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Dissertations / Theses on the topic 'Biography and autobiography'
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1
Spender, Barbara Anne. "Autobiography, biography and personal identity." Thesis, University of Southampton, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.266894.
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2
Lindenmeyer, Antje. "Autobiography as myth of origin." Thesis, University of Warwick, 2001. http://wrap.warwick.ac.uk/4031/.
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The following PhD thesis will explore the connection between autobiography and myth of origin: On the one hand, I am concerned with the ways in which women autobiographers rewrite classical myths of origin; on the other hand, I contend that autobiography itself is a myth of origin, a recreation of the forces that created the narrator. Throughout this thesis, I will develop two main themes: the first is the use of myth as a framework for autobiographical writing. This is possible because of myth's characteristic double focus on the universal and on the particular version, the historical context. Myth allows feminist autobiographers to connect themselves to universal truths from which they are barred by patriarchal tradition and to carve out their own, highly personal version. The second theme is that the autobiographers depict the origin as the core of the self and utterly Other. First, the narrator has to rely on the stories of other people, or a 'family memory'. Second, the past can be seen as connected to or leaving traces in the present; at the same time, it can be completely Other and incompehensible. Third, the autobiographical I is often cut off from her origins, and a constructive return that integrates the past and the present self is only possible through a deliberate act of mythmaking: It is mythmaking and storytelling that provides a connection between self and Other. I hope to make a contribution to feminist theory of autobiography as well as to feminist theory. Reading autobiography as myth of origin approaches the persistent problem of the relationship between the historical author and the autobiographical self. Moreover, I will explore the the specific relation between women and origins, and address the necessity for feminist theory to develop a framework where self and Other are intimately connected.
3
Hutt, Marten. "Medical biography and autobiography in Britain, c.1780-1920." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284246.
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4
Sein, Ma Yin Yin. "Analytical study of selected Myanmar biography and autobiography published in Myanmar." Yangon : University of Yangon Department of Library and Information Studies, 2002. http://books.google.com/books?id=_-ffAAAAMAAJ.
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5
徐少珊 and Siu Shan Remy Chui. "Reading 'Third World' women's autobiography." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31222547.
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6
White, Joshua Craig. "Fusing fact and fiction: biography and autobiography in the novels of Virginia Woolf." Thesis, Rhodes University, 2016. http://hdl.handle.net/10962/4005.
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Virginia Woolf was noted for a preoccupation with the genre of life-writing throughout her career. Her aims when it came to reshaping the nature of biographical and autobiographical literature were numerous. She veered away from the aggrandising and patriarchal methods with which Victorian biographers tended to depict their subjects. She increased the focus on women in life-writing, examining and subverting traditionally prescribed gender roles prevalent in both her society and the literature that reflected it, and advocating a balance between male and female patterns of thinking. She also devised a method of incorporating both basic biographical fact and aspects of fiction into life-writing in order to approach a more truthful depiction of a subject’s personality or character. This method is linked to the aforementioned balance of gendered thought patterns, since Woolf often aligns factuality with male thinking and the contrasting qualities of fiction, such as intuition, ambivalence and perspicacity, with female thinking. This thesis examines three novels which demonstrate Woolf’s constant preoccupation with combining fact and fiction in order to capture the essence of personality. In her debut novel, The Voyage Out, she presents Rachel Vinrace, who must achieve a balance of male-oriented fact with female-oriented insight in order to fashion a sufficient identity for herself and to identify others in a selective and judicious manner, thus being simultaneously autobiographical and biographical. In Orlando, Woolf explicitly subverts the traditional Victorian biography by depicting Vita Sackville-West as a man who transforms into a woman and remains living for over 400 years. In presenting such a character, Woolf posits that personality consists of and is influenced by myriad aspects of a person’s life that cannot be documented in the restrictive manner employed by Victorian biographers. Orlando’s essence being obfuscated by manifold “selves” attests to Woolf problematizing attempts to attain such an essence. The same challenge is particularly important in her autobiographical novel, To the Lighthouse, in which she transposes the traumas of her own life into a fictitious narrative in order to achieve catharsis for her and her readers, and to present the difficulty in capturing the essence of character. The conclusion that Woolf eventually posits is that personality cannot be reduced to an essence, but rather that it consists of idiosyncrasies that are various, intertwining, and capricious.
7
Rak, Julie. "Refusing to hyphenate : Doukhobor autobiographical discourse /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0006/NQ42870.pdf.
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8
Orlando, Monica L. "Relational Representation: Constructing Narratives and Identities in Auto/Biography about Autism." Case Western Reserve University School of Graduate Studies / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=case1427986813.
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9
Elmwood, Victoria A. "Playing defense countercultural American men's autobiography between the atomic bomb and the Reagan era /." [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3219893.
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Thesis (Ph.D.)--Indiana University, Depts, of English and American Studies, 2006.Source: Dissertation Abstracts International, Volume: 67-06, Section: A, page: 2156. Adviser: John Eakin. "Title from dissertation home page (viewed June 21, 2007)."
10
Kirksey, Cort H. "Shavian Self-Fashioning: Authorized Biography and Shaw's Superman." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2184.
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George Bernard Shaw exercised an above-average level of authorial control, which even extended to his relationship with his biographers. Shaw crafts a persona, with the help of his "authorized" biographer Archibald Henderson, which displays a process of evolutionary development and progress along the lines of the Shavian philosophy of the Life Force and the Superman. In essence, Shaw is casting himself as a prototype for the Superman through the autobiographical manipulation of his biographers and aesthetic modes of self-fashioning.
11
Twohill, Timothy P. Shields John C. "Multum in parvo autobiographical metis and the democratic impulse /." Normal, Ill. Illinois State University, 1998. http://wwwlib.umi.com/cr/ilstu/fullcit?p9835919.
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Thesis (Ph. D.)--Illinois State University, 1998.Title from title page screen, viewed July 6, 2006. Dissertation Committee: John C. Shields (chair), Cynthia Huff, Russell K. Rutter, Ray Lewis White. Includes bibliographical references (leaves 213-226) and abstract. Also available in print.
12
Iwig-O'Byrne, Liam. "How Methodists were made : The Arminian magazine and spiritual transformation in the transatlantic world, 1778-1803 /." PDF version available through ProQuest, 2008. http://proquest.umi.com.ezproxy.drew.edu/pqdweb?index=0&did=1537004751&SrchMode=1&sid=17&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1249061192&clientId=10355.
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Sparrow, Jeffrey William, and jeffspa@alphalink com au. "Engineering your own soul: theory and practice in communist biography and autobiography & Communism: a love story." RMIT University. Creative Media, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080102.123850.
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The creative project Communism: a love story is a piece of literary non-fiction: a biography of the communist intellectual Guido Carlo Luigi Baracchi (1887-1975). It investigates Baracchi's privileged childhood as the son of the government astronomer and a wealthy heiress, his career as a university activist, his immersion in Melbourne's radical and artistic milieu during the First World War, his role in the formation of the Communist Party of Australia, his changing attitudes to communism during the 1920s and 1930s while in Australia and overseas and his eventual identification with the Trotskyist movement. The project explores the different strands of thought within Australian communism, the impact of Stalinisation on the movement both in Australia and overseas, and the personal and political difficulties confronting facing anti-Stalinist radicals. It examines the tensions between Baracchi's political commitments and his upbringing, and situates Baracchi's tumu ltuous romantic relationships (with Katharine Susannah Prichard, Lesbia Harford, Betty Roland and others) in the context of his times and political beliefs. The exegesis Engineering your own soul: theory and practice in communist biography and autobiography examines the political and artistic tensions within the biographical and autobiographical writings of Betty Roland and Katharine Susannah Prichard in the context of the development of the world communist movement.
14
Roberts, Heidi Francie. "The moment in the garden spiritual autobiography and T.S. Eliot's Four quartets /." Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.
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Blowers, Tonya. "Locating the self : re-reading autobiography as theory and practice, with particular reference to the writings of Janet Frame." Thesis, University of Warwick, 1998. http://wrap.warwick.ac.uk/36297/.
