Dissertations / Theses on the topic 'Autobiography (genre)'

The author of the dissertation analyses the work of a contemporary French writer Annie Ernaux at the core of which lie the autobiographical narrative and search for identity. This dissertation takes as its stating point the theoretical views articulated by Philippe Lejeune. However, in analysing Annie Ernaux, the author of the dissertation seeks to reveal modifications and divergencies from the canon of the autobiography and sets the author‘s work against the most widely known autobiographical models. Due to the hibridic and ambiguous character of Annie Ernaux‘s writing, it it has been called auto-biography, autosocioanalysis, ethnososiology, anti-journals, auto fiction, etc. Ernaux‘s autobiographical narrative oversteps the boundaries set by the canon and acquires aspects of biographical, feminist, transpersonal, ethnographical and sociological writing. Deviation from the cannonical autobiographical writing and the hibridity of the author‘s texts best reflect the author‘s innovative ways of constructing the self. As one of the most important deviations from the canon (Jean Jacques Rousseau‘s Confessions being the archetypal model of autobiography), the author of the dissertation emphasizes sociological aspects of Annie Ernaux‘s work and the link with the sociological ideas of Pierre Bourdieu. The disseration discusses the parallels between such sociological categories as the dominating and the dominated, class reproduction, class subconscious, the notions of habitus and... [to full text]
Disertacijoje nagrinėjama šiuolaikinės prancūzų rašytojos Annie Ernaux kūryba, kurios pagrindas - prabėgusio gyvenimo pasakojimas, savojo tapatumo ieškojimai. Autobiografinio pobūdžio tekstai analizuojami remiantis autobiografinio žanro tipologija, išryškinant svarbiausius Ph. Lejeune’o sukurtos autobiografijos teorijos postulatus. Tačiau darbo autorė atkreipia dėmesį ir į tam tikrus A. Ernaux kūrybai būdingus nukrypimus nuo tradiciškai suprantamo autobiografiškumo, kartais ambivalentišką ar hibridinį kai kurių kūrinių pobūdį, suponavusį tokius jos tekstų apibūdinimus kaip auto - biografija, autosocioanalizė, etnosociologija, antidienoraščiai, autofikcija etc. Pastebėta, kad autorės kūryboje autobiografinis pasakojimas kartais įgauna biografijos, feminizmo, transpersonalumo, etnografijos, sociologijos bruožų. Tokios deviacijos nuo tradiciškai suprantamo autobiografiškumo atsiskleidžia kaip naujų išraiškos formų ieškojimas, postmodernistinis žaidimas su literatūrine autobiografijos tradicija. Vienas reikšmingiausių pastebėtų nukrypimų nuo rusoistinės tradicijos ( J.- J. Rousseau Išpažintis traktuotina kaip archetipinis autobiografijos modelis) yra sociologinių aspektų išryškinimas, tam tiktas intertekstualumas su prancūzų sociologo P. Bourdieu idėjomis. Disertacijoje atskleidžiami paralelizmai tarp sociologinių kategorijų ( dominuojantys, dominuojamieji, klasinė reprodukcija, klasinė pasąmonė, habitus, dvigubas habitus etc.) ir literatūrinio jų interpretavimo. Autorės... [toliau žr. visą tekstą]

Cette thèse propose une approche socio-historique de l’excellence en alpinisme, sur une période qui s’étend de l’apparition de l’Alpine Club britannique, le premier club alpin au monde, créé en 1856, jusqu’au début du XXIe siècle. L’excellence est envisagée sous l’angle d’un triple rapport : un rapport à la pratique, qui désigne les manières légitimes de pratiquer, un rapport à soi-même, qui renvoie à la façon dont les alpinistes excellents (les « grands alpinistes ») se perçoivent et envisagent leurs trajectoires biographiques, et un rapport aux autres individus, c'est-à-dire la manière dont ces alpinistes appréhendent et se distinguent des autres usagers de la montagne et des non-alpinistes. À partir des discours des membres de l’élite de l’alpinisme britannique et français, la question est posée de savoir comment se crée, se transmet, se diffuse dans l’espace et se maintient dans le temps un « esprit de l’alpinisme » entendu à la fois comme mentalité, esprit de corps, ethos, et principes éthiques au fondement de l’excellence, fortement distinctif, identitaire et fédérateur, au principe d’un sentiment d’appartenance, voire d’une identité collective. Centré sur le Royaume-Uni, berceau de l’alpinisme et lieu de codification d’une forme originelle d’excellence, encore perçue comme spécifique de nos jours, ce travail considère l’alpinisme français, d’apparition plus tardive, comme contre-point comparatif servant notamment à étudier des phénomènes de diffusion de la conception britannique de l’excellence. La question de la genèse historique d’un « grand alpinisme » sur le temps long se double enfin de celle de la fabrique biographique du « grand alpiniste », sur le temps court de la trajectoire biographique. Ce faisant, c’est un travail de dénaturalisation de l’excellence, pensée comme un construit historique et social, qui est entrepris. L’étude des trois dimensions de l’excellence (rapport à l’activité, à soi, et aux autres) se fait en premier lieu à partir d’un matériau original : un corpus de 62 autobiographies d’alpinistes. Son usage s’accompagne d’une réflexion méthodologique sur les conditions de sa validité sociologique. Afin de réinscrire ces discours dans leurs cadres historiques et sociaux d’énonciation, d’autres matériaux sont mobilisés : 16 entretiens, deux bases de données (dont l’une permet de mener une analyse prosopographique), les articles et les notices nécrologiques des revues des grands clubs alpins sélectifs des deux pays
This thesis proposes a socio-historical approach of excellence in mountaineering, from the creation of the British Alpine Club, the first alpine club in the world, founded in 1856, up until the beginning of the 21st century. Excellence is defined by three relations: a relation to the activity of mountaineering, that is, the legitimate ways of practicing this activity, a relation to oneself, that is, the ways in which excellent mountaineers (the “great mountaineers”) see themselves and consider their biographical trajectories, and a relation to others, that is, the ways in which these mountaineers apprehend and distinguish themselves from the other users of mountains and from non-mountaineers. From the study of the discourses of the elite of British and French mountaineering, we seek to understand how a “spirit of mountaineering” (a mentality as well as an “esprit de corps”, an ethos, and a set of ethical principles at the foundation of excellence) has been created, transmitted, has travelled between countries and has been maintained over time. This “spirit” is the basis of a sense of belonging, even of a collective identity. Centered on Britain, as the cradle of mountaineering and the place where an original form of excellence, still perceived today as specific, was initially codified, this study considers French mountaineering, of later appearance, as a comparative point of reference, useful to point out a phenomenon of diffusion of the British conception of excellence. The issue of the historical genesis of a “great mountaineering” on the long-term scale doubles up with the issue of the biographical making of the “great mountaineer”, considered on the short-term scale of the biographical trajectory. By doing so, it is a work of denaturalization of excellence, seen as a historical and social construct, which is undertaken. The study of the three dimensions of excellence (as a relation to activity, to oneself, and to the others) is carried on in the first place with the help of an unusual material: a corpus of 62 autobiographies of mountaineers. Its use is backed with methodological observations regarding the conditions of its sociological validity. In order to consider these discourses within their historical and social frames of enunciation, other materials are used: 16 interviews, two databases (one of them used to carry out a prosopography), the articles and necrologies of the journals of the selective alpine clubs of the two countries

Colette s’est bien souvent montrée critique face à ses premiers écrits, qui ont pourtant signé son entrée en littérature. Il semble donc légitime de s’interroger sur la manière dont l’œuvre de jeunesse, irrigue, par divers biais, les écrits de Colette, sur les causes et les visées profondes de cette présence, et enfin sur l’influence profonde de ces textes sur la structure du récit colettien, rendant sa classification générique difficile. Dans un premier temps, la reprise du prénom « Claudine » dans La Maison de Claudine suggère une réminiscence de l’œuvre de jeunesse, puisque l’écrivain met à distance, mais aussi reprend et développe les motifs des Claudine, comme pour réintégrer pleinement le cycle qui a marqué son entrée en littérature à l’œuvre. Le lien entre les écrits de jeunesse et le reste de l’œuvre dépasse pourtant cette référence, et on peut s’interroger sur la manière dont la genèse de Claudine a constitué la condition de toute écriture ultérieure, autobiographique dans un premier temps, mais également fictionnelle, puisque l’œuvre de l’auteur semble bâtie sur l’incessant dialogue entre l’inévitable dette envers Willy, et la nécessité de dépasser un modèle artistiquement stérile. Enfin, ce dialogue permet de percevoir, tout au long de l’œuvre de Colette, une série de tensions et de paradoxes, qui nourrissent l’écriture parce qu’elles encouragent la mise en question du projet artistique de l’auteur, qui propose une écriture plurielle, aplanissant les catégories génériques au profit de la voix qui porte le récit, faisant de la construction et de la mise en scène d’une figure d’écrivain l’enjeu artistique majeur de l’œuvre de Colette
Colette very often proved to be critical facing her first writings, which however signed her entrance in litterature. It seems therefore evidence based to wonder how youth work has influenced Colette’s writings, and how her first texts have deeply influenced the structure of her stories, making difficult the classification of these texts. At first, the resumption of forename « Claudine » in La Maison de Claudine suggests a reminiscence of youth work, since the writer put away, and also takes back and develops several themes of Claudine, as if she wanted to reintegrate to her project the cycle which marked her beginning in litterature. The link between her first novels and the rest of her works exceeds this reference. So we could wonder why the creation of Claudine is the condition of all her following writings, autobiographic at first, but also fictional, because her texts seems to be built on uninterrupted dialogue between an unavoidable debt towards Willy, and the necessity to surpass a fruitless model. Finally, this dialogue allows to receive, throughout Colette’s work, a series of tensions and paradoxes, which feeds the appraising of the artistic plan of the author, who offers a plural writing, smoothing the generic categories to the advantage of the voice which carries the story, making of the building of writer’s representation the major artistic stake of Colette’s work

My dissertation examines the ways that canine roles affect genre—the categories into which we place works of literature, which shape their forms and which in turn shape our expectations of what we read. For instance, if epitaphs and elegies are at least partially meant to usher the dead into heaven and praise the dead’s suitability for a Christian afterlife, what happens when the subject is a dog denied a soul by Christianity? These are the kinds of questions I address. In addition to epitaphs and elegies, I consider detective and sensation fiction as well as dog autobiographies—works of fiction written from the dog’s perspective—to explore how taking the dog as a subject forced the conventions of certain genres to change, or in the case of detective and sensation fiction, how dog-like ways of knowing helped to birth a new genre altogether. In either case, what is important is that the generic changes signal a less human-centered approach to literature: one which opens animals up to be the possessors of souls, intelligence, and subjectivity. These changes paved the way for the Victorians to consider animals as beings worthy of compassion and respect.

Thomas Merton throughout his autobiographical writings took some of the dominant images and metaphors from the Christian tradition and, as many writers have done previously, applied them to himself, reinterpreting them for the twentieth century. This dissertation examines the metaphors Merton used to describe his spiritual quest and places his writings within the category of autobiographer that James Olney defines as a theoretical or auto-autobiographer thus providing a new way of interpreting Merton's writings. This dissertation examines Merton's major autobiographical works, some of which are well known, others that have only been recently published, and his unpublished nineteen-thirties' novels along with teenage writings uncovered in the course of this study. Reference is also made to other published and unpublished work as appropriate. By looking at these works and at specific chronological periods it is possible to see developments in Merton's autobiographical writings, specifically in the metaphors Merton used to express his developing sense of his self. The key to Merton's life and writings is his ongoing autobiographical quest, a spiritual development expressed using a variety of Christian and biblical metaphors including journey and place. This dissertation traces and evaluates aspects of Merton's spiritual development in the light of his autobiographical process. Merton's metaphors developed throughout his writings, moving from a physical journey where he saw himself as an exile, unstable and without a home, to a spiritual journey in which nature, place and stability grew in importance, until he arrived at a deep level of at-homeness achieved through his vow of stability which allowed him to go out to the world, to others and, eventually, to undertake his final pilgrimage to the East.

This essay presents a literary analysis of the autobiography Educated (2018) by Tara Westover. The analysis examines to what extent Westover’s story conforms and subverts the genre conventions of the Bildungsroman and the autobiography. An overview of the genre constitutions is therefore provided. In addition, the essay focuses on the use of the autobiography in the English as a Foreign Language (EFL) classroom. Besides creating an arena for critical discussion and reflection in the Swedish upper secondary school, the autobiography may also encourage students to share their own stories. The findings show that Educated both conforms to and subverts the Bildungsroman genre. It is concluded that Westover’s autobiography challenges traditional genre conventions and may serve as a valuable tool in the EFL classroom.

Le présent travail s’est proposé d’analyser avec les outils de la linguistique textuelle les autobiographies des jeunes Allemands de l’Est après 1989 souvent présentées comme inclassables dans le genre autobiographique. Il s’ouvre sur une description de la position interdisciplinaire adoptée dans ce travail de linguistique textuelle qui porte sur un corpus de textes relevant du discours littéraire tout en investissant des notions de l’analyse de discours s’inscrivant dans la tradition de Michel Foucault. Il se poursuit avec l’analyse des spécificités énonciatives, pragmatiques, thématiques et stylistiques des autobiographies des jeunes Allemands de l’Est après 1989, sur lesquelles se fonde leur appréhension en termes d’autobiographies contre-discursives, genre textuel désignant une sous-variante autobiographique produite par des auteurs-narrateurs marginalisés dans la réalité socio-historique, à destination du centre discursif, en réaction au discours dominant dont ils sont l’objet et qu’ils réfutent. Enfin ce travail propose une analyse détaillée des lexèmes nominaux composés ayant pour déterminant Ost- ou West- et à leur mise en texte dans les autobiographies des jeunes Allemands de l’Est après 1989. Parmi ces dénominations référant aux réalités de l’Est et de l’Ouest, certains complexes nominaux peuvent être qualifiés de composés phraséologiques : éléments linguistiques clés dans la diffusion des stéréotypes du discours sur l’Est, ils donnent lieu dans les textes du corpus à de nombreuses [dé]constructions lexicales permettant une critique du discours dominant, qui illustre la dimension défensive du contre-discours autobiographique est-allemand
Through the use of text linguistics tools, this work aims to analyse the post 1989 autobiographies of young East Germans, which are often considered to be unclassifiable in the autobiographic genre. It starts with a description of the interdisciplinary position adopted in this text linguistics work. While focussing on a corpus of literary discourse texts it invests notions of discourse analysis which fall within the tradition of Michel Foucault. It continues with the analysis of the enunciative, pragmatic, thematic and stylistic specificities of these post 1989 autobiographies, which reveal, through a counter-discursive text type, the apprehension of their young East German authors. This text type refers to an autobiographic subvariant produced by author-narrators who have been marginalised from the social-historic reality, with a discursive purpose in reaction to the dominant discourse of which they are the objects and which they refute. La! stly, this work offers a detailed analysis of nominal compound lexemes having Ost- or West- as their determiner and their inclusion in the text of these post 1989 autobiographies of young East Germans. Among these denominations referring to East and West realities, certain nominal compounds can be qualified by phraseological compounds: as key linguistic elements in the diffusion of East discourse stereotypes they give rise, in the corpus texts, to numerous lexical [de]constructions which allow a criticism of the dominant discourse, thereby illustrating the defensive dimension of the East German counter-discourse autobiographies

L'autobiographie pose problème quand elle est envisagée dans le genre théâtral. Du fait que l'auteur dramatique s'exprime par la bouche d'êtres fictifs, la parole des personnages ne pourrait être assimilée à la sienne. Pourtant, il semble que, tant dans les dialogues qu'elles donnent à entendre que dans les situations, personnages et lieux qu'elles mettent en scène certaines pièces, en particulier à partir du XVIIIe siècle, qui constitue une étape majeure dans l'expression de soi, portent en elles les signes d'une expression autobiographique. Si l'autobiographie n'existe pas au théâtre dans les termes dégagés par des théoriciens comme P. Lejeune ou G. Gusdorf, nous étudions ici les modalités sous lesquelles elle se manifeste néanmoins, quasiment toujours de manière cachée, implicite, ambiguë, détournée mais affective. En plus d'une méthode qui permettrait, au lecteur d'une part, au spectateur d'autre part, d'identifier et d'attester cette expression autobiographique en dégageant certains aspects textuels et scéniques, nous nous attachons à réfléchir à l'expression autobiographique avec la relation qu'entretiennent les oeuvres de notre corpus avec le public, une relation toute entière épanouie dans l'émotion. Des sentiments qu'accompagnent des réactions physiques ressenties par le lecteur/spectateur sont donc générées par la reconnaissance de la voix de l'auteur dans un drame qui mêle autobiographie et fiction. Nous nous intéressons à l'expression autobiographique de l'auteur dramatique dans la perspective d'une relation particulière de celui-ci avec le public, relation qui contraste avec les principes brechtiens qui ont dominé la création théâtrale au XXe siècle
The autobiographical genre is a problem when it is considered inside the theatral genre. Because the dramatical author express himself through the mouth of fictional characters, the words of the characters could not be considered as the expression of the author himself. However, it seems that through the dialogues that can be heard, the situations, the characters and the places that are staged, some plays, especially since the 18th century, which represents a major step in self-expression, contains the signs of an autobiographical expression. Although the autobiographical genre as defined by P. Lejeune or G. Gusdorf does not exists in the theatre genre, we will study here how it nevertheless expresses itself, that is to say almost always in a hidden, implicit, ambiguous, diverted, but probable way. We will think of a method allowing the reader, but also the member of the audience, to identify and testify the presence of this autobiographical expression by emphazising some textual and scenic aspects. We will also work on connecting the autobiographical expression with the relationship that live the authors of the new work contained in our corpus with the audience. This relationship being fully opend up in emotion. Some feelings, coming with physical reactions felt by the reader/audience, are created by the recognition of the author's voice in a drama that mixes autobiographical and fiction. We will take an interest in the autobiographical expression of the dramatical author through the perspective of his particular relationship with the audience, relationship that contrasts with Brecht's principles, which have ruled the theatrical creation in the 20th century

Nous avons choisi de nous intéresser aux premières œuvres d’Alicia Kozameh ( Pasos bajo el agua), Sara Rosenberg (Un hilo rojo) et Nora Strejilevich ( Una sola muerte numerosa). Ces trois écrivaines ont subi la violence politique argentine des années 1970. Elles ont toutes été emprisonnées et ont voulu témoigner de cette expérience dans leurs ouvrages. Nous proposons donc de donner un aperçu de l’histoire violente de l’Argentine qui a conduit à la dictature de 1976. L’un de nos objectifs sera de montrer que la fiction facilite l’expression d’une expérience traumatique telle que l’enfermement, la torture ou la disparition. Les signes autobiographiques sont présents dans ces trois œuvres et nous tenterons tout d’abord de déterminer à quel genre de l’écriture du soi elles appartiennent : roman autobiographique, roman témoignage, témoignage fictionnel ou bien une figure hybride ? Nous travaillerons aussi les caractéristiques du témoignage que nous mettrons à l’épreuve des textes de notre corpus. Nous nous proposons de travailler les textes depuis l’angle de la résistance ou des résistances. En effet, ce concept que nous tenterons de définir est très présent dans les textes choisis. Notre travail prendra ensuite une autre direction, celle de la mémoire, indissociable de l’évocation du passé. En somme, nos axes convergerons vers un même objectif : la création artistique est une forme de résistance qui permet de transformer une expérience traumatique et de quitter le lieu de victime. Elle participe aussi à la construction de la mémoire collective qui est la somme de toutes les histoires et de toutes les identités ayant subi le terrorisme d’Etat argentin. Toutes ces raisons font que les textes que nous nous proposons d’analyser permettent de révéler la vérité de l’Histoire et de ce fait, de participer au travail de justice entamé depuis de nombreuses années par les organisations populaires argentines, tâche qui est maintenant soutenue par le gouvernement argentin
We will analyse the first book of three argentine writers: Alicia Kozameh (Pasos bajo el agua), Sara Rosenberg (Un hilo rojo) et Nora Strejilevich ( Una sola muerte numerosa). They all suffer the political violence during the 70’s in Argentina. They all suffer prison and they wanted to testify about this experience. We first propose to speak about violent history of Argentina that conduced to the 1976 dictatorship. One of our goals is to show that fiction is a good way to write a traumatic experience like prison, torture or disappearance. However, autobiographical signs are present in these three books and we will try to determinate the literary genre of each one. We will also work on the characteristics of testimony and compare them with our writer’s works.We also want to analyse these texts from the angle of resistance and memory because we will demonstrate that artistic creation is a form of resistance that allow to transform a traumatic experience and not to be a victim. Creation also participates to the construction of collective memory that is the sum of all histories and identities that suffered state terrorism. We will show that these texts are enabling to give away the truth of history and to participate to the work began a long time ago by a lot of Argentinean organisations that claim for justice

The purpose of this thesis was to explore why and how the author Dave Eggers subverts the genre of traditional autobiography in his memoir A Heartbreaking Work of Staggering Genius. I compared Eggers' work to Gertrude Stein's The Autobiography of Alice B. Toklas and William S. Burroughs' Junky. I found that like Stein and Burroughs, Eggers utilized various rhetorical devices outside of traditional autobiography because he could not find the means to express himself within the genre. Eggers employed various rhetorical methods reserved for fictional texts, such as stream of consciousness, characterization, and irony, in order to reconcile his feelings towards his parents' deaths and render those feelings in his memoir. I established that Eggers concluded his memoir with impossibility of arriving at one Meaning that could summate his tragic experience. Thus, I proved that Eggers gave the reader the only authentic interpretation he could: the memoir as a small, incomplete glimpse into his life.

A partir des années 1670 et durant tout le XVIIIe siècle, les mémoires écrits par des femmes connaissent, plus que ceux écrits par des hommes, une inflexion notable : passés les troubles de la Fronde, alors que le rôle politique des femmes tend globalement à décliner, ils se recentrent sur la vie privée mais aussi sur le parcours, l’itinéraire personnel de femmes qui créent une forme originale centrée sur la définition de leur identité : on peut bel et bien parler d’une dimension autobiographique. L’influence et la médiation du roman-mémoires jouent un rôle prépondérant dans cette mutation du genre mémorialiste dont les femmes sont les principales actrices, aboutissant parfois à la création originale de textes hybrides entre fiction et diction. Mais ces textes ne se contentent nullement de démarquer le roman-mémoires : empruntant à des influences et traditions multiples, les femmes disent de façon oblique leur désir d’écrire sans pour autant devenir des « femmes savantes » ou des « femmes auteurs ». Elles élaborent aussi des représentations inédites de l’identité féminine, entre soumission et contestation, le plus souvent indirecte, des rôles féminins considérés comme traditionnels à leur époque. La thèse examine les profils sociaux de ces mémorialistes d’un nouveau genre, mais aussi la complexité formelle et énonciative de leurs textes et les représentations ambiguës de la femme et de l’identité personnelle qui s’y déploient
Starting in the 1670s and throughout the 18th century, memoirs written by women, more so than those written by men, undergo important mutations. After the turmoil of the Fronde, as the political role of women tends to decline, they emphasize private life but also the personal itinerary of women who are thus creating an original form centred on the definition of their identity: these works develop a true autobiographic dimension. The influence and mediation of the memoir-novel play a crucial part in this women-led transformation of the memoirist genre, leading to the original creation of hybrid texts halfway between fiction and diction. But these texts are not mere imitations of the memoir-novel: by borrowing from diverse influences and traditions, women express their wish to write in an oblique manner, without labelling themselves as “learned ladies” or “women authors”. They also construct new representations of the female identity, both submissive and critical, most of the time indirectly, of the female roles which were deemed traditional at the time. The thesis examines the social profiles of this new kind of memoirists, as well as the formal and enunciative complexity of their texts, and the ambiguous representations of women and their personal identity which they develop

Les romans coloniaux tendaient à représenter les Autres de couleur de manière plus précise et réaliste que la littérature exotique. Comme dans un musée colonial, Ulysse cafre ou l'histoire dorée d'un Noir de Marius-Ary Leblond, Ameenah de Clément Charoux exposent la colonie, son fonctionnement et ses habitants. Les romanciers coloniaux mauriciens et réunionnais décrivent dans le détail, grâce au naturalisme l'intimité des races, autrement dit le génie de chaque race. Marius-Ary Leblond affirment qu'ils seraient plus aptes à décrire le réel insulaire. La représentation de l'Autre de couleur génère un conflit de légitimité. Les femmes de couleur, indiennes, noires, cafrines et métisses sont perçues dans les romans coloniaux comme des Autres à la fois racialisés et genrés. Elles sont subalternes des narrateurs et héros blancs qui parlent pour elles et les représentent. A contrario, dans les romans et les récits mémoriels postcoloniaux féminins, À l'autre bout de moi de Marie-Thérèse Humbert, Rouge Cafrine de Véronique Bourkoff et Femme sept peaux de Monique Séverin, les narratrices et les héroïnes critiquent la persistance de l'idéologie coloniale dans les sociétés anciennement colonisées. Elles donnent de nouvelles visions des femmes de couleur, capables de se représenter, de s'analyser et d'observer la société postcoloniale, car elles sont encore marquées par les stéréotypes et les discours colonialistes, orientalistes et phallocrate qui les détruisent. Paradoxalement, les identités complexes, hétérogènes et multiples des narratrices sont davantage présentes dans les fictions romanesques que dans les types autobiographiques, censés rendre compte de vérité identitaire. Ainsi, les autobiographies à Maurice et à La Réunion sont déconstruites dans les textes de notre corpus : Miettes et Morceaux d'Eileen Lohka, Letan lontan de Rada Gungaloo, Tête Haute de Mémona Hintermann et La Magie de Siva Desiles, une comédie musicale autobiograohique de Jasmine Desiles
Colonial novels try to represant more precisely the Colored people than exotic literature. As colonial museum, Ulysse cafre ou l’histoire dorée d’un Noir written by Marius-Ary Leblond and Ameenah written by Clément Charoux expose colony, its functioning and natives. These colonials mauritians and reunioneses novelists use naturalism style to describe the intimate of races, genius of races. Marius-Ary Leblond say that they are better able to teach insular world than exotic literature. Colored people representations provoke legitimate conflict. In colonial novels, colored women, (Indians, black, “cafrine” , metis) are regarded as racial Other and gendered Other. They are subaltern of white narrators and heros. Conversely, in postcolonial women mauritian and reunionese novels, (Á l’autre bout de moi written by Marie-Thérèse Humbert, Rouge Cafrine written by Véronique Bourkoff and Femme sept peaux written by Monique Séverin) female narrators and heroines criticize continued colonial ideology, which still goes on in societies that were colonized. They give different visions of colored women, enough to represent themselves, to analyze themselves and observe postcolonial society. They still filled with stereotypes and colonialist, phallocrate, orientalist discourses. These rhetorics destroy their identity. Paradoxaly, complex, heterogeneous and multiple identities of female narrators figure into more novelistic fiction than autobiography. However, autobiography is supposed to account for true female narrator’s identity. This way, mauritian autobiography and reunionese autobiography are deconstructed in the texts of our corpus: Miettes et Morceaux written by Eileen Lohka, Letan lontan written by Rada Gungaloo, Tête Haute written by Mémona Hintermann and La Magie de Siva Desiles an autobiographic music hall written by Jasmine Desiles

This thesis explores the works of the Colombian writer Fernando Vallejo in terms of autobiography and fiction. Using the theoretical approaches of Philippe Lejeune in his book On Autobiography and Serge Doubrovsky in his book Fils: Roman this thesis will draw distinctions between autobiography and what Doubrovsky calls "autofiction" in Vallejo'­s collection of five texts known as El rio del tiempo. Lejeune has shown that the canonical form of autobiography is characterized by the equation author=narrator=character. However, if we apply this clear-cut definition to Vallejo's book, a series of question arise: Who is speaking in his novels? Can we unequivocally attribute the narrator's ideas to Vallejo himself? Or if his novels are mere autobiographies, why does Vallejo use some blatantly fictitious situations? Fernando Vallejo'­s work underscores the fine boundary between fiction and autobiography and the impact that this relation has on his readers. In his writing, the present time and past time are fused in the capricious channel of his memory, confirming that every autobiography, no matter how sincere it is, is also a form of storytelling.
Master of Arts

Na autobiografia, a vida de um sujeito é narrada por ele mesmo. Ele recupera, por meio da escritura, o passado, o que está ausente. Isso só é possível na temporalidade da língua e não na temporalidade física, pois é a língua que permite falar sobre aquilo que não é. A manipulação dos tempos lingüísticos ajuda a compor a narrativa do passado. Mas como recuperar algo que já não existe mais? Ao tratar de questões como essa, as autobiografias refletem a respeito do tempo e, assim, tematizam-no e figurativizam-no. Daí o interesse de fazer, nesta dissertação, um estudo semiótico do tempo no discurso autobiográfico. Duas obras são analisadas com essa finalidade: Baú de Ossos, de Pedro Nava, e Infância, de Graciliano Ramos. A partir do estudo da sintaxe discursiva, examina-se em tais obras a construção do tempo passado como estratégia enunciativa. Também são analisados os temas relativos ao tempo e a construção da configuração da memória e das figuras que a compõem ou que possuem relação com ela, como a lembrança, o esquecimento, a saudade, a espera, o passado, entre outras. Pretende-se, com isso, além de mostrar as especificidades das obras estudadas, estabelecer as características temporais gerais da autobiografia e verificar os mecanismos de persuasão próprios a esse gênero discursivo. Não são deixadas de lado questões relativas ao caráter ficcional ou histórico do discurso autobiográfico, freqüentes nos estudos do gênero.
In the autobiography an individual´s life is told by himself. He revives his past, which is absent, through the process of writing. As it is impossible to attain this revival in real time, it can only be achieved due to the intrinsic time property of the language, because the language allows to talk about what does not exist. The manipulation of the linguistic tenses helps to make up an account of the past. But how to retrieve something that does not exist any more? On dealing with such issues, the autobiographies reflect upon time and thus convert it into themes and figures. Taking this into consideration, the dissertation aims at carrying out a semiotic study of time in the autobiographic discourse. Two literary works are analysed with thi view: Baú de ossos, by Pedro Nava, and Infância, by Graciliano Ramos. Basing this study on the discoursive syntax, the building process of the past time as an enunciation strategy is closely examined in both literary works. Moreover, there is an analysis of themes concerning time and also a study of the figures which make up memory or are related to it such as recollection, forgetfulness, nostalgy, wait, past life, and others. On the whole, this dissertation intends not only to show the particularities of each work analysed distincteveled but also to establish the general time characteristics of an autobiography in addition to checking the persuasion mechanisms proper to this discoursive genre. Issues concerning the fictional or historic character of autobiographic discourse, often present in the study of this genre, is also included in this analysis.

Écrivaine prolifique, anticonformiste, rebelle et provocatrice, Doris Lessing est considérée par la critique comme ayant été à l'avant-garde du féminisme, du communisme, de l'anticolonialisme et de la lutte contre l'apartheid. En lui accordant le prix Nobel de littérature en 2007, l'académie suédoise récompensait une « conteuse épique de l'expérience féminine, qui avec scepticisme, ardeur et une force visionnaire, scrute une civilisation divisée ». Cependant, ne retenir de Doris Lessing que des combats politiques d'ordre public, c'est oublier un thème essentiel et omniprésent dans ses écrits, celui de la quête de soi et du désir de connaissance de soi qui anime le sujet féminin. Pour atteindre ce but et au bout du compte se reconstruire, celui-ci passe d'abord par la déconstruction. C'est pourquoi ce travail se propose d'analyser l'approche déconstructionniste de Doris Lessing vis-à-vis de la question de l'identité féminine. Cette déconstruction ne doit pas être comprise au sens strictement derridien du terme, mais dans une perspective plus large qui est celle de la vision universelle et prophétique de l'auteure. En effet, Doris Lessing tente de déconstruire une conception essentialiste qui renverrait à une conception universaliste de l'identité féminine. Elle nie toute pensée logocentrique et remet en cause l'unité et le fixisme identitaire, et partant la généralité de la quête. Ceci révèle le nomadisme d'une pensée qui doit s'entendre, dans le sens deleuzien, comme une conception de l'identité de la femme comme fluide, changeante, sans frontières, ouverte à de nouvelles possibilités et avec un grand potentiel pour se re-désigner et se re-définir
A prolific, anti-conformist, rebellious and provocative writer, Doris Lessing has been considered by critics as the forerunner of feminism, communism, anti-colonialism and anti-aparteid. By attributing to her the Nobel Price for Literature in 2007, the Swedish Academy rewarded an « epicist of the female experience, who, with skepticism, fire and visionary power subjected a divided civilization to scrutiny ». Reducing her work, however, to political issues means overlooking a crucial and omnipotent theme related to the quest for selfhood and the desire for self-knowledge animating the female subject, In order to gain this goal, it is first important to go through the experience of deconstruction. This is why this work will analyse Doris Lessing's deconstructive approach to the female identity. This deconstruction is not to be understood in the strict Derridian sense but in a broader persepective residing in the writer's universal and prophetic vision. In fact, Doris Lessing endeavors to deconstruct an essentialist conception which would lead to a universal apprehension of the female identity. She denies all logocentric thinking and questions fixed and unified identities, and by the same token, the universality of the quest. This reveals a nomadic thought, which in Deleuzian sense, entails that the female identity is fluid, changing, without frontiers, open to all possibilities and with a great potential to re-construct and re-define itself

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The objective of this dissertation is to reflect upon the problematic proposed by Infância by Graciliano Ramos. The reading, analysis and even the process of research of secondary sources reinforce, repeatedly, the possibility of interpreting the text as a composition proper to fictional narratives or even as an autobiography. It is in this two-way perspective that this investigation is proposed. The hypothesis is to test, based on the traces of memory and on the voices that were part of the narrator‟s childhood, the value of the work as part of the genre of autobiography. A second hypothesis takes us to a reading of the texts in its fragmentary characteristics which denote a structure that forms a group of stories and, consequently, a fictional work. So as to verify the hypotheses, a study was carried out about autobiography, memory in the construction of the story, the importance of poetic language and, using selected extracts, the exposure of facets of the narrator in his relationships in the context associated with family and school, as well as his own self-portrait. As a conclusion, the research suggests a double reading of the work. If, on the one hand, aspects of Graciliano Ramos‟s life are present in the narrative, on the other hand, poetic language constitutes a mask and pretence. Therefore, the predominance of aspects strongly founded on memory allows one to apprehend traces of reality and, at the same time, transforms the past of the boy, characterizing him as the protagonist of a narrative which is also fictional
Esta dissertação tem por objetivo refletir sobre a problemática proposta pela obra Infância, de Graciliano Ramos. A leitura, a análise e mesmo a pesquisa da fortuna crítica recolocam, de forma reiterada, a possibilidade de se interpretar o texto como uma composição própria da narrativa ficcional ou, ainda, como uma autobiografia. É nessa perspectiva de mão dupla que esta investigação se propõe. Como hipótese de trabalho, buscamos testar, a partir das marcas da memória e das vozes que fizeram parte da infância do narrador, a qualidade da obra como pertencente ao gênero autobiográfico. Uma segunda hipótese leva-nos à leitura do texto em suas características fragmentárias que apontam para uma estrutura que se compõe como um conjunto de contos e, portanto, como uma obra ficcional. Para a verificação das hipóteses, estudou-se o gênero autobiográfico, a memória na construção da história, a importância da linguagem poética e, por meio de excertos selecionados, a exposição das faces do narrador em suas relações no contexto familiar e escolar, assim como o seu próprio autorretrato. Como conclusão, a pesquisa sugere uma leitura dupla da obra. Se por um lado, aspectos da vida de Graciliano Ramos estão presentes na narrativa, por outro, a linguagem poética institui a máscara e o fingimento. A dominância do caráter memorialístico permite, portanto, a apreensão de traços do real e, ao mesmo tempo, transmuta o passado do menino, caracterizando-o como protagonista de uma narrativa também ficcional

Les romans à la première personne qui composent la Légende de Duluoz, le cycle autobiographique de Jack Kerouac (1922-1969), sont souvent étudiés à l’aune de la vie privée de l’auteur ou de la mythologie qui entoure les écrivains de la Beat Generation. À la lumière de l’approche performative du genre autobiographique et du genre masculin ainsi que des recherches historiographiques récentes sur la masculinité et la sexualité masculine durant la période de la Guerre froide, cette thèse se propose de déconstruire l’éthos de spontanéité confessionnelle et de virilité héroïque qui entoure l’écriture de Kerouac. Le récit de soi n’est pas chez lui un reflet fidèle du « je » ou un compte-rendu factuel de la vie de son auteur, mais une mise en scène publique de l’identité auctoriale masculine, un théâtre de l’identité en mots et en actes. Ce jeu de masques participe d’une stratégie narrative qui vise à construire une vision idéale de soi en tant qu’homme et en tant qu’écrivain et doit être lu dans le cadre de son projet de revitalisation d’une littérature et d’un homme menacés de déclin à ses yeux. En même temps, les travestissements de sa persona d’auteur témoignent de l’emprise du soupçon d’homosexualité sur la production littéraire des années 1950 et donnent à voir le malaise qui mine cette mascarade du masculin qui menace toujours d’exposer les larmes, les silences et les contradictions qu’elle cherche pourtant à masquer à tout prix
The first-person novels which make up the Duluoz Legend, the autobiographical cycle written by Jack Kerouac (1922-1969), are often analyzed in the light of what is known of their author’s private life or of the mythology that surrounds Beat Generation writers. Informed by performative approaches to the genre of autobiography and to the masculine gender as well as by recent historiographical research on masculinity and masculine sexuality during the Cold War period, this thesis seeks to deconstruct the ethos of confessional spontaneity and of heroic manliness that surrounds Kerouac’s writings. His narrative of the self are not faithful reflections of the “I” or factual accounts of the author’s own life, but a public staging of male authorial identity, a theatre of identity in words and actions. This playful masquerade sustains a narrative strategy that aims at constructing an ideal vision of oneself as a man and as a writer and shall be read in the perspective of his wish to revitalize American literature and masculinity which he feared to be in decline. Yet, these acts of cross-dressing of the authorial persona also testify to the powerful sway of anti-homosexual paranoia over the 1950s literary output and show the trouble that undermines this performance of masculinity which constantly threatens to reveal the tears, the silences and the contradictions that it tries so hard to mask

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The main aim of this thesis is to investigate the students language abilities necessary to perform textual production which can be developed through the structured and systematic teaching of the genre autobiography to 5th grade students at a public school. The genre autobiography was chosen as a result of the observation from this researcher of the students interest to tell their life stories and her confidence that it could contribute to the teaching-learning of autobiography, since students might understand their role as subjects of a socio-historic process where language has a singular importance. According to the genre concerned, we discuss Vygotsky s concepts on teaching-learning (1991, 2006) and the conceptualizations on the teaching of genres by Bakhtin (2003), who assumes a dialogic language view, and, also, by Schneuwly (2004), who adopts genre as psychological tool. Furthermore, we discuss the procedures used in the: 1. elaboration of pedagogical materials for the teaching of genres, starting from the processes of pedagogical transposition (CHEVALLARD, 2005); 2. elaboration of the pedagogical model (DOLZ; SCHNEUWLY; HALLER, 2004); and 3. elaboration of the pedagogical sequence (DOLZ; NOVERRAZ; SCHNEUWLY, 2004) of the genre autobiography. Subsequently, we present the texts analysis framework of socio-discursive interactionism (SDI) (BRONCKART, 2003) which guided the elaboration of the model and pedagogical sequence, along with the analysis of texts written by the students, and, lastly, the concept of language capacities (DOLZ; SCHNEUWLY, 2004). Regarding the methodological procedures, our research is based on a socio-historic approach adopting the following steps: 1. procedures for the elaboration of the autobiography model; 2. procedures for the elaboration of the pedagogical sequence of the genre autobiography; 3. analysis of autobiographies written by the students according to this sequence; and 4. presentation of final results. Considering the final result of the analyses, we realized the relevance of working with textual production based on the genre autobiography through many activities organized in a didactic sequence, always observing the features of this genre defined in the model. All procedures employed in this research come from, above all, the SDI as proposed by the research groups Language, Action, Training (LAF), lead by Bronckart (2003, 2006), from the Faculty of Psychology and Sciences of Education at the University of Geneva, and Analysis of Language, Educational Work, and their Connections (Alter), lead by Machado (2008, 2009), from the Graduate Program in Applied Linguistics and Language Studies at the Pontifical Catholic University of Sao Paulo (LAEL/PUC-SP)
O objetivo principal desta tese é investigar as capacidades de linguagem dos alunos necessárias à produção textual que podem ser desenvolvidas com o ensino planejado e sistemático do gênero autobiografia em turmas de 5o ano em uma escola pública. A escolha do gênero autobiografia resultou da observação por parte da pesquisadora do interesse que os alunos apresentavam em contar suas histórias de vida e da convicção de que isso poderia contribuir para o ensino-aprendizagem da autobiografia, pois possibilitaria aos alunos compreender a sua constituição enquanto sujeitos de um processo sócio-histórico no qual a linguagem tem uma importância singular. De acordo com o gênero escolhido, discutimos os conceitos de Vigotski sobre ensinoaprendizagem (1991, 2006) e as concepções sobre o ensino de gêneros, em Bakhtin (2003), numa visão de linguagem dialogicamente constituída, e, também, em Schneuwly (2004), sobre a adoção do gênero como instrumento psicológico. Discutimos, ainda, os procedimentos utilizados na: 1. elaboração de materiais didáticos para o ensino de gêneros, a partir dos processos de transposição didática (CHEVALLARD, 2005); 2. elaboração do modelo didático (DOLZ; SCHNEUWLY; HALLER, 2004); e 3. elaboração da sequência didática (DOLZ; NOVERRAZ; SCHNEUWLY, 2004) do gênero autobiografia. Em seguida, apresentamos o quadro de análise de textos do interacionismo sociodiscursivo (ISD) (BRONCKART, 2003) que orientou a elaboração do modelo e da sequência didática, além da análise dos textos dos alunos e, por último, o conceito de capacidades de linguagem (DOLZ; SCHNEUWLY, 2004). Quanto aos procedimentos metodológicos, nossa pesquisa pautou-se numa abordagem sóciohistórica e adotou os seguintes passos: 1. procedimentos para a elaboração do modelo de autobiografia; 2. procedimentos para a elaboração da sequência didática do gênero autobiografia; 3. análise das autobiografias dos alunos geradas nessa sequência; e 4. apresentação dos resultados finais. Com o resultado final das análises, constatamos a relevância do trabalho de produção de textos centrado no gênero autobiografia por meio de diversas atividades organizadas em uma sequência didática, sempre seguindo as características do gênero definidas no modelo. Todos os procedimentos utilizados nesta pesquisa têm origem, sobretudo, no ISD proposto pelos grupos de pesquisa Linguagem, Ação, Formação (LAF), liderado por Bronckart (2003, 2006), da Faculdade de Psicologia e Ciências da Educação da Universidade de Genebra, e Análise de Linguagem, Trabalho Educacional e suas Relações (Alter), liderado por Machado (2008, 2009), do Programa de Estudos Pós-Graduados em Linguística Aplicada e Estudos da Linguagem da Pontifícia Universidade Católica de São Paulo (LAEL/PUC-SP)

Проблем аутобиографије и аутобиографског текста у српској књижевности средњег века комплексан је и у науци недовољно истражен. Иако интересовање за аутобиографске текстове старе српске књижевности није ново, досадашња бављења овом темом имала су за циљ само да прикупе и делимично опишу те текстове, без покушаја њиховог систематског сагледавања и тумачења у контексту српске и византијске књижевне традиције, а готово увек без одговарајуће теоријске аргументације.Дефинишући аутобиографију, савремене теорије у први план стављају појмове идентитета, индивидуалности и субјективитета. Ови појмови, међутим, захтевају темељно преиспитивање када је реч о средњем веку, који није познавао индивидуалност у данашњем смислу речи. Штавише, средњи век суочава нас са индивидуумом који се плаши своје оригиналности, који се боји да буде ,,он сам“.Отуда је, према средњовековном погледу на свет, писац само ,,инструмент“, продужена рука Бога; он је стваралац који ће све добро, тачно и истинито приписати дејству Духа, а своје ауторство признати једино у одступањима и погрешкама. Топос скромности којим средњовековни писци себе одређују као “грешне“, “недовољне“, “недостојне“, “последње од свих“, којим признају своје незнање и неспособност да пишу о одређеној теми, конституисао се најпре као израз монашке смерности, да би се у ХIV и XV веку ово опште место задржало као обична “декорација књижевног карактера“.Ипак, иако је за човека средњег века оригиналност била грех таштине, то не значи да средњовековни уметници нису били способни да створе оригинална дела, нити да су књижевна дела настала у епохи средњег века лишена особености и креативног приступа. Упркос томе што средњовековни аутори нису тежили сопственом изразу, већ су следили традицију раније формирану у одговарајућем жанру, ипак можемо говорити о њиховом индивидуалном стилу. Индивидуалност уметника огледала се, углавном, у инвентивности с којом је писац приступао наслеђеним навикама и у оплемењивању традиционалних поступака.Једна од основних претпоставки нашег истраживања била је да у епохи средњег века социјални идентитет готово у потпуности потискује лични идентитет, те да је средњовековни човек био сведен на функцију коју је имао у друштву, односно, да се право на писање аутобиографије у средњем веку заснива на темељу социјално признате важности. Прихватили смо, при том, мишљење већине изучавалаца да је за средњовековље најприкладнији појам ,,културне фигуре“, којим су означени тзв. идеални типови људске егзистенције, а који се, између осталог, исказују у језику књижевности и писмености оног времена.Имајући у виду чињеницу да поетиком средњовековне књижевности доминира начело жанра, а не начело ауторства, те да је управо жанр најзначајнији фактор који одређује шта ће писац рећи о себи и о свом животу, трагали смо за аутобиографским фрагментима у повељама, посланицама, записима и натписима, и житијима из XIV века.Будући да је основна карактеристика средњовековне аутобиографске књижевности фрагментарност (подаци које аутор оставља о себи расути су у текстовима различитих жанрова) један од основних циљева нашег истраживања био је да се утврди каква је веза аутобиографског фрагмента с главним текстом. Такође, као својеврстан аутобиографски поступак, а у складу с поетичким начелима средњовековне књижевности, анализирали смо сваку иновативну и оригиналну употребу општих места и библијских цитата, указујући на широке могућности увођења оригиналног садржаја у задате обрасце.У научној литератури посвећеној делима српске средњовековне књижевности појединим текстовима 14. века приписан је атрибут ,,аутобиографског дела“, док су неки чак означени као ,,праве аутобиографије“ (нпр. Улијарска повеља приписана краљу Милутину и Реч Душанова уз Законик). У неким случајевима, међутим, такво атрибуирање је потпуно неоправдано, па смо у раду покушали ревалоризовати уврежена мишљења.Коначно, један од циљева нашег истраживања био је да установимо шта је основна функција аутобиографских фрагмената у делима српске средњовековне књижевности: чување од заборава, оживљавање прошлости, или, пак, пишчево представљање сопственог религиозног и духовног развоја? У сваком случају, на примеру српских списа XIV века показује се да се аутобиографски принцип не мора схватити искључиво као принцип самоисказивања, већ и као одраз духа епохе у објективном сведочанству појединца.
Problem autobiografije i autobiografskog teksta u srpskoj književnosti srednjeg veka kompleksan je i u nauci nedovoljno istražen. Iako interesovanje za autobiografske tekstove stare srpske književnosti nije novo, dosadašnja bavljenja ovom temom imala su za cilj samo da prikupe i delimično opišu te tekstove, bez pokušaja njihovog sistematskog sagledavanja i tumačenja u kontekstu srpske i vizantijske književne tradicije, a gotovo uvek bez odgovarajuće teorijske argumentacije.Definišući autobiografiju, savremene teorije u prvi plan stavljaju pojmove identiteta, individualnosti i subjektiviteta. Ovi pojmovi, međutim, zahtevaju temeljno preispitivanje kada je reč o srednjem veku, koji nije poznavao individualnost u današnjem smislu reči. Štaviše, srednji vek suočava nas sa individuumom koji se plaši svoje originalnosti, koji se boji da bude ,,on sam“.Otuda je, prema srednjovekovnom pogledu na svet, pisac samo ,,instrument“, produžena ruka Boga; on je stvaralac koji će sve dobro, tačno i istinito pripisati dejstvu Duha, a svoje autorstvo priznati jedino u odstupanjima i pogreškama. Topos skromnosti kojim srednjovekovni pisci sebe određuju kao “grešne“, “nedovoljne“, “nedostojne“, “poslednje od svih“, kojim priznaju svoje neznanje i nesposobnost da pišu o određenoj temi, konstituisao se najpre kao izraz monaške smernosti, da bi se u HIV i XV veku ovo opšte mesto zadržalo kao obična “dekoracija književnog karaktera“.Ipak, iako je za čoveka srednjeg veka originalnost bila greh taštine, to ne znači da srednjovekovni umetnici nisu bili sposobni da stvore originalna dela, niti da su književna dela nastala u epohi srednjeg veka lišena osobenosti i kreativnog pristupa. Uprkos tome što srednjovekovni autori nisu težili sopstvenom izrazu, već su sledili tradiciju ranije formiranu u odgovarajućem žanru, ipak možemo govoriti o njihovom individualnom stilu. Individualnost umetnika ogledala se, uglavnom, u inventivnosti s kojom je pisac pristupao nasleđenim navikama i u oplemenjivanju tradicionalnih postupaka.Jedna od osnovnih pretpostavki našeg istraživanja bila je da u epohi srednjeg veka socijalni identitet gotovo u potpunosti potiskuje lični identitet, te da je srednjovekovni čovek bio sveden na funkciju koju je imao u društvu, odnosno, da se pravo na pisanje autobiografije u srednjem veku zasniva na temelju socijalno priznate važnosti. Prihvatili smo, pri tom, mišljenje većine izučavalaca da je za srednjovekovlje najprikladniji pojam ,,kulturne figure“, kojim su označeni tzv. idealni tipovi ljudske egzistencije, a koji se, između ostalog, iskazuju u jeziku književnosti i pismenosti onog vremena.Imajući u vidu činjenicu da poetikom srednjovekovne književnosti dominira načelo žanra, a ne načelo autorstva, te da je upravo žanr najznačajniji faktor koji određuje šta će pisac reći o sebi i o svom životu, tragali smo za autobiografskim fragmentima u poveljama, poslanicama, zapisima i natpisima, i žitijima iz XIV veka.Budući da je osnovna karakteristika srednjovekovne autobiografske književnosti fragmentarnost (podaci koje autor ostavlja o sebi rasuti su u tekstovima različitih žanrova) jedan od osnovnih ciljeva našeg istraživanja bio je da se utvrdi kakva je veza autobiografskog fragmenta s glavnim tekstom. Takođe, kao svojevrstan autobiografski postupak, a u skladu s poetičkim načelima srednjovekovne književnosti, analizirali smo svaku inovativnu i originalnu upotrebu opštih mesta i biblijskih citata, ukazujući na široke mogućnosti uvođenja originalnog sadržaja u zadate obrasce.U naučnoj literaturi posvećenoj delima srpske srednjovekovne književnosti pojedinim tekstovima 14. veka pripisan je atribut ,,autobiografskog dela“, dok su neki čak označeni kao ,,prave autobiografije“ (npr. Ulijarska povelja pripisana kralju Milutinu i Reč Dušanova uz Zakonik). U nekim slučajevima, međutim, takvo atribuiranje je potpuno neopravdano, pa smo u radu pokušali revalorizovati uvrežena mišljenja.Konačno, jedan od ciljeva našeg istraživanja bio je da ustanovimo šta je osnovna funkcija autobiografskih fragmenata u delima srpske srednjovekovne književnosti: čuvanje od zaborava, oživljavanje prošlosti, ili, pak, piščevo predstavljanje sopstvenog religioznog i duhovnog razvoja? U svakom slučaju, na primeru srpskih spisa XIV veka pokazuje se da se autobiografski princip ne mora shvatiti isključivo kao princip samoiskazivanja, već i kao odraz duha epohe u objektivnom svedočanstvu pojedinca.
The problem of autobiographies and autobiographical texts in the medieval Serbian literature is complex and has not been researched enough scientifically. Although the interest in autobiographical texts in the old Serbian literature is not new, prior dealings with this topic only aimed at collecting and partly describing those texts, without attempting to systematically consider and interpret them in the context of Serbian and Byzantine literary tradition. What’s more, they almost always lack appropriate theoretical argumentation.In their definition of autobiography, contemporary theories emphasize the notions of identity, individuality and subjectivity. However, these notions require a thorough reconsideration in relation to the Middle Ages, when individuality was not recognized in today's sense of the word. Moreover, the Middle Ages present us with the individual afraid of their originality, afraid of being “themselves”.Thus, according to the medieval view of the world, the writer is just an “instrument” – God’s extended arm; he is the creator who will ascribe everything good, correct and true to the act of the Holy Spirit. On the other hand, he will be recognized as the author only in alterations and mistakes. Medieval writers use the topos of modesty to define themselves as “sinful”, “inadequate”, “unworthy”, “last of all”, and to admit their ignorance and incompetence to write about a specific topic. At first, the topos was constituted as an expression of monastic meekness, but in the 14th and 15th century this commonplace remained as an ordinary “decoration of literary nature”.However, even with individuality being the sin of vanity for the medieval person, it means neither that medieval artists were incapable of creating original works nor that the literary works from the Middle Ages lack any distinctiveness and creative approach. Although medieval authors did not aspire to their own expression but followed earlier established traditions in corresponding genres, their individual style can still be a matter of discussion. The individuality of an artist was reflected mainly in his inventiveness which he used to approach inherited habits and in the refinement of traditional devices.One of the basic assumptions of this research was that the social identity almost completely suppresses the personal identity in the Middle Ages, and that the medieval person was reduced to the function they had in the society, that is, that the right to write an autobiography in the Middle Ages was based on socially recognized importance. In addition, the proposition of most researchers that “cultural figures” is the most appropriate term for the medieval period is acknowledged in the research. This term signifies ideal types of human existence, which are, among other aspects, expressed in the language of literature and literacy of this era.Bearing in mind the fact that the poetics of medieval literature is dominated by the principle of genre rather than the principle of authorship and that the genre is the crucial factor when determining what the writer is going to say about himself and his life, the research focused on autobiographical fragments in charters, epistles, inscriptions and epitaphs, and hagiographies from the 14th century.Since fragmentariness is the central feature of medieval autobiographical literature (the facts which author leaves about himself are scattered in texts belonging to different genres), one of the primary aims of this research is to establish the quality of the connection between autobiographical fragments and the main text. In addition, every innovative and original use of topoi and biblical quotations has been analyzed as a particular autobiographical device in accordance with the poetical principles of medieval literature, highlighting a range of possibilities for the introduction of original contents into the given patterns.In the scholarly researches dedicated to the works of medieval Serbian literature, certain texts from the 14th century have been described as “autobiographical works” while some have even been designated as “real autobiographies” (e.g., Ulijarska Charter ascribed to King Milutin and Dusan’s Reč uz Zakonik). However, in some cases, such attribution is completely unjustified so this research has tried to revalue prevailing opinions.Finally, one of the aims of this research is to establish the basic function of autobiographical fragments in medieval Serbian literature and see if they were used to preserve memory, resurrect the past or allow the writer to present his own religious and spiritual development? In every case, taking the Serbian writings from 14th century as examples, it is shown that the autobiographical principle does not have to be understood only as the principle of self-expression, but as the reflection of the spirit of an era in an individual’s objective testimony.

PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
O principal objetivo de minha tese reside na análise das peculiaridades do gênero autobiográfico, o qual possui um compromisso com a constituição (mesmo que inconsciente) de um projeto identitário. Apesar da aparente fidelidade a verdade do ocorrido, própria da escrita historiográfica, a evocação do autor desloca sua narrativa mimética do campo da reprodução para o campo da produção, sem, no entanto, transgredir o real, ato realizado pela narrativa ficcional. Apesar de não postular limites categóricos entre estes gêneros narrativos, e, pelo contrário, defender a possibilidade de um constante diálogo entre eles, acredito que a interlocução não apague as fronteiras existentes entre os diferentes discursos. Esta tênue diferença consiste na capacidade do autor em manter seu compromisso aporético durante o ato criação, a manutenção, portanto, da hierarquia das intenções no momento da escrita. Para identificar tal diferença, cabe ao leitor ser capaz de engendrar em sua análise um mínimo de interseção entre seu repertório, ou seja, o conjunto de normas sociais inerentes ao leitor e, consequentemente, à sua recepção da obra, e o repertório do texto, a hierarquia das intenções presente no processo de produção dos discursos.
The main objective of my thesis is the analysis of the peculiarities of the autobiographical genre, which has a commitment to the configuration of an identity project. Despite the apparent commitment with the truth, which is proper of the historiographic genre, the act of recollection shifts the Mimetic narrative of the field of reproduction to the field of creation, without transgressing reality, act performed by the fictional narrative. The author doesn t defend categorical boundaries between these genres, on the contrary, defends the possibility of a constant dialogue among them, even though, these dialogues do not delete the existing border between the different speeches. The subtle difference between genres resides on the ability of the author to keep your commitment during the act of creation, his ability to maintain the hierarchy of intentions during his writing. To identify such a difference, it is up to the reader to be able to engender in his analysis a connection between his repertoire- social conventions that orients his reading – and the text repertoire, which means the hierarchy of intentions that is present during the production of the speech.

Le journal d'ecrivain est un genre litteraire obeissant a des regles precises, non un simple document : une analyse esthetique permet d'en etablir la specificite. Definissable par l'allegeance a un acte, la repetition reguliere de l'ecriture, dont la datation constitue une preuve d'identite generique, le journal, genre referentiel, appartient egalement a l'autobiographie, mais de facon singuliereen ce qu'il se detache du mode narratif et releve essentiellement du discours. A la difference du journal intime, il est toujours destine a la publication : il multiplie du coup les procedures de destinativite telles que le dialogisme, ou le diariste se dedouble, permettant au lecteur d'assister au spectacle d'une conscience theatralisee; en outre, l'utilisation d'une topique universelle soulignel'adresse a un destinataire. Le journal, gagnant son statut d'oeuvre a part entiere, peut etre alors l'objet d'une negociation stylistique par les diaristes : les diverses categories qui le composent (le moi, le temps, le reel) sont traitees sur le mode de l'accomplissement generique ou de la transgression; ainsi le journal apparait-il comme le lieu d'un veritable travail du texte, qui vise a le formaliser ou, a l'inverse, a promouvoir une esthetique du melange et de la discontinuite. Enfin, l'etude semiostylistique replace le journal dans le paysage litteraire contemporain. Son role dans la modernite, en raison de l'importance des concepts d'inachevement, de fragmentaire, et d'insignifiance, est avere; mais, impossible a apprehender par le biais de l'autoreferentialite pure, le journal s'accorde mieux a une perspective postmoderne qui le considere comme un genre capable d'integrer plusieurs niveaux de discours. Le concept de litterarite intermittente, qui prend en compte la diversite des styles (et des modes de lecture), parait le plus apte a penser le journal en termes de production plus que d'oeuvre parfaite, ce qui fait son interet.

Depuis les années mille neuf cent soixante-dix, l'autobiographie littéraire ne cesse de susciter un intérêt croissant et les travaux critiques à son sujet sont actuellement nombreux. Cependant, aucune étude théorique exhaustive sur l'autobiographie uniquement théâtrale n'existe à ce jour. Face à cet écart flagrant entre la pratique existante et la théorie manquante, il semble nécessaire d'apporter une contribution à la théorisation et à la classification de cette catégorie problématique. La présente thèse, dont le titre se réfère à l'ouvrage charnière de Philippe Lejeune Pour l'autobiographie, s'interroge dans un premier temps sur la crise des genres (autobiographique et théâtral) afin d'analyser l'histoire et la genèse de l'autobiographie dramatico-théâtrale à partir du Drame de la vie de Restif de la Bretonne. Cette recherche se doit cependant non seulement de défendre un genre déprisé, mais également de plaider pour son existence.Étant donné l'essor du théâtre autobiographique après la Seconde Guerre mondiale (dont l'Histoire générale ne cesse de contaminer l'histoire intime des autobiographes en question), ce travail porte sur l'insertion de l'autobiographie dans les drames et les spectacles européens de la seconde moitié du XXe siècle. Les exemples choisis mettent en lumière les créateurs investis entièrement dans la mise en espace de leur propre histoire : de l'écriture, en passant par la scénographie et la mise en scène, jusqu'au jeu et / ou présence scénique. Les critères de sélection des œuvres du corpus (six cas d'études principaux : Anouilh, Duras, Grumberg, Ionesco, Kantor, Różewicz) portent sur le rapport direct des écrivains dramatiques à la conception du spectacle vivant, et soulèvent par là la question de la création totale, de la transformation des genres, de l'(ir)représentabilité de l'autobiographie sur scène et de la (re)construction de soi et de son passé par le biais d'un spectacle théâtral. Le dialogue constant entre l'histoire personnelle de l'auteur (autobiographie mise en forme) et l'Histoire générale (mémoires subjectivisés) constituera donc le motif privilégié de cette étude.Cette étude a ainsi pour vocation d'apporter non seulement une contribution à la définition et à l'évolution du théâtre autobiographique, en démontrant les spécificités et les caractéristiques communes des œuvres théâtrales de soi, mais aussi – ou avant tout – d'identifier ce que le théâtre apporte au genre autobiographique et par quel(s) moyen(s) il permet de le renouveler. Le cheminement proposé permet d'observer la genèse et l'évolution du théâtre autobiographique dans lequel la matérialité de la scène occupe une place grandissante : l'histoire du genre dans la première partie, la réécriture d'une autobiographie en prose en une pièce dramatique (par Duras et Ionesco) mise en scène par un artiste associé et accompagné dans la seconde partie, la participation active de l'autobiographe à la mise en scène collective de sa pièce intime (Anouilh, Grumberg) dans la troisième partie, la déconstruction du texte dramatique préexistant cédant le premier rôle au plateau (Różewicz, Kantor, Podehl) dans la quatrième partie. C'est ainsi que le mélange de l'onirisme et de la plasticité (Mądzik, Znorko) constitue en quelque sorte l'aboutissement de cette forme d'expression de soi et permet de saisir au mieux l'essence-même du théâtre autobiographique qui ne doit plus raconter la vie de l'autobiographe, mais la recréer dans l'espace
Since the Seventies of the twentieth century literary autobiography has been arousing deep interest among the researchers and a plethora of critical works have been written on the issue. Yet to this day there is no comprehensive resarch work on the subject. In consideration of a surprising discrepancy between the existing theatre practice and the missing theory, theorisation and classification of this problematic category seems indispensable. This doctoral thesis, the title of which refers to the work of Philippe Lejeune entitled « Pro the autobiography », sees the crisis of forms (the dramatic and theatre forms) and literary genres (the autobiographical genre) a reason for the genesis of dramatic-theatrical autobiography, the story of which will be followed starting with Restif de La Bretonne's « The life's play ».Taking into consideration the development of the autobiographical theatre after the Second World War (the general history of which influenced formation of the intimate history of the autobiographical authors subjected to analysis), the present thesis takes on the task of analysis of the relationship between autobiography and the European theatre of the second half of twentieth century. The selected works present the profiles of dramatic authors fully dedicated to staging the story of their lives : starting with the process of writing a play, through stage design and stage direction to acting or/and stage presence. The selection criteria regarding the analysed works (the six principal playwrights being Anouilh, Duras, Grumberg, Ionesco, Kantor, Różewicz) are based on the direct relationship between the dramatic writers and a theatre performance and take up the issues of total creation, form-genre metamorphosis of works situated on the border between (auto)biography, historical memoirs and diary as well as the possibility of staging the autobiography and reconstruction of one's self and one's past through the medium of a performance.The aim of this treatise is not only presentation of theorisation and periodisation of the autobiographical theatre through distinction of the specifics of each of the analysed works and pointing out the common features but also presenting the elements the theatre introduces to the autobiographical genre and the way it enables its renewal. The suggested way of subject presentation allows to follow the development of the autobiographical theatre where the stage materiality plays increasingly significant role : the first part is dedicated to the analysis of the genre history, while the second one – to the issue of transcribing and transforming the autobiographical prose into a stage play (based on the example of Duras and Ionesco) directed by a thrid party in presence of the author, the third one – to the issue of active participation of the author in the process of collective staging of his autobiographical work (based on the example of Anouilh and Grumberg), the fourth one – to the issue of deconstruction of a dramatic text giving way to the theatre stage (the theatre of Różewicz, Kantor, Podehl). Thus the symbiosis of onirism and graphicality (the visual theatre of Mądzik or Znorko) becomes in a way the crowning of this form of personal statement and allows to capture the essence of autobiographical theatre the aim of which is not telling life but its reconstruction in the space
Since the Seventies of the twentieth century literary autobiography has been arousing deep interest among the researchers and a plethora of critical works have been written on the issue. Yet to this day there is no comprehensive resarch work on the subject. In consideration of a surprising discrepancy between the existing theatre practice and the missing theory, theorisation and classification of this problematic category seems indispensable. This doctoral thesis, the title of which refers to the work of Philippe Lejeune entitled « Pro the autobiography », sees the crisis of forms (the dramatic and theatre forms) and literary genres (the autobiographical genre) a reason for the genesis of dramatic-theatrical autobiography, the story of which will be followed starting with Restif de La Bretonne’s « The life’s play ».Taking into consideration the development of the autobiographical theatre after the Second World War (the general history of which influenced formation of the intimate history of the autobiographical authors subjected to analysis), the present thesis takes on the task of analysis of the relationship between autobiography and the European theatre of the second half of twentieth century. The selected works present the profiles of dramatic authors fully dedicated to staging the story of their lives : starting with the process of writing a play, through stage design and stage direction to acting or/and stage presence. The selection criteria regarding the analysed works (the six principal playwrights being Anouilh, Duras, Grumberg, Ionesco, Kantor, Różewicz) are based on the direct relationship between the dramatic writers and a theatre performance and take up the issues of total creation, form-genre metamorphosis of works situated on the border between (auto)biography, historical memoirs and diary as well as the possibility of staging the autobiography and reconstruction of one’s self and one’s past through the medium of a performance.The aim of this treatise is not only presentation of theorisation and periodisation of the autobiographical theatre through distinction of the specifics of each of the analysed works and pointing out the common features but also presenting the elements the theatre introduces to the autobiographical genre and the way it enables its renewal. The suggested way of subject presentation allows to follow the development of the autobiographical theatre where the stage materiality plays increasingly significant role : the first part is dedicated to the analysis of the genre history, while the second one – to the issue of transcribing and transforming the autobiographical prose into a stage play (based on the example of Duras and Ionesco) directed by a thrid party in presence of the author, the third one – to the issue of active participation of the author in the process of collective staging of his autobiographical work (based on the example of Anouilh and Grumberg), the fourth one – to the issue of deconstruction of a dramatic text giving way to the theatre stage (the theatre of Różewicz, Kantor, Podehl). Thus the symbiosis of onirism and graphicality (the visual theatre of Mądzik or Znorko) becomes in a way the crowning of this form of personal statement and allows to capture the essence of autobiographical theatre the aim of which is not telling life but its reconstruction in the space

Este trabalho tem como objetivo estudar a escrita autoficcional de Caio Fernando Abreu (1948-1996) segundo as concepções, respectivamente, dos teóricos franceses Serge Doubrovsky e Vincent Colonna, destacando-a e diferenciando-a de uma escrita pretensamente autobiográfica, segundo a concepção do também francês Philippe Lejeune. Se para Doubrovsky a escrita autoficcional é identificável pela condição do homonimato entre autor-narrador-personagem, para Colonna tal condição não se faz necessária para a identificação dessa escrita. Desse modo, no caso da autoficção segundo Colonna, para identificação da autoficção de Caio F., propõe-se o critério da sobreposição de textos com base nos paratextos genettianos. Procura-se, assim, estabelecer as bases diferenciais de uma escrita autoficcional que congrega em sua estrutura fatos reais e ficcionais elaborados pela linguagem, em contraposição a uma escrita dita autobiográfica baseada num pretenso pacto de verdade, entendendo ser a autoficção a forma de escrita amplamente praticada por Caio F. Para demonstração dessa escrita autoficcional, promove-se a análise e interpretação de textos significativos de Caio F., neles identificando as estruturas que os tornam autênticas autoficções.
This work aims to study the autofictional writings of Caio Fernando Abreu (1948-1996) according to the French scholars Serge Doubrovsky and Vincent Colonna, emphasizing and differentiating it from a supposedly autobiographic writing and also according to Philippe Lejeune. If, according to Doubrovsky, autofictional writing is recognizable by the requisite of homonimity author-narrator-character, to Colonna such requirement is not necessary. According to the latter, to identify Caio F.s autofiction, one must adopt the criteria of superposition of texts, based on Genets concept of paratext. Therefore, our goal is to establish the differential basis of an autofictional writing which creates in its structures of real and fictional facts elaborated by the language, as opposed to a writing considered autobiographic based on a intended pact of truth. Consequently, autofiction is the way of writing widely practiced by Caio F. In order to demonstrate this autofictional writing, we analyse and interprete Caios most important texts, identifying in them the structures that make them genuine autofictions.

The focus of this study is the two autobiographical novels Den högsta kasten (1997) and Djävulsformeln (2000) by Swedish author Carina Rydberg. Both novels generated lively public debate regarding how they ought to be read and understood, what genre they belonged to, and the ontological status of the narrating “I”. The aim is to investigate why the protagonist, Carina, is perceived as unintelligible by many readers and explore how she can be understood in relation to what constitutes an intelligible identity from a literary and cultural perspective. The novels, as well as their protagonist, are approached from the perspective of genre theory, the argument being that Carina’s unintelligibility is directly dependent on what genre she is read in relation to. In the first part of the thesis the ambiguities of autobiographical texts are discussed, and the narrative and protagonist are analyzed in relation to the autobiographical genre. In the second part of the thesis the consequences of reading the texts as examples of the Gothic with emphasis on monstrosity, the uncanny and sexual transgression are examined. The two readings demonstrate how interpretations of text and character are highly influenced by the reader's expectations connected to genre. Rydberg’s transgression of the norms of genre, gender, and identity leaves the reader with a contradictory set of genre-specific expectations, which in turn makes it difficult to understand and accept the protagonist. The main theme of both novels is Carina’s unsuccessful attempts to reconcile what she sees as two separate, essentially incompatible identities: woman and author. The final chapter includes a comparative study in which Rydberg’s novels are linked to works by other Swedish female writers, both past and contemporary, to demonstrate that the conflict of woman versus author is a common problem for female writers. The thesis closes with a discussion about the possibility of placing Rydberg in a specifically female literary tradition and demonstrate how a feminist analysis can make the unintelligible intelligible.

Dans l'œuvre de l'auteur moderniste Bryher, l'identité est une quête dont l'aboutissement se situe hors cadre et hors-champ. Depuis la fêlure d'un soi en décalage par rapport à l'ordre géographique et social dominant, jusqu'à l'ouverture d'un espace autre, propice à la vie et à l'expression, l'image de l'interstice caractérise l'espace dans le texte et l'espace du texte. Fragmentaires et elliptiques, les récits se concentrent, dans l'intervalle entre la crise latente et l'urgence du non-retour, sur les parcours excentriques de personnages s'éloignant d'un centre normatif. À la fois récit de voyage, Künstlerroman et poésie en prose, la fiction autobiographique de Bryher permet au double fictif de l'auteur d'encoder des références saphiques dans les descriptions de paysages pour survivre à un univers domestique édouardien oppressant. Ses fictions historiques sont des témoignages imaginaires redonnant voix aux exilés, aux parias et aux vaincus, que les mutations territoriales et les changements de paradigme dus à des bouleversements cataclysmiques ou insidieux conduisent à émigrer pour ne pas s'aliéner à eux-mêmes, voire, pour certains, à embrasser la mort par idéalisme ou par imprudence. Dans les mémoires de l'auteur comme dans sa production fictionnelle, la quête d'une identité propre passe par de multiples positionnements (d'ordres discursifs, géographiques, cognitifs et socio-culturels) où la relation entre altérité et ipséité est explorée.

L’Orient de la Princesse Bibesco comporte plusieurs facettes et dépasse la dimension spatiale. Dans cette recherche, nous avons abordé premièrement une expérience « antérieure » à l’existence terrestre de Marthe, dévoilée dans ses mémoires– La Nymphe Europe. Livre I. Mes vies antérieures . Cette première partie nous l’avons appelée l’Orient historique/ hérité. Ensuite, notre recherche met en question un Orient créé (au palais de Mogoşoaia, sa résidence roumaine qu’elle appelle « un coin d’Orient »), un autre Orient vécu et idéalisé dans des notes de voyages où elle se montre plutôt une observatrice subjective et parfois critique. Finalement un Orient conservé est dévoilé dans le folklore roumain représentant d’une part, le retour aux sources de l’humanité et d’autre part, l’élément exotique pour le public étranger. La vocation pour cette culture est constante dans la plupart des œuvres bibesciennes et exploitée sous différentes formes. Ce concept n’aura jamais dans son œuvre un sens dépréciatif, bien au contraire. Marthe Bibesco cherche la légende, le charme, le mirage orientaux. Pour elle le terme Orient ne désigne pas cet espace clos d’où tout le monde veut s’évader, mais la terre authentique, capable d’offrir à l’explorateur le plus beau spectacle
Princess Marthe Bibesco’s Orient enfolds many facets and it rises above the spatial dimension. In our research, we have especially centred round the “historical” or the “inherited” Orient, identified in her memoirs La Nymphe Europe. Livre I. Mes vies antérieures , and the “created” Orient (at Mogosoaia Palace, her Romanian residence). The second part of the research paper emphasizes the “experienced”/ “real” Orient as space narrated in her notes on travelling where the Princess proved to be a subjective observer and rarely a critic. At last, the Orient appears as “preserved” in the Romanian folklore. The latter represents on one hand, the return to origins and on the other hand, it becomes the exotic element for the foreign audience. The vocation for this culture is constantly found in Bibesco’s work and exploited in many different ways. This concept will never have a disparaging sense, on the contrary. Marthe Bibesco is in search of legend, charm, oriental mirage. For her the term “Orient” does not suggest closed space, but authentic territory, capable of offering to the explorer the most spectacular performance

Cette recherche evalue l'effet du contrat generique et de ses enjeux sur l'inscription textuelle du lecteur, sur le role qui lui est destine. Elle etudie, sous l'angle du lecteur, la pratique generique de julien green afin de determiner ce qui varie selon la nature du contrat. Nous retenons des ouvrages regis par trois contrats de lecture differents. Frere francois, une biographie de francois d'assise; l'autobiographie publiee sous le titre jeunes annees; enfin, l'autre sommeil, un roman qui, par sa forme, la nature de son contrat et son sujet, invite a une comparaison avec l'autobiographie. L'etude s'interesse aussi au dispositif paratextuel de ces oeuvres. Par son champ d'observation multi-generique, cette approche fait ressortir les relations d'un genre a l'autre; plus precisement, ce qui permet de les distinguer ou de les rapprocher a l'interieur d'une meme pratique. En examinant ainsi le fonctionnement des genres chez un meme ecrivain, elle met en relief un ensemble de traits gouvernes par l'horizon d'attente d'une epoque
This study appraises the effect of a "contract of genres" (in french, "contrat generique") and the field of expectations it generates for the textual inscription of the reader, or, the role set out for the reader. How genres are deployed by julien green is examined from the perspective of the reader as means to ascertaining what narrative elements vary according to the kind of contract involved. The works providing the basis of this study are governed by three different reading contracts; respectively, they are : frere francois (english translation: god's fool), a biography of st. Francis of assisi; jeunes annees, an autobiography; and, l7autre sommeil, a novel which, owing to its form content and the nature of its contract, suggests comparison with the autobiography. This study also focusses on the paratextual fatures of the works in question. The multi-genre approach used in this study makes it possible to high-light relationships between various genres and to bring out those elements which serve either to compare or to contrast genres as these are developed or manipulated by the same author. By taking this particular approach to the analysis of how genres function in a single author's work, this study may devote attention to a whole set of features that are govened by the field of expectations of a given historical period

À en croire les études consacrées aux écrits personnels, la longue tradition des Mémoires se serait étiolée après Chateaubriand. Les Mémoires n'auraient-ils été que la préhistoire des écrits à la première personne ? Si le genre des vies majuscules a bien connu au début du XXe siècle une période de déclin, la défaite de mai-juin 1940 et ses suites ont recréé un climat de guerre civile propice au renouveau de l'écriture des événements collectifs. Les Mémoires ont, durant cette période, retrouvé leur véritable fonction : être la reconfiguration narrative du mémorable d'une vie, transmise pour servir à la connaissance des mobiles qui guident les hommes engagés dans le cours de l'Histoire. Quatre principaux modèles peuvent être distingués : le militant chez Victor Serge, le dirigeant chez le général de Gaulle, l'intellectuel(le) chez Simone de Beauvoir et l'écrivain homme d'action chez Malraux. Le statut particulier de ce genre au XXe siècle tient à ce qu'en dépit de sa très grande stabilité, due à l'existence d'un dispositif socioculturel de sollicitation et d'encadrement, ses frontières restent mouvantes. Sous le même terme se superposent quatre plans de cohérence s'agençant de manière complexe : les Mémoires sont à la fois une catégorie générique, une pratique discursive, un modèle de composition et le pôle égohistorique des récits de soi. Situés à l'intermédiaire de l'histoire et de la littérature, ils ont, de plus, subi au cours du siècle une profonde remise en cause. Si les historiens méthodiques leur ont préféré les documents, l'histoire de la mémoire leur redonne aujourd'hui un nouvel intérêt. Enfin, les variations génériques d'écrivains comme Yourcenar, Céline, Aragon ou Malraux en ont manifesté la valeur littéraire : les Antimémoires en sont certainement la meilleure preuve
According to studies of personal writing, the Memoir's long tradition has been in decline since Chateaubriand. Was the Memoir only the prehistory of personal writing? If the genre of " Capital Lives " did in fact experience a period of decline at the beginning of the century, the defeat of May-June 1940 and its aftermath reestablished a civil war climate conducive to a renewal of the writing of collective events. During this period the Memoir rediscovered its true function : to be the narrative reconfiguration of a life's memorable events, transmitted in the hopes of illuminating the motives of individuals engaged in the course of History. Four major models may be isolated: the militant in the case of Victor Serge, the leader in the case of General de Gaulle, the intellectual in the case of Simone de Beauvoir, and the writer-man of action in the case of André Malraux. The particular status of this genre in the 20th century comes from the fact that, in spite of the great stability which the Memoir owes to a sociocultural need and framework, its borders remain in flux. Superimposed under the same term we find four distinct modes interacting in a complex fashion. The Memoir is at once a generic category, a discursive practice, a model of composition and the ego-historic pole of the self narrative. Moreover, due to its situation between history and literature, the Memoir underwent extensive questioning in the course of the 20th century. Although archivally-oriented historians have favored other documents over memoirs, recent scholarly interest in the history, politics and theorization of memory has attracted new interest to the genre. Finally, the generic variations of writers like Marguerite Yourcenar, Céline, Louis Aragon or André Malraux have established the Memoir's literary value--of which Malraux's Antimémoires are certainly the best proof

Cette étude plaide pour une nouvelle lecture des mémoires et vise à réhabiliter la valeur historique du discours personnel qui s'y exprime. Se dire a la renaissance n'allait pas de soi, le genre des mémoires permet d'observer les modalités et les conditions d'émergence de cette nouvelle pratique culturelle prélude a l'autobiographie des temps modernes. Cette étude débute par l'analyse des composantes historiques et culturelles de la notion de personne au XVIe siècle. A chacune de ses étapes significatives, le récit mémorialiste développe un plaidoyer pro domo articule à partir de la représentation du moi et variant selon les impératifs spécifiques des différentes phases narratives. Le métadiscours des préfaces fournit une première théorisation du genre ou prime le rapport à l'histoire. Les récits d'enfance remaniant les modèles livres que connus participent de la première image du mémorialiste et s'enchainent sur les récits de succès. Les récits de disgrâce représentent le nœud du récit mémorialiste. Contraint à un replis sur les valeurs du moi, le mémorialiste les érige en morale universelle, cette étude s'achève sur les caractéristiques de l'écriture mémorialiste à la renaissance
This study pleads for a new reading of memoirs and aims at rehabilitating the historical value of the personal discourse expressed in the memoirs. Writing your own life story was not a simple matter in the renaissance, and through the genre of the memoirs one can observe the modalities and conditions required for the emergence of this new cultural practice which will lead to the autobiography of the modern times. At each of these significant narrative stages, the memorialist account develops a pro domo plea articulated by means of the representation of self and of its different aspects in the evolution of the account. This study analyses the prefaces, the tales from childhood, the tales of the "golden age", the stories of disgrace, and the different endings of the memoirs. The last chapter summarizes the characteristics of memorialist writing which began in the renaissance and explain the genre's success even today

