thesis, University of Leeds, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365278.

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Niven, Debra L. "Fictive elements within the autobiographical project : necessary conflation of genres in Nightwood by Djuna Barnes /." Electronic version (PDF), 2007. http://dl.uncw.edu/etd/2007-1/nivend/debraniven.pdf.

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Denzler, Sofia, Linnea Åslund, and Suzette Öström. "”Det är så himla onödigt allt det där” : – en studie om hur barn uppfattar våld på tv-nyheter." Thesis, University of Kalmar, School of Communication and Design, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hik:diva-2510.

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The purpose of our thesis was to examine how children think about violence on TV news. We also wanted to find out what children think about violence, both in other TV programmes and in reality. Adults often speak for children, we wanted to hear the children’s own opinions. This study was based on theories of socialization and reception research. We showed violent news clips for 12 eleven and twelve year olds. In the meantime, we recorded the children’s reactions on film. Afterward, we interviewed them about their thoughts and feelings related to the clips. Our study is based on interviews and observations. We came to the conclusion that the children in our study think violence are very unnecessary. Most of the children did not find the clips particularly scary, but many mentioned that they think blood is disgusting to watch.

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Ingemansson, Mary. "Skönlitterär läsning och historiemedvetande hos barn i mellanåldrarna." Licentiate thesis, Kristianstad University College, Department of Humanities and Social Sciences, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-481.

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“ if you only read the book … you get the knowledge into your head once. If you talk about it, you get a more distinct memory of it, I think” (Emma, 11)

This thesis shows how a novel by Maj Bylock, Drakskeppet, was used in education within thematic work, the Viking Age, among ten-year-olds and eleven-year-olds for five weeks. The aim of the project was to investigate if and how pupils create or develop an historical consciousness when they had written and talked about the text in a novel. The study examines and analyses how three pupils in particular look upon history and ‘time’ in this process and if identification with characters in the novel takes place.

In the theoretical framework, which focuses on Judith Langer and her theories on ‘envisionment building’, that is on how children create text worlds , a general survey presents research findings about how children (10-12 years) interpret fiction. Furthermore the very complex construct of ‘historical consciousness’ is discussed.

In the second part, the study is described and its results are discussed: When these children form their personal historical consciousness their focus on the past and the present is apparent, while they have few links to the future. From the way characters’ lives are presented in Drakskeppet these young readers notice social differences in this fictional society of the past. Even though they also see parallels with the time they live in, they often conclude that ”things were worse” in the past. Another result is that an historical consciousness is generally developed when children can emotionally connect to their own lives.

A second conclusion drawn in the analysis of this project is that children should read fiction to learn about and understand History. In thematic work of this kind, pupils are offered opportunities to develop their reading and interpreting capacities even though the purpose of the work is the emergence of the pupils’ historical consciousness. It should be understood from this investigation, though, that reading without talking about the texts seems to have very little effect on how children develop their understanding of texts or an historical consciousness.

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Björnström, Lovisa. "Vampyr och nagelbitare : En genre- och diskursanalys av barn- och ungdomsrysare och deras ämnesord." Thesis, Uppsala universitet, Institutionen för ABM, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-253494.

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This master's thesis in Library and Information Science examines how the genre division of the horror fictionis constructed at the children and youth department of a library by studying subject headings of the titles.The aim is to examine what is included in the genre, in the two labelings called vampire and nail-biter/spine-chiller, what separates them, and what difference there is between children and youth thrillers/horror fiction. Also the cover designs and how readers portray these books are studied. The study is made in order to develop the knowledge of the genre to help librarians and borrowers. The great popularity of the genre among borrowers and people in general, and the importance of having knowledge of things that borrowers are interested in, are the motivation of performing the study. The method is a case study and conducted with and based on genre theory which shows how a genre is defined, how it can be divided and what conventions there are for the horror fiction in particular. Discourse analysis helps to see in between what frames the thriller is constructed, and how these elements subdivide the genre and influence it and those who encounter it, library borrowers and librarians. Di-scourse analysis also examines the standards of the thriller.The analysis showed that the discourse of horror fiction includes both the expected features, in terms ofgenre conventions, such as ghosts and vampires, and more commonplace such as sisters. The differences and similarities of these parts in the genre were discussed and compared in the light of discourse analysis and genre theory in order to reveal how these constructions might influence the readers and the borrowers. The major conc-lusions of the study is that the encounter between the unexpected and menacing, and the everyday life is what makes the thriller frightening, now as in history, and so it follows its genre conventions. The discourse of the hor-ror fiction standards are difficult to influence by being expected of borrowers and otherwise they are not thrillers. The study has shown that certain subjects recur more often than other which may affect the borrower in its per-ception of the genre. The genre division helps giving the borrower different kinds of frights and experiences. The joint is that the supernatural is present in the whole genre and convey feelings of excitement and fear which is the most important representative of the genre. This is a two years master’s thesis in Archive, Library and Museum studies.