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The thesis is a three-part study of the theory and practice of autobiography. The writing of the New Zealand novelist, poet and autobiographer Janet Frame (1924-) is used as casestudy throughout, juxtaposed to canonical texts of autobiography (typically written by white western males) which have been used to draw conclusions about the self. Frame's 'autobiographical' writings (in particular her three-volume autobiography, To the Is-Land, An Angel at My Table and The Envoy From Mirror City; and her novels Faces in the Water and Owls Do Cry) are used to suggest a new approach to interpreting both the self in society and the relationship between narrated self and context. Part One is a re-reading of three classic texts of the genre, St.Augustine's Confessions, Dante's Vita Nuova and John Bunyan's Grace Abounding. The assumption that such texts describe an 'autonomous, unitary' male protagonist is thoroughly questioned and the texts are read to reveal instead the characteristics of fragmentation and alterity usually reserved for descriptons of the self in women's autobiographies. The point is emphasised that the narrated self of autobiography must always be precisely located in time and space. In Part Two, the definition of autobiography as genre is explored. Two schools of thought are identified: one which focuses on the contract between reader and writer (Lejeune), the other which highlights that the self is constructed in and through the narrative which purports to represent it (Bruss, Barthes). Frame's writing is then used to test the application of such models. The relationship between 'history' and 'fiction' is discussed as the pivotal distinction on which the notion of autobiography hinges. Through a reading of Frame's autobiographies and Paul Ricoeur's Time and Narrative, the notion of a 'textual contract' as a new definition of autobiography as genre is developed: this definition maintains both the importance of the life outside the text but also the representative nature of narrative to transform that reality within the text. Part Three puts into practice the theory of 'locating the self'. Frame's autobiographies are first analysed through a series of categories of 'belonging': gender, class, race, nationality and coloniality. It is suggested, using Elspeth Probyn's notion of Outside Belonging, that Frame invents and performs the categories of both poet and schizophrenic in order to find a place to belong. Finally, Frame's narrated self is analysed in the very specific context of the local and national writing culture, demonstrating that the narrated self of autobiography is, to a large extent, instructed in society and rehearsed by the author long before she puts pen to paper. The thesis concludes with the notion of autobiography as metaphor which is seen as resolving many of the theoretical dilemmas posed throughout.
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Hartsock, Pamela A. ""Tracing the pattern among the tangled threads" : the composition and publication history of the Autobiography of Benjamin Franklin /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9999293.
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Nichols, Fiona Erica. "Inside Schizophrenia: Mending the Internal Conflict; And, The Historical, Cultural and Social Aspects of Schizophrenia." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/548.
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This thesis comprises a memoir and essay on schizophrenia. It is estimated that 285,000 people suffer some form of schizophrenia in Australia. This means, on average, one in seventy people in Australia suffer from the disorder. For males, schizophrenia often develops in early adulthood. For females, it has later onset. There are about five types of schizophrenia: paranoid, catatonic, disorganised, undifferentiated, and residual. The focus of this thesis is on the diagnosis of Paranoid Schizophrenia. There is no cure, but it is treatable. However, people with a treatment resistant schizophrenia can find life difficult. The aim of the thesis is to inform people that it is not a condition to fear, and to dispel the stigma often associated with mental illness. Many people shy away from schizophrenics, as the impression given by media is that schizophrenics are dangerous. Another common myth is that schizophrenics have ‘split personality’, which is not the case. The symptoms do not involve multiple personalities. Schizophrenia derives from the Greek, meaning ‘split mind’, and this is where the myth has originated. The focus of the essay is on the historical, cultural and social aspects of schizophrenia. The term schizophrenia was coined in the early twentieth century. The essay looks at ancient texts, where schizophrenia possibly originated in early forms of psychosis. It also considers other cultures, in many of which schizophrenia is stigmatized. Through demystification, the thesis aims to show that it is a medical complaint, rather than a spiritual one. Social aspects include the need for more community support for schizophrenics. This thesis will, hopefully, help to facilitate greater understanding of the condition by providing a personal perspective.
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Simakole, Brutus Mulilo. "Political autobiography, nationalist history and national heritage: the case of Kenneth Kaunda and Zambia." Thesis, University of the Western Cape, 2012. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_5572_1375971963.
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The research for this thesis started off as a long academic essay that sought to review a 1970s biography of Kenneth Kaunda.1 In its original focus, the study aimed at evaluating the work on the narrations of Kenneth Kaunda&rsquo
s life from a theoretical and critical perspective. Specifically it sought to evaluate the biography for its theoretical and methodological approaches, its attention to issues of sources, archives, narrative and history. In addition, it aimed at locating the biography in relation to debates over biography and history in South Africa. As I began my research for the long essay, it soon became apparent that the biography of Kenneth Kaunda ended its narration in 1964 and yet it was published ten years later in 1974. By ending its &lsquo
coverage&rsquo
of the narrations of Kenneth Kaunda&rsquo
s life in 1964, it seemed obvious that its coverage was in many ways similar to his autobiography that was published in 1962.2 The ending of the biography&rsquo
s coverage in 1964 thus seemed rather abrupt as it precluded any representations of the subject in the post 1964 period in which he had become President of Zambia. Kenneth Kaunda was
resident of Zambia for nearly three decades (1964-1991) having led the &lsquo
final&rsquo
phase of the nationalist struggle for Independence through the United National Independence Party (UNIP). Surely, I surmised, the meanings of Kenneth Kaunda&rsquo
s life as nationalist leader, as presented in most of his biography, would differ from those of him as
President? Upon evaluating the biography, it seemed to be a largely chronological and descriptive rather analytical account of the subject&rsquo
s life. However, what made it profound to me was the ways in which it entwined the narratives of Kenneth Kaunda&rsquo
s life with the events, dates 1 The biography of Kenneth Kaunda by Fergus Macpherson was the subject of the long essay. See Fergus Macpherson, Kenneth Kaunda of Zambia: The Times and the Man (Lusaka: Oxford University Press, 1974). 2 Kenneth D. Kaunda, Zambia Shall Be Free: An Autobiography (London: Heinemann Educational Books
td, 1962). and activities of the history of the Zambian nation. Some accounts inadvertently referred to this interconnection by referring to Kenneth Kaunda as the &lsquo
founder of Zambia&rsquo
. My
exposure to various other debates around the production of history in the public domain such as through museums and national heritage sites or monuments prompted me to consider undertaking a study of the post-1964 historiography of Kenneth Kaunda. Rather than attempting to fill Kenneth Kaunda&rsquo
s post-1964 historiographical gap with a chronological account of his political life, I wanted to trace the narratives of Kenneth Kaunda&rsquo
s life in connection with the production of history in different domains in Zambia. This thesis thus aims at examining the political auto/biographical narrations of Kenneth Kaunda in relation to the production of nationalist history and national heritage in Zambia in the years following the country&rsquo
s Independence in 1964.4 One of the key questions that this study sought to engage with was: how did the &lsquo
representations&rsquo
of Kenneth Kaunda influence the ways in which Zambia&rsquo
s post-independence nationalist history and national heritage were produced? In seeking to provide an answer to the question, the study evaluated the auto/biography of Kenneth Kaunda itself, as well as how it reflects in the history texts utilised in Zambian schools and in history in the public domain through national heritage sites or monuments and museum exhibitions. The thesis will show that in Zambia, the auto/biography of Kenneth Kaunda has acquired significance through history as school lesson and as history in the public domain, through the production of national heritage sites and museum exhibitions.
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Attarian, Hourig. "Lifelines : matrilineal narratives, memory and identity." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115621.
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This inquiry explores matrilineal autobiographical narratives in the contexts of family stories and memories. This self-study traces the stories of a collective of five women of a common Armenian heritage, who represent various generational, homeland and diasporic portraits and experiences. Carrying the burden of being descendants of genocide survivors, the memories we reconstruct and interpret deal with issues of inherited exile, dispossession, loss, trauma, survival and healing. In exploring these narratives, I engage in self-reflexivity as we construct, re-construct, re-present our narratives and their impact on our constructions and negotiations of self and identity.I use the family album metaphor as a foundation for my narrative framework and weave together the participants' and my autobiographical reconstructions through the intertwined stories of memory, trauma and displacement. The self-reflexive nature of our multilayered autobiographical narratives reconnects our selves with our pasts. Within a diasporic frame, I use the narratives as interpretive tools to explore the effects of multigenerational diasporic experiences on constructions of identity and agency.
The relationships we develop using face-to-face group conversations, virtual discussions through a Web forum and emails, personal reflexive journals, photo props and collaged images, highlight a dialogic process of imagined possibilities for the transformative power of storying. The autobiographical inquiry bridges voice to self and self to voice. This authoring process is an essential medium to writing ourselves as women. The process also allows us to reclaim our vulnerabilities as sources of inner strength and to embrace this understanding as the locus of writing.
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Molland, Sarah. "Inflammatory bowel disease, health and well-being : definitions, identity and experience." Thesis, University of Plymouth, 2018. http://hdl.handle.net/10026.1/13078.
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In this thesis, I explore the meanings and experience of health and well-being in the lives of individuals with Inflammatory Bowel Disease (IBD). Taking an auto/biographical approach and utilising in-depth qualitative online interviews, I draw on the experience and narratives of seventeen individuals with IBD, including myself. The three main themes addressed are 'Living with IBD', 'Becoming a Patient', and 'Coping and Control'. I explore how IBD influences individuals' experience of personal relationships, and their medical encounters and treatments. I reflect on how and why these factors arise and the effect they may have upon the disease and its management and on individuals' feelings of well-being more generally. I look at the resulting illness narratives and the impact of IBD on the daily life experience and the identity of the individual. I interrogate existing research and add to it from my analysis. Throughout, the research highlights the importance of acknowledging the impact of biographical disruption on the life experience and identity of individuals along with changing illness narratives. There are implications for future research and for policy, including the time taken to reach diagnosis, the use of IBD guidelines in diagnosis and treatment, and patient control and choice as a contributing factor to influence future guidelines and treatment plans.
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Junior, Valcir Bellé. "O percurso de Paulo Leminski em Vida: a biografia de uma autobiografia." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/100/100135/tde-27032018-151517/.
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O presente projeto de pesquisa debruça-se sobre o livro Vida (Companhia das Letras, 2013), de Paulo Leminski. Trata-se do volume que reúne as únicas quatro biografias escritas pelo poeta entre os anos de 1983 e 1986: Cruz e Sousa o negro branco (1983), Bashô a lágrima do peixe (1983), Jesus a.c (1984), Trótski a paixão segundo a revolução (1986). Os livros foram publicados esparsamente entre 1983 e 1986 pela editora Brasiliense. Os três primeiros compunham uma coleção chamada Encanto Radical, enquanto o último integrou a coleção Antologias & Biografias. A proposta da editora pedia um texto próximo a referências contemporâneas, capaz de conversar com seu tempo. Leminski fez isso a seu modo, poético e errático. O objetivo desta pesquisa é investigar os fragmentos autobiográficos presentes nas obras e com isso testar uma hipótese: poderia o livro Vida conter uma autobiografia fragmentária do poeta? Esta pesquisa deseja mapear o que há de cada biografado em Leminski, bem como o que há de Leminski em cada uma das biografias que escreveu. É possível que esse percurso nos dê pistas sobre a natureza do texto que o poeta produziu nestas obras, pois notoriamente não estamos falando de um texto biográfico convencional (seria Vida uma série de biografias poéticas, um conjunto de ensaios biográficos, uma biografia criativa, ou apenas breves perfis literários?)This research is focused on the book titled Vida (Companhia das Letras, 2013), written by Paulo Leminski. It is the volume which brings together the only four biographies written by the poet between the years 1983 and 1986: Cruz e Sousa o negro branco (1983), Bashô a lágrima do peixe (1983), Jesus a.c (1984), Trótski a paixão segundo a revolução (1986). These books were published sparsely between 1983 and 1986 by publisher Braziliense. The first three books made up a collection called Encanto Radical, while the last one integrated the collection Antologias & Biografias. The proposal of the publishing company demanded a text close to contemporary references, and able to dialogue with its time. Leminski did it by his own way, poetic and erratic. The objective of this research is to investigate the autobiographical fragments of the book and thereby test an hypothesis: could Vida encompass a fragmentary autobiography of the poet? This research want to map out what exist of each biographee in Leminski, as well as what exist of Leminski in every biography that he wrote. Moreover, this journey may bring us some clues about the nature of the text that the poet has produced on these works, because notoriously we are not talking about a conventional biographical text (what is Vida: a serie of poetic biographies, a collection of biographical essays, one creative biography, or only brief literary profiles?)
22
Anderson, Karen M. "Billing below title the contested autobiographies of Frances Farmer and Louise Brooks /." Huntington, WV : [Marshall University Libraries], 2003. http://www.marshall.edu/etd/descript.asp?ref=259.
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Lyxell, Nadia, and Nathalie Birgersson. "Kvinnors rädsla för återfall efter bröstcancer." Thesis, Högskolan i Skövde, Institutionen för vård och natur, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-8069.
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Många kvinnor som överlevt bröstcancer får en rädsla för återfall. Trots avsaknad av sjukdom kan människan uppleva minskad känsla av välbefinnande. Människans livsvärld kan påverkas av att vardagen eller den fysiska kroppen ändras. Studiens syfte är att belysa hur rädslan för återfall påverkar svenska kvinnor som drabbats av bröstcancer. Datamaterial har samlats in från nio biografier och självbiografier. Materialet har samlats in och analyserats utifrån metoden att analysera berättelser. Resultatet presenteras utifrån fyra kategorier. De fyra kategorierna är återfallsångest, känslan att inte kunna lita på sin kropp, påverkan på vardagen och rädslan för återfall minskar. För flera kvinnor är rädslan så stark att den utvecklas till återfallsångest. Rädslan för återfall har gjort att kvinnorna känner att de inte kan lita på sin kropp och att de då blir oroliga om något med kroppen inte är som det brukar vara. Rädslan påverkar också vardagen då vissa kvinnor lättare kan se det positiva i små saker medan andra kvinnor har svårare för det. Däremot minskar rädslan för återfall med tiden men kan komma tillbaka vid speciella tillfällen.Many women who have survived breast cancer still have a fear of relapse. The human can experience diminished sense of wellbeing despite the absence of disease. The life-world of the human can be affected by everyday life or by changes in the physical body. The aim of this study is to illuminate how the fear of relapse affects Swedish women who have had breast cancer. Data sets were collected from nine biographies and autobiographies. The material was collected and analysed from the model analysing narratives. The results are presented in four categories. The four categories are relapse anxiety, the feeling of not being able to trust your body, impact on the daily life and the reduced fear of relapse. For many women, the fear was so strong that it developed in to a relapse anxiety. The fear of relapse has made the women feel that they can not trust their bodies and that they are worried about something that is unusual with their bodies. The fear also affects the everyday life as some women can more easily see the positive in small things while others find it more difficult. However, the fear of relapse is reduced over time, but can come back at special circumstances.
24
Rodrigues, Fernanda Carvalho dos Santos. "Rastros em quase memória, de Carlos Heitor Cony." reponame:Repositório Institucional da FURG, 2011. http://repositorio.furg.br/handle/1/4870.
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Quase memória (1995) é um marco na vida literária de Carlos Heitor Cony, pois, além de representar o seu retorno ao mundo ficcional, após 21 anos de agrafia, lhe rendeu prestígio e prêmios. Dessa maneira, o autor deixa suas marcas para a Literatura Brasileira ao mesmo tempo em que eterniza seu pai, Ernesto Cony Filho, por meio dessa obra literária. A memória norteia toda a narrativa, que apresenta a figura paterna, com suas histórias, aventuras e manias, vinculadas à história coletiva da sociedade carioca da última metade do século XX. Ao utilizar o mecanismo da memória. C.H. Cony faz uso de outros dois discursos, o biográfico e o autobiográfico, pois, uma vez que o autor conta a vida do próprio pai, conta-se, já que participou de boa parte dessa trajetória. Este trabalho pretende investigar como a memória, a biografia e autobiografia são entrelaçadas por meio de um único enredo, e, mesmo que seja um quase-romance, não deixará gêneros os aspectos ficcionais que compõem a obra.
Quase memória (1995) is a landmark in Carlos Heitor Cony’s literary life because it was his return to the fictional world after 21 years of agraphia and also earned him prestige and awards. With this book the author leav es its mark in Brazilian Literature and at the same time memorializes his father, Ernesto Cony Filho in a literary work. Memory guides the entire narrative, which features a father figure, with his stories, adventures and obsessions, linked to the collective social history of Rio of the last half of the twentieth century. When using the mechanism of memory, C.H. Cony makes use of two discourses: biography and autobiography, since the author tells the story of his own father, his own is told, as he participated of a good part of that trajectory. This dissertation intends to investigate how memory, biography and autobiography are interlaced through a single plot.; even considered a quasi-novel, it will ad to the other genres the ficcional aspects that compose the literary work.
25
Volcean, Tamiris Tinti. "Narrativas autobiográficas : uma análise comparativa entre a obra literária Hospício é Deus : diário I (1965) e o documentário audiovisual Santiago (2007) /." Bauru, 2019. http://hdl.handle.net/11449/190703.