Le besoin de garder des traces du passé a surgi comme étant une nécessité de la vie en communauté. Le résultat de cette nécessité, est, qu'en écrivant l'histoire, l'espèce humaine a utilisé ses propres expériences comme sources premières. Les mémoires, naissant du besoin de transmettre aux générations futures le besoin d'écrire l'histoire et l'expérience des individus, mais qui dans l'Occident, dans le milieu du XVIe siècle, se base plus sur les récits du passé et sur le vécu de l'individu, montre un changement avec le fait que l'individu s'oriente vers soi-même dans le cadre du célèbre principe du siècle des Lumières qui est "la perfection humaine" et avec les premières étapes de son propre "moi". Dans l'Occident, à partir du XVIe siècle, alors que toutes les formes d'écrits autobiographiques en général et les mémoires sont définissables comme étant "l'histoire de comment être un individu", il faudra attendre le XIXe siècle pour pouvoir être vues cette vision et pour être différenciées de l'histoire dans le monde Ottoman, qui est basé sur un peuple vivant en communauté mais fermé. Dans ce siècle, où l'Ottoman est sous l'influence de l'Occident et que les fondements de la modernisation sont posés, la présence du "moi" peut commencer à être questionnée par opposition à ou avec "l'indivisualisation" et le "nous" qui sont vues comme étant les critères de la modernisation. Dans notre thèse, nous allons essayer de découvrir la place des mémoires dans la littérature turque et le changement de cette forme durant la période de modernisation et/ou comprendre le changement a été possible, tout en traitant les mémoires des auteurs de la période de Tanzimat
Keeping past under record emerges as a requirement of living in communities. In consequence of this, the primary source of human being as writing the history has been his own experiences. The memories type which has emerged from the need for writing history and the desire of people for transferring their experiences to the generations and which is based on expression of mostly the past and the things one has lived through until the middles of century XVI in the West has shown a change along with the individual who has attempted to discover the world within the scope of that famous "perfectness of human" principle of Enlightenment being directed to his own and started to discover "I". For generally all autobiogaphical writing genres, specially memories, that can be described as a story of "being an individual" in the West from the century XVI to be considered within this description in the Ottoman based on a congregation and a closed society and started to split its ways with the history, it is required to wait for the century XIX, under the influence of Western civilization were laid, the existence of "I" was started to be questioned against and/or beside "individualization" and "we" considered one of the criteria for modernization. During this process, beginning of giving first samples of memories in modern sense and considering memories as a literary genre in connection with the change in people's perception of "I" has happened with the literature of Tanzimat period. In our thesis, while the place of memories genre in Turkish literature and how the transformation of genre during modernization has happened is tried to be revealed in that period

Cette recherche a voulu analyser l'écart entre la dimension littéraire de la page autobiographique et la réalité de l'expérience existentielle de l'auteur. On sait, en effet, qu'à partir d'un emploi fonctionnel et pertinent des éléments paratextuels, l'écrivain de la Vita construit une image héroïque et idéale de lui-même, en mettant en évidence plus ou moins de façon volontaire les aspects de sa personnalité hors du commun qui lui ont permis de s'autodéclarer Héros littéraire.Cette analyse ne reparcourira pas donc les nœuds fondamentaux autour desquels s'articule l'histoire de l'autobiographie comme genre littéraire du XVIIIe siècle, mais elle cherchera à rendre la véritable image de l'auteur, à partir des événements racontés dans la Vita. Dans ce but, on a entrelacé des approches de lecture différentes, bien que complémentaires, de l'autobiographie d'Alfieri qui justifient le sectionnement de cette thèse en trois parties: ) La “Vita » comme mémoire sélective; 2) Des silences autobiographiques et des nouvelles d'Alfieri; 3) La mémoire des choses
This research work wants to analyse the difference between the literary side of the author’s biography and his real existential experience.The first part of the research, “La Vita come memoria selettiva”, deals with the author’s workshop and wants to analyse the elaborative phases of the autobiographical text, supplied with manuscript 13 and 24.The first paragraph of the thesis, whose title is “Presenza e significato del paratesto nella Vita”, analyses the textual apparatus of the autobiography. The second paragraph, “Figure e Figuranti nella Vita”, analyses the characters,mentioned and unmentioned, in the autobiographic work. At the end, the third paragraph, “Francesco Elia, il servo che dirige il suo padrone. Aspetti della commedia settecentesca nella Vita”, concentrates on the study of the servant’s character.The second part, written in an innovative tone, wants to study the personality of Alfieri in depth.The last chapter, “La memoria delle cose”,concentrates on a series of objects of different importance in the author’s autobiography that is full of consonances and discordances between reality and imagination

Ce travail montre les conditions d'élaboration et de production de langues et écritures qui relisent une mémoire subjective et collective, en récrivant l'Histoire par-delà les violences, les dénis, les refoulements et les censures. Il analyse le rapport entre l’autos, je, soi-même, inséparable du bios, la vie comme expérience qui traverse le corps, et la graphie, l’écriture, à la fois texte, témoignage et récit, en examinant comment la question de la « langue maternelle » intervient dans ce rapport. Cela concerne d’abord l'analyse du texte du témoignage L’histoire qu’on réécrit avec la mémoire (2001) à travers lequel émergent en sujet de l'histoire et de l'écriture les « femmes de réconfort » survivantes de l'esclavage sexuel en Corée du Sud pendant l'occupation japonaise. Cette analyse montre comment des femmes viennent à l’écriture en troublant la femme dans l’écriture de l’Histoire. Grâce au dispositif du Team de Témoignages, les témoignages se modulent en écriture de vie, en biographies. Ensuite, dans le texte autobiographique "Dictée", Theresa Hak Kyung Cha fait apparaître un autre sujet d'énonciation une « voix peuplée » qui vise l'autre histoire de la Corée du Sud à partir de son histoire familiale dans une langue d'exil, une langue de l’autre. L’écriture autobiographique, qui est une écriture de l’histoire individuelle, croise l’écriture de l’Histoire en résistant à la subsumption de la femme ainsi que de la pensée. Dans cette perspective, ce travail interroge la complexité de la « langue maternelle » et de l'autobiographie chez des philosophes tels qu’Arendt, Adorno, Derrida. La « langue maternelle » se révèle tantôt comme langue de la Nation, de la loi, de l’autre tantôt comme langue de l’affection et de l’intime, de la relation généalogique
This work shows the conditions of the elaboration, and production, of languages and writings that revisit a subjective and collective memory by rewriting History beyond violence, denial, repression, and censorship. This work analyses the relationship between the autos, the I, the self – inseparable from the bios, life as an experience the body goes through - and the graphein, the act of writing, the written form, at once text, testimony and narrative, by examining the question of how the “mother tongue” is involved in this relationship. Firstly, it concerns the analysis of the testimony The history we rewrite with memory through which “comfort women”, survivors of sexual slavery in South Korea during the Japanese occupation, emerge as a subject of History and writing. This analysis shows how women have begun to write by agitating the idea of the woman in the writing of History. Thanks to the collaboration of a Team of Testimonies, testimonies become life stories, biographies. Then, in the autobiographical text "Dictée", Theresa Hak Kyung Cha brings to light another subject of the enunciation, an “embodied voice” addressing the other part of South Korean history, through her own family’s story in a language of exile, a language of the other. Autobiographical writing, an account of an individual’s story, meets the writing of History, yet resists the subsumption of the Woman and thought. In this perspective, this work question the complexity of the “mother tongue” and the shortcomings of autobiography in philosophers’ works such as Arendt, Adorno, Derrida. The “mother language” reveals itself sometimes as the language of the Nation, of the law, of the other and sometimes as the language of affection, and intimacy, of the genealogical relationship

Thèse de doctorat : Sciences du langage. Analyse du discours : Paris 12 : 2006.
Version électronique uniquement consultable au sein de l'Université Paris 12 (Intranet). Titre provenant de l'écran-titre. Bibliogr. f. 387-410. Index.

L'indifférence affichée par de nombreux mémorialistes et historiens d'Ancien régime à l'égard de l'éléboration "artistique" de leurs oeuvres au nom de la vérité, qui ne peut être trop rapidement réduite à un topos, a ici été prise au sérieux dans le cas particulier des Mémoires du duc de Saint-Simon qui passent pourtant pour le somment de ce qu'on considère parfois à tort comme un "genre littéraire". La vérité affirmée dans l'oeuvre ne saurait en effet dans ce cas particulier être réduite à une rhétorique superficielle et conventionnelle que le commentaire pourrait reléguer au second plan de ses préocupations. Désignée banalement par l'auteur comme l'âme de ses mémoires, la vérité, au terme d'un examen attentif, apparaît de fait comme le principe et la clef d'une oeuvre immense qui ne se laisse plus absorber par la notion déplacée et anachronique de "littérature" mais exhibe fièrement son ambition d'écrirel'histoire. Obesession du fils légitime hantée par le spectre de l'illégitimité, valeur fondamentale de l'homme d'honneur, centre et principede la foi du croyant, la vérités'exprime avec une intensité, un excés qui amènent l'oeuvre aux confins de la folie et pourtant tout aussin bien avec une obstination qui explique ses régularités les plus apparemment méthodiques et rationnelles. C'est à travers son filtre que la diversité et la négligence formelle des Mémoires peuvent se comprendre et que le conflit amoureux qu'ils suscitent entre le langageet le monde prend tout son sens. L'écriture historique apparaît dès lors dans son irréductible spécificité d'acte humain total et original dont le texte conserve de nombreuses traces, et les confusions formelles entretenues par la théorie "post-moderne" entre le discours de l'histoire et celui de la fiction sont résolument écartées
The asserted indifference of many memorialists and historians of Ancien Regime for the "artistic" development of their works in the name of truth, which can too quickly be reduced to a topos, was taken here with serious in the particular case of the magnificent Memoirs of the duke of Saint-Simon which however is considered as the masterpiece of what is sometimes regarded wrongly as a 'literay kind". The truth affirmed in the work could not be reduced indeed here to rhetoric surface and conventions that the comment could regulate to the second plan of its concerns. Designated in a banal maner by the author as the "soul" of his memoirs, the truth, at the end of an attentive examination, appears in fact as the principle and the key of an immense work which cannot anymore be absorbed by anachronistic concept of "literature" but exhibes proudly its ambition to write history. Obsession of the legitimate son haunted by the spectrum of illegitimacy, fundamental value of the man of honor, centre and principle of the faith of the believer, truth is expressed with an excess, an intensity which bring the Memoirs to the borders of madness and yet also with an obstinacy which explains its most apparently rational regularities. It's through its filter that the diversity and the formal negligence of the Memoirs can be understood and the conflict in love that they cause between language and the world assumes all its signification. The historical writing appears consequently in its irreductible specificity of a total and original human act whose text preserves many traces, and formal confusions between the discourse of history and the discourse of fiction are rejected

Cette thèse traite de la question de la femme dans la poésie de trois auteurs engagés majeurs du XXe siècle : Louis Aragon, Pablo Neruda et Yannis Ritsos. Avec un type d’approche résolument comparatiste, elle permet d’avoir une vision plus générale de la femme dans la poésie militante, tout en révélant la spécificité de ces auteurs et de leurs écrits. Ces écritures qui participent d’un dialogue intertextuel et universel placent le rapport entre amour, histoire et politique au cœur de leur relation avec les femmes et avec l’œuvre. Relevant de la problématique de la différence sexuelle et du rapport entre genre et classe – et en utilisant une méthode qui part du particulier pour aller vers le plus général, et qui va donc du personnel au collectif –, cette thèse, centrée sur la production littéraire de la guerre froide des poètes en question, étudie leur évolution personnelle en regard de celle de la poésie engagée en général. De fait, les différentes images de la femme parviennent à représenter la vision du monde de l’écrivain engagé, profondément bouleversée dans la période concernée. Allant progressivement d’une construction à une déconstruction de l’identité collective, des tons hauts aux tons sourds, de l’épique au lyrique, des mythes révolutionnaires aux mythes soulignant le caractère inaltérable de la condition humaine, de la physique à la métaphysique, de l’idéal du Progrès, enfin, à une dépréciation de l’Histoire – qui se manifeste sous des figurations cycliques –, l’écrivain engagé se retrouve à la limite de son entreprise, où les contradictions restent souvent inconciliables
The aim of this thesis is to explore the question of woman in the poetry of three major committed poets of the twentieth century : Louis Aragon, Pablo Neruda and Yannis Ritsos. Having adopted a comparative type of approach, this study gives a general vision of woman in militant poetry, while at the same time it highlights the specificity of the authors and their works. This poetry forms part of a universal and intertextual dialogue placing the relationship between love, history and politics at the centre of the authors’ relation with women and the creative process. Within the scope of the sexual difference problematic, as well as the interplay between class and gender, and by employing a method that moves from the particular to the more general – and thus, from the personal to the collective –, this thesis, centered on the Cold War literary production of the authors concerned, focuses on their personal development with respect to the evolution of the committed poetry more generally. Indeed, the different images of woman come to represent the vision of the world of the committed writer, profoundly disrupted during the period in question. Moving progressively from a construction to a de-construction of the collective identity, from high to low tones, from epic to lyric flair, from revolutionary myths to myths outlining the inalterable character of human condition, from physics to metaphysics, lastly, from the ideal of Progress to a depreciation of History – expressed by cyclical figurations –, the committed writer is found on the outermost boundary of his undertaking, where contradictions are often unreconciliable

La narrazione letteraria autobiografica si presenta come un genere di difficile definizione e quasi ai confini della letteratura, caratterizzato da un insieme inestricabile di testualità, referenzialità e costruzione. il narratore autodiegetico si pone il complesso obiettivo di riordinare la propria storia di vita, dando un senso ai ricordi, nel momento stesso in cui ne decide l'ordine e la composizione. Ci proponiamo qui di rintracciare le origini del genere autobiografico ed evidenziare la continuità della tradizione dei fondatori in alcuni casi rappresentativi della narrazione letteraria autobiografica del ventesimo secolo.
Autobiography is difficult to define as a literary genre and is almost at the boundaries of literature. It is marked by an inextricable mixture of textuality, referentiality and construction. The autodegetical narrative aims at giving an order to a life story, thus attributing a meaning to memories in the same time as it defines their order and composition. We intend to trace back the origin of the autobiographical genre and underline the continuity of tradition in some representative examples of literary autobiographical narrative of the twentieth century.

La narrazione letteraria autobiografica si presenta come un genere di difficile definizione e quasi ai confini della letteratura, caratterizzato da un insieme inestricabile di testualità, referenzialità e costruzione. il narratore autodiegetico si pone il complesso obiettivo di riordinare la propria storia di vita, dando un senso ai ricordi, nel momento stesso in cui ne decide l'ordine e la composizione. Ci proponiamo qui di rintracciare le origini del genere autobiografico ed evidenziare la continuità della tradizione dei fondatori in alcuni casi rappresentativi della narrazione letteraria autobiografica del ventesimo secolo.
Autobiography is difficult to define as a literary genre and is almost at the boundaries of literature. It is marked by an inextricable mixture of textuality, referentiality and construction. The autodegetical narrative aims at giving an order to a life story, thus attributing a meaning to memories in the same time as it defines their order and composition. We intend to trace back the origin of the autobiographical genre and underline the continuity of tradition in some representative examples of literary autobiographical narrative of the twentieth century.