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Ramqvist, Sabina. "Hur lär sig barn att skriva berättande texter? : Fyra lärares olika metoder för berättelseskrivande i årskurs 3." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-55054.

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The aim of my study is to find out more about the pupils’ early attempts at writing fictional texts. More specifically, I examine how different teachers work to teach pupils in the third grade to write narrative texts or fiction. I have chosen to interview teachers who have been working for different periods of time, to get a picture of how their lessons are planned. Furthermore, through classroom observations, I get an idea of what pupils think about writing narrative texts and how they do it. The results of the study show that there are several methods that teachers use to teach writing in the case of narrative texts. The result also points out that even though society itself is digitalized, work in school has not been affected to the same degree.
Mitt arbete syftar till att ta reda på mer om elevernas tidiga möte med den skönlitterära texten. Jag undersöker i detta arbete hur olika lärare i årskurs 3 arbetar med att lära sina elever att skriva berättande texter, eller berättelser. Då vi befinner oss i ett alltmer digitaliserat samhälle har jag valt att intervjua lärare som varit verksamma olika länge för att få en bild av hur deras synsätt eventuellt påverkats av den ökade användningen av datorer, surfplattor etc. Genom observationer i klassrummet har jag kunnat bilda mig en uppfattning av vad eleverna anser om att skriva berättande texter och på vilket sätt de gör det. Studiens resultat visar att det finns flera metoder som lärarna använder för att undervisa i skrivning när det gäller berättande texter. Resultatet pekar även på att trots att samhället i sig är digitaliserat så har det inte gått riktigt lika fort fram i skolan.

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Forsell, Hampus, and Marcus Björsand. "Personligt berättande och återberättande av saga hos 7;0–8;11 åriga svensktalande barn : En jämförelse med engelsktalande barn på Irland." Thesis, Linköpings universitet, Institutionen för klinisk och experimentell medicin, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-131122.

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A common way to examine children's language production is to analyze their narrative ability, which has been observed in several studies in various languages. The present study aims to analyze Swedish children's stories at microstructural level (grammatical and utterance level) and macrostructural level (discourse level) and examine how these results differ between two narrative elicitation methods. Furthermore, the study aims to investigate if the results from Swedish and English speaking children differ between these two elicitation methods. The present study involved 40 typically developing children aged 7;0–8;11 years with Swedish as their native language from southeastern Sweden. The two narrative elicitation methods used were personal narrative generation and fictional narrative retell. During personal narrative generation the participants were prompted to share their own experiences based on given themes with image support. In the fictional narrative retell participants were asked to retell the tale "Frog, Where are you?" (Mayer, 1969). The participants' two stories were transcribed in the program Systematic Analysis of Language Transcripts (SALT) and analyzed at micro- and macrostructural level. At the microstructural level the following measures were investigated: Total utterances (TU), Mean Length of Utterance in Words (MLU-w), Type Token Ratio (TTR), Percentage of Maze Words (PcMw), Overgeneralization Errors (EO) and Total Number of Words (TNW). For macrostructural analysis the Narrative Scoring Scheme (NSS) was used. At the microstructural level participants achieved higher MLU-w, TTR and PcMw in the fictional narrative retell than in personal narrative generation. TNW and MLU-w correlated with participants' age at fictional narrative retell. The participants generated higher values regarding TU and TNW in personal narrative generation. Analysis of the macrostructure showed that the majority of the participants achieved higher scores in fictional narrative retell than in personal narrative generation. The results regarding the macrostructural level of the fictional narrative retell correlated with the age of the participants. Similar trends between the elicitation methods appeared in the English-speaking participants.

