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- Killander Cariboni, Carla
(författare)
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Discussing the Thesis Writing : How do doctoral students and supervisors communicate?
- 2017
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Ingår i: EDULEARN17 Proceedings. - 9788469737774 ; 2017, s. 9189-9197
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Konferensbidrag (refereegranskat)abstract
- Effective communication between students and supervisors has been shown to be of importance for a high quality doctoral education by many pedagogical studies (Manathunga [1], Delamont, Aktinson and Parry [2], Halse and Malfroy [3], Bergnéher [4]). This contribution focuses on communication between supervisors and doctoral students with regard to the writing of the doctoral thesis. When it comes to supervising the thesis writing process, researchers emphasize the importance of taking four aspects into account: The thesis addressee (For whom does one write?); The kind of texts to be discussed during supervisory meetings (How preliminary should they be?); Writing planning (Is it necessary or not?); Feedback (What kind?). These aspects become even more crucial when the thesis is written in a foreign language, which is the case in the present study, based on empirical data collected within third-cycle education in foreign languages (specialization in French and Italian linguistics) at Lund University in Sweden.With the aim of investigating whether and how the four topics above were actually discussed during the supervisory meetings, four supervisors and their respective doctoral students, having completed their education, were interviewed individually. This contribution accounts for and analyzes their testimonies.The testimonies provide evidence of varying degrees of effectiveness in the communication. The results show that there are no given answers to the four questions above, which in itself proves that they need to be discussed. More importantly, the results clearly indicate that such a discussion is essential to achieve the goals of a doctorate, namely a thesis of an excellent scientific standard and the recognition of an autonomous researcher. From the analysis of the participants’ answers it emerges that the communication must be open (not based on assumptions), on a regular basis (since different decisions can be made at different phases of the writing process) and constructive (selfconfidence being a major quality of the independent researcher).
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- Killander Cariboni, Carla
(författare)
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La sceneggiatura teatrale inedita di “La Virtù di Checchina” : Discorso indiretto libero e modo iterativo nel transfer intermediale
- 2017
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Ingår i: Revue Romane. - : John Benjamins Publishing Company. - 0035-3906. ; 52:2, s. 283-301
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Tidskriftsartikel (refereegranskat)abstract
- This article deals with a comparison between Matilde Serao’s short story “Checchina’s Virtue” ( 1884 ) and the homonymous unpublished theatrical script written by Massimo Franciosa ( 1995 ), of which a summary is provided. The comparison between the source text and the adaptation draws on the debate about the narrativity of drama in which many scholars have engaged in the last decades: Richardson (1987) , Chatman (1990) , Jahn (2001) , Fludernik (2008) and Nünning & Sommer (2008) . The analysis focuses on two forms of diegetic narrativity that appear in the short story, i. e. free indirect discourse and the iterative mode, in order to see how the theatrical script deals with them. The analysis shows that the script preserves the narrative contents of the source text and highlights how diegetic and mimetic narrativity collaborate to the reworking and redistribution of those contents.
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- Killander Cariboni, Carla
(författare)
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Paniers à salade : Itinéraire en pays modianesque
- 2018
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Ingår i: Moderna Språk. - 2000-3560. ; 112:1, s. 61-83
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Forskningsöversikt (refereegranskat)abstract
- Since its first appearance in the novel La Place de l’étoile (1968), the motif of the police van (panier à salade) has never stopped showing up in Modiano’s works. This article focusses on the scene with the police van in seven novels, in order to show its obsessional character. The analysis shows that the police van appears in a scenario which the reader recognizes from one novel to another, despite some slight differences. In its most recurrent form, the scenario develops as follows: a character who has been stopped by the police can’t prove his/her identity and is transported to the police station in a van. The analysis also shows that this vehicle is emblematic of the past, which is the very substance of Modiano’s novels: on the one hand the collective past (the persecutions of the Jews during the German occupation of France) and on the other the individual past (a loveless relationship between the homodiegetic narrator and mostly his father, during the sixties). This article suggests that the very particular re-writing process at work in Modiano’s novels, where the same motifs, places and kinds of character reappear from one novel to another, creating a strong impression of autobiographical authenticity, presupposes a specific kind of reader, who reads more than one single novel and who needs to re-read.
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- Killander Cariboni, Carla
(författare)
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Reading as a transmediating activity : the screenplay of Checchina’s virtue
- 2016
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Konferensbidrag (refereegranskat)abstract
- The screenplay written by Italian screenwriter and film director Massimo Franciosa in 1995 andfreely based on the short story Checchina’s virtue (1884) by Italian novelist and journalist MatildeSerao (1856-1927) is an example of those submedia ”designed especially to be transmediated”,according to Elleström (2014, 26). The transmediation never occurred however, since the filmnever came into being, due to financial problems. The typewritten screenplay lies at the library ofthe national film institute in Rome, with its transmedial potential practically unexploited.Elleström’s remark that “both material and mental aspect must be included when theorizingabout media” (2014, 49) invites me to focus on the mental representation triggered by the“sensory configuration” of this screenplay. In my contribution I argue that the transmedialpotential of the screenplay is ideally realized through reading and that the cognitive import forthe reader will supposedly not be the same in the case of the screenplay and of the short story, noteven for the parts of these two media products that are very similar or literally identical.Elleström, Lars, 2014, Media Transformation: the Transfer of Media Characteristics Among Media,Palgrave Macmillan.
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