Дисертації з теми "Voice writing"
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1
Kennelly, Ita B. "Voice matters : narratives and perspectives on voice in academic writing." Thesis, University of Sheffield, 2017. http://etheses.whiterose.ac.uk/16766/.
2
Maguet, McKenna Lucille. "Identifying Elements of Voice and Fostering Voice Development in First-Grade Science Writing." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/6959.
Анотація:
The purpose of this multi case study was to better understand voice in first grade science writing. Voice is the ability for individuals to synchronize specific narrative elements to express themselves with greater confidence and individuality. Three first-grade participants were chosen and their use of voice in science writing was examined across 8 weeks. Specific elements of voice were identified within atypical informational texts for primary grade learners in science. The 7 elements include descriptive words, placement of text and picture, creative punctuation, conversational tone, comparisons, imagery, and repeated text. The 7 voice elements were taught to a class of first-grade students. Findings from this study reveal that first graders can use descriptive words, creative punctuation, and conversational tone in their writing with great success before being formally taught, which indicates that these first graders are comfortable using these voice elements in their writing. These first graders also use text and picture placement, comparisons, and imagery prior to the weeks they are taught but with limited success. These first graders do not use repeated text until being formally taught, which indicates that it is a difficult voice element for them to include in science writing. Hand signals prove to be effective in helping these young children grasp the voice elements. Lessons used in the study are included. Mentor texts with examples of voice elements that children emulated during the study are also included and are helpful for these students. In addition to writing with words, these first graders also convey important information through their pictures. These young students can accomplish the requirements found in the Common Core State Standards to provide an opening, supply 3 facts about a subject, and write a conclusion. However, they can do this with a quality of voice that was not present in their writing prior to the unit.
3
Katz, Yael. "Configuring crisis : writing, madness, and the middle voice." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ56569.pdf.
4
Ferrell, Rosemary Kaye. "Voice in Screenwriting: Discovering/Recovering an Australian Voice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/2004.
Анотація:
This creative practice research explores the concept of an identifiable screenwriter’s voice from the perspective of screenwriting as craft, proposing that voice can be understood and described based on its particular characteristics. Voice is understood to be the authorial presence of the screenwriter, whose mind shapes every aspect of the text. This presence is inscribed in the text through the many choices the screenwriter makes. More than this, the research argues that the choices made inflect the text with a cultural-national worldview. This occurs because of the close association between voice and personal (including cultural/national) identity, and because of the power of textual elements to signify broader concepts, ideas and phenomena belonging to the actual world.
The thesis includes an original feature film screenplay evidencing a particular Australian voice, and an exegesis which describes voice and national inflection more fully. The practice research began with the interrogation of voice in a previously-existing screenplay which, though an original work written by an Australian screenwriter – myself – was described as having an American voice. Voice and its mechanisms were then further investigated through the practice of writing the original screenplay, Calico Dreams. Theories of voice from within literary theory, and the concept of mind-reading, from cognitive literary theory, acted as departure points in understanding voice in screenwriting. Through such understanding a conceptual framework which can assist practitioners and others to locate aspects of voice within a screenplay, was designed. This framework is a major research outcome and its use is illustrated through the description of voice in the screenplay, Calico Dreams.
The research found that screenwriter’s voice serves to unify and cohere the screenplay text as an aesthetic whole through its stylistic continuities and particularities. Through the voice, the screenwriter also defines many of the attributes and characteristics of the film-to-be. A theory of screenwriter’s voice significantly shifts the theoretical landscape for screenwriting at a time when an emerging discourse of screenwriting is developing which can enrich understandings of the relationship between the screenplay and its film.
5
Jackson, Richard Paul. "Searching for a voice of authority in newspaper writing /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/6179.
6
Mackie, Joanna. "Embraceable me, reclaiming voice through reflexive writing and singing." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ62884.pdf.
7
Braithwaite, Ann. "Writing and cultural analysis : claiming a feminist positional voice." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61982.
8
Pedersen, Joelle Marie. "TheNeglected Voice in the Writing Revolution: Foregrounding Teachers' Perspectives." Thesis, Boston College, 2019. http://hdl.handle.net/2345/bc-ir:108402.
Анотація:
Thesis advisor: Marilyn Cochran-SmithPrior to the widespread adoption of the Common Core State Standards (CCSS) in 2009, writing was largely neglected in the education policy realm. However, the CCSS called for major shifts in the teaching of writing reinforced by the requirements of rigorous new standardized writing assessments. While the high stakes attached to these new assessments place all teachers under increased pressure to improve students’ writing, little is known about how teachers perceive the standards and assessments or how these are influencing classroom instruction. To address this need, this case study explored how English teachers at one urban high school made sense of their school’s new writing initiative, which incorporated use of CCSS-aligned, standardized writing assessments to improve students’ writing. In this longitudinal study, I drew from multiple, nested data sources, including interviews with teachers and school leaders, observations of department meetings, and teacher “think alouds” about students’ writing. Relying on the theoretical lenses of sense-making (Spillane et al., 2002) and communities of practice (Wenger, 1998), I argue that teachers’ sense-making of the writing initiative was individualized and heavily mediated by the standardized assessments they used. This study has three major findings. First, at the school level, there was a “coherence gap” between how the multiple, conflicting purposes of the initiative were represented to teachers and lack of organizational structures to support streamlined implementation. Second, at the department level, the discourse about writing was constrained by the decontextualized nature of the CCSS and the standardized writing assessments, which oversimplified teachers’ understandings of writing as a social process. Third, at the classroom level, teachers relied on two particularized dimensions of their professional knowledge – their “reform knowledge” and their “relational knowledge” – to exercise agency in implementation. Overall, teachers made meaning of the writing initiative in localized ways consistent with their established writing instruction and their perceptions of students’ needs. This study underscores the central importance of particularized teacher knowledge in translating reform meaningfully to the classroom. Until school leaders and policymakers recognize teachers’ knowledge as valuable and create opportunities for teachers to share this knowledge with others, reforms are unlikely to be successful
Thesis (PhD) — Boston College, 2019
Submitted to: Boston College. Lynch School of Education
Discipline: Teacher Education, Special Education, Curriculum and Instruction
9
Olivier, Aletta Petronella. "Authorial voice as a writing strategy in doctoral theses." Thesis, University of Pretoria, 2017. http://hdl.handle.net/2263/65596.
Анотація:
Voice is not a new concept in writing; however, it is relatively new in the field of academic writing. The main aim of this research is to determine how voice as a social construct is understood and perceived by doctoral students and supervisors from the faculties of Humanities and Social Sciences at a South African university. The focus is on the challenges of exhibiting an authorial voice in doctoral writing in particular, with the aim of informing a pedagogical framework of voice that might serve as a foundation for further development of an instructional framework. The term ‘voice’ started to appear in North American composition writing in the mid-1960s as a mark of self-discovery, individualism, and expressivism. However, the emergence of social constructivism led to a marked decrease in the emphasis on individual voice in favour of regarding voice as socialised and constructed. The post-2000 voice era became more nuanced and established a definite niche for voice in academic discourse. The three approaches that influenced written voice most significantly are individualised voice, powered by the expressivist approach; socialised voice, which embraces voice as multi-dimensional and dialogic and embedded in Bakhtin’s heteroglossia; and voice as empowerment, represented by the Academic Literacies Approach. Except for its historic evolution the notion of voice was impacted by Systemic Functional Linguistics (SFL) as a theory of language. Two partially operationalised models, grounded in social constructivism and SFL, provided the substance for designing a heuristic framework for voice: the Engagement Framework, situated in the Appraisal Framework of Martin and White (2005) and Hyland’s (2008a) model of stance and engagement. With the decline of the expressivist approach a number of theoretical and empirical studies propagating a pedagogical approach started to appear. Although these studies validate the need for a visible voice pedagogy, voice has yet to be operationalised as student friendly pedagogical tool. The following research questions guided the research: 1. How is authorial voice theorised in linguistics and applied linguistics? 2. Has the notion of ‘voice’ been adequately operationalised in academic writing contexts? 3. What guidance on developing a voice pedagogy is found in the scholarly literature on writing instruction in higher education? 4. How is the notion of voice understood by supervisors and doctoral students? A qualitative case study was conducted to determine the understanding and perceptions of voice by supervisors and doctoral students by means of semi-structured interviews. The data were systematically analysed and coded using qualitative content analysis. The qualitative data analysis software program ATLAS.ti.2 was used for this purpose. The data yielded four main categories: 1. Assumptions about voice as non-negotiable in doctoral writing; 2. Enablers of voice; 3. Impediments of voice, confirming voice as complex and unstable; 4. Opinions on voice as construct that substantiated gaps in the literature. As the findings point to a need for a pedagogy of voice these categories were translated into parameters for a pedagogy of negotiated voice. The pedagogical model integrates the theory-based heuristic as well as pedagogical attempts at measuring voice and the findings of the empirical study.Thesis (PhD)--University of Pretoria, 2017.
Unit for Academic Literacy
PhD
Unrestricted
10
Zhao, Yebing. "A QI 气 Theory of Voice: Cultivating and Negotiating Inventive and Ethical Qi-Voice in Writing". Miami University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=miami1617901205834771.
11
SAMPAIO, LUCIA BEATRIZ PITANGUY. "READING OGDEN: BODY, VOICE, POETRY A READING AND WRITING EXPERIENCE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2013. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=21854@1.
Анотація:
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
Esta pesquisa é um convite a um caminhar partilhado tendo como roteiro á obra de Thomas Ogden. Ao longo deste percurso, travaremos diálogo com Psicanálise através de Bion e Winnicott, e com a literatura através de Frost e Borges. Com Bion, podemos dizer que a experiência de leitura instrumentaliza o aparelho de pensar com novas formas que são o resultado da interseção entre as formas de pensar do autor e as do leitor. a partir de Winnnicott, concebemos que o contato profundo com o outro, no caso desta pesquisa representado pela experiência de uma obra literária, vai ao encontro imediato do verdadeiro Self. Passeando pela biblioteca de Borges, observamos a maneira comoa língua trabalha na cosntrução de verdades subjetivas exemplificadas em suas ficções, que abrem portais imaginários ao leitor para uma experiência verdadeira. Em Frost, sublinhamos algumas expressões - como Sobressons, sons vivos do discurso, o som do sentido, pescando palavras - que contribuem para importante ideia da voz do outro que nos constitue. Compreendedno o corpo como Locus da experiência e a voz como contorno psíquico, experienciamos devaneios poéticos que apontam para a ideia de que a verdade é sempre uma construção que tem como referência as experiências do criador e do observador, no caso da literatura, o escritor e o leitor.
This reaserch is an invitation to a shared walk through the work of Thomas Ogden. Along this course, we will engage in a dialogue with Psychoanalysis through Bion and Winnicott, and with Literature through Forst and Borges. Following Bion, we may say that the experience of reading instrumentalizes the apparatus for thinking with new forms wich are the result of the intersection between the ways of thinking of the author and the reader. Following Winnicott, we conceive that the deep contact with the other, wich, in the case of this research, represents the experience of reading a literary work, leads immediately towards the true self. Strolling through the Library of Borges, we observe the way language works in building subjective truths, wich, exemplified in his fictions, open to the reader imaginary portls towards a true experience. In forst, we underline certain expressions - such as oversounds, sounds of living speech, the sound fo sense, fecthing words - wich contribute to the important conception of the voice of the other that constitute us. Understanding the body as the locus of the experience poetic reveries wich point to the idea that truth is always construct , referenced in the experience of the creator and the observer or, in the case of literature, the reader and the writer.
12
Hancox, Donna Maree. "Two voices : the marginalised body as a voice & Imperfect Offerings a novel." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/31849/1/Donna_Hancox_Thesis.pdf.
Анотація:
This thesis investigates the phenomenon of self-harm as a form of political protest using two different, but complementary, methods of inquiry: a theoretical research project and a novel. Through these two approaches, to the same research problem, I examine how we can re-position the body that self-harms in political protest from weapon to voice; and in doing so find a path towards ethical and equitable dialogue between marginalised and mainstream communities. The theoretical, or academic, portion of the thesis examines self-harm as protest, positing these acts as a form of tactical selfharm, and acknowledge its emergence as a voice for the otherwise silenced in the public sphere. Through the use of phenomenology and feminist theory I examine the body as site for political agency, the circumstances which surround the use of the body for protest, and the reaction to tactical self-harm by the individual and the state. Using Bakhtin’s concept of dialogism, and the dialogic space I propose that by ‘hearing’ the body engaged in tactical selfharm we come closer to entering into an ethical dialogue with the otherwise silenced in our communities (locally, nationally and globally). The novel, Imperfect Offerings, explores these ideas in a fictional world, and allows me to put faces, names and lives to those who are compelled to harm their bodies to be heard. Also using Bakhtin’s framework I encourage a dialogue between the critical and creative parts of the thesis, challenging the traditional paradigm of creative PhD projects as creative work and exegesis.
13
Martin, Jenny M. "A Secondary English Teacher's Use of New Literacies with Voice and Struggling Writers." Diss., Virginia Tech, 2014. http://hdl.handle.net/10919/50425.
Анотація:
Voice is an integral part of writing instruction, and over half of state writing assessments include voice on scoring rubrics; yet, there is a dearth of research on voice and writing instruction with adolescents. Increasingly new literacies and digital tools are being used in the high school English classroom but with relatively little known about how these tools can teach voice during writing instruction. This qualitative single-case study examined how a public school, ninth-grade English teacher used new literacies to develop voice in students' writing and participants' perception of these instructional choices. The sample included the teacher and 14 students, and data collection included classroom observations, participant interviews, motivation inventories, reflective logs, state writing scores, students' writing folders, and wiki documents. An iterative process of inductive and deductive analysis led to key findings about instructional planning, purposeful writing assignments, teacher feedback, and participant response. Findings indicate that further attention is needed with respect to text structure development, writing pedagogy, and voice in writing; teachers' response to students' writing in digital environments; and motivation and adolescent writing.Ph. D.
14
Fisk, Brent Allen. "History Has the Voice of a Bird-Filled Tree." TopSCHOLAR®, 2013. http://digitalcommons.wku.edu/theses/1291.
Анотація:
This creative thesis, History Has the Voice of a Bird-Filled Tree, is a collection of poems about the communal, familial, and physical landscapes we grow up in. The manuscript explores the accidental body of knowledge we accumulate over a lifetime: those lessons we do not actively seek to learn and that no one sets out to teach us, but that mark us, and make us who we are. The landscape of this manuscript is not an exact replication of an existing town or existing family, but what the poet Richard Hugo refers to as a “triggering town.” This removal frees the internal biographer and historian to write openly about experiences without guilt or sanitization of a symbolic past. The narrative is mostly true with just enough fibbery to protect both the innocent and guilty alike.
15
Ocampo, Maritza. "On Bike Riding and Writing." CSUSB ScholarWorks, 2015. https://scholarworks.lib.csusb.edu/etd/213.
