The story-teller; or, Table-book of popular literature.: A collection of romances, short standard tales, traditions, and poetical legends of all nations; embracing the choicest productions, and forming a cheap and comprehensive library of minor fiction. With incidental notes, critical and illustrative.

WU 1952/53,

The story-teller : a collection of tales : original, translated, and selected.

Contains etchings after H. Corbould and others; also, woodcuts in the text, some of which are by George and Robert Cruikshank.

The Hindee story teller, or Entertaining expositor of the Roman, Persian and Nagree characters, simple and compound, in their application to the Hindoostanee language, as a written and literary vehicle.

Mode of access: Internet.

The k'haunie kineh-walla, or Eastern story-teller; a collection of Indian tales.

Mode of access: Internet.

The Library of fiction : or, Family story-teller, consisting of original tales, essays, and sketches of character.

Includes Dicken's The Tugg's at Ramsgate, and A little talk about spring and the sweeps.

How I became the first Aboriginal person in Australia to lead a national education organisation

In this paper, Bronwyn Fredericks reflects on how, in 1997, she became the National President of the Council of Australian Postgraduate Associations Inc. (CAPA). The paper describes the election process faced by Fredericks, and identifies some of her key achievements during her time as National President. In becoming the National President, Bronwyn became the first Aboriginal person in Australia to lead a national education organisation. The story within this paper is told from the author’s autobiographical memory, drawing on the cultural, social and political context in which the story and the author were (and are) situated (Wojecki 2007). In this way the story teller reveals story lines which have not previously been articulated (Wojecki 2007). Throughout this paper, Fredericks ‘re-stories’ her experiences of leadership.

Bases para la medida de un aprendizaje matemático significativo.

Construir la didáctica de la matemática como ciencia fundamental autónoma, que debe crear simultáneamente sus objetos de estudio y sus métodos, los cuales no deben ser los mismos de las ciencias experimentales. Muestra aleatoria compuesta por 30 estudiantes de primero de la especialidad de Ciencias. Propone un modelo de aprendizaje-enseñanza de las matemáticas que desarrolla y potencia más el pensamiento matemático. Aplica pruebas para medir la aptitud de los alumnos para resolver problemas y constatar la comprensión. Se basa en el análisis experimental. Utiliza la Hoja de Cálculo Lotus 1-2-3, el Turbo Basic para hacer programas estadísticos de cálculos y representaciones gráficas, el procesador de textos WP5.1, y los programas Story, Picture Maker, Picture Taker, Story Editor, Story Teller y Text Maker.. Se detecta un desajuste del acto didáctico en el aprendizaje-enseñanza de las Matemáticas. Se confirma que el razonamiento matemático es un proceso dinámico y secuenciado en el espacio y en el tiempo. Así, la competencia de un estudiante en el conocimiento de una materia tan específica como la matemática depende del camino recorrido en su trayectoria educativa.

O discurso do poder e o poder dos discursos em ensaio sobre As intermitências da morte de José Saramago

Pós-graduação em Letras - IBILCE

Osman Lins: ruptura e inovação em avalovara

In this article we analyze how the character of the story-teller is build up as a fictional creation in the novel Avalovara (1973) by Osman Lins (1924-1978).We associated the building process of the narrator-character to the poetic wich brings a fragmentary feature to the writer’s language, and reflects a search for some coherency in a given chaotic environment, wherein space itself becomes the role of a dialogue between identity and representation of the real in the construction of the narrative analyzed here.

Poética do surrealismo: uma leitura de Campos de Carvalho

In this article we analyze how the character of the story-teller is build up as a fictional creation in the novel Vaca de nariz sutil (1961) by Walter Campos de Carvalho (1916-1998). We associated the building process of the narrator-character to the poetic of the surrealism, process which brings a fragmentary feature to the writer’s language, and reflects a search for some coherency in a given chaotic environment, wherein space itself becomes the role of a dialogue between identity and representation of the real in the construction of the narrative analyzed here.

Aldo Rossi, autobiografia scientifica: scrittura come progetto. Indagine critica tra scrittura e progetto di architettura

«In altri termini mi sfuggiva e ancora oggi mi sfugge gran parte del significato dell’evoluzione del tempo; come se il tempo fosse una materia che osservo dall’esterno. Questa mancanza di evoluzione è fonte di alcune mie sventure ma anche mi appartiene con gioia.» Aldo Rossi, Autobiografia scientifica. The temporal dimension underpinning the draft of Autobiografia scientifica by Aldo Rossi may be referred to what Lucien Lévy-Bruhl, the well-known French anthropologist, defines as “primitive mentality” and “prelogical” conscience : the book of life has lost its page numbers, even punctuation. For Lévy-Bruhl, but certainly for Rossi, life or its summing up becomes a continuous account of ellipses, gaps, repetitions that may be read from left to right or viceversa, from head to foot or viceversa without distinction. Rossi’s autobiographical writing seems to accept and support the confusion with which memories have been collected, recording them after the order memory gives them in the mental distillation or simply according to the chronological order in which they have happened. For Rossi, the confusion reflects the melting of memory elements into a composite image which is the result of a fusion. He is aware that the same sap pervades all memories he is going to put in order: each of them has got a common denominator. Differences have diminished, almost faded; the quick glance is prevalent over the distinction of each episode. Rossi’s writing is beyond the categories dependent on time: past and present, before and now. For Rossi, the only repetition – the repetition the text will make possible for an indefinite number of times – gives peculiarity to the event. As Gilles Deleuze knows, “things” may only last as “singleness”: more frequent the repetition is, more singular is the memory phenomenon that recurs, because only what is singular magnifies itself and happens endlessly forever. Rossi understands that “to raise the first time to nth forever”, repetition becomes glorification . It may be an autobiography that, celebrating the originality, enhances the memory event in the repetition; in fact it greatly differs from the biographical reproduction, in which each repetition is but a weaker echo, a duller copy, provided with a smaller an smaller power in comparison with the original. Paradoxically, for Deleuze the repetition asserts the originality and singularity of what is repeated. Rossi seems to share the thought expressed by Kierkegaard in the essay Repetition: «The hope is a graceful maiden slipping through your fingers; the memory of an elderly woman, indeed pretty, but never satisfactory if necessary; the repetition is a loved friend you are never tired of, as it is only the new to make you bored. The old never bores you and its presence makes you happy [...] life is but a repetition [...] here is the beauty of life» . Rossi knows well that repetition hints at the lasting stability of cosmic time. Kierkegaard goes on: «The world exists, and it exists as a repetition» . Rossi devotes himself, on purpose and in all conscience, to collect, to inventory and «to review life», his own life, according to a recovery not from the past but of the past: a search work, the «recherche du temps perdu», as Proust entitled his masterpiece on memory. If you want the past time to be not wasted, you must give it presence. «Memoria e specifico come caratteristiche per riconoscere se stesso e ciò che è estraneo mi sembravano le più chiare condizioni e spiegazioni della realtà. Non esiste uno specifico senza memoria, e una memoria che non provenga da un momento specifico; e solo questa unione permette la conoscenza della propria individualità e del contrario (self e non-self)» . Rossi wants to understand himself, his own character; it is really his own character that requires to be understood, to increase its own introspective ability and intelligence. «Può sembrare strano che Planck e Dante associno la loro ricerca scientifica e autobiografica con la morte; una morte che è in qualche modo continuazione di energia. In realtà, in ogni artista o tecnico, il principio della continuazione dell’energia si mescola con la ricerca della felicità e della morte» . The eschatological incipit of Rossi’s autobiography refers to Freud’s thought in the exact circularity of Dante’s framework and in as much exact circularity of the statement of the principle of the conservation of energy: in fact it was Freud to connect repetition to death. For Freud, the desire of repetition is an instinct rooted in biology. The primary aim of such an instinct would be to restore a previous condition, so that the repeated history represents a part of the past (even if concealed) and, relieving the removal, reduces anguish and tension. So, Freud ask himself, what is the most remote state to which the instinct, through the repetition, wants to go back? It is a pre-vital condition, inorganic of the pure entropy, a not-to-be condition in which doesn’t exist any tension; in other words, Death. Rossi, with the theme of death, introduces the theme of circularity which further on refers to the sense of continuity in transformation or, in the opposite way, the transformation in continuity. «[...] la descrizione e il rilievo delle forme antiche permettevano una continuità altrimenti irripetibile, permettevano anche una trasformazione, una volta che la vita fosse fermata in forme precise» . Rossi’s attitude seems to hint at the reflection on time and – in a broad sense – at the thought on life and things expressed by T.S. Eliot in Four Quartets: «Time present and time past / Are both perhaps present in time future, / And time future is contained in time past. / I all time is eternally present / All time is unredeemable. / What might have been is an abstraction / Remaining perpetual possibility / Only in a word of speculation. / What might have been and what has been / Point to one end, which is always present. [...]» . Aldo Rossi’s autobiographical story coincides with the description of “things” and the description of himself through the things in the exact parallel with craft or art. He seems to get all things made by man to coincide with the personal or artistic story, with the consequent immediate necessity of formulating a new interpretation: the flow of things has never met a total stop; all that exists nowadays is but a repetition or a variant of something existing some time ago and so on, without any interruption until the early dawnings of human life. Nevertheless, Rossi must operate specific subdivisions inside the continuous connection in time – of his time – even if limited by a present beginning and end of his own existence. This artist, as an “historian” of himself and his own life – as an auto-biographer – enjoys the privilege to be able to decide if and how to operate the cutting in a certain point rather than in another one, without being compelled to justify his choice. In this sense, his story is a matter very ductile and flexible: a good story-teller can choose any moment to start a certain sequence of events. Yet, Rossi is aware that, beyond the mere narration, there is the problem to identify in history - his own personal story – those flakings where a clean cut enables the separation of events of different nature. In order to do it, he has to make not only an inventory of his own “things”, but also to appeal to authority of the Divina Commedia started by Dante when he was 30. «A trent’anni si deve compiere o iniziare qualcosa di definitivo e fare i conti con la propria formazione» . For Rossi, the poet performs his authority not only in the text, but also in his will of setting out on a mystical journey and handing it down through an exact descriptive will. Rossi turns not only to the authority of poetry, but also evokes the authority of science with Max Plank and his Scientific Autobiography, published, in Italian translation, by Einaudi, 1956. Concerning Planck, Rossi resumes an element seemingly secondary in hit account where the German physicist «[...] risale alle scoperte della fisica moderna ritrovando l’impressione che gli fece l’enunciazione del principio di conservazione dell’energia; [...]» . It is again the act of describing that links Rossi to Planck, it is the description of a circularity, the one of conservation of energy, which endorses Rossi’s autobiographical speech looking for both happiness and death. Rossi seems to agree perfectly to the thought of Planck at the opening of his own autobiography: «The decision to devote myself to science was a direct consequence of a discovery which was never ceased to arouse my enthusiasm since my early youth: the laws of human thought coincide with the ones governing the sequences of the impressions we receive from the world surrounding us, so that the mere logic can enable us to penetrate into the latter one’s mechanism. It is essential that the outer world is something independent of man, something absolute. The search of the laws dealing with this absolute seems to me the highest scientific aim in life» . For Rossi the survey of his own life represents a way to change the events into experiences, to concentrate the emotion and group them in meaningful plots: «It seems, as one becomes older. / That the past has another pattern, and ceases to be a mere sequence [...]» Eliot wrote in Four Quartet, which are a meditation on time, old age and memory . And he goes on: «We had the experience but missed the meaning, / And approach to the meaning restores the experience / In a different form, beyond any meaning [...]» . Rossi restores in his autobiography – but not only in it – the most ancient sense of memory, aware that for at least 15 centuries the Latin word memoria was used to show the activity of bringing back images to mind: the psychology of memory, which starts with Aristotele (De Anima), used to consider such a faculty totally essential to mind. Keith Basso writes: «The thought materializes in the form of “images”» . Rossi knows well – as Aristotele said – that if you do not have a collection of mental images to remember – imagination – there is no thought at all. According to this psychological tradition, what today we conventionally call “memory” is but a way of imagining created by time. Rossi, entering consciously this stream of thought, passing through the Renaissance ars memoriae to reach us gives a great importance to the word and assumes it as a real place, much more than a recollection, even more than a production and an emotional elaboration of images.

The collected works of George Moore.

"The Carra edition."

The collected works of George Moore.

Vol. 1-21: The Carra edition.

MASHALIM PARA CONTAR - SUBSÍDIOS PARA A EDUCAÇÃO PARA A PRUDENTIA

Essa pesquisa tem por objetivo estudar o significado e o alcance educativos, por um lado da virtude da prudentia e, por outro, da arte de contar mashalim. O objetivo específico é elaborar uma coletânea que ajude a resgatar a relação prudentia / narrativas na formação de professores de ensino fundamental e médio e também dotar o docente de um material que sirva para que ele mesmo elabore o seu próprio repertório nesse campo. O material aqui apresentado é uma coletânea acompanhada de reflexões filosóficas e pedagógicas, que ajudaram a compreender os valores antropológicos das situações envolvidas. Para isso, apoiamo-nos no referencial teórico clássico de Tomás de Aquino, especialmente em seus estudos sobre essa virtude (Tomás de Aquino, 2005), e em seus intérpretes contemporâneos: Josef Pieper e Jean Lauand. Além disso, foi central a minha experiência pessoal como contadora de histórias que se baseia no psicodramatista Moreno, no biólogo Maturana e em teóricos que têm desenvolvido trabalhos referentes à leitura e escrita para ampliar o diálogo com os professores.