Resumen: Las técnicas de Gianni Rodari y Edward de Bono tienen gran importancia pues promueven el interés del estudiante en el proceso de producción de textos a través de la experimentación, que se logra al aplicar la metodología lúdica y el pensamiento creativo en las aulas. Por esta razón, la investigación tuvo como objetivo analizar las técnicas de Gianni Rodari y Edward De Bono como una estrategia de enseñanza para mejorar el proceso de escritura creativa en estudiantes de educación general básica en Ecuador. El escrito se elaboró empleando un enfoque deductivo, respaldado además por una investigación documental con enfoque cualitativo. No obstante, en cuanto a los resultados obtenidos, se evidenció a través del informe presentado por el Instituto Nacional de Evaluación Educativa en las pruebas Pisa que el promedio de Ecuador en lectura es de 409, lo que lo sitúa en nivel 2 que corresponde al nivel mínimo de competencias. Esto se debe al desconocimiento de técnicas y estrategias innovadoras en el ámbito escolar. Se concluyó que dichas técnicas estimulan la imaginación al tiempo que refuerza la confianza y autoestima del niño o niña, mejora la capacidad comunicativa y de escritura, y desarrolla el pensamiento crítico desde la expresión personal.

Abstract: The techniques of Gianni Rodari and Edward de Bono are of great importance, since they promote the student's interest in the process of text production through experimentation, which is achieved by applying the playful methodology and creative thinking in the classroom. Thus, the research aims to analyze the Techniques of Gianni Rodari and Edward De Bono as a teaching strategy to improve the creative writing process in students of general basic education in Ecuador. It can be indicated that the writing was elaborated using a deductive approach, supported by documentary research with a qualitative approach. However, as for the results obtained, it was evidenced through the report presented by INEVAL in the Pisa tests that Ecuador's average in reading is 409, which places it in level 2, the minimum level of competencies, this is due to the lack of knowledge of innovative techniques and strategies in the school environment. In summary, these techniques stimulate the imagination while reinforcing the child's confidence and self-esteem, improve communication and writing skills, and finally, develop critical thinking through personal expression.

Resumen El texto reproduce y amplía una conferencia dada por el autor en donde reflexiona brevemente acerca del estilo de escritura en la sociología. El punto central de la reflexión es la relación entre la sociología y la literatura, y cómo esta relación puede ser fructífera para ir más allá de la tradición sociológica en la forma de expresar sus ideas. A través de tres 'actos', el autor presenta algunos ejemplos que han sido inspiradores en su propia práctica de escritura sociológica y, al mismo tiempo, resalta su poca experiencia en la escritura literaria.

Resumo O texto reproduz e amplia uma palestra proferida pelo autor onde ele reflete brevemente sobre o estilo de escrita em sociologia. O ponto central da reflexão é a relação entre sociologia e literatura, e como essa relação pode ser fecunda para ir além da tradição sociológica na forma de expressar suas ideias. Através de três 'atos', o autor apresenta alguns exemplos que têm sido inspiradores na sua própria prática de escrita sociológica e, ao mesmo tempo, destaca a falta de experiência na escrita literária.

Abstract This essay reproduces and extends a conference given by the author in which he briefly reflects on the writing style in sociology. The central point of the reflection is the relationship between sociology and literature and how this relationship can be fruitful in going beyond the sociological tradition in expressing their ideas. Through three 'acts', the author presents some examples that have been inspiring in his practice of sociological writing and, at the same time, highlights his little experience in literary writing.

Abstract The so calledEngagedHumanities explore nowadayswhatcivicsmeantfor liberal education. Technologicaldevelopmentneeds the imagination and judgment that the artscultivate, butitoftenforgets that the creative criticalfacultyis a force that makesus human. Walter Benjamin's theoryofimagepointsto a wayofthinking and writing that favorssimultaneity and constellationovercontinuity, creating a distractedreader, someone “distracted from distractionbydistraction” (Eliot).