Анотація:
What follows are the motivations and desires behind my writing and why I chose to pursue writing in the first place. This paper not only gives context to my creative stories, but it also functions as a self-portrait, a glimpse of the writer behind the text. In this paper, I speak of my experiences of growing up in a marginalized group, of being a daughter of Mexican immigrants and a member of the working class. I explain how those experiences helped shape the content and voice that I portray in my collection of short stories called, Somewhere Between Here and There. This collection of short stories emerged at the start of my graduate program but it was a project that was slowly accumulating over the years. The collection centers on the invisibility of a Latino community and dramatizes the challenges that they face as individuals and as a group. Many of my characters face challenges both at an individual and institutional level that causes fragmentation. In the end, each character tries to cope with their situation while trying to find and discover a sense of self and belonging in the world.
16
Angelil-Carter, Shelley. "Uncovering plagiarism in academic writing : developing authorial voice within multivoiced text." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1003692.
Анотація:
Plagiarism is a modern Western construct which arose with the introduction of copyright laws in the eighteenth century. Before this time, there was little sense of artistic "ownership". Since then, the ideas of "originality" in writing as well as the "autonomous text" have been highly valued. In the theoretical section of this dissertation I deal with plagiarism and referencing from three perspectives. After looking at problems of definition of plagiarism, I turn to the first perspective, the historical development of the notions of plagiarism and originality. Alongside this I discuss the notions of "autonomous text" and "decontextualized" language, and attempt to show that these concepts are problematic, and that language is intensely social at the levels of discourses, genres, and the word. The second angle is a snapshot of present-day writing genres, and how they deal with documentation in different ways. The third point of focus is on the development of the student writer, on whom present-day genres of academic writing, and the historically constructed notions of plagiarism converge. Here I centre on the development of the undergraduate student as a writer, and some of the things that may be happening when a student is seen to be plagiarizing. Some of these are the "alienness" of academic discourses, the hybridization of discourses, the need to "try on" academic discourses, the lack of authority of the student writer and her relationship to the authority of the sources, and the way in which languages are learned and reproduced in chunks. I look finally at what the meaning of authorship might be in an intensely social view of language, and at the complexity of developing authorial voice in writing. The dissertation is located in a postpositivist paradigm, and seeks to interpret as well as being oriented towards praxis. The research took place within the Political Studies Department at the University of Cape Town. The study included a discourse analysis of the departmental handbook, as well as analysis of academic essays, at the first year and third year level, which were selected for having problems with referencing, or having plagiarized. A few were selected for good referencing. Students who had written these essays, and tutors and lecturers who had marked them, were then interviewed. In the analysis I explore differing understandings of the role of referencing in the academic essay, what negative and positive consequences the practice of referencing and the monitoring of plagiarism have, with regard to authority and voice in student writing, what might be happening when students are thought to be plagiarizing, and what difficulties are experienced by students in developing an authorial voice when using multiple sources. The study found that there are a range of underlying causes for plagiarism in student writing, which indicate that plagiarism is more a problem of academic literacy than academic dishonesty. It also found that marking practices in detecting plagiarism may sometimes be based on problematic assumptions about the amount of background knowledge and independent ideas which students bring to their writing. I conclude by putting forward a pedagogy for plagiarism and referencing, which is based on 1) the negotiation of shared meaning around the concept of plagiarism, including an examination of assumptions linked to this concept in its monitoring and enforcement, leading to the development of written policy and guidelines emerging from this shared understanding. 2) The development of an academic literacy programme within the curriculum, with attention to the complexities of developing authorial voice whilst constructing a text based on the texts of others, with a focus on authors, which moves students towards an understanding of how knowledge is constructed.
17
Rhodes, Susan. "The active and passive voice are equally comprehensible in scientific writing /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/9033.
18
Golden, Freida M. "Autobiographical writing as a reflection of adolescent voice and rural culture /." Search for this dissertation online, 2004. http://wwwlib.umi.com/cr/ksu/main.
19
Williams, Evan. "The Leaving Symphony| Musicality and Voice in the Poetry of Trauma, Addiction, and Redemption." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10785346.
Анотація:
The Leaving Symphony: Musicality and Voice in the Poetry of Trauma, Addiction, and Redemption represents two years of my critical and creative writing while attending the California State University, Long Beach M.F.A. in Creative Writing program. Evident in the poems of this manuscript, my major themes include trauma, addiction, and personal redemption, all through the intimate lens of my family and myself. Crucial to my writing is the evolution of those struggles, seen in the organization of the poems in this thesis. The methodological essay at the beginning of this project details my process and influences, followed by a full-length collection of poetry. My poetry is highly musical thanks to the inspiration of both my musician father and several writers, such as Sylvia Plath and Dean Young; my work also possesses a distinctive voice that took me decades to find, especially as a poet. This thesis documents that growth and eventual catharsis in writing.
20
Scott, Natalie. "Screams underwater : submerging the authorial voice : a polyphonic approach to retelling the known narrative in Berth ; Voices of the Titanic : a poetry collection by Natalie Scott." Thesis, University of Sunderland, 2015. http://sure.sunderland.ac.uk/6582/.
Анотація:
This PhD thesis is comprised of my poetry collection: Berth - Voices of the Titanic (Bradshaw Books, 2012) and a critical commentary which discusses the collection both in printed and performed contexts. Berth is a collection of fifty poems taking a range of forms, including dramatic monologue, and found, sound and concrete poems. It was published and performed to coincide with the centenary of the Titanic disaster on April 14th 2012. The collection encourages an audience to see and hear Titanic in a distinctive way, through the poetic voices of actual shipyard workers, passengers, crew, animals, objects, even those of the iceberg and ship herself. Though extensively researched, it is not intended to be a solely factual account of Titanic’s life and death but a voiced exploration of the what-ifs, ironies, humour and hearsay, as well as painful truths, presented from the imagined perspective of those directly and indirectly linked to the disaster. The critical commentary introduces the notion of factional poetic storytelling and, supported by Julia Kristeva’s definition of intertextuality, considers the extent to which Berth is an intertext. Drawing on both literary works and critical theory, it considers the dominant, objective, authorial voice as a way of closing a text, and contrastingly presents polyphony, with its multiple viewpoints, as a way of opening up a text, in the process of moving towards retelling a well-known story in a distinctive way. I use Plato’s concept of mimēsis to make connections between polyphony and intertextuality and my creative work is then contextualised in terms of other intertexts published as creative responses to historical events, culminating in the story of the Titanic. I show how Berth is distinctive in its way of telling. Supported by reader-response theories, I discuss the reader’s role in shaping a text and participating in the process of its reception as an open, dialogic work. Illustrated by examples from canonical poems, the commentary next defines monophony in order to draw out the characteristics of polyphony and its relationship with Bakhtin’s concepts of dialogism, addressivity, defamiliarization, collage and the carnival. Exemplified by Berth, the ensuing exploration of Bakhtinian thought shows that the concept of dialogism, which he applies exclusively to the novel, is readily applicable both to a narrative poetry collection that is novelistic but also to standalone poems. The commentary then makes connections between polyphony and performance poetry - specifically the dramatic monologue - and other open forms influenced by British and American modernist poetic techniques. I use examples from British Poetry Revival works to characterise the forms of found, sound and concrete poem. Robert Sheppard’s critical notion of the ‘saying’ and the ‘said’ (informed by Mikhail Bakhtin’s dialogism and Umberto Eco’s notion of the ‘open work’) helps me to explore how such forms influenced my own creative practice - in the printed and staged versions of Berth - and fulfilled the principal aim of the work: to use polyphonic methods in a way that contributes a voice distinctive from the existing works on the subject of the Titanic. In conclusion, I argue that polyphony is a significant device for poetry that aims to present a fresh perspective on a story which has been told many times before.
21
Blankenship, Angella Sorokina Getsi Lucia Cordell. "Voice beyond self a theory and pedagogy of polyphonic expression in writing /." Normal, Ill. Illinois State University, 1998. http://wwwlib.umi.com/cr/ilstu/fullcit?p9924342.
Анотація:
Thesis (Ph. D.)--Illinois State University, 1998.Title from title page screen, viewed July 12, 2006. Dissertation Committee: Lucia C. Getsi (chair), James Elledge, William Woodson. Includes bibliographical references (leaves 196-200) and abstract. Also available in print.
22
Namulondo, Sarah. "Imagined Realities, Defying Subjects: Voice, Sexuality and Subversion in African Women's Writing." Scholar Commons, 2010. http://scholarcommons.usf.edu/etd/3435.
Анотація:
The privileging of man in African societies has involved an erasure of identities and subjectivities of many women, holding them to an assumption of female inferiority. To counter the injustice, African women writers have engaged in rhetorical and performative strategies designed to reconstitute the cultural erasure as they try to claim status as individuals. But in the process, various cultural expectations such as their maternal roles act as constant bottlenecks to return them back to their prescribed roles as subordinate beings. This dissertation, “Imagined Realities, Defying Subjects: Voice, Sexuality and Subversion in African Women’s Writing” explores the methodologies of cultural resistance and the complex ways in which African women have articulated their subjectivity, challenged societal roles, negotiated tradition and formulated a literary and feminist aesthetic. As inventors invested in creating narratives that speak to the concerns of an African female aesthetic, these authors work in, through and toward what Gloria Anzaldua calls a “mestiza consciousness,” whose work is to “break down the subjectobject duality that keeps her [woman] a prisoner and to show in the flesh and through the images in her work how duality is transcended” (102).
Embracing the framework of African Feminism or what Obioma Nnaemeka calls “Nego Feminism,” each chapter articulates the sites of enunciation in which the characters engage with their fragmented conditions. Though with differing methodologies, for each writer, the act of seeking a space through which a self with an “outline” is negotiated and articulated allows the women to become aware of the need to speak their own truths and realities. I examine how authors like Flora Nwapa, Mariama Ba, Yvonne Vera and Calixthe Beyala construct textual strategies that go beyond the marginalized figures and articulate themselves so that they escape society’s sanctioned external definitions. My dissertation proffers a fresh insight that goes beyond the descriptions of how women are represented, superseding this kind of criticism with more complex analysis of gender and women’s oppression.
23
Gilbert, Catherine. "Writing trauma : the voice of the witness in Rwandan women's testimonial literature." Thesis, University of Nottingham, 2014. http://eprints.nottingham.ac.uk/14260/.
Анотація:
During the 1994 genocide in Rwanda, acts of extreme violence were committed against women. This thesis aims to explore how Rwandan women genocide survivors respond to and communicate such a traumatic experience. From a perspective of trauma theory, it engages with the published testimonies of Rwandan women survivors, seeking to understand how the genocide is remembered in both individual and collective memory and the challenges Rwandan women face in the ongoing process of surviving trauma. Exploring the ways in which Rwandan women position themselves as witnesses, the first chapter addresses the crucial questions of who is a witness and who has the right to speak about a traumatic historical event. It distinguishes between different categories of witness and looks at the levels of witnessing in Rwandan women’s testimonies, as well as considering the role of the reader-witness in the act of testimony. Responding to an imperative of memory, the women are speaking on behalf of other survivors and honouring the memory of the victims. At the same time, the experience of genocide is shown to be deeply individual, and the second chapter provides a detailed analysis of the narrative strategies Rwandan women adopt to communicate the particularity of their experiences. Through a range of ‘translation’ techniques, the women reconstruct their individual chronologies and challenge the notion of the unsayability of trauma. However, the extremity of what the women have lived through can be incomprehensible to the reader, who is often unwilling to hear the story. One of the ways in which cross-cultural communication can be achieved is through collaboration, a process which is examined in the third chapter. The collaborator plays a complex role in the production of the testimonies, functioning not only as empathic listener, but also as writer, editor, and mediator of the story. This chapter draws out the problems associated with collaboration and also highlights its potential value for the Rwandan women as it is ultimately through the collaborator that they are able to convey their story to a Western audience. Gaining access to the Western publishing industry is just one of the many obstacles the women must face in communicating their stories, and the majority of survivors continue to be silenced. The role of silence both within and surrounding Rwandan women’s testimonies is the focus of the fourth chapter, which looks at the physical manifestations of silence within the narratives as well as the silencing of survivors in Rwanda and across the diaspora. The silencing of survivors’ stories has strong implications for the recovery of the individual, often preventing her from moving from surviving to living, a notion that is examined in the final chapter. Testimony is shown to play a central role in this transition. Yet, in the face of the politically motivated processes of national reconciliation, justice and commemoration, Rwandan women struggle to regain control over their narratives. This final chapter emphasises the importance of the community in helping women to reclaim their voice and tell their stories on their own terms. Overall, women remain marginalised figures in the writing of history, and this thesis seeks to underline the necessity of developing new ways of listening to the diversity of Rwandan women’s voices, in order not only to gain greater insight into how traumatised individuals remember but also to hear the challenge they pose to conventional Western modes of responding to trauma.
24
Olander, Marilyn V. "Painting the Voice: Weblogs and Writing Instruction in the High School Classroom." NSUWorks, 2007. http://nsuworks.nova.edu/gscis_etd/757.
Анотація:
Writing is a complex cognitive skill, a technology for capturing speech whose forms and conventions began in the dawn of civilization and were in place and stable by the Middle Ages. Writing and reading are the foundation of literacy, fundamental to success in school and in the adult world. No comprehensive theory of composition guides the teaching of writing, although historically two approaches have been favored: writing as a skill acquired through the memorization and recognition of principles of grammar and usage, and more recently, writing as a process of recursive strategies of pi arming, drafting, revising, editing, and publishing. The National Council of Teachers of English supports the methodology of the writing process; the literature reports that teachers perceive it as an effective tool. However, national testing programs including the National Assessment of Educational Progress and the Scholastic Aptitude Test reveal that students' achievement in writing has not changed appreciably from the mid-level baselines established more than two decades ago.
Reading and writing capabilities are closely associated with motivation. Many students function perfectly well, while others struggle. Students commonly regard writing as a chore, a closed loop between student and teacher to demonstrate what one knows, with the primary value being the correction of errors and a grade. Computer aided learning has become routine in schools. Within the past six years, teachers have begun exploring weblogs, a recent multimedia technology that draws on students' interest in computer related communication. Blogs enable [Tequent writing that is either spontaneous or planned and accessible by readers whether in a password-protected environment or open to the Internet. The study used a Web survey, telephone interviews with teachers, and observation of students' blog posts to explore the potential of blogs as a tool for teaching writing in the high school classroom. Educational blogging is as yet a new resource; a canon ofbes! Practices has yet to emerge. However, the study found that blogs hold particular promise for most young writers as an authentic, interactive domain for practicing to learn and learning to practice effective writing and its accompanying skills, reading and thinking.
25
Kerslake, Lorraine. "Correcting Cultures's Error: The Voice of Nature in Ted Hughes's Children's Writing." Doctoral thesis, Universidad de Alicante, 2016. http://hdl.handle.net/10045/110925.
