Dissertationen: „Autobiography“

1

RIBEIRO, LARISSA PINHO ALVES. „VISUAL AUTOBIOGRAPHY“. PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2014. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=30173@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
A partir da década de 1980 foi possível observar uma multiplicação de discursos autobiográficos que impregnou os hábitos, costumes e a produção das indústrias culturais e da pesquisa acadêmica. Esse interesse renovado pelas histórias de vida e pela ideia mesmo de vida como reação frente aos anos de inflacionismo teórico e da defesa violenta da impessoalidade, aponta para algo mais que a simples proliferação de formas, e expressa uma tonalidade particular da subjetividade contemporânea. A expansão do biográfico marca um movimento de retorno à problemática do sujeito, não como reafirmação daquele sujeito cartesiano, moderno, mas como continuidade da crítica a esse modelo. É nesse contexto que se insere essa pesquisa, interessada em explorar, de forma pessoal e experimental, formas de compor autobiografias visuais, ou antibiografias, que não aspirem a reconstrução de uma totalidade, a coerência cronológica, ou a afirmação de um eu testemunhal, mas que estejam empenhadas em dar movimento à existência, e não sentido (direção), e que não busque um sentido (significado), mas se colocar sensível. Para tanto, utilizou-se como ferramenta de pesquisa a experimentação artística através do dispositivo fotográfico, observando, através dessa prática, possibilidades de construção e leitura de uma escrita do eu alternativa.
Since 1980 it was possible to notice a multiplication of autobiographical discourses which impregnated the habits, behaviors and production of the cultural industry and the academic research. This renewed interest for life stories and for the very idea of life itself as a reaction against all the years of theoretical inflationism and the violent defense of impersonality, points to something more than just the simple proliferation of forms, and expresses a particular tone of the contemporary subjectivity. The biographical expansion marks a movement of return to the problematic of the subject, not as a restatement of the Cartesian and modern subject, but as a sequence to the critics against this very model. The present research is founded in this context, interested to explore, in a personal and experimental manner, ways to create visual autobiographies, or antibiographies, that don t aim for a full reconstruction, a chronological coherence, or the affirmation of a testimonial self, but rather to invest in putting existence into motion, instead of giving it guidance and to search not for meaning, but becoming sensitive to it. To do so, was used artistic experimentation through photographical devices as a research tool, observing, through this practice, possibilities of producing and reading an alternative self-writing.

2

Williams, Jocelyn. „Canadian incest autobiography /“. Internet access available to MUN users only, 2003. http://collections.mun.ca/u?/theses,177714.

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3

Marinos, Angela. „The dialogical autobiography /“. Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69618.

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This thesis examines the role that dialogue and community play in the autobiographical enterprise and argues that autobiographer and community are dialogically interrelated. The central idea that governs Maxine Hong Kingston's The Woman Warrior, Smaro Kamboureli's in the second person, and Minnie Bruce Pratt's "Identity: Skin Blood Heart," is this: life-writing cannot be divorced from dialogical relations because living cannot be divorced from dialogical relations. Accordingly, if it is impossible to conceive and define ourselves without reference to other selves, it must be equally impossible to write our life-stories without reference to others. Hence, the process of "self-invention" or "self-fashioning" typically associated with the autobiographical project must be reconsidered within the larger frame of history and heritage, community and collaboration.

4

Smith, Robert Rowland. „Derrida and autobiography“. Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.317779.

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5

Jesser, Frederick A. IV. „Autobiography as Service“. Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1366632739.

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6

Leiserson, Emily M. „Self-portrait and autobiography“. Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1397642.

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This creative project is a series of self portraits, records of self and the stamp of culture that is placed on the physical body. In the series of prints and handmade books described in these pages, self-portrait provides a vehicle for examining creativity and humanity, self-image as a reflection on women, and autobiography as a means of cultural storytelling.
Department of Art

7

Belshaw, Michael. „Art, writing and autobiography“. Thesis, Open University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.439339.

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8

Chivers, Terence S. „Autobiography and life review“. Thesis, University of Sussex, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.241691.

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9

Pairpoint, David. „Art allegory and autobiography“. Thesis, University of East London, 2012. http://roar.uel.ac.uk/1857/.