Resumen Las así llamadas Humanidades Públicas exploran hoy aquello que la educación cívica llamó educación liberal. El desarrollo tecnológico requiere de la imaginación y el juicio que las artes cultivan, pero a menudo olvida que la capacidad crítico-creativa es la fuerza que nos humaniza. La teoría de la imagen de Walter Benjamin señala una vía de pensar y escribir que estimula la simultaneidad y lo constelacional en detrimento de la continuidad, creando un lector distraído, alguien “distraído de la distracción por la distracción” (Eliot).

Abstract The recent history of Ecuador is addressed, focusing on the figure of former president León Febres-Cordero, based on two projects carried out with the students of the Film School of the University of the Arts of Ecuador. In Delirar el archivo we start from the Deleuzian formula "writing is a form of delirium" in order to reread the images of Guayaquil's past. In Remontar la historia, likewise, a critical-creative methodology is used to redefine the visual archives of the newspaper El Telégrafo through recontextualizations in public space. The analysis of these audiovisual pieces allowed the configuration of a typology of images (erasure-image, mimetic-image, mixed-image, image-architecture and image-sculpture) and a series of principles on the use of files: openness, intertextuality, multiplicity, reflexivity and memory.

Resumen Se aborda la historia reciente de Ecuador centrando la mirada en la figura del expresidente León Febres-Cordero, a partir de dos proyectos realizados con las y los estudiantes de la Escuela de Cine de la Universidad de las Artes del Ecuador. En Delirar el archivo se parte de la fórmula deleuziana «escribir es una forma de delirar» con el fin de releer las imágenes del pasado guayaquileño. En Remontar la historia, igualmente, se utiliza una metodología crítico-creativa para resignificar los archivos visuales del diario El Telégrafo por medio de recontextualizaciones en el espacio público. El análisis de estas piezas audiovisuales permitió la configuración de una tipología de imágenes (imagen-borramiento, imagen-mimética, imagen-entreverada, imagen-arquitectura e imagen-escultura) y una serie de principios sobre el uso de los archivos: de apertura, de intertextualidad, de multiplicidad, de reflexividad y de memoria.

ABSTRACT The text highlights the versatility and purposes of creative writing as a means to recreate experiences, explore emotions, providing perspective and meaning to the written reality, through a creative writing workshop experience that emerged as a result of the COVID-19 pandemic lockdown in 2020; an experience that served therapeutic purposes for the participants, also glimpsing an autoethnographic experience for their facilitator. The aim is to emphasize the practice of creative writing, using literary, psychological techniques and tools to stimulate the transformation of an idea into a sensation and then into a narrative. The text finally points out that writing is a form of personal and social affirmation. Creative writing is a useful mechanism for recognizing sensitivity, giving rise to a multiplicity of voices and perspectives in creation beyond classifications in genres or discursive typifications.

RESUMEN El texto resalta la versatilidad y los propósitos de la escritura creativa como medio para recrear vivencias y explorar emociones, así como brindar perspectiva y significado a la realidad escrita, por medio de una experiencia de escritura creativa en formato taller, que surgió a raíz del confinamiento por la pandemia de covid-19 en 2020. Esta experiencia cumplió fines terapéuticos para los participantes y atisbó, asimismo, una experiencia autoetnográfica para su orientadora. El objetivo es enfatizar la práctica de escritura creativa, con el empleo de técnicas y herramientas literarias y psicológicas, para estimular la transformación de una idea en una sensación y esto a su vez en un relato. El texto apunta finalmente a que la escritura es una forma de afirmación personal y social. La escritura creativa es un mecanismo útil para reconocer lo sensitivo, lo que da lugar a la multiplicidad de voces y perspectivas en la creación, más allá de las clasificaciones en géneros o tipificaciones discursivas.