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This current dissertation aims to put in perspective the contrastive study of speech genres through biographies and autobiographies by means of the style's studies on both speech genres in an attempt to verify in what they converge or dissent. This paper brought up, as the subject of research, a study of biography and autobiography genres, facing the textual process of drafting on its stylistic constitution, such as proposed by Bakhtin. We have made the question: What are the convergent features and more precisely the different features present in the identification of biography and autobiography speech genres, taking into account the style of both speech genres? The main goal of the research was to verify the construction of speech genres biography and autobiography, setting a comparative analysis, in order to typify the similarities and differences between both speech genres anchored in the specific objects that had as starting point: a) checking the discursive-declarative positioning; b) the primary and secondary speech genres; c) the constitutive heterogeneity that leads us to the analysis of the linear and pictorial style as foreseen. As theoretical bases we used considerations of Arfuch (2009/2010), Bakhtin (1992), Bakhtin/Valoshínov (2009), Brait (2006), Brait/Melo (2005), Castro (2014), Fairclough (1992), Fiorin (2006/2008), Vilas Boas (2007). The selected corpora were Pakistani activist Malala Yousafzai's biography and autobiography. Based on biography and autobiography speech genres' contrastive analysis we have reached the result that biography as a style has as main characteristic a formal style, "written as if written" with a prominence of pictorial style over the linear style. On the other hand, autobiography is also formal, although it is disguised as an informal intention derived from its discursive-declarative positioning, which requires the unity of the first person singular pronoun "I" and therefore has a written style as if spoken with a prominence of the linear style over the pictorial style
O presente trabalho perspectivou o estudo contrastivo dos gêneros do discurso biografia e autobiografia por intermédio do estudo do estilo em ambos os gêneros do discurso verificando em que convergem e no que divergem a biografia e a autobiografia. Este trabalho trouxe à tona, como tema de pesquisa, um estudo dos gêneros biografia e autobiografia, voltado para o processo de elaboração textual em sua constituição estilística, nos moldes propostos por Bakhtin. Teve como problema de pesquisa a pergunta: Quais são as características convergentes e mais precisamente as características divergentes presentes na identificação dos gêneros do discurso biografia e autobiografia, levando-se em conta o estilo de ambos os gêneros do discurso? O objetivo central da pesquisa estava em verificara construção dos gêneros do discurso biografia e autobiografia, estabelecendo uma análise comparativa entre os gêneros, a fim de caracterizar as semelhanças e as diferenças entre ambos os gêneros do discurso ancorado nos objetivos específicos que tinham como ponto de partida a verificação do posicionamento enunciativo-discursivo, os gêneros do discurso primário e secundário e a heterogeneidade constitutiva para chegarmos à análise do estilo linear e pictórico como havíamos previsto. Como bases teóricas utilizamos as considerações de Arfuch (2009/2010) Bakhtin (1992) Bakhtin/Valoshínov (2009), Brait (2006), Brait/Melo (2005), Castro (2014)Fairclough (1992),Fiorin (2006/2008), Vilas Boas (2007).Os corpora selecionados foram a biografia e a autobiografia de MalalaYousafzai ativista paquistanesa que luta pela questão da educação. Com base na análise contrastiva dos gêneros do discurso biografia e autobiografia chegou-se ao resultado que a biografia quanto ao estilo tem como característica um estilo formal, escrito como se escrito com uma preponderância do estilo pictórico sobre o estilo linear. A autobiografia também é formal, embora seja travestida de uma intenção informal derivada do seu posicionamento enunciativo-discursivo, que pressupõe a unicidade do pronome pessoal do caso reto eu e que tem, portanto, um estilo escrito como se falado tendo uma preponderância do estilo linear sobre o estilo pictórico

Le présent travail s'est proposé d'analyser avec les outils de la linguistique textuelle les autobiographies des jeunes Allemands de l'Est après 1989 souvent présentées comme inclassables dans le genre autobiographique. Il s'ouvre sur une description de la position interdisciplinaire adoptée dans ce travail de linguistique textuelle qui porte sur un corpus de textes relevant du discours littéraire tout en investissant des notions de l'analyse de discours s'inscrivant dans la tradition de Michel Foucault. Il se poursuit avec l'analyse des spécificités énonciatives, pragmatiques, thématiques et stylistiques des autobiographies des jeunes Allemands de l'Est après 1989, sur lesquelles se fonde leur appréhension en termes d'autobiographies contre-discursives, genre textuel désignant une sous-variante autobiographique produite par des auteurs-narrateurs marginalisés dans la réalité socio-historique, à destination du centre discursif, en réaction au discours dominant dont ils sont l'objet et qu'ils réfutent. Enfin ce travail propose une analyse détaillée des lexèmes nominaux composés ayant pour déterminant Ost- ou West- et à leur mise en texte dans les autobiographies des jeunes Allemands de l'Est après 1989. Parmi ces dénominations référant aux réalités de l'Est et de l'Ouest, certains complexes nominaux peuvent être qualifiés de composés phraséologiques : éléments linguistiques clés dans la diffusion des stéréotypes du discours sur l'Est, ils donnent lieu dans les textes du corpus à de nombreuses [dé]constructions lexicales permettant une critique du discours dominant, qui illustre la dimension défensive du contre-discours autobiographique est-allemand.

La recherche porte sur une catégorie discursive transverse à divers genres, "l'autographie". Le corpus est constitué de trois oeuvres de Rousseau : les Confessions, les Dialogues, les Rêveries. La perspective adoptée est celle de l'analyse du discours, qui s'efforce d'articuler construction du sujet, fonctionnements textuels et institutionnels. Pour "exister" dans la communauté discursive des philosophes dont il est tout à la fois membre à part entière et dissident, Rousseau procède à une mise en scène de soi discursive où gestes et textes sont indissociables. C'est en construisant des scènes d'énonciation originales que Rousseau atteint cet objectif. L'étude se développe en trois étapes. Les approches de l’« autobiographie » littéraire et des « ego-documents » sociologiques sont d’abord présentées et évaluées. On s’intéresse ensuite à la démarche de Rousseau, pour montrer comment se construit discursivement son positionnement dans la communauté de la Nouvelle République des Lettres, à travers des scénographies qui inscrivent ses œuvres dans l’interdiscours et dessinent un ethos paratopique. Les marques linguistiques de l’énonciation d’un je multiple, les modalités de prise en charge de sa propre parole et de celle d’autrui, les actes illocutoires indirects sont examinés. Ainsi s’élabore une figure hors norme, celle d’un réprouvé, victime d’un malentendu général. Enfin, la dernière partie montre comment, loin de dévoiler la personne, les autographies de Rousseau, à travers la « « captation » du genre de la Vie de philosophe et le recours systématique au paradoxe, s’y refusent. Plus que le lieu d’une quelconque expression de soi, ces autographies aspirent à être entendues comme des « discours constituants »
This research bears on a discursive category that goes across various genres : “autography”. The corpus consists of three works by Rousseau : Confessions, Dialogues, Rêveries. The viewpoint adopted is that of discourse analysis, which endeavours to articulate the building up of the Subject, and the ways texts and institutions operate. In order to”exist” in the discursive community of philosophers which he belongs to totally and at the same time dissents from, Rousseau discursively sets himself on stage, where gestures and texts cannot be dissociated. By building up original enunciation scenes, Rousseau reaches this aim. The study unfolds in three stages. The approaches to literary “autobiography” and to sociological “egodocuments” are first presented and evaluated. Then our attention focuses on Rousseau’s proceeding to build up in the community of the New Republic of Letters by way of scenographies which make his works belong to interdiscourse and draw a paratopical ethos. The linguistic marks of the enunciation to a multifaceted I, the way he assumes his own speech and that of the others’, the indirect illocutionary acts are examined. Thus there gradually rises an unconventional character, that of an outcast, who is the victim of a general misunderstanding. Finally, the last part shows how, far from unveiling his person, Rousseau’s autographies, through the “capture” of the genre of Live of the philosophers, and the systematic resort to paradox, refuse to do it. More than the convenient place for any self-expression, these autographies must be heard as “self-constituting discourses”

L’étude comparative de Incidents in the Life of a Slave Girl (Harriet Jacobs), Our Nig ; Sketches from the Life of a Free Black (Harriet Wilson) et The Bondwoman’s Narrative (Hannah Crafts) s’attache à ouvrir de nouvelles perspectives sur la singularité du sujet féminin noir dans les anfractuosités de l’écriture autobiographique du récit d’esclave. Si ces femmes auteurs se constituent en témoins privilégiés de la condition féminine noire de l’Amérique « antebellum », elles n’engagent pas moins leur plume dans l’activisme. L’enjeu de cette thèse est de revenir sur les liens entre écriture et féminin en prenant comme point de départ l’œuvre elle-même, fût-elle autobiographie ou fiction. La saisie de soi et du monde et la quête identitaire sont des thèmes fondamentaux de la tradition romanesque africaine américaine où des voix marquantes se succèdent. L’affranchissement du genre autobiographique s’affirme comme instance de survie où la mise en perspective de la fiction permet de révéler la vérité du sujet. Ainsi, la question du genre constitue la trame de ce panorama où sont examinés la nature du discours du sujet noir, l’écriture du corps féminin, et le théâtre « ima-gyn-aire » d’un sujet en crise. En véritable héritière de Dickens et Byron, Hannah Crafts s’attache à créer des correspondances entre les genres, tandis que Harriet Wilson adresse une lettre ouverte à Emerson et Harriet Jacobs subvertit le roman sentimental. Ces trois femmes situent, contre toute attente, l’esthétique du récit d’esclave au carrefour de la littérature autobiographique, sentimentale, gothique et picaresque. Nous verrons, à travers ce travail, que ce n’est pas tant l’anatomie qui distingue le sujet mais plutôt la façon qu’a le sujet de se ranger d’un côté ou de l’autre du genre ; le sujet féminin peut désormais évoluer dans un nouvel espace le libérant de l’emprise du masculin. Cette thèse est également l’occasion d’une réflexion sur la dialectique de l’historicité et la littérarité où l’engagement politique de l’auteur du récit d’esclave, qui est appelé à s’imposer comme littérature, invite à porter un nouveau regard sur la production littéraire féminine avant-gardiste, et ainsi donner un nouvel élan à la littérature africaine américaine
The comparative study of Incidents in the Life of a Slave Girl (Harriet Jacobs), Our Nig ; Sketches from the Life of a Free Black (Harriet Wilson), and The Bondwoman’s Narrative (Hannah Crafts) aims at opening up new perspectives on the specificity of the female subject, through the slave narrative’s autobiographical writing. If these women writers stand as privileged witnesses of the female condition in Antebellum America, they do not remain passive nonetheless. The aim of this dissertation is to approach the links between « writing » and « feminine », by taking into account the text itself, be it autobiographical or fictionalized. Significantly enough, self-consciousness, identity and the construction of a self through writing are definitely major components of the African American literary tradition in which outstanding voices are singled out. The slave narrative tends to drift away from autobiography in order to afford its survival and conforms to the conventions that proved successful, thus revealing the truth of the subject. In this perspective, gender is the key issue of this study which brings an exclusive insight on black women’s writing. Discursive difference, writing the female body, and a staged conflicted subject are the core themes of this work. As a follower of Dickens and Byron, Hannah Crafts creates a unique blend of genres, while Harriet Wilson’s modus operandi is to rewrite Emerson’s reflections on society, and Harriet Jacobs offers a subversion of the sentimental novel. By all means, these female slave narratives’ « tour de force » lies in the aesthetics and poetics of the genre located at the crossroads of autobiography, sentimental fiction, the gothic and the picaresque. The subject determines its own sexuation, which enables the female subject to break free from the male subject. This dissertation also offers the opportunity to raise the question of history and literature. The slave narrative falls within the frame of literature as the writer’s political stance is an invitation to reconsider avant-garde women’s literary production within the African American literary canon

The purpose of the present thesis is to examine the modes of enunciation (“mode d’énonciation”) and the use of text genres in relation to thematic and semantic aspects of Claude Cahun’s book, Aveux non avenus (Disavowals: or, Cancelled Confessions)(1930), which consists of text fragments. Claude Cahun, who is mostly known for her photographic self-portraits, was active on the margins of surrealism in Paris in the 1920s. The text fragments of Aveux non avenus can be compared to a collage technique that she also uses in the photomontages which open each chapter of the book. As an author, Claude Cahun clearly resisted traditional confessional literature (as the title of the book also suggests), and this study focuses on how she creates images of herself through characters borrowed from mythology, the Bible, and popular and literary texts, but also through reflections on specific themes in dialogues, essays and aphorisms. The thesis examines how Aveux non avenus differs from an actual autobiography, how the fragmented self-portrait is constructed, and how the book expresses a critique of contemporary society. The method of the thesis is based on textual analysis, with the support of the concepts of modes of enunciation (”mode d’énonciation”), text genres, and détournement (”détournement”). It also rests on the contextualisation of Claude Cahun’s practice of writing in relation to the history of literary genres, surrealist avant-garde movement, and in relation to sources within cultural history and the history of women. The thesis analyses how Claude Cahun, through the use of different genres and shifting modes of enunciation, creates a fragmented, diverse, and contradictory portrait of herself, in a way that also conveys a critical image of contemporary society. The text functions, simultaneously, as a collage of different text genres. The conclusion thereby underlines the idea that the text is not arbitrarily fragmentary, but constructed on the principles that the analysis of the work has demonstrated. In previous research on Claude Cahun, the indefinite genre of the book has been emphasised. Instead, this thesis wants to show that the diversity of text genres is deliberately explored to develop varying modes of enunciation that give Claude Cahun the opporturity to reflect and give nuance to representations of the self and to convey a radical critique of society.