Анотація:
Sin duda todos los lectores y críticos de Ted Hughes estarían de acuerdo en considerarlo como uno de los poetas más importantes en la literatura inglesa del siglo XX. A pesar de ello, Hughes también fue un autor prolífico de literatura infantil, publicando a lo largo de su vida más de 25 libros para niños en forma de poesía, prosa, teatro y ensayos críticos. De hecho, escribió su primer libro de cuentos, How the Whale Became, en 1956 en lo que entonces era un pequeño pueblo de pescadores llamado Benidorm, durante su luna de miel con Sylvia Plath. Sin embargo, sorprende que la crítica no se haya centrado en el estudio de la literatura infantil de Hughes. En respuesta a la sensibilización en torno a la crisis ambiental que comenzó en el siglo pasado, la obra de Hughes indaga sobre las fracturas que han alejado al ser humano del mundo natural y tiene como objetivo restablecer el nexo de unión entre la humanidad y la naturaleza. Tal y como se explica en este estudio, la concienciación ecológica de Hughes se forjó en su infancia, en sus andanzas por el mundo natural que lo rodeaba. Al igual que en la obra infantil más madura del poeta, los primeros poemas sobre animales ya mostraban una preocupación por la conservación de las especies locales donde el apego hacia el mundo natural y el deseo de volver a conectar con la naturaleza a menudo se expresan a través de una preocupación constante por la educación ambiental. El universo creativo de la obra de Hughes se puede leer como un contexto para cicatrizar la fractura de la sociedad occidental con la naturaleza y un intento de volver a acercar la cultura humana a sus raíces. Es precisamente en ese contexto que Hughes desarrolla su búsqueda chamánica donde el chamán/poeta actúa como narrador, sanador y mediador, articulándose en un lenguaje sagrado en sintonía con el mundo natural. La función terapéutica y sanadora de la naturaleza está estrechamente relacionada con otros conceptos claves que Hughes explora a lo largo de su obra infantil tales como el mito, la imaginación, y la educación. De hecho, son temas integrados en su actitud como escritor y que forman parte de su universo literario. Para Hughes, los niños constituyen un público ideal puesto que todavía no han sido condicionados por la sociedad. Su literatura infantil representó una parte oculta de su ser autobiográfico, estrechamente relacionado con su búsqueda terapéutica de curación. En este sentido la misión sanadora de Hughes es doble. A nivel personal su obra se puede leer como una historia de redención, una alegoría de curar su ser fracturado. Por otra parte, su obra se puede leer también como una búsqueda para recuperar el equilibrio con el fin de curar las heridas que nos han distanciado de la naturaleza, para que la reconciliación entre cultura y naturaleza pueda llevarse a cabo. Teniendo en cuenta todo lo expuesto, surge la pregunta de hipótesis de esta tesis: ¿existe una búsqueda de curación en la literatura infantil de Ted Hughes? Para contestarlo se ha contextualizado la obra de Hughes en relación con los textos principales de la ecocrítica y he llevado a cabo un escrupuloso análisis de su literatura infantil a través de su poesía, prosa y teatro además de sus ensayos críticos y cartas. A través de una lectura ecocrítica de la obra de Hughes se ha planteado preguntas claves cómo las siguientes: ¿Cómo se relaciona su literatura infantil con nuestra crisis ecológica y qué es lo que pone de manifiesto una lectura ecocrítica de su obra? ¿Es su escritura sensible a temas relacionados con el medio ambiente? ¿Qué preguntas relativas a cuestiones medioambientales suscita su obra? ¿Qué sentido de curación y recuperación ecológica aparece en su literatura tanto en el ámbito personal como social? ¿En qué obras se consigue este aspecto redentor y equilibrio y armonía entre la naturaleza y la humanidad y en cuáles no? Tal y como se defiende en esta tesis, a través de la literatura infantil, Hughes esconde un ser autobiográfico oculto estrechamente ligado con su búsqueda catártica de curación. La mayor parte de la obra de Hughes responde o bien a una crisis personal y humana, o a una fractura del ser humano con la naturaleza. A través de la figura de la diosa y el poder del mito fue capaz de explorar las energías primigenias del mundo natural, así como las fuerzas creativas y destructivas del universo. La poesía de Hughes critica estas dualidades señalando el sentido de la absoluta alteridad de la naturaleza y las relaciones entre estas energías y la sociedad occidental quien se ha distanciado de la naturaleza. En su poesía adulta, dada la energía masculina predominante y la carga sexual y violencia que subyace en gran parte de su trabajo, rara vez se logra el equilibrio entre esas energías y fuerzas. Por otro lado, tal y como esta tesis argumenta, es en su literatura infantil – en su prosa, poesía y teatro – donde tiene lugar ese equilibrio de forma más exitosa, siendo terapéuticamente más redentor gracias a su efecto sanador. Con el fin de enmarcar el concepto de curación en su literatura infantil esta tesis doctoral se ha estructurado en dos partes: la Primera Parte, ‘Speaking Through the Voice of Nature’ (Hablando a través de la voz de la naturaleza), consta de tres capítulos y está dedicada a situar al lector dentro del marco teórico y de los aspectos biográficos más importantes de la vida de Hughes, así como su temprana relación con el mundo natural y su desarrollo como escritor y ecologista. La segunda Parte, ‘The Quest for Healing in Ted Hughes’s Children’s Writing’ (La búsqueda de curación en la literatura infantil de Ted Hughes), se centra en el análisis de sus obras literarias a través de los distintos géneros. Finalmente, tras el análisis de sus obras, la conclusión identifica los puntos principales de la investigación y los resultados del análisis.
26
Reyes, Karen Stoner. "Finding a new voice : the Oregon writing community between the world wars." PDXScholar, 1986. https://pdxscholar.library.pdx.edu/open_access_etds/3602.
Анотація:
The period of 1919 to 1939 was a significant one for the development of the literature of Oregon and the Pacific Northwest. The literary work produced in the region prior to the first world war was greatly influenced by the "Genteel tradition" of the late nineteenth century. By 1939, however, the literature of Oregon and the region had emerged from the outdated literary standards of the pre-war period and had found a new, realistic, natural voice, strongly regional in nature and rooted in the modern American tradition.
27
Gammon, Katharine Stoel. "Changing her tune : how a transsexual woman claims a new identity through voice." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/42145.
Анотація:
Thesis (S.M. in Science Writing)--Massachusetts Institute of Technology, Dept. of Humanities, Graduate Program in Science Writing, 2007."September 2007."
Includes bibliographical references (leaves 36-37).
The human voice is an important indicator of a person's gender. For male-to-female transgender individuals (or transsexuals) the voice is one of the most difficult parts of the gender transition. Males have larger and heavier vocal apparatuses (larynx and vocal folds), which generally produce a lower sound. Transgender women can have voice surgery, but it can sometimes cause a Minnie Mouse-like falsetto or the complete loss of the voice. As a result, many transgendered women turn to specially trained voice therapists to learn how to speak more convincingly like women. The voice's pitch, although important, is not the only factor in creating a more female sound. Intonation, resonance, volume, speech patterns and formant frequencies also play significant roles in making a realistic feminine sound. There continue to be many unanswered questions about how listeners perceive the voices of transgender women and how best to blend the voices of transwomen into a comfortable range. Transgender women have many hurdles to face as they transition from male to female, and possessing an authentic voice is a way to smooth out the bumpy path they face.
by Katharine Stoel Gammon.
S.M.in Science Writing
28
Miller, Alanna C. "The language of the heart, women finding voice through journal writing in groups." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ57439.pdf.
29
Schuster, Anne. "Coming to voice : identity and change in the teaching of writing to women." Master's thesis, University of Cape Town, 1997. http://hdl.handle.net/11427/18879.