ABSTRACT The objective of the workshop is to share the reading of micro-stories written by women. The participants (n=63) correspond to different groups of Compulsory Secondary Education and Baccalaureate in the province of Cadiz (Spain). The method is based on the selection of a corpus of texts with a gender perspective, discussion and creative writing. The results indicate the need to support literary projects from a gender perspective, as well as the encouragement of creative writing among students as a shared means of expression. microstories micro stories women n=63 n63 n 63 (n=63 Spain. Spain . (Spain) perspective expression n=6 n6 6 (n=6 (Spain n= (n= (n

RESUMEN El taller tiene como objetivo compartir la lectura de microrrelatos escritos por mujeres. Los participantes (n=63) corresponden a distintos grupos de Educación Secundaria Obligatoria y Bachillerato de la provincia de Cádiz (España). El método se basa en la selección de un corpus de textos con una temática desde una perspectiva de género, la tertulia y la escritura creativa. Los resultados indican la necesidad de apostar por proyectos literarios desde una perspectiva de género, así como la incentivación de la escritura creativa en el alumnado como medio de expresión compartido. mujeres n=63 n63 n 63 (n=63 España. España . (España) género compartido n=6 n6 6 (n=6 (España n= (n= (n

Resumo Gianni Rodari apresenta propostas lúdicas que se mostram alternativas consistentes para o desenvolvimento de produções textuais em sala de aula. Para o autor, o erro não é algo equivocado e a ser consertado, mas uma possibilidade criativa de escrita e reescrita. Nesta pesquisa-ação o objetivo é analisar os resultados da aplicação de algumas das propostas rodarianas no processo de escrita e reescrita das narrativas ficcionais dos estudantes de uma turma do 5.º ano, em um colégio particular do município de Curitiba. A pesquisa ressalta a eficácia da utilização dessas propostas e destaca-as como possibilidades na formação de leitores e escritores do literário já nos anos iniciais do Ensino Fundamental. aula autor consertado pesquisaação ação 5º º 5 ano Curitiba destacaas destaca as Fundamental

Abstract Gianni Rodari (1982) presents consistent and entertaining alternatives for classroom textual production. Accordingly, an error is not a mistake to be corrected but a creative possibility of writing and rewriting. The objective of this action-research was to analyze the results of applying Rodarian proposals to the process of writing and rewriting fictional stories of 5th-grade students at a private school in Curitiba, Brazil. We conclude that the proposals efficiently formed literary readers and writers in elementary school. 1982 (1982 production Accordingly actionresearch action research 5thgrade thgrade 5th grade th Curitiba Brazil 198 (198 19 (19 1 (1 (

RESUMO A escrita feminina no Chile se produziu no início do século XIX, paralelamente à construção do Estado-nação. No início do século XX, aliadas ao movimento protofeminista, as redes associativas de mulheres começaram a ganhar relevância e força coletiva. Várias escritoras e poetas estabeleceram relações de solidariedade e apoio criativo. Este artigo busca estabelecer essas redes de escritoras e artistas fornecendo evidências para a construção de uma genealogia feminina na escrita crítica de arte no Chile e propor novas histórias possíveis sobre os processos criativos das mulheres durante cem anos de história. XIX Estadonação. Estadonação Estado nação. nação Estado-nação XX protofeminista coletiva criativo história

ABSTRACT Women’s writing in Chile was produced at the beginning of the 19th century, parallel to the construction of the nation-state. At the beginning of the 20th century, combined with the proto-feminist movement, women’s associative networks began to gain relevance and collective strength. Several writers and poets established relationships of solidarity and creative support. This article seeks to establish those networks of writers and artists providing evidence for the construction of a female genealogy in critical art writing in Chile and propose new possible stories about women’s creative processes during a hundred years of history. Womens Women s th century nationstate. nationstate nation state. state nation-state protofeminist proto feminist movement womens women strength support history

RESUMEN La escritura de mujeres en Chile se produjo a principios del siglo XIX, paralelamente a la construcción del Estado-nación. A principios del siglo XX, combinadas con el movimiento protofeminista, las redes asociativas de mujeres comenzaron a ganar relevancia y fuerza colectiva. Diversas escritoras y poetas establecieron relaciones de solidaridad y apoyo creativo. Este artículo busca establecer esas redes de escritoras y artistas que evidencian la construcción de una genealogía femenina en la escritura crítica de arte en Chile y proponer nuevos relatos posibles sobre los procesos creativos de las mujeres durante cien años de historia. XIX Estadonación. Estadonación Estado nación. nación Estado-nación XX protofeminista colectiva creativo historia

BACKGROUND: Teachers are responsible for curriculum implementation and transformation. Therefore, they are viewed as the primary agents of change in teaching and learning. As agents of change, they are responsible for being innovative and creative in their teaching and learning in their English First Additional Language (EFAL) class. OBJECTIVES: The study aimed to explore South African teachers as agents of change in teaching EFAL in their Grade 3 classes. METHOD: This study adopted a qualitative research approach with an interpretivist paradigm. The researcher wanted to explore teachers' lived experience as agents of change in the Foundation Phase class. A case study design with purposive sampling was used. RESULTS: The findings revealed that teachers understood their roles and responsibilities as change agents in their classrooms. They agreed they were responsible for implementing the curriculum to improve basic literacy skills among EFAL learners. CONCLUSION: The study found that teachers, as agents of change, needed support in continuous professional development to implement the curriculum. They also highlighted the need for help from their school management teams. CONTRIBUTION: This study contributes to a deeper understanding of the role of the EFAL teacher. They are no longer mediators of learning but agents of change in teaching, learning and curriculum adaptation. Their roles go beyond imparting knowledge to learners. They are developers and mediators of critical thinking, decision-making, communication, use of technology and relationship-building skills.

BACKGROUND: Teaching creative writing in the early grades provides learners with the opportunity to express their thoughts and ideas which contributes to their holistic development. Curriculum documents have been neatly laid out, yet in practice, it is challenging, and teachers struggle to find effective ways of teaching and assessing creative writing skills. OBJECTIVES: The purpose of this study was to examine the challenges that teachers experience in implementing the creative writing curriculum in Grade 3. METHOD: The study adopted a descriptive qualitative approach which used an exploratory case study design. Purposive sampling was employed to recruit six Grade 3 teachers from two selected primary schools. Focus group interviews, classroom observations and document analysis were used to generate data. RESULTS: The results revealed that the intended curriculum for teaching writing skills is not necessarily the curriculum that is implemented in schools. Teachers were frustrated although helpful guidelines were available in the policy document. Genres like opinion writing were neglected. CONCLUSION: The impact of and challenges (such as didactical neglect, subject-related issues, and negative teacher attitudes) related to misinterpretation or even a lack of knowledge of curriculum documents were discussed, and practical recommendations were made. CONTRIBUTION: The study recommends that a joint effort be made between all role players, such as the school management and teachers to deal with the challenges stemming from a lack of knowledge of curriculum documents. Teacher training programmes should include curriculum knowledge as part of their training.

Abstract Contrary to most critical literature on Alberto Mussa (1961, Rio de Janeiro), this article focuses not only on one of his books or short stories but rather on a comprehensive overview of his work. By quickly analyzing all of his novels and short story collections, the study offers a comprehensive overview of his literature, proposing a schema for understanding his oeuvre, utilizing some conceptual images: there is a cartographic moment (1997-2006), in which Mussa experiments with form, selecting what suits best his fiction. Then, there is a radical intermission (2007-2010), in which he moves a little bit away from creative literature and explores what he deems the “roots” of his poetics, i.e., works, genres, and figures he considers foundational to his writing. Finally, there is an expeditionary moment (2011-2018), with a concentration of efforts into a single project: the novels of his Mythical Compendium of Rio de Janeiro (Compêndio Mítico do Rio de Janeiro). 1961, 1961 (1961 Janeiro, , Janeiro) work collections oeuvre images 19972006, 19972006 1997 2006 (1997-2006) form fiction Then 20072010, 20072010 2007 2010 (2007-2010) roots “roots poetics ie i e i.e. works genres writing Finally 20112018, 20112018 2011 2018 (2011-2018) project Compêndio Janeiro. . 196 (196 1997200 199 200 (1997-2006 2007201 201 (2007-2010 i.e 2011201 (2011-2018 19 (19 199720 20 (1997-200 200720 (2007-201 201120 (2011-201 1 (1 19972 2 (1997-20 20072 (2007-20 20112 (2011-20 ( (1997-2 (2007-2 (2011-2 (1997- (2007- (2011- (1997 (2007 (2011 (199 (200 (201 (20 (2

Resumo Na contramão da maior parte da fortuna crítica sobre Alberto Mussa (1961, Rio de Janeiro-RJ), este artigo escolhe não uma abordagem parcial, restrita a um livro ou conto, e sim uma visão de conjunto da obra. A partir de uma leitura sintética de seus principais livros, o trabalho propõe um esquema para a compreensão do conjunto, valendo-se de algumas imagens conceituais: haveria um momento cartográfico (1997-2006), em que o autor testa recursos formais e deles se apropria; depois, um intervalo radical (2007-2010), em que Mussa diminui a preponderância da ficção em sua escrita, em busca de um diálogo com suas “raízes”, isto é, obras, gêneros e figuras por ele tomados como base de sua poética; e, por fim, um momento expedicionário (2011-2018), quando seus esforços criativos se voltam para um único projeto: os romances do Compêndio Mítico do Rio de Janeiro. 1961, 1961 (1961 JaneiroRJ, JaneiroRJ Janeiro RJ , Janeiro-RJ) parcial conto obra livros valendose valendo conceituais 19972006, 19972006 1997 2006 (1997-2006) apropria depois 20072010, 20072010 2007 2010 (2007-2010) escrita raízes, raízes “raízes” é obras poética fim 20112018, 20112018 2011 2018 (2011-2018) projeto 196 (196 Janeiro-RJ 1997200 199 200 (1997-2006 2007201 201 (2007-2010 “raízes 2011201 (2011-2018 19 (19 199720 20 (1997-200 200720 (2007-201 201120 (2011-201 1 (1 19972 2 (1997-20 20072 (2007-20 20112 (2011-20 ( (1997-2 (2007-2 (2011-2 (1997- (2007- (2011- (1997 (2007 (2011 (199 (200 (201 (20 (2

Resumen En contraposición a la mayoría de los estudios sobre la ficción de Alberto Mussa (1961, Rio de Janeiro), este artículo elige analizar no solo un libro o algunos cuentos, sino el conjunto de su obra. Analiza de modo rápido todas sus novelas y reuniones de cuentos y ofrece una nueva manera de comprender el conjunto de la literatura de Mussa, utilizando algunas imágenes conceptuales: habría un tiempo cartográfico (1997-2006), en el que el escritor prueba recursos de la forma literaria, eligiendo los que le parecen más interesante. Después, un intervalo radical (2007-2010), con un apartamiento temporario de la ficción en su escritura, buscando un diálogo con sus “raíces” de su base poética. Por fin, un tiempo expedicionario (2011-2018), con una concentración de sus esfuerzos creativos se vuelven hacia un único proyecto: las novelas de su Compêndio Mítico do Rio de Janeiro. 1961, 1961 (1961 Janeiro, Janeiro , Janeiro) obra conceptuales 19972006, 19972006 1997 2006 (1997-2006) literaria interesante Después 20072010, 20072010 2007 2010 (2007-2010) escritura raíces “raíces poética fin 20112018, 20112018 2011 2018 (2011-2018) proyecto 196 (196 1997200 199 200 (1997-2006 2007201 201 (2007-2010 2011201 (2011-2018 19 (19 199720 20 (1997-200 200720 (2007-201 201120 (2011-201 1 (1 19972 2 (1997-20 20072 (2007-20 20112 (2011-20 ( (1997-2 (2007-2 (2011-2 (1997- (2007- (2011- (1997 (2007 (2011 (199 (200 (201 (20 (2

Resumo O presente estudo tem por objetivo discutir as relações associativas – fonológicas e visuais – e sua conexão com a memória de trabalho no processo de criação do título e personagens de uma história inventada por uma díade de alunas recém-alfabetizadas (6 anos). Empregando uma abordagem linguístico-enunciativa, tomou-se como unidade de análise o diálogo estabelecido durante um processo de escrita em colaboração. O procedimento metodológico utilizado, capaz de registrar a elaboração textual em tempo e espaço real – respeitando ao máximo as particularidades do ambiente da sala de aula –, forneceu dados importantes para entender como diversos fatores (cognitivo, interativo, pragmático) podem cooperar para a geração de ideias de escritores novatos. A análise demonstra que a díade recupera conteúdo mnemônico, a ser incorporado ao manuscrito escolar em forma de ideias, através de diferentes tipos de relações associativas, inclusive visuais, superando as categorias descritas nos aportes linguísticos – que se limitam aos aspectos fonológicos das associações. As relações associativas visuais, identificadas durante a análise, apontam que, assim como o diálogo, os objetos próprios do ambiente escolar – cartazes, livros, brinquedos e assim por diante –, também podem influenciar o processo de criação dos alunos, originando ideias a serem linearizadas no manuscrito a ser entregue à professora. recémalfabetizadas recém alfabetizadas 6 ( anos. anos . anos) linguísticoenunciativa, linguísticoenunciativa linguístico enunciativa, enunciativa linguístico-enunciativa tomouse tomou colaboração utilizado cognitivo, cognitivo (cognitivo interativo pragmático novatos mnemônico associações cartazes livros alunos professora

Abstract This study aims to discuss associative relations - phonological and visual - and their connection with working memory in creating the title and characters of a story invented by a dyad of newly literate students (6 years old). Using a linguistic-enunciative approach, the unit of analysis was the dialog established during a collaborative writing process. The methodological procedure used, capable of recording textual elaboration in real time and space - respecting the particularities of the classroom environment as much as possible - provided important data for understanding how various factors (cognitive, interactive, pragmatic) can cooperate in generating ideas from novice writers. The analysis shows that the dyad recovers mnemonic content, to be incorporated into the manuscrito escolar in the form of ideas, through different types of associative relations, including visual ones, going beyond the categories described in the linguistic contributions that are limited to the phonological aspects of the associations. The visual associative relations identified during the analysis indicate that, in addition to dialogue, objects from the school environment - posters, books, toys, and so on - can also influence the student’s creative process, giving rise to ideas to be linearized in the text to be handed into the teacher. 6 ( old. old . old) linguisticenunciative enunciative approach process used cognitive, cognitive (cognitive interactive pragmatic writers content ones associations dialogue posters books toys student s teacher

Abstract: The article is part of a larger study to describe the teaching of audiovisual scriptwriting and the training of scriptwriters in contemporary Chile. The results come from the application of the semi-structured interview method to ten renowned national scriptwriters and teachers in the field, verifying the existence of aesthetic orientations, technical requirements, relationships with other agents in the field or ways of working for creative writing in the stage pre-production for film and television. Open-ended questionnaires were used, the aim of which was to generate the replica of a conversation from certain predefined thematic nuclei. Based on these generative nuclei, the interviews were developed in a flexible manner, with the aim of reinforcing the non-standardized nature of the instrument. What is presented in this synthesis are common points and other controversial aspects. They have no statistical value, but rather show the importance of the complexity of the generated discourses.

Resumo: O artigo faz parte de um estudo que busca descrever o ensino da escrita audiovisual e a formação de roteiristas no Chile contemporâneo. Os resultados advêm da aplicação do método de entrevista semiestruturada a dez renomados roteiristas e professores nacionais da área, verificando a existência de orientações estéticas, exigências técnicas, relações com outros agentes da área ou formas de trabalhar a escrita criativa em a pré-produção cênica para cinema e televisão. Foram utilizados questionários abertos cujo objetivo era gerar, a partir de determinados núcleos temáticos pré-definidos, a réplica de uma conversa. Com base nestes núcleos geradores, as entrevistas desenvolveram-se de forma flexível, com o objectivo de reforçar o carácter não estandardizado do instrumento. O que se apresenta nesta síntese são pontos em comum e outros aspectos controversos. Não têm valor estatístico, mas mostram o significado da complexidade dos discursos gerados.