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Orientador: Arlindo Rebechi JuniorBanca: Marcelo Magalhães Bulhões
Banca: Jefferson Agostini Mello
Resumo: Maura Lopes Cançado, uma escritora de carreira breve, publicou, em 1965, sua primeira obra, Hospício é Deus: diário I, um diário autobiográfico sobre seus dias de clausura em instituições psiquiátricas, dando ênfase para as críticas ao sistema manicomial. Por outro lado, João Moreira Salles, em 2007, lançou o documentário Santiago, no qual revisita a própria história por meio das lembranças do mordomo que trabalhou para os Moreira Salles por mais de três décadas. As duas obras em questão, Hospício é Deus: diário I (1965) e Santiago (2007) foram selecionadas para compor o corpus das análises comparativas desta pesquisa, uma vez que se constituem como narrativas singulares com traços autobiográficos a partir da perspectiva de Vapereau (1876) e Leonor Arfuch (2002), autores que ampliam as definições do gênero, chamando de autobiografia todo discurso cujo autor teve a intenção, secreta ou confessa, de contar trechos ou partes inteiras de sua vida. Intenciona-se, portanto, partindo da perspectiva comparativa destes discursos autobiográficos construídos a partir de sistemas sígnicos distintos, promover uma reflexão acerca dos limites normativos deste gênero do discurso, assim como uma ponderação sobre a conceituação tradicionalista proposta por Lejeune (1975) e as implicações da necessidade restritiva de um pacto para posicionar um discurso no espaço biográfico que reúne as narrativas do eu
Abstracts: Maura Lopes Cançado, a short career writer, published in 1965 her first work, Hospício é Deus: diário I, an autobiographical diary about her cloistered days in psychiatric institutions, with emphasis on criticism of the asylum system. On the other hand, João Moreira Salles released, in 2007, the documentary Santiago, in which he revisits his own history through the memories of the butler who worked for the Moreira Salles for more than three decades. The two works in question, Hospício é Deus: diário I (1965) and Santiago (2007) were selected to compose the corpus of comparative analyzes of this research, since they constitute singular narratives with autobiographical traits from the perspective of Vapereau 1876) and Leonor Arfuch (2002), authors who expand the definitions of the genre, calling autobiography every speech whose author had the intention, secret or confessed, to tell parts or whole parts of his life. It is therefore intended, starting from the comparative perspective of these autobiographical discourses constructed from distinct sign systems, to promote a reflection on the normative limits of autobiography as a genre of discourse, as well as a consideration of the traditionalist conceptualization proposed by Lejeune (1975) and the implication of the restrictive need for a pact to position a discourse in the biographical space that brings together the narratives of the self
Mestre
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Nichols, Jacob A. "Halfback on Acid: A Coming of Age Memoir." Thesis, Connect to resource online, 2010. http://hdl.handle.net/1805/2194.
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Thesis (M.A.)--Indiana University, 2010.Title from screen (viewed on July 19, 2010). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Robert Rebein, David Beck, Terry Kirts. Includes vitae. Includes bibliographical references (leaves 16-17) and annotated bibliography (leaves 100-108).
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Olofsson, Annette, and Chidiogo Ezennaya. "Patienters upplevelser av personalens bemötande vid självskadebeteende." Thesis, Högskolan i Skövde, Institutionen för hälsa och lärande, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-11923.
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BAKGRUND: Självskadebeteende är ett impulsivt beteende där de drabbade medvetet tillfogar sig själva kroppsliga skador med motivet att lindra sin känslomässiga oro. Beteendet ses ofta hos unga vuxna och ger upphov till många känslor i samhället och är väldigt stigmatiserat. SYFTE: Syftet är att beskriva patienters upplevelser av vårdpersonalens bemötande vid självskadebeteende. METOD: En litteraturstudie baserad på självbiografier och biografier som analyserats med kvalitativ innehållsanalys. RESULTAT: Resultatet visar att patienter med självskadebeteende anser att vårdpersonalen saknar kunskap om självskadebeteende och hur det ska behandlas. Personalen är osäkra och nedlåtande i sitt förhållningssätt, tar inte patienterna på allvar och hela vårdprocessen tyngs av organisationen och dess regler vilket inskränker på patienternas rättigheter. Vårdrelationen har också stor betydelse för tillfrisknande. SLUTSATS: Patienter med självskadebeteende har många negativa upplevelser av bemötandet hos vårdpersonal och detta påverkar deras process mot ett tillfrisknande. För att kunna ge effektiv, kvalitativ och individanpassad vård som främjar tillfrisknande i helandeprocessen är det viktigt och meningsfullt att personalen skaffar sig tillräcklig kunskap om självskadebeteende. Genom detta kan de få bättre förståelse för beteendet och individen bakom ärren.
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Spohr, Bianca. "A literatura é tudo ou nada: Sartre entre Les Mots e L\'idiot de la Famille." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/47/47131/tde-25112014-110438/.
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A narração é essencial para a constituição do sujeito. Entretanto, a fronteira entre literatura (ficção) e história (fatos) é especialmente difícil de delimitar, a ponto de se poder perguntar: viver ou narrar? Para além do esforço de delimitação, talvez seja interessante pensar em como reconciliar tais pólos a fim de preservar a atividade mesma de narrar. Esta tese procura compreender o caminho que vai do projeto autobiográfico les mots ao projeto biográfico lidiot de la famille para fazer ver o que levou sartre a renovar seu desejo de escrever e a inventar uma nova forma narrativa. No coração destas preocupações estaria uma concepção restauradora da narrativa enquanto mediação para o processo de metamorfose existencial. Partindo da escrita autobiográfica e biográfica publicada em vida e post mortem e da fala enquanto instrumento autobiográfico, entre colagem e ensaio, liberdade e fidelidade, o intuito é o de não separar método e objeto utilizando uma metodologia que seja ao mesmo tempo ativa e reflexiva. da imaginação como dimensão irredutível de toda práxis e como descobridora de verdades, uma (auto)biografia que é um roman vrai restitui a implicação daquele que escreve com o que escreve e devolve o sentido ético da verdade narrativa. quarenta anos antes o lidiot de la famille chocou assim como les mots, embora por razões diversas. Este entre que foi o trabalho desenvolvido por sartre em meio a tais projetos mostra um entrelaçamento fundamental entre vida e obra. mostra ainda que a tarefa de compreender está necessariamente ligada a este duplo movimento que vai do singular ao universalNarration is essential to the constitution of the subject. However, the boundary between literature (fiction) and history (facts) is especially difficult to define, to the point of being able to ask: live or narrate? Beyond the effort of delimitation, it might be interesting to think about how to reconcile these poles in order to preserve the same activity of narrating. This thesis seeks to understand the path that goes from the autobiographical project les mots to the biographical project l\'idiot de la famille to see what led sartre to renew his desire to write and invent a new narrative form. In the heart of these concerns would be a restorative conception of narrative as mediation to the process of existential metamorphosis. The thesis is based on autobiographical and biographical writings published in life and post mortem. Reliyng on speech while autobiographical instrument, between collage and essay, liberty and loyalty, the intent is not to separate object and method using a methodology that is both active and reflexive. From the imagination as irreducible dimension of all praxis and as discoverer of truths, an (auto) biography which is a roman vrai restores the implication of the writer with the writing and returns the ethical sense of the narrative truth. forty years before l\'idiot de la famille shocked as les mots, albeit for different reasons. This in--between that was the work developed by sartre amid such projects shows a fundamental intertwining between life and work. It also shows that the task of understanding is necessarily linked to this double movement that goes from the singular to the universal
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Larkin, Susan Tarr C. Anita. "Hear me whisper, hear me roar life writing, literature for children, and Laura Ingalls Wilder /." Normal, Ill. : Illinois State University, 2005. http://proquest.umi.com/pqdweb?index=0&did=1225104611&SrchMode=1&sid=6&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1176387888&clientId=43838.
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Thesis (Ph. D.)--Illinois State University, 2005.Title from title page screen, viewed on April 12, 2007. Dissertation Committee: Anita Tarr (chair), Cynthia Huff, Karen Coats, Roberta Seelinger Trites. Includes bibliographical references (leaves 166-178) and abstract. Also available in print.
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Alvez, Pedro Henrique de Moraes. "Giordano Vasari por ele mesmo : a construção da imagem de si na obra de um artista e historiador entre a virtude e a inveja no renascimento (1511-1574)." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/134089.
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Giorgio Vasari nasceu em 1511, na cidade de Arezzo, Itália. Em 1574, quando morreu, deixou atrás de si uma enorme quantidade de pinturas por toda a Toscana, uma série de empreendimentos arquitetônicos em Florença que realizou para o duque, bem como a obra pela qual talvez seja mais conhecido: o livro das Vite de’più eccelenti architetti, pittori e scultori italiani da Cimabue insino a tempi nostri descritte in lingua toscana da Giorgio Vasari pittore Aretino con una sua utile e necessaria introduzione a le arti loro (As vidas dos mais excelentes arquitetos, pintores e escultores italianos de Cimabue até os nossos tempos descritas em língua toscana por Giorgio Vasari pintor aretino com uma introdução útil e indispensável para as diferentes artes). Tão impressionante quanto o sucesso de sua carreira, são a quantidade e a variedade de registros sobre si mesmo que Giorgio Vasari foi capaz de produzir. Hábil também como escritor, registrou uma autobiografia como pintor e arquiteto, que julgou pertinente inserir na segunda edição de seu livro, além de um diálogo em que explica a decoração do Palazzo Vecchio. Também guardou cuidadosamente o registro de boa parte de suas encomendas, e deixou uma série de papéis esparsos que seus descendentes reuniriam com orgulho no chamado Zibaldone, em que estariam preservadas as invenzione do cavaliere Giorgio Vasari. Conhecedor e amante das artes, como se apresenta não apenas em sua autobiografia, mas ao longo de todas as Vite, detinha os meios técnicos necessários para realizar os ciclos decorativos internos das duas casas que adquiriu com o sucesso de sua carreira. Uma em Arezzo, sua cidade natal, a outra em Florença, local de sua realização profissional. Nesses ciclos expressou, ainda que de forma menos evidente do que os padrões contemporâneos exigem, e sempre limitado pelas convenções de sua época, o entendimento que tinha de si mesmo e de sua trajetória. Nesse trabalho, dedico-me a analisar essa documentação deixada por Vasari, procurando os traços de sua descrição de si mesmo, e tentando entender seus limites, suas possibilidades, suas inovações e suas motivações. Procuro compreender esse material a partir de um horizonte de expectativas individual do próprio Vasari, relacionando-o ao contexto de possibilidades que se abriam ao artistas durante esse período do qual ele não apenas fez parte, mas também ajudou a construir conceitualmente para a disciplina histórica: o Renascimento. No primeiro capítulo tento entender os limites dentro dos quais operava sua autorrepresentação escrita recorrendo a fontes mais antigas. A análise dessa figuração retórica através do texto aparece no segundo capítulo, em que realizo o comentário mais extenso de seus escritos. Essa tarefa bipartida é condensada no terceiro capítulo, em que procuro delimitar sua representação pictórica através de exemplos anteriores e contemporâneos, antes de realizar a análise do material vasariano propriamente dito.Giorgio Vasari was born in 1511 in the town of Arezzo, Italy. In 1574, when he died, he left behind a huge amount of paintings throughout Tuscany, a series of architectural projects in Florence wich he performed for the Duke, and the work for which is perhaps best known: the book of the Vite de’più eccelenti architetti, pittori e scultori italiani da Cimabue insino a tempi nostri descritte in lingua toscana da Giorgio Vasari pittore Aretino con una sua utile e necessaria introduzione a le arti loro (The lives of the most excellent italian architects, painters and sculptors from Cimabue to our times described in the Tuscan language by Giorgio Vasari aretine painter with a useful and indispensable introduction to the different arts). As impressive as the success of his career, is the quantity and the variety of records about himself that Giorgio Vasari was able to produce. Also skilled as a writer, he recorded an autobiography as a painter and architect, wich he judged appropriate to insert in the second edition of his book, as well as a dialogue in which explains the decoration of the Palazzo Vecchio. He also kept carefully the record of most of his works, and left a number of scattered papers that his descendants proudly gathered in the so-called Zibaldone, in wich would be preserved the invenzione of Cavaliere Giorgio Vasari. Connoisseur and lover of the arts, as he presents himself not only in his autobiography, but all over the Vite, he held the technical means to carry out the internal decorative cycles of the two houses he acquired with the success of his career. One in Arezzo, his hometown, the other in Florence, site of his professional achievement. These cycles expressed, albeit in a less obvious way than contemporary standards require, and always limited by the conventions of his time, his understanding of himself and his career. In this work, I dedicate myself to examine this documentation left by Vasari, looking for traces of his description of himself, and trying to understand its limits, possibilities, innovations and motivations. I try to understand this material from a perspective of Vasari‟s individual expectations, but also relating it to the context of possibilities that opened to artists during this period in which not only he took part, but also helped to form conceptually for the historical discipline: the Renaissance. In the first chapter I try to understand the limits within which Vasari operated his written self-representation using older sources. The analysis of this rhetoric figuration through the text appears in the second chapter, in which I render the more extensive review of his writings. This bipartisan task is condensed in the third chapter, in which I try to delineate his pictorial representation through previous and contemporary examples before performing the analysis of Vasari material itself.
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Mattos, Tiago Ramos e. "Um estudo do estilo nos gêneros do discurso biografia e autobiografia." Pontifícia Universidade Católica de São Paulo, 2015. https://tede2.pucsp.br/handle/handle/14356.
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Previous issue date: 2015-09-01Conselho Nacional de Desenvolvimento Científico e Tecnológico
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
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Nogueira, Isabella. "Um conúbio intrigante na construção de um herói romântico: os caminhos da produção das Mémoires de Garibaldi (1860), de Alexandre Dumas." Universidade Federal de Goiás, 2018. http://repositorio.bc.ufg.br/tede/handle/tede/8478.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This dissertation aims to investigate the production of the book Mémoires de Garibaldi, published in Paris by Alexandre Dumas, in 1860. According to the writer, after having had access to Garibaldi's manuscript, his objective was to comment and publish such pages. Working with the hypothesis that Dumas was more present in the book than he actually said and Dumas saw in the character the romantic hero. So it was been decided to develop the problematic of production in two chapters. The first one presents the relation between the two personages and in him it is perceived that Dumas went in search of Garibaldi with the interest to publish his memories after a financial crisis passed by the literate and the repercussion of the done of the general. In spite of this, he saw in Garibaldi one man above the others, which led him to want to be with him for four years. Garibaldi was already a character known and exalted for his heroic deeds, but it was the writer who gave him more visibility. In the second chapter, it was been tried to think the problematic of the production between the textuality and the materiality of the work, presenting what is written and its scenery. Still, it came to be observed that the memories of 1860 approach the narrative techniques of Dumas. This was possible through the study of Garibaldi's memoirs published in 1859 in New York by Theodore Dwight and the 1888 edition published by Bàrbera. Despite the similarity between these editions and that of Dumas, with their differences, the one had more repercussion. We will notice that there have been many translations and re-editions.
Esta dissertação tem por objetivo investigar a produção da obra Mémoires de Garibaldi, publicada na cidade de Paris por Alexandre Dumas, em 1860. Segundo o literato, após ter tido acesso ao manuscrito de Garibaldi, seu objetivo foi o de comentar e publicar tais páginas. Trabalhando com a hipótese de que Dumas esteve mais presente na obra do que efetivamente disse e que viu no personagem o herói romântico, decidiu-se desenvolver a problemática da produção em dois capítulos. O primeiro apresenta a relação entre os dois personagens e nele percebe-se que Dumas foi à procura de Garibaldi com o interesse de publicar suas memórias após uma crise financeira passada pelo literato e a repercussão dos feitos do general. Apesar disso, ele viu em Garibaldi um homem acima dos outros, o que o levou a querer ficar ao seu lado durante quatro anos. Garibaldi era já um personagem conhecido e exaltado por suas ações heroicas, mas foi o escritor quem lhe deu mais visibilidade. No segundo capítulo, procurou-se pensar a problemática da produção entre a textualidade e a materialidade da obra, apresentando o que está escrito e seu cenário. Ainda, chegou-se a observar que as memórias de 1860 aproximam-se das técnicas narrativas de Dumas. Isso foi possível devido ao estudo das memórias de Garibaldi publicadas em 1859, em Nova Iorque, por Theodore Dwight, e pela edição de 1888, lançada pela editora Bàrbera. Apesar da semelhança entre essas edições, a de Dumas, com suas diferenças foi a que obteve mais repercussão. Como notamos, foram inúmeras as traduções e reedições.
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Mondillo, Mirko. "Dire (l’)io, dire il vero, dire nell’ipermoderno italiano. L’interazione tra scritture dell’esperienza personale e scrittura saggistica nel romanzo ego-saggistico. I casi di Rea, Siti e Wu Ming 2 e Antar Mohamed." Doctoral thesis, Università di Siena, 2022. http://hdl.handle.net/11365/1215894.
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This dissertation analyses Ermanno Rea’s Mistero napoletano (1995), Walter Siti’s Troppi paradisi (2006) and Wu Ming 2 & Antar Mohamed’s Timira. Romanzo meticcio (2012) as three case-studies of how writing connected to personal experiences and essayistic genres are combined in such a way as to give way to what can be defined as a first-person essay-novel. This literary form can also be considered as a typical example of what the literary scholar Raffaele Donnarumma has called “hypermodernity” in contemporary Italian literature, a multifaceted literary trend consisting in the critical and creative exploration of the possible interactions between literary forms and societal issues.
The expression “personal experience writing” is used for a broad variety of life-writing, ranging from “traditional” forms of autobiography, biography and diary entries to creative literary adaptations of these forms (autofiction, biofiction, narrative diary). The “essayistic writing” that has been addressed include a wide set of discursive and argumentative modules through which authors elaborate and reflect on the literary, cultural, political and social contexts with which they interact as creative writers.
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Pan, Yu Lan. "Desire for the other in Maxine Hong Kingston's The Woman Warrior : Memoirs of a Girlhood among Ghosts." Thesis, University of Macau, 2010. http://umaclib3.umac.mo/record=b2456358.
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Zouvi, Aline de Alvarenga 1990. "A performance autobiográfica nos quadrinhos : um estudo de Alison Bechdel." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269963.
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Orientador: Fabio Akcelrud DurãoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Este trabalho tem como objetivo a análise da obra autobiográfica da cartunista estadunidense Alison Bechdel publicada no formato livro, composta, até o momento, por duas histórias em quadrinhos: Fun Home ¿ A Family Tragicomic (2006) e Are you my mother? ¿ A Comic Drama (2012). Além do estudo de obras autobiográficas em quadrinhos e as implicações desta combinação de meio e gênero, visamos observar a maneira como Bechdel estrutura suas narrativas através da intertextualidade com outras produções, sejam elas literárias, psicanalíticas, ou imagéticas. Nossa atenção será voltada para o uso que Bechdel faz de tais obras e qual a relação desta construção de paralelos com a sua criação autobiográfica, na qual articula obras e biografias (das personagens relacionadas à sua história e experiência de vida) em diversos níveis, bem como a maneira como a autora reflete sobre o próprio ato de autobiografar-se ao longo de suas obras
Abstract: The aim of this work is the analysis of the autobiographical work of American cartoonist Alison Bechdel, published in book form, composed, so far, of two comics: Fun Home ¿ A Family Tragicomic (2006) and Are you my mother? ¿ A Comic Drama (2012). Apart from the study of autobiographical works in comics and the implications of this specific media and genre combination, we aim to observe how Bechdel structures her narratives through intertextuality with other productions, such as literary, psychoanalytic, or imagery. Our attention will be focused on the use that Bechdel makes of such works and what is the connection between the building of parallels with the author's autobiographical production in which she articulates the works and biographies (of the characters related to her history and life experience) at various levels, as well as the way the author critically thinks, while constructing her autobiographies, of the act of autobiography itself
Mestrado
Teoria e Critica Literaria
Mestra em Teoria e História Literária
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Gray, Nigel. "His story, a novel memoir (novel) ; and Fish out of water (thesis)." University of Western Australia. School of Social and Cultural Studies, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0095.
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His Story takes the form of a fictive but autobiographically based investigation into the child and young adult I used to be, and follows that protagonist into early adulthood. It tries to show the damage done to that character and the way in which he damaged others in turn. As Hemingway said, We are all bitched from the start and you especially have to hurt like hell before you can write seriously. More importantly, the main protagonist is somebody who became concerned with, and cognizant of the main political and social events of his day. His life is set in its social context, and reaches out to the larger issues. That is to say, the personal events of the protagonist's life are recorded alongside and set in the context of the major events taking place on the world stage. The manuscript is some sort of hybrid of novel, autobiography, and historical and social document. As Isaac Bashevis Singer said, The serious writer of our time must be deeply concerned about the problems of his generation. In order to make His Story effective in sharing my ideas and beliefs, and, of course, in order to protect the innocent and more particularly, the guilty, it is created in the colourful area that is the overlap between memory and fiction. When we tell the stories of our lives to others, and indeed, to ourselves, we prise them out of memory's fingers and transform them into fiction. To write autobiography well, as E.L. Doctorow said, you have to invent everything, even memory.
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Levesque, Yvan. "Contrat générique et inscription du lecteur : Julien Green, romancier, biographe et autobiographe." Paris 8, 1993. http://www.theses.fr/1993PA080827.
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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 epoqueThis 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
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Eppel, Ruth. "The limitations and possiblilites of identity and form in selected recent memoirs and novels by white, female Zimbabwean writers : Alexandra Fuller, Lauren Liebenberg." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001985.
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This study examines selected works by four white female Zimbabwean writers: Alexandra Fuller, Lauren Liebenberg, Bryony Rheam and Lauren St John, in light of the controversy over the spate of white memoirs which followed the violent confiscation of white farms in Zimbabwe from 2000 onwards. The controversy hinges on the notion that white memoir writers exploit the perceived victimhood of white Zimbabweans in the international sphere, and nostalgically recall a time of belonging – as children in Rhodesia – which fails to address the fraught colonial history which is directly related to the current political climate of the country. I argue that such critiques are too generalised, and I regard the selected texts as primarily critical of the values and lifestyles of white Rhodesians/Zimbabweans. The texts I have selected include a range of autobiographical and fictional writing, or memoirs and pseudo-memoirs, and I focus on form as a medium enabling an exploration of identity. The ways in which these authors conform to and adapt particular narratives of becoming is examined in each chapter, with a particular focus on the transition from innocence to experience, the autobiography, and the Bildungsroman. Gender is a recurring point of interest: in each case the female selves/protagonists are situated in terms of the family, which, in reflecting social values, is a key site of conflict. In regard to trends in white African writing, I explore the white African (farm) childhood memoir and the confessional mode. Ultimately I maintain that while the texts may be classified as white writing, as they are fundamentally concerned with white identity, and therefore evince certain limitations of perspective and form, including clichéd tendencies, all the writers interrogate white identity and the fictional texts more self-reflexively deconstruct tropes of white writing.
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Haffen, Aude. "Fiction autobiographique et biographies imaginaires dans l'oeuvre d'Anthony Burgess." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2010. http://tel.archives-ouvertes.fr/tel-00836003.
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Allant d'une autobiographie où la fictionnalisation du vécu confine à l'invraisemblable, à des biographies imaginaires où des personae de l'auteur construisent librement la figure de leurs " biographiés ", Anthony Burgess jongle avec les pactes de vérité et la fabulation-affabulation. Les vertiges cognitifs des métabiographies postmodernes affleurent en filigrane, mais à la mélancolie de l'impossible résurrection textuelle du sujet biographique, les biofictions érudites de Burgess substituent la prolifération d'existences virtuelles, de mythes, fantasmes et simulacres, pour mieux mettre en question les formes institutionnelles du genre, savantes et commerciales. Au cœur de l'entreprise [auto]biofictionnelle de Burgess, se dessine une tension contradictoire entre un désir de restituer ces " vies " dans leur réalité charnelle, individuelle, démythifiée, et l'inclination mytho-poétique du romancier qui leur impose le filtre de sa vision du monde catholique et manichéenne. Le Marlowe, le Shakespeare, le Mozart, le Napoléon, le Keats de Burgess ne sont-il que des spectres romanesques, dont les référents historiques ont été vampirisés par le romancier-biographe ? Les biofictions de Burgess, où se rencontrent, en même temps que plusieurs subjectivités artistiques, divers modes d'appréhension de l'écriture et de la vie [essai critique, chronotope biographique, flux de conscience moderniste, citation intertextuelle], réaffirment le caractère indissociable de la vie, de la création et de l'oeuvre. Sa quête romantique-humaniste qui cherche à restaurer la singularité existentielle de ses prédécesseurs conteste de l'intérieur la textualité thanatographique moderne.
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Kagan, Michal Lali. "Wonderer : the life of Bruce Chatwin." Thesis, Queensland University of Technology, 2002.
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Wonderer is a screenplay about the life of writer/traveler Bruce Chatwin. The screenplay examines not only Chatwin's travels and writing, but also the landscape which he never
fully explored: his inner-world. This reflective analysis will focus on the relationship between Bruce Chatwin's writing - especially in The Songlines- and the ways in which the book's subject matter and style influenced the choices in content and form which I made in writing Wonderer.
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Pinto, Vera L?cia Xavier. "As coisas est?o no (meu) mundo, s? que eu preciso aprender. Autobiografia, reflexividade e forma??o em Educa??o Nutricional." Universidade Federal do Rio Grande do Norte, 2006. http://repositorio.ufrn.br:8080/jspui/handle/123456789/14348.
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Previous issue date: 2006-09-11Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior
This paper gives clues for the educative action in nutrition subjects. It deals about the professors experiences deployments lived in 2003 e 2004, both in Nutrition undergraduate course of the Federal University of the Rio Grande do Norte (UFRN), in Nutrition Education and Supervised Internship in Social Nutrition academic disciplines, as well as in the II Update Course in Nutrition Practices for Health Basic Care , offered to the supervisors nutritionists of internship, in this same department, being able to be characterized as an action-research, with interventionism purpose. The study stands out the importance of a new point of view about the nutritionist formation to overcome the limits imposed by the scientism, and the adoption of a complex and reflexive reference about the educational practice in this area. The corpus is made up by 81 undergraduate students alimentary autobiography (source of generating subjects for interventions with the nutritionists), 17 questionnaires and 05 interviews, being 03 of them biography (the start up for an initial dialogue with the nutritionists). The data found and the professors experiences allied to a theoretic reference, by the light of the education proposals for the XXI century were used as establishment elements for the proposition of five guidance axles used to build a complex and reflexive nutrition education, which are: 1) Take the cookery and the culture of eating together as significant elements for the human being integral formation; 2) Conceive the religion manifestations associated to feeding process as relevant elements of the human food culture; 3) Discuss the rupture nature/culture aiming the preservation of live in earth; 4) Search for the overcoming of the identity conflicts by a higher inclosing conscience degrees of being part of this process. 5) Face the limits of fragmented formation. The presented thesis stands that the autobiography method, allied to the freirean pedagogy and to a complex reference, could be taken as an important tool to the health educative subjects, contributing to the formation of reflective individuals able to transform themselves and the world.
Este trabalho apresenta pistas para a a??o educativa em nutri??o. Trata do desdobramento de viv?ncias docentes experienciadas em 2003 e 2004, tanto no curso de Gradua??o em Nutri??o, da Universidade Federal do Rio Grande do Norte (UFRN), nas disciplinas de Educa??o Nutricional e Est?gio Supervisionado em Nutri??o Social , bem como no II Curso de Atualiza??o nas Pr?ticas de Nutri??o na Aten??o B?sica ? Sa?de , oferecido ?s nutricionistas supervisoras de est?gio, pelo mesmo departamento, podendo ser caracterizada como uma pesquisa-a??o, de cunho intervencionista. O estudo ressalta a import?ncia de um novo olhar sobre a forma??o do nutricionista para a supera??o dos limites impostos pelo cientificismo, e a ado??o de um referencial complexo e reflexivo sobre o fazer educativo nesta ?rea. O corpus est? constitu?do por 81 autobiografias alimentares de graduandas (fonte de temas geradores para interven??es junto a nutricionistas), 17 question?rios e 05 entrevistas, sendo 03 biogr?ficas (ponto de partida para o in?cio de um di?logo junto ?s nutricionistas). Os dados encontrados e a experi?ncia docente aliada ao referencial te?rico, iluminados pelas propostas de educa??o para o s?culo XXI serviram como elementos fundantes da proposi??o de cinco eixos norteadores para a constru??o de uma educa??o nutricional complexa e reflexiva, que s?o: 1) Tomar o fazer culin?rio e a comensalidade como elementos significativos para a forma??o integral dos seres humanos; 2) Conceber as manifesta??es de religiosidade associadas ? alimenta??o como elementos relevantes da cultura alimentar humana. 3) Discutir a ruptura natureza/cultura visando a preserva??o da vida da Terra; 4) Buscar a supera??o dos conflitos identit?rios pela consci?ncia de graus de pertencimento mais abrangentes; 5) Enfrentar os limites da forma??o fragmentadora. A tese apresentada ? a de que o m?todo autobiogr?fico, aliado ? pedagogia freireana e a um referencial complexo, pode ser tomado como uma ferramenta importante para o trabalho educativo em sa?de, contribuindo para a forma??o de sujeitos capazes de refletir para transformar a si e ao mundo
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Weakley, Anne. "Conscious of Her Own Power: Hester Piozzi's Character Creation in Anecdotes of the Late Samuel Johnson LL.D., During the Last Twenty Years of His Life." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/477.
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This project highlights aspects of Hester Piozzi’s approach to biography in Anecdotes of the Late Samuel Johnson LL. D. During the Last Twenty Years of His Life in order to analyze her use of accumulated cultural and social capital. I highlight similarities between Anecdotes and Samuel Johnson’s model for biography given in Rambler #60 and show how Piozzi adheres to his advice as she characterizes Johnson as a pious genius, intolerantly opinionated, and self-indulgent, yet unwilling to accept those qualities in others. I analyze how her editorial choices characterize her as a reliable source of information and a blameless victim of Johnson’s need for attention. This study proves Anecdotes and the corresponding entries in Thraliana are important because her deliberate revisioning of her history speaks to her ability to manipulate social expectations in order to revive her literary career and actively contribute to eighteenth-century British economy, culture, and society.
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Totaro, Giunia. "L' autobiographie d'Athanasius Kircher l'écriture d'un jésuite entre vérité et invention au seuil de l'oeuvre ; introduction et traduction française et italienne." Bern Berlin Bruxelles Frankfurt, M. New York, NY Oxford Wien Lang, 2007. http://d-nb.info/99627913X/04.
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Roddy, Rhonda Kay. "In search of the self: An analysis of Incidents in the life of a slave girl by Harriet Ann Jacobs." CSUSB ScholarWorks, 2001. https://scholarworks.lib.csusb.edu/etd-project/2262.
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In her bibliography, Incidents in the life of a Salve Girl, Harriet Ann Jacobs appropriates the autobiographical "I" in order to tell her own story of slavery and talk back to the dominant culture that enslaves her. Through analysis and explication of the text, this thesis examines Jacobs' rhetorical and psyshological evolution from slave to self as she struggles against patriarchal power that would rob her of her identity as well as her freedom. Included in the discussion is an analysis of the concept of self in western plilosophy, an overview of american autobiography prior to the publication of Jacobs' narrative, a discussion of the history of the slave narrative as a genre, and a discussion of the history of Jacobs' narrative.
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Modzelewski, Ann Shirley. "Internal dialogues: Construction of the self in The Woman Warrior." CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2468.
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This thesis considers past autobiographical theory and questions whether it addresses the autobiography of the female writer. Autobiographies of Harriet Jacobs, Margaret Sanger, and Maxine Hong Kingston are examined to reveal their polyvocality, use of the autobiographical "I", and rhetorical strategies maintained in order to create a close relationship with the reader. Particular attention is paid to Mikhail Bakhtin's theory of dialogism and Sidonie Smith's autobiographical "I."
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Jeannelle, Jean-Louis. "Vies majuscules : mémoire, discours historique et récits de soi : une enquête sur le genre des mémoires au XXe siècle." Paris 4, 2003. http://www.theses.fr/2003PA040175.
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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 preuveAccording 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
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Ohisa-Oba, Shizue. "Rétif de la Bretonne : autobiographie à travers l'image paternelle." Poitiers, 2008. http://www.theses.fr/2008POIT5001.
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Rétif de la Bretonne, qui a consacré toute sa vie à la recherche de son identité par delà l'idée d' "un autre", à travers ses écrits à la fois abondants et volumineux, n'a cessé de rappeler et de retracer la vie de la personne qui lui était la plus chère au monde et la plus proche de lui : son propre père. L'image de son père apparaît dans ses œuvres autobiographiques, notamment La Vie de mon père, Monsieur Nicolas, La Malédiction paternelle, Le Paysan perverti. Mais les récits de sa famille et l'image idéalisée de son père qui reviennent sans cesse, que représentent-ils pour Rétif ? Le « père » est pour notre auteur une source d'inspiration idéologique et littéraire : c'est la basse continue de son univers littéraire, qui ne cesse d'être au centre de ses intérêts. Le but de cette thèse est d’analyser l'écriture du « moi » de Rétif qui surgit du relationnel entre « père » et « fils », pour mieux décrypter la genèse de son autobiographie intitulée Monsieur NicolasRétif de la Bretonne, spent his entire life in search of an identity defined in relation to a very significant "other". Throughout his extensive and voluminous writings he unceasingly recalls and retraces the life of the person nearest and dearest to him : his own father. The image of his father appears in his autobiographic works, such as La Vie de mon père, Monsieur Nicolas, La Malédiction paternelle, Le Paysan. But what do such frequent references to family, what exactly does such idolized father figure of his father represent for Rétif ? The "father figure", for our author, is a source of ideological and literary inspiration : he is la basse continue of his literary universe, and a constant source of interest. The purpose of this thesis is to analyze Rétif"s notion of "self" as described through the "father and son" relationship in his writings, in order to understand the motivation for his biography Monsieur Nicolas
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Fernandes, Marta Sofia Bento Pires. "Biografia e Autobiografia Universal (Para um Modelo de Análise dos Rituais de Produção e Consumo na Arte Multimédia)." Master's thesis, Faculdade de Belas Artes da Universidade do Porto, 2007. http://hdl.handle.net/10216/10917.
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Mestrado em Arte MultimédiaBiografia e Autobiografia Universal: para um modelo de análise dos rituais de produção e consumo na arte multimédia trata do estudo e análise de formas alternativas que questionam o modo como criamos a nossa memória cultural colectiva por meio de objectos e rituais. O campo de investigação aqui exposto permanece distinto da História ou Crítica da arte. A abordagem aos rituais é realizada pelo do ponto de vista sócio-cultural, ambicionando reconhecer um modelo de profusão cultural. Inicialmente, é analisado o papel da memória na construção de conteúdos culturais. Com esse intuito, é discutida a validade de dispositivos externos, como a hermenêutica e os rituais nessa construção. Abordando temas gerais como a Memória, Cultura e Linguagem estabelecem-se dicotomias entre Hermenêutica e Rituais, Texto e Imagem, de modo a perceber uma evolução dos rituais tradicionais para rituais contemporâneos em actividades artísticas. É questionado, nos rituais contemporâneos, o seu potencial de, como manifestações performativas, que se centram no indivíduo, constituírem o formato privilegiado para uma linguagem transversal, independente de religiões, nacionalidade, ou grupo. Sendo a investigação desenvolvida no âmbito do Mestrado em Arte Multimédia, avançou-se por uma análise de propostas artísticas que discutem a amplitude dos conceitos de multimédia e performance. A presença do subtítulo Para um modelo de análise dos rituais de produção e consumo na arte multimédia representa um enquadramento da dinâmica presente nos rituais contemporâneos em manifestações de trabalho artístico de tendência biográfica e autobiográfica. A reflexão sobre o modelo de interpretação e análise é realizada perante o corpo de trabalho das artistas: Tracey Emin, Mona Hatoum e Morgan O Hara, procurando indagar se os seus trabalhos têm a capacidade de se caracterizarem como dispositivos de memória.
Universal Biography and Autobiography: for a model of analysis of the rituals of production and consumption in multimedia art regards the study and analysis of alternative forms of questioning how we create our collective cultural memory through objects and rituals. The field of investigation here shown stands apart from areas of History or Art criticism. The approach to rituals is made from the Socio-cultural view point, aspiring to recognize a model of cultural profusion. Foremost, the role of memory in the construction of cultural content is here analyzed. With that intent, the validity between external devices, such as hermeneutics and rituals, is discussed on that construction. Approaching broad themes such as Memory, Culture, Language, dichotomies between Hermeneutics and Rituals, Text and Image are established to understand an evolution from traditional rituals to contemporary ones in artistic activity. It is questioned and suggested that contemporary rituals, with their potential of being performative manifestations that centre on the individual, constitute a privileged format for a transverse language, independent of religion, nationality or group. Being the investigation developed in the scope of the Master in Multimedia Art, an analysis of artistic proposals was followed, that discusses the breadth of the multimedia and performance concepts. The presence of the sub-heading For a model of analysis of the rituals of production and consumption in multimedia art , represents a framing of the dynamic which is present on contemporary rituals in biographical and autobiographical artistic work. Pondering about the model of interpretation and analyses is made in the presence of the body of work of the artist: Tracey Emin, Mona Hatoum and Morgan O Hara, seeking to inquest if their work can be characterized as a memory agent.
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Fernandes, Marta Sofia Bento Pires. "Biografia e Autobiografia Universal (Para um Modelo de Análise dos Rituais de Produção e Consumo na Arte Multimédia)." Dissertação, Faculdade de Belas Artes da Universidade do Porto, 2007. http://hdl.handle.net/10216/10917.
Full textAbstract:
Mestrado em Arte MultimédiaBiografia e Autobiografia Universal: para um modelo de análise dos rituais de produção e consumo na arte multimédia trata do estudo e análise de formas alternativas que questionam o modo como criamos a nossa memória cultural colectiva por meio de objectos e rituais. O campo de investigação aqui exposto permanece distinto da História ou Crítica da arte. A abordagem aos rituais é realizada pelo do ponto de vista sócio-cultural, ambicionando reconhecer um modelo de profusão cultural. Inicialmente, é analisado o papel da memória na construção de conteúdos culturais. Com esse intuito, é discutida a validade de dispositivos externos, como a hermenêutica e os rituais nessa construção. Abordando temas gerais como a Memória, Cultura e Linguagem estabelecem-se dicotomias entre Hermenêutica e Rituais, Texto e Imagem, de modo a perceber uma evolução dos rituais tradicionais para rituais contemporâneos em actividades artísticas. É questionado, nos rituais contemporâneos, o seu potencial de, como manifestações performativas, que se centram no indivíduo, constituírem o formato privilegiado para uma linguagem transversal, independente de religiões, nacionalidade, ou grupo. Sendo a investigação desenvolvida no âmbito do Mestrado em Arte Multimédia, avançou-se por uma análise de propostas artísticas que discutem a amplitude dos conceitos de multimédia e performance. A presença do subtítulo Para um modelo de análise dos rituais de produção e consumo na arte multimédia representa um enquadramento da dinâmica presente nos rituais contemporâneos em manifestações de trabalho artístico de tendência biográfica e autobiográfica. A reflexão sobre o modelo de interpretação e análise é realizada perante o corpo de trabalho das artistas: Tracey Emin, Mona Hatoum e Morgan O Hara, procurando indagar se os seus trabalhos têm a capacidade de se caracterizarem como dispositivos de memória.
Universal Biography and Autobiography: for a model of analysis of the rituals of production and consumption in multimedia art regards the study and analysis of alternative forms of questioning how we create our collective cultural memory through objects and rituals. The field of investigation here shown stands apart from areas of History or Art criticism. The approach to rituals is made from the Socio-cultural view point, aspiring to recognize a model of cultural profusion. Foremost, the role of memory in the construction of cultural content is here analyzed. With that intent, the validity between external devices, such as hermeneutics and rituals, is discussed on that construction. Approaching broad themes such as Memory, Culture, Language, dichotomies between Hermeneutics and Rituals, Text and Image are established to understand an evolution from traditional rituals to contemporary ones in artistic activity. It is questioned and suggested that contemporary rituals, with their potential of being performative manifestations that centre on the individual, constitute a privileged format for a transverse language, independent of religion, nationality or group. Being the investigation developed in the scope of the Master in Multimedia Art, an analysis of artistic proposals was followed, that discusses the breadth of the multimedia and performance concepts. The presence of the sub-heading For a model of analysis of the rituals of production and consumption in multimedia art , represents a framing of the dynamic which is present on contemporary rituals in biographical and autobiographical artistic work. Pondering about the model of interpretation and analyses is made in the presence of the body of work of the artist: Tracey Emin, Mona Hatoum and Morgan O Hara, seeking to inquest if their work can be characterized as a memory agent.
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Silva, Ricardo Luiz Mosna da. "Trajetórias em papel e tinta: biografia e escritas autobiográficas de Carlos Lacerda (1965-1977)." reponame:Repositório Institucional da UFF, 2013. https://appdesenv.uff.br/riuff/handle/1/239.
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Silva, Ricardo-Dissert-2013.pdf: 680473 bytes, checksum: 31b6771cce8b1c46c1c5b7a2a7eac270 (MD5)Made available in DSpace on 2014-02-06T18:19:50Z (GMT). No. of bitstreams: 1 Silva, Ricardo-Dissert-2013.pdf: 680473 bytes, checksum: 31b6771cce8b1c46c1c5b7a2a7eac270 (MD5) Previous issue date: 2013
Em março-abril de 1964, o Brasil passou por um período de grande instabilidade e incertezas. A grande radicalização política acabou por gerar o Regime Militar que, com seus generais, governou o país pelos 21 anos seguintes. Essa dissertação analisa a rajetória de Carlos Lacerda, um dos protagonistas políticos do período, depois do golpe civil-militar de 1964, centrando-se, particularmente, em seus escritos autobiográficos e na biografia elaborada por John F. Dulles. Busca-se perceber como Lacerda construiu sua imagem perante a população e os políticos; e como a sua vida foi reelaborada por suas palavras e também as de seus biógrafos.
En Mars-Avril 1964, lê Brésil a connu période de grande instabilité et d’ incertitude. Le radicalisation politique finit para créer le regime militaire qui avec sés généraux, a gouverné lê pays par lês 21 annés suivantes. Cette thèse examine la trajectoire de Carlos Lacerda, l1un dês protagonistes politique de la période, après le coup d’ Etat civilo-militaire de 1964, em se concentrant, em particulier, sur sés écrits autobiographiques et sur elaborée par John F. Dulles. Nous chercons à comprendre comment Lacerda a construit son image auprès du public et dês politiciens, et comment as vie a été retravaillée par ses paroles et aussi lês paroles de leurs biographes.