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Ben, Youssef Zorgati Imen. "Pour une image féminine du hammam tunisois : Shérazade et les "mille et un regards" : recherches et propositions." Paris 1, 2001. http://www.theses.fr/2001PA010564.

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Анотація:

Pour valoriser le Corps féminin et rendre " sensible " l'architecture, nous avons donné " Corps " à ce hammam de Shérazade et imaginé ce voyage autour de cette " image féminine " du hammam. Cette coutume de bain collectif, hammam, est considérée comme l'un des "piliers " de la société tunisienne. Le hammam de Shérazade a pris naissance à partir d'un regard d'enfant et celui de Picasso. Pénétrer par l'" œil " de Shérazade, se voiler par ses " boucles " touffues, s'enfoncer dans le mystère d'un "cou " voilé pour retrouver un "ventre " prêt à nous envelopper, à nous protéger et à éveiller nos cinq sens: le toucher, le goût, la vue, l'oui͏̈e et l'odorat ; jusqu'à une "renaissance " de notre corps et de notre âme, "rauh ", autour d'un "nombril " contourné par un "utérus " béant prêt à l'explosion. En quittant ce " nombril ", nous goûtons en toute sérénité aux bienfaits des " seins " de Shérazade. Toute une ambiance humide, chaude, liquide, pudique et secrète autour de ce " corps- harmmam " de Shérazade nous fait " ressentir " des sensations et " revivre " des sentiments rappelant le " ventre maternel " : Tout le mystère des " Mille et un regards ".

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Lugo, Alvarado Leandro Vladimir. "La representación de la barra brava de la trinchera norte en los personajes de la teleserie Misterio emitida por Frecuencia Latina (2005)." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/655141.

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Анотація:

La presente investigación tiene como finalidad la representación de la barra brava de la trinchera norte en los personajes de la teleserie Misterio emitida por Frecuencia Latina en el año 2005. El caso que se tomará como muestra será la serie peruana “Misterio” dirigida por Jorge Carmona y escrita por Aldo Miyashiro. Esta serie cautivó al público peruano con el reflejo de una sociedad amantes del fútbol que no se había visto antes. Además, los treinta y ocho capítulos que conforman esta serie nos permitirán analizar a los personajes, comparar sus similitudes como diferencias en los principales aspectos: psicológico, físico y el contexto sociocultural en el que se encuentran. Por otro lado, a través de distinta bibliografía se permitirá desarrollar un marco teórico necesario para que la presente investigación se pueda entender y tener el profesionalismo debido. La investigación se dará desde el Perú en los años 90´s atravesando por la violencia en las barras bravas que existen en el país para finalmente concluir con las miniseries en el Perú. Finalmente, se utilizarán diversas fuentes bibliográficas, que ayudarán a entender la relación y muestra de cómo las barras bravas son reflejadas en las series, demostrando la violencia y rudeza que demuestran al ser hinchas de un equipo de futbol peruano obligatoria en la que el autor o los autores exponen en breves líneas lo esencial del trabajo.
The purpose of the present investigation is to represent the brave bar of the northern trench in the characters of the television series Misterio broadcast by Frequency Latina in 2005. The case that will be taken as a sample will be the Peruvian series "Mystery" directed by Jorge Carmona and written by Aldo Miyashiro. This series captivated the Peruvian public with the reflection of a soccer-loving society that had not been seen before. In addition, the thirty-eight chapters that make up this series will allow us to analyze the characters, compare their similarities as differences in the main aspects: psychological, physical and the sociocultural context in which they are. On the other hand, through different bibliography it will be possible to develop a necessary theoretical framework so that this research can be understood and have the due professionalism. The investigation will take place from Peru in the 90's going through the violence in the rough bars that exist in the country to finally conclude with the miniseries in Peru. Finally, various bibliographic sources will be used, which will help to understand the relationship and shows how the brave bars are reflected in the series, demonstrating the violence and rudeness that they demonstrate when being fans of a mandatory Peruvian soccer team in which the author or The authors briefly explain the essentials of the work.
Trabajo de investigación

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