Анотація:
As a teacher of creative writing, the researcher is interested in the most effective and appropriate approach to the teaching of writing to women. This study considers two approaches to the teaching of writing - writing as self expression, and writing as social practice. It outlines the theoretical framework of these two approaches, in terms of three key concepts - self, language and change. It looks at the implications of these approaches in terms of their approach to autobiography and in terms of 'the writing scene' - the context for women writers - and in particular, it looks at how women are affected by the approaches. The study then explores the implications of a feminist poststructuralist approach to the teaching of writing. The theoretical framework of this approach is discussed, again in terms of the three key concepts of self, language and change; and the approach is then 'translated' into the practical research of the study. Positioning itself as feminist advocacy research, it takes the form of an action research study where a series of writing workshops is designed and then facilitated in a selected group of women participants. The study analyses the process, the writing produced in the workshops, and the interviews with the participants after the workshops, in terms of how they reflect the central concepts, self, language and change of the feminist poststructuralist approach. The study concludes with a summary of the essential ingredients of a poststructuralist approach, it comments on the generalisability of the research to other groups, and comments on the research process in terms of the researcher's intentions as a piece of feminist advocacy research. In line with feminist research, the researcher is concerned that this dissertation is written in such a way as to be of practical use to a teacher of writing who might like to adopt a feminist poststructuralist approach. With this in mind, a complete set of workshop outlines is given in Appendix A, a complete set of handouts in Appendix B, and some resource material for teachers in Appendix C. Bibliography: pages 121-129.
30
Dantas, Ana Luiza Libanio. "The Autonomous Sex: Female Body and Voice in Alicia Kozameh's Writing of Resistance." Ohio University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1212634746.
31
Dantas, Ana Luiza Libânio. "The autonomous sex female body and voice in Alicia Kozameh's writing of resistance /." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1212634746.
32
Nemeth, Tünde H. (Tünde Helen) Carleton University Dissertation Canadian Studies. "Breaking the taboos; the interplay of silence and voice in Canadian women's writing." Ottawa, 1987.
33
Horn, Robin. "The Voice of Lockheed Martin." Honors in the Major Thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/418.
Анотація:
This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucfBachelors
English
Arts and Sciences
Technical Writing
34
Walsh, M. Christine. "A Case Study of a Polyphonic Literacy Apprentice: A Kindergarten Composer's Development of Voice and Genre Understanding through the Use of Multiple Sign Systems." [Kent, Ohio] : Kent State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1255978540.
Анотація:
Thesis (Ph.D.)--Kent State University, 2009.Title from PDF t.p. (viewed Apr. 3, 2010). Advisor: Beverly Timmons. Keywords: early writing, writing instruction, Kindergarten, voice in writing, genre understanding. Includes bibliographical references (p. 209-223).
35
Williams, Denise Rochelle. "The vagaries of voice in the composing process." CSUSB ScholarWorks, 1989. https://scholarworks.lib.csusb.edu/etd-project/445.
36
Watson, Rose E. (Rose Elliott). "Active or Passive Voice: Does It Matter?" Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc501082/.
Анотація:
This thesis reports on the use of active and passive voice in the workplace and classroom through analysis of surveys completed by 37 employees and 66 students. The surveys offered six categories of business writing with ten sets of two sentences each, written in active and passive voice. Participants selected one sentence from each set and gave a reason for each selection. The participants preferred active over passive 47 to 46 percent of opportunities, but they preferred mixed voice over both, 49 percent. The participants preferred active only for memos to supervisors; in the other five categories they preferred passive or mixed voice. Both males and females preferred mixed voice, and age appeared to influence the choices. They cited context as the most common reason for using passive.
37
Taylor, Neil. "Derrida's 'middle voice' : writing as differance and the textual 'limits' of our world." Thesis, University of Sussex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.246662.
Анотація:
Under the general theme of language and meaning, my precise purpose is to investigate Derrida's notion of writing as differance in relation to the 'problem' of the nature of the text conceptualized in terms of the binary opposition 'inside imaginary'Zoutside real'. That is, language construed as grounded within an hermetic realm of inner fictions or representational of a foundational outside world - the two limiting positions invoked by various extreme and untenable forms of anti-realism and realism. Thereby, I hope to clarify a way of providing a possible 'solution' to one of the major issues now confronting the philosophy oflanguage by means of what I call, for reasons which will become apparent, Derrida's 'Middle Voice'. In both form and content, my thesis as a whole traces the rhythm of Derridian writing as it complicates and confuses such boundaries as 'inside imaginary'Zoutside real', re-inscribing them as 'limited functions' of its movement between 'desire' and 'truth'. Hence, my Introduction begins by briefly contrasting Derrida's 'dynamic', non-linear, writing with Saussure's model of language and meaning. I then proceed to consider the implications of this with respect to Derrida's deconstruction of that major 'insidc'Zoutside' dualism of Western metaphysics, and I do this through readings of thinkers whose positions I take to err by overprivileging either side of these two extremes. Thus, Chapter One, starting from ubiquitous desire, is mainly concerned with the deconstruction of Lac an's linguistic re-interpretation of the Freudian unconscious. Chapter Two builds on my findings and, using as a paradigm the Barthesian text, considers Derridian writing as exceeding and moving 'outwards' from the concept of language over-idealized as an 'inside imaginary'. This, because of what, in Chapter Three I reveal as Derrida's 'middle voice' in terms of the 'rhythm' of writing, moving 'beyond' and 'between' any 'inside'foutside' opposition. Chapter Four thus shows Derrida's notion of the text, though historical and ethical through and through, also disturbing all reference to any foundational 'outside real' of history as envisaged by Jameson, Eagleton, and others. Finally, arguing against many of the standard interpretations, I give an original'writerly' reading of 'post analytical' philosophy in the form of Davidson's truth-conditions theory of meaning, showing that despite their radical differences, some of Davidson's ideas are remarkably congruent with Derridian writing. I draw to a close with a brief Conclusion, summarizing my findings in each of the chapters and placing Derrida's scriptural model of ,language' in relation to more general notions of complex dynamics and translation systems in, for example, the fields of cybernetics and biology. Finally, I end with a comprehensive Bibliography.
38
Joemets, Viivian. "Voice Outside the Verbal and the Musical. A Study on Human Voice in its relationto Body, Language, Writing, and Music in Western Culture." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040119.
Анотація:
La thèse vise à clarifier la notion de la voix et sa place dans la culture occidentale. La multiplicité de la voix est ici étudiée à partir de son origine biologique, fondement de toute expressivité vocale. Cette multiplicité est distinguée du verbal et du musical, ses principales manifestations dans la civilisation humaine. Dans le Chapitre 1 nous proposons une réflexion sur les modes naturels de la vocalité non langagière dont la communication holistique des espèces proto-humaines et l’expression vocale des jeunes enfants forment les principales manifestations. Le Chapitre 2 analyse les rapports du corps avec la voix en tant que signe de l’identité personnelle et preuve de la présence corporelle. Dans le Chapitre 3 nous traitons du statut de l’oralité définie comme la dimension sociale de la voix. Nous étudions l’influence de l’écriture et la domination du visuel exercée sur la voix. Les rapports entre la voix, le langage et la musique sont observés dans le Chapitre 4: nous demandons dans quel sens la voix, en dehors des structures verbales et musicales, peut avoir une signification. Le dernier chapitre est consacré à la voix musicale : une histoire de la voix musicale non verbale dans la tradition savante occidentale est esquissée. Le chant y est défini en tant qu’un acte fondamental de l’expressivité vocale chez l’homme, et non pas comme un art susceptible de superposer des structures linguistiques et musicales. Nous proposons une réflexion sur quelques exemples de l’art vocal contemporain sélectionnés selon leur rapport aux questions théoriques traitées dans la thèse. La thèse se veut comme un outil théorique dans le cadre de la théorie de la cultureThe present thesis aims at clarifying the notion of voice and its place in Western post-literacy culture from the aspect of vocal non-verbal expression and its artistization. The specificity of voice lies in its multiplicity, no single trait of voice may be viewed as representative of human vocality in its entirety. Rooted in human biology, vocal expressivity is inherently distinct from the verbal and the musical; Chapter 1 deals with natural modes of nonverbal vocality of proto-humans and pre-verbal children. A comparison of the functions of human and animal vocalization is made. In Chapter 2 the relation of voice to body is treated. We analyse voice as the mark of personal identity and physical presence. Chapter 3 looks into the question of orality, defined as the social dimension of voice, in post-literacy Western culture and analyse how the democratization of writing, printing, and recording may have influenced the status of voice. In Chapter 4 we ask whether voice outside the framework of language and music may convey meaning and whether such voice may be considered a sign. In the final chapter a brief historical overview of non-verbal vocal music is outlined and a proposition is made to define singing as a fundamental act of human vocal expressivity, not as an art form that superposes linguistic and musical structures. A selection of examples of contemporary voice art is subjected to theoretical reflection in the light of the issues related to vocal expressivity as discussed in the thesis. The aim of the thesis is to provide a theoretical tool for future researches on human expressive vocalization and its artistization in the field of culture studies
39
Ding, Dan Xiong Rutter Russell. "Historical and social contexts for scientific writing and use of passive voice toward an undergraduate science literacy course /." Normal, Ill. Illinois State University, 1998. http://wwwlib.umi.com/cr/ilstu/fullcit?p9835902.
Анотація:
Thesis (Ph. D.)--Illinois State University, 1998.Title from title page screen, viewed July 3, 2006. Dissertation Committee: Russell K. Rutter (chair), James R. Kalmbach, Dana K. Harrington. Includes bibliographical references (leaves 233-248) and abstract. Also available in print.
40
Brett, Susan Mae. "Self-portrait and the discovery of the female voice in the writing of Marguerite Duras." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25355.
Анотація:
Marguerite Duras' earlier works fit readily into the genre of the traditional novel and, like many early works of fiction, are often autobiographical
in content. Un Barrage contre le Pacifique (l950), for example, tells the story of her difficult childhood in Indochina where she was raised by a widowed mother. However, with Moderato Cantabile (1958) her writing style changes markedly. The author associates this alteration in style with a crisis in her personal life whereby her writing becomes poetic and the narrative content increasingly abstruse. It is with the writer's experimentation in film during the sixties and seventies that a group of works, referred to in this paper as the "India Song" texts, appear. In this group of works, beginning with Le Ravissement de Loi V. Stein (1964), and ending with Aurélia Steiner, Aurélia Steiner, Aurélia Steiner (1979), the same story is told and retold, yet the form of the language, the narration, and the dominant mode of perception alters remarkably from text to text. These texts together are proposed, in this study, to form a unique self-portrait of the author.
The thesis is divided into two parts. In Part I, the transition in writing style is considered as a movement away from an autobiographical mode into a self-portraiture mode. A comparison is made between the characteristics of her writing style in the texts following Moderato Cantabile and the characteristics of the self-portrait as outlined by Michel Beaujour in Miroirs d'encre. To elucidate the situation of the Durassian heroine prior to the self-portrait revealed in the "India Song" texts, the myth of Narcissus and Echo is utilized. This use of myth provides a background Gestalt against which the patterns within the fiction begin to appear.
Part II is a textual analysis of the "India Song" self-portrait works which include Le Ravissement de Loi V. Stein, Le Vice-Consul, L'Amour, La Femme du Gange, India Song, and Aurelia Steiner, Aurelia Steiner, Aurélia Steiner. The ancient Summarian myth of female initiation, the myth of Inanna, when applied to these texts, discloses the transformation
in perspective underlying the arcane surface patterns in which the same "story" reappears from text to text. From a one-dimensional world dominated by the masculine "regard", the reader is pulled, via the auditory,
into a multidimensional kinaesthetic feminine world of the "lower" senses that is referred to in the analysis as "l'écoute". It is this perspective that the female writing voice of Aurelia Steiner, culmination of this unusual self-portrait, offers to the reader.Arts, Faculty of
French, Hispanic, and Italian Studies, Department of
Graduate
41
Voth, Harman Karin. "Speak it mama : the voice of the mother contemporary British and North American fiction and poetry." Thesis, University of Sussex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.263917.
42
Spinks, James D. Jr. "Students' Perception of Engagement in a Third-Grade Writing Classroom." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/eps_diss/100.
Анотація:
Educators have been challenged for many years to engage their students, but often students still seem to be disengaged (Klem & Connell, 2004). Research indicates student engagement is critical to student achievement and success in school (Appleton, 2008; Connell, Spencer, & Aber, 1994; Easton, 2008; Fredricks, Blumenfeld, & Paris, 2004). Student engagement is imperative in all subject areas, yet, after considering the research, writing is a particularly significant school subject that may be impacted by student engagement.
Considering the research on engagement and the need to improve students’ literacy achievement, there is a compelling reason to know how and when students are engaged in writing. The aim of this study was to investigate the intersection of engagement theory and students’ engagement. Specifically, this inquiry focused on the students’ perceptions of engagement while identifying indicators of engagement and factors affecting engagement related to the student, task, or context within the writing classroom. My study addressed the following questions: (a) How can student’s engagement in a writing classroom be described? and (b) What are students’ perceptions of their engagement in a writing classroom?
The findings of this study prompt educators to consider the importance of focusing on engagement in our classrooms. Students identified factors that promoted their engagement: importance of choice, making connections and teacher modeling. This study also found engagement and attitude influenced each other resulting in a positive classroom environment. Finally, this research identified the significance of student voice and how students are able to ascertain their level of engagement, if asked.
43
Edwards, Jennifer Flory. ""My voice is me": Using currere to explore international students' constructions of voice and identity in a new language and culture." Miami University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=miami1617633374773987.
44
Tang, R. S. M. "An approach to written academic voice: exploring the interpersonal negotiations in student academic writing through APPRAISAL." Thesis, University of Birmingham, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521558.
45
Ambe, Martina Bi. "Exploring first-year Students’ Voice and Subjectivity in Academic Writing at a University in South Africa." University of the Western Cape, 2019. http://hdl.handle.net/11394/7300.
Анотація:
Magister Educationis - MEdLiteracy development in South African higher education is increasingly challenged by several issues in dialogue and language of tuition. Despite the widening of access to South African universities, research shows that a large majority of entry-level university students are still failing in their chosen programme of studies. Almost all universities in the democratic South Africa incorporate academic development programs in first-year modules as an awareness raising attempt to scaffold novice students into the vocabulary of their various disciplines. However, these development programs sometimes fail to address the language needs of some of the students who have had more than seven years of schooling in their first languages (IsiXhosa and Afrikaans). My study seeks to explore how additional language IsiXhosa and Afrikaans students understand and construct written knowledge in one literacy development course using English medium of instruction. I further explore lecturers’ and tutors’ perspectives of the demand of sounding a scholarly voice in academic writing by entry-level students in their new roles as scholars in the University of the Western Cape (UWC).Literature indicated gaps when it comes to students’ and lectures’ perceptions on the construction of voice in academic writing in a language that the students are not comfortable in.
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Bi, Ambe Martina. "Exploring first-year students’ voice and subjectivity in academic writing at a university in South Africa." University of the Western Cape, 2020. http://hdl.handle.net/11394/7222.
Анотація:
Magister Educationis - MEdLiteracy development in South African higher education is increasingly challenged by several issues in dialogue and language of tuition. Despite the widening of access to South African universities, research shows that a large majority of entry-level university students are still failing in their chosen programme of studies. Almost all universities in the democratic South Africa incorporate academic development programs in first-year modules as an awareness raising attempt to scaffold novice students into the vocabulary of their various disciplines. However, these development programs sometimes fail to address the language needs of some of the students who have had more than seven years of schooling in their first languages (IsiXhosa and Afrikaans). My study seeks to explore how additional language IsiXhosa and Afrikaans students understand and construct written knowledge in one literacy development course using English medium of instruction. I further explore lecturers’ and tutors’ perspectives of the demand of sounding a scholarly voice in academic writing by entry-level students in their new roles as scholars in the University of the Western Cape (UWC). Literature indicated gaps when it comes to students’ and lectures’ perceptions on the construction of voice in academic writing in a language that the students are not comfortable in. My choice to use an interpretive frame made my study a qualitative one. I used a case study approach in which qualitative data was collected from one-on-one in-depth interviews with fourteen participants, documents analysis and field notes collected during interview process. A constructivist view of knowledge further guided my study to support the view of knowledge being socially constructed in the process of enquiry. My findings were categorised according to the research questions and themes that emerged from my analysis. The four themes from my presentation guided the findings. The findings of this study indicated that, IsiXhosa and Afrikaans students in the study used their first languages as resource to understand, formal English in essay of assignments. The lecturers’ perspectives of voice showed differences in the students’ perceptions who were mostly overwhelmed with the proactive life of academia and the language they are required to write in. In this context, the lectures’ views of competence mismatched with students’ views who felt their views were stranded in the language of discomfort (English).
2021-04-30
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Mpoke-Bigg, Amba. "Leadership, Voice, and Visibility Strengthening African women’s voice and representation: A case study of the African Women Development Fund’s social justice writing workshop for women writers." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21974.
Анотація:
Despite recent gains in areas such as school attendance and literacy, the struggle for women’s rights and equality in Africa remains constant. Alongside the socio-economic barriers holding down millions of women, is the fight against the gender bias and stereotyping which puts women in the backseat of decision-making, policy-driving, or leadership roles.This dissertation project is a case study of a women’s social justice writing workshop run by the African Women’s Development Fund (AWDF), a Pan-African grant-making organisation. Convened three times since 2014, it brings together women from across the continent for a residential camp to sharpen participants’ skills in writing and communicating about social justice issues.This research project attempts to examine the workshop in the context of media for development theory and strategies, which see the media (print, electronic and new media) as the fundamental strategies that drive the process of communicating. (Manyozo). It also looks at its relevance in the context of gender inequalities in media representation in Africa in line with Beijing 1995’s global call.Although to a very limited scale, the study suggests that the workshop has played a small, yet significant role in conceptualising and implementation of a communication for development strategy that emphasizes capacity-building.Harnessing the power of storytelling, the five years since the workshop, has seen many of the African women who participated, produce local content, confidently representing and analysing “our own issues for ourselves in our diversities.” Through their writings, radio shows, news stories, blogs and public speaking engagements, they are joining powerful agents of change in bringing transformation to the struggle to combat gender stereotypes and inequality, which is still far from over.
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D'Souza, Karen. "Narratives of voice and silence : reading South Asian women's writing through the work of Gayatri Chakravorty Spivak." Thesis, Manchester Metropolitan University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.547402.
Анотація:
This thesis reinvigorates the subaltern theory of Gayatri Chakravorty Spivak through the application of her work to readings of fiction in English by South Asian women. The writers included in the study are rooted in the contemporary nation states of India, Pakistan and Bangladesh and their Diasporas. The thesis argues for the endurance of Spivak's focus on issues of representation and her recognition of the problematic history of theoretical inattention to the ways in which gender inflects retrieval of the subaltern voice. The insights generated by her work frame this investigation of how literary narratives may replicate the shadowy presence of women in the archives of the postcolonial nation. It also demonstrates how literary strategies and double-voiced narratives intrinsically seek to complicate understandings of voice and silence within particular frames of understanding. Thus, the study registers how literary interventions negotiate the complex positioning of women within and between indigenous cultural traditions. Mapping out a politics of voice and silence in South Asian contexts, the introductory chapter critiques three key ideas embedded in Spivak's theory: subject-formation of the subaltern; the relationship between subalternity and textuality; and how hegemonic structures are vexed by considerations of gender. The connections between these theoretical considerations and literary representation are made through a consideration of the pertinent debates related to South Asian women's writing and the possibilities for a gendered subaltern voice-consciousness. Chapter Two examines Anita Desai's Voices in the City (1965) alongside Nayantara Sahgal's Rich Like Us (1985) as they depict the early periods of nation building in post-Independence India. Chapter Three considers The Thousand Faces of Night (1992) by Githa Hariharan for its evocations of contemporary India contingent upon the relationship between traditional mythology and gender constructions. A trajectory tracing patterns of female subalternity is then completed in Chapter Four with a discussion of two novels critically exploring the continuities of cultural encodings in transnational settings which are inflected by diasporic histories and movements. Kamila Shamsie's Salt and Saffron (2000) and Monica Ali's Brick Lane (2003) are read for their exploration of the tensions between nationalist identities and notions of home which influence constructions of selfhood. The application of Spivak's work to critical readings of South Asian women's writing situates the literature as a subaltern history. The interplay of theory and practice defines subalternity as a fluid and unsettled category of being to frame a comprehensive understanding of women's positioning within the discourses of nation; it registers changes in the concerns articulated in post-Independence South Asian writing; it provides nuanced critical readings of fiction alert to key literary and cultural developments. The thesis extends and develops Spivak's treatment of historical silence to identify how literature might form an alternative archive attuned to the complexities of voicing the subaltern figure.
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Olwan, Samiha. "Gendered voice in Palestinian Women Bloggers' narratives: A postcolonial feminist approach to women writing in occupied spaces." Thesis, Olwan, Samiha (2018) Gendered voice in Palestinian Women Bloggers' narratives: A postcolonial feminist approach to women writing in occupied spaces. PhD thesis, Murdoch University, 2018. https://researchrepository.murdoch.edu.au/id/eprint/42796/.
Анотація:
In the last two decades, the online space has afforded Palestinians a significant platform for self-representation. The space has allowed for narratives of national identity to emerge, where memories can be evoked, home can be reconstructed and imagined, and an everyday narrative of the conflict is made available to local and global interlocutors. This thesis examines the online narratives of Palestinian women bloggers who are writing from positions of anticolonial struggle, and explores the ways in which gender is written into and represented by their narratives. Importantly, the blogs analysed in this thesis are treated as forms of online life writing. Conceiving of women’s online narratives in this way means approaching the question of gender by engaging with the grounded experiences of Palestinian women whose personal accounts provide not only the opportunity to write witness narratives, but also to negotiate, disrupt and subvert stories of the nation. From a postcolonial feminist perspective, and drawing extensively on the work of critical scholars, the work considers how these women’s writing enables them to negotiate their gendered identities and their feminist concerns in a political context where questions of the nation are prioritised, and where women have typically been assigned a primarily symbolic significance in bearing the nation biologically and culturally. This negotiation manifests itself in the ways in which these women write alternative ways of narrating and imagining the nation, as the bloggers question their previously assigned roles in the national struggle. In this way, the thesis also reveals the women’s imaginative and creative role in the larger dynamic struggle between politics and narrative, as they stand at the intersection of colonial, orientalist, nationalist and gendered constructions of the nation.
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Boehr, Christiane. "Enabling Spaces: A Rhetorical Exploration of Women Writing in Community." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin15535133573856.