Resumen: El artículo es parte de un estudio que busca describir la enseñanza del guion audiovisual y la formación de los guionistas en el Chile contemporáneo. Los resultados provienen de la aplicación del método de la entrevista semiestructurada a diez reconocidos guionistas nacionales y docentes del área, constatando la existencia de orientaciones estéticas, requerimientos técnicos, relaciones con otros agentes del campo o formas de trabajo para la escritura creativa en la etapa de preproducción para cine y televisión. Se emplearon cuestionarios de preguntas abiertas cuyo objetivo era generar, a partir de ciertos núcleos temáticos predefinidos, la réplica de una conversación. Con base en esos núcleos generativos, las entrevistas se desarrollaron de manera flexible, para reforzar el carácter no estandarizado del instrumento. Lo que se presenta en esta síntesis son puntos en común y otros aspectos controversiales. No tienen valor estadístico, sino que muestran el sentido de la complejidad de los discursos generados.

This review article explores possibilities for transdisciplinary entanglements between the disciplines of critical psychology and literary criticism through a reading of the volume, 'Foundational African Writers', edited by Bhekizizwe Peterson, Khwezi Mkhize and Makhosazana Xaba. In this article, 'Foundational African Writers' is approached as a distillation of Peterson's investment in excavating the world-making activities, writing lives and activities of ordinary people as a central dimension of the project to decolonise the Humanities. As this edited volume attests, Peterson's creative and critical oeuvre continues to provoke thinking about the ways in which the reading of the African literary archive can assist in the wider project of decolonising and re-imagining intellectual and creative history in the Global South while also providing opportunities for new modes of thinking about personhood and psychic life in contexts of precarity, intergenerational trauma and economic exclusion.

Dié laaste deel van 'n vierdelige artikelreeks ondersoek die geskiedenis van die sosiolinguistiek relatief tot Oranjerivierafrikaans, een van die drie hoofdialekkontinuums van Afrikaans, van die periode 1999 tot 2021. Begrond in die linguistiese geskiedskrywing in die breë, en Michel Foucault se argeologiese en genealogiese oriënterings in die besonder, skets die artikeldeel hoe die huidige periode in die intellektuele geskiedenis van Oranjerivierafrikaans as die tydsgees van tekstualiteit opgesom kan word. Die periode sien die hoogbloei van die aandag aan geskrewe tekste - sowel argivale bronne as meer resente skeppende skryfwerk. Hiernaas word die deurentydsgees van romantiese pittigheid, 'n benadering wat die ganse Afrikaanse sosiolinguistiek deurspek, bespreek. Die optekenings en navorsing van ondere andere Sanet du Plessis, Frank Hendricks, Annél Otto, Elvis Saal, Donovan Lawrence, Carla Luijks, Luan Staphorst, Camilla Christie, Daan Wissing, en Hendrik Theys word bespreek. Hierdeur daag die artikelreeks vier sentrale veronderstellings oor die taalvorm uit, naamlik dat daar n gebrek aan bronne is, dat dit redelik "onsigbaar" is, dat dit as 'n Swart Afrikaanse taalvorm getipeer kan word, en dat Kaapse Afrikaans, eerder as Oranjerivierafrikaans, as die "oudste" vorm van Afrikaans beskou moet word.

This last part of a four-part article series investigates the history of sociolinguistics relative to Orange River Afrikaans, one of Afrikaans's three main dialect continuas, from the period 1999 to 2021. Grounded in linguistic historiography broadly construed, and Michel Foucault's archaeological and genealogical orientations specifically, this part of the article sketches how the intellectual history of Orange River Afrikaans in this period can be summarised as the Zeitgeist of textuality. This period sees the height of the study of written texts - of both archival and creative writing. A final discussion focuses on the discourse of "romantic curiosa", a discourse that has pervaded the study of Orange River Afrikaans since the onset of Afrikaans sociolinguistics. The writings and research of, amongst others, Sanet du Plessis, Frank Hendricks, Annél Otto, Elvis Saal, Donovan Lawrene, Carla Luijks, Luan Staphorst, Camilla Christie, Daan Wissing, and Hendrik Theys are discussed. Through this, the article series challenges four central and dominant presuppositions on Orange River Afrikaans, namely that there are limited sources available relative to it, that it constitutes an "invisible" language form, that it can be typified as an expression of Black Afrikaans, and that Kaaps (Cape Afrikaans), rather than Orange River Afrikaans, should be regarded as the "oldest" form of Afrikaans.