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My research for the Doctorate programme began in 2007 by exploring how to translate and reinvent cinematic imagery and searching for ways of combining cinema, painting, and autobiography. Initially I looked at theories of allegory in order to establish how to integrate those ideas and elements in my own work. I then experimented with a variety of ways of using cinema imagery coupled with my own photographs to make large scale autobiographical paintings. From time to time social commentary would occur in the work as I responded with anger or despair at current events. My research into art and allegory led me to the writings of Walter Benjamin, Craig Owens and Bainard Cowan. After considering a range of artists I selected the painter Daniel Richter and the filmmaker Peter Greenaway, to research in depth. I experimented by manipulating imagery on a computer prior to making a painting. My supervisors saw one of the paintings that resulted from this process as a significant breakthrough piece. (Oh Carole 2009 Fig.15 Page 24)) What I did not acknowledge or recognise was that the genesis of this particular work was a deep-seated emotional response to a past event. My continued research into film literature and interpretations of allegory was leading me in many directions, each seemingly more interesting than the last, and each providing me with a mass of imagery which I felt compelled to act upon. Part of this compulsion was the need I felt to continually justify the work as an obligation to the status or hierarchy of the Doctorate programme. This sense of obligation became the driver for the compulsive production of my work. My supervisors identified a second significant painting. This was a portrait of my late father (Dad 2010 Fig.18 Page28) which, once again was my response to the release of deeply felt emotion that had surfaced. These feelings were buried, as I continued making a high volume of work, with often as many as three separate genres of paintings being made at the same time. I was not allowing time to reflect or analyse the significant meaning in those works. I reached a further turning point, a breakthrough painting, which was a selfportrait (Child Me 2010 Fig.19 Page29) in which I was accessing a genuine emotional response to past events in my life rather than using second hand emotions suggested by cinema or literature. I went on to make other paintings in which I tried to respond honestly, emotionally and imaginatively to events in my past. There was a sense of release in making this new body of work. I began to reflect that the earlier work was impersonal and was made to satisfy a self-imposed obligation and work ethic. 4 With the latest work I cannot wholly explain how I arrive at the images or necessarily what they are about but I recognise that they are informed by my imagination, which the previous way of working and thinking did not allow for. In the later work there is a far greater sense of self expression, and the self imposed constraints and self conscious attitudes are disappearing. Accessing these new imaginative and emotional responses has not been an easy process for me. I think that the perseverance and excessive volume of work made throughout the programme may well have been a necessary process to enable me to arrive at a point where my imagination and intuition are a trusted part of my methodology.

10

Williams, Rose M. A. „Feminine fictions: An embodied autobiography : navigating feminine embodied ontologies with/in aesthetic autobiography“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2003. https://ro.ecu.edu.au/theses/1822.

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“In Speculum I wrote that to re-establish a political ethics a dual dialectic is necessary, one for the male subject and another for the female subject (pp223-4). Today I would say that a triple dialectic is necessary: one for the male subject, one for the female subject and one for their relationships as a couple or in a community. The weak and strong point of this quest concerns the issue of subjectivity and objectivity for women.” Pg 39 Irigaray, L (1994) Thinking the Difference: for a peaceful revolution trans Karin Montin, Routledge New York The Feminine Fictions project takes on Irigarays challenge for "A Peaceful Revolution” to find its genesis between men and women through enabling dialectics - an interaction between masculine and feminine subjectivities at the point of difference and within the context of relationship and community. For Irigaray, historically repressed feminine subjectivities must continually be (re)constructed/ transgressed in order for such dialectics to be both possible and empowering. In Feminine Fictions I take up Irigarays engagement in the hope that doing so will re-create bonds of relationship and community for and with women that yield such enabling returns. To do so I use the axes of symmetry and scale that Irigaray identifies - working from the subject to the transcendent, from the cosmic to the divine and from the microcosmic to the macrocosmic. Masculine and Feminine appear as continually coalescing co-ordinates rather than limits in these axes, moments of opportunity rather than fixed references points and using subjectivity as a portal for viewing the cultural construction of “objective” experience. I adopt Irigarays mechanisms of mimesis, alterics and transgression (Irigaray 1981 a & b, 1985 a & b, 1986,1987 a&b, 1989, 1990, 1994, 1999,2000) through autobiography (Miller 1991, Benstock 1988, Brodzki & Schenk 1988) to inquire into my own embodied, engaged subjective experiences. I work from that position to cross and re-cross ontological thresholds, and through that continual movement, to articulate feminine subjectivities that arise in dialogue with the Other, amongst community. Feminine Fictions poses a series of questions: What can embodied aesthetic engagement reveal through/for “the feminine” as a site of difference? How does this impact through/on my particular ontological and subjective experiences (and vice versa)? How is this significant for contemporary feminisms? I use written and factured terms – aesthetic practice and performance - to re-member, generate and extend my subjective experience and finally articulate and record that experience of being-in-the-world in response to these concerns (MacDonald: Swindells 1995). The project culminating in an embodiment of the ontological research through an installation and performance event at Fremantle Prison on December 8 2002 involving 55 members of my epistemic community (Babbit: Alcoff & Potter), including my family. The evening provided an opportunity to undertake multiple ‘readings’ of the work and a way to mimetically re-construct my personal inquiry process in collective terms. The organising metaphorical structure of the event, the Stations of the Cross, foregrounded the incarnational aesthetic of embodied difference, ontological construction and transgression central to the project (Bozarth 1997, Irigaray 1986 & 2000). The prison became a laboratory that could be used collectively and personally by each participant to explore their own embodied experiences of being-in-the-world and explore their own ontological orientations and philosophies-in-action. The entire project was then produced into an exegetical theses as a CD ROM in website format to extend the proposal of embodied ontology into cyberspace and contemporary technological constructs (Wiley: Price & Shildrick 1999). The website format also allowing for a labyrinthine structure that can bring together the factured and conceptual work through geographical space into the alteric space of the internet.

11

Fredman, Jenny. „"All autobiography is storytelling, all writing is autobiography" : Autobiography and the Theme of Otherness in J.M. Coetzee's Boyhood: Scenes from Provincial Life“. Thesis, Växjö University, School of Humanities, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-1359.

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Boyhood: Scenes from provincial life by J.M. Coetzee tells the story about John Coetzee from the age of ten until thirteen. Since many details in the story point to the idea that the protagonist might be the author, it is often said to be an autobiography. However, it is not a conventional one. A third person narrator tells the story in the present tense, which is rather different from the autobiographiy’s conventional first person narrator speaking in the past tense. The definition used in order to define the genre to which Boyhood belongs is Lejeune’s criterion author=narrator=protagonist. According to this theory, Boyhood is a biography. However, Lejeune does not take the connection author=protagonist inte sonsideration, but focuses only on the connection narrator=protagonist. Thus an additional description of the text’s generic style must be used.

Furthermore, the theme of otherness is analysed. A close reading of the novel shows that the protagonist often feels different from his family and peers. He makes a distinction between two kinds of different – a good and a bad kind. The good means that he is better than his peers, and the bad kind means that he has failed to accomplish something he thinks is important.

Although the author wrote the story about his boyhood in a rather unconventional style and the protagonist perceives himself as different, the otherness in the two do not parallel each other. What they might have in common is perfectionism. Thus, the theme of otherness is only to be found in the protagonist, whereas the author’s style of writing is merely unconventional.

12

Levy, Sidney Jay. „Sidney J. Levy: an autobiography“. EMERALD GROUP PUBLISHING LTD, 2017. http://hdl.handle.net/10150/625960.

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Purpose - This autobiography sums up the life story of one of the contributors to the history of inquiry and instruction in the field of marketing, with special attention to the historical developments that have influenced the study of consumer behavior and the concept of branding. Design/methodology/approach - This paper is an autobiographical essay, a personal history. Findings - The reminiscence illustrates the way life experiences evolve, showing the interaction among personal growth, education, career choices and work experience that led to Professor Levy's contributions to the field of marketing education and its research literature. Originality/value - The paper describes a unique life, and an unusual explication of the personal life sources of influential ideas. It is novel in its large perspective and integrative narrative, and the unusual exposure of its various conceptual issues and links. It should be of interest to marketing historians, managers and scholars of marketing education.

13

Blake, Dale. „Inuit autobiography, challenging the stereotypes“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ59938.pdf.

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14

Blake, Dale. „Inuit autobiography challenging the stereotypes /“. Ottawa : Library and Archives Canada, 2002. http://www.nlc-bnc.ca/obj/s4/f2/dsk2/ftp02/NQ59938.pdf.

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15

徐少珊 und 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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16

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.

17

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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18

Dickenson, Sarah Jane. „Autobiography, memory and the playwright“. Thesis, University of Hull, 2014. http://hydra.hull.ac.uk/resources/hull:10864.

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The thesis is made up of two plays and a piece of writing that is a reflection and critical sharing of a developmental and critical process of writerly development. The thesis explores the use of memory and autobiography in playwriting and is concerned with the development and enhancement of playwriting through a process experienced and analysed by its author. The work draws upon recent psychological research into memory, particularly the idea that memories can be manipulated. The work of Mazzoni and Geraerts enables links between scientific psychology and narrative fiction and autobiography to be explored. Explorations of memory, narrative and the construction of self feed directly into the first of two plays, That Berlin Moment, in which a group of characters grapple with the implications of lost, false and unwillingly recovered memories. The thesis includes individual and comparative analyses of my own work alongside that of three other dramatists: Anthony Minghella, James Graham and Richard Bean. Much of this work is drawn from a series of interviews with each playwright, which focused on uses of autobiographical material. Ideas about appropriation and adaptation are significant in focusing and developing this material. Informed by this analysis, the second play, Petticoat Lane, represents an attempt to push further with autobiographical writing, developing characters and situations based closely on my own memories, whilst incorporating insights gained from the scientific and theoretical work on memory. The thesis is an articulation of a self-conscious process of writerly development, which suggests an unexpected connection between autobiographical and applied drama playwriting. Rather than setting up an opposition between self, creativity and original imaginary worlds on the one hand, and social utility and empowerment and political concern on the other, this process has opened up new ways of understanding the potential for playwriting to provoke and enable positive change.

19

Rood, Jason R. „Reconstructing a Science Fiction Autobiography“. VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3853.

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This is a collection of essays revolving around concepts pertinent to my current visual arts practice, centering on a deconstruction of personal narrative mythologies. What is generated is a web of connection that spans Narrative Modes, Science Fiction, the use of Lines and Drawing, the Digital and Space and Time. Through this interweaving of topics, I am beginning the process of rebuilding the structure of a personal story for the future.

20

Doeren, Catherine Wallace. „Harbor: The Act of Autobiography“. Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2225/.

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This written thesis accompanies a sixteen-minute documentary video, Harbor, in which the filmmaker explores her relationship with her father who has suffered a stroke. Detailed accounts of the pre-production, production and post-production of the video allow the reader to understand the challenging and rewarding process of making an autobiographical documentary. Theoretical issues are also discussed, including the validity, criticisms, artistic nature and ethical concerns of autobiographical filmmaking. The filmmaker stresses the universality of her story, and how, despite the film's very personal nature, it is applicable for anyone who has dealt with the illness and/or disability of a parent.

21

Chui, Siu Shan Remy. „Reading 'Third World' women's autobiography /“. Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22763491.

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22

Gingerich, Jennifer Alena. „Establishing an elsewhere in contemporary American women's autobiography“. Huntington, WV : [Marshall University Libraries], 2003. http://www.marshall.edu/etd/descript.asp?ref=352.

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Thesis (M.A.)--Marshall University, 2003.
Title from document title page. Document formatted into pages; contains vi, 131 p. including illustrations. Includes vita. Includes bibliographical references.

23

Piroli, Marta. „Finding Voices: Italian American Female Autobiography“. Oxford, Ohio : Miami University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1145368184.

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24

Ní, Dhúill Gráinne Bríd. „Autobiography and fiction in George Sand“. Thesis, University of Cambridge, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.627442.

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25

Gill, Rebecca Claire. „Intergenerational autobiography, historical narrative and trauma“. Thesis, University of Newcastle Upon Tyne, 2013. http://hdl.handle.net/10443/1852.

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Focusing on works published in the late twentieth century by three contemporary postcolonial women writers, Sindiwe Magona, Sally Morgan and Janet Campbell Hale, this thesis explores their use of a hybrid generic form I term ‘intergenerational autobiography’. Originating from South Africa, Australia and North America respectively, each text engages with the legacy of colonialism in a different settler society. The authors interweave personal narratives with the life stories of mothers and grandmothers, and engage with the perspectives of future generations, incorporating familial subjectivities within autobiography in response to traumatic colonial pasts. Despite the widely disparate political and cultural contexts, detailed comparisons demonstrate how attacks on indigenous families function as key mechanisms of colonial control and oppression. Attention to the specificity of traumatic experience in each narrative necessitates a re-examination of models of trauma in non-Western contexts. Magona explores both everyday violence in apartheid South Africa, and the communal and generational impacts of individual ‘spectacular’ traumatic events. Morgan’s work foregrounds the vital collaborative role of the listener in trauma testimony, and highlights the significance of silences or gaps in testimonies about the Stolen Generations of Aboriginal children in Australia. Hale vividly demonstrates the intergenerational transmission of trauma through maternal abuse in her Native American family, and throws into question the rebuilding of familial relationships as a discourse of healing. Each text is situated in relation to the historical narratives produced by truth and reconciliation commissions and other official testimony-gathering projects, exploring the freedom that intergenerational autobiography offers to address a broader spectrum of cross-generational experiences than is possible under the restrictive political objectives and mandates of TRCs. This literary form enables Magona, Morgan and Hale to produce politically nuanced narratives of the colonial past, accessing alternatives to ‘mainstream’ historical narratives through a generational approach that highlights the continuing traumatic impact of both spectacular and insidious forms of colonial violence.

26

Fong, Chung-yan, und 鄺頌欣. „Melancholia and autobiography in Roland Barthes“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31951259.

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27

Percopo, Luisa Andreana Maria. „Hyphenated selves : Australian ethnic minority autobiography“. Thesis, King's College London (University of London), 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.445243.

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28

Cook, Ian. „A grumpy thesis : - geography, autobiography, pedagogy -“. Thesis, University of Bristol, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390384.

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29

Hendrickson, Ruth Ann. „Narrative strategies of erotic fictional autobiography /“. The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487592050228985.

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30

Lancaster, Jordan. „Autobiography in early eighteenth century Italy“. Ottawa : National Library of Canada = Bibliothèque nationale du Canada, 2000. http://books.google.com/books?id=HGFmAAAAMAAJ.

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31

Fong, Chung-yan. „Melancholia and autobiography in Roland Barthes“. Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18685523.

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32

Shortall-Stevenson, Joyce. „Jean Schlumberger ʹEveils : a historical autobiography /“. Electronic version, 2004. http://dl.uncw.edu/etd/2004/shortall-stevensonj/joyceshortall-stevenson.html.

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33

Barlow, Rebecca Quist. „Nourishing the Self: Cookbooks as Autobiography“. BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/2994.

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Though casual readers may often assume cookbooks are primarily reference materials,cookbooks actually offer readers a type of autobiography; I examine cookbooks as literary autobiographical acts by analyzing three celebrity chefs' cookbooks and the recent film, Julie and Julia. Julie and Julia, starring Meryl Streep and Amy Adams, illustrates several key autobiographical ideas, specifically Barthes' ideas of readerly and writerly texts and the distinction between an author and a persona. The film acts as a visual representation of the way a reader engages with a text and makes it a writerly text while successfully distinguishing between an author and a persona/narrator. After a brief review of autobiography theory through Julie and Julia, the three selected authors' work further magnifies the ideas. The first celebrity chef, David Lebovitz, uses a highly narrative style and incorporates numerous autobiographical details into his books. The second, Ina Garten, utilizes different methods of creating a persona, including photography. The third chef, Dorie Greenspan, uses the same methods used by Lebovitz and Garten, but has been replicated extensively in online baking groups, making her texts ideal for understanding the role of the reader in an autobiography. The work of these three authors illustrates well how autobiographies function and how readers can reiterate their own autobiographies through the books and food they consume.

34

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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35

Imran, Rahat. „Islamic laws, gender discrimination and legal injustices: the Zina Hudood Ordinance of Pakistan and its implication for women /“. Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/2114.

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36

Schlunke, Katrina, of Western Sydney Hawkesbury University, Faculty of Social Inquiry und School of Humanities. „An Autobiography of the Bluff Rock Massacre“. THESIS_FSI_HUM_Schlunke_K.xml, 1998. http://handle.uws.edu.au:8081/1959.7/783.

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This thesis is a multi-faceted engagement with the many events and people that came to be known as 'The Bluff Rock Massacre'. Employing a number of textual techniques it seeks to articulate the ways in which 'historical' events and particular places come to be lived out in subjects who are both past and present and in a constant state of becoming. The work employs official historical records, family histories, tourist leaflets, gossip, field notes and other texts to show the multiple ways in which an event both becomes and exceeds its invention. The thesis is concerned with the ways in which the non-Aboriginal can write Australian history after the many Aboriginal interventions into hegemonic history and the ongoing re-appraisal of 'What happened?' Simultaneously the writing is written on the terrain of post-identity politics and is both queered and performative. The work attempts a textual exposition of the questions - How does one write the past when it is also the present?; What is a postcolonial autobiography?; what is a postcolonial sexuality/textuality? - rather than answer them
Doctor of Philosophy (PhD)

37

Lamb, Marnie. „The official autobiography of Hilary Laura Boles“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ52726.pdf.

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38

Schlunke, Katrina Maree. „An autobiography of the Bluff Rock massacre /“. [Richmond, N.S.W.] : University of Western Sydney, Hawkesbury, 1999. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030811.094439/index.html.

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39

Hayes, Tim. „The crisis autobiography Augustine, Rousseau, and Wordsworth /“. Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/5709.

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Thesis (M.A.)--University of Missouri-Columbia, 2008.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on September 3, 2008) Includes bibliographical references.

40

Thomas, Helen Sarah. „Spiritual autobiography : Romanticism and the slave narratives“. Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.389782.

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41

Koh, Yee-Von. „Royal autobiography in the Book of Qoheleth“. Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.614988.

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42

Huddart, David Paul. „The foreignness of autobiography : inventing postcolonial beginnings“. Thesis, University of Sussex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343372.

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43

Wyatt, A. C. „'The true Elia' : Charles Lamb and autobiography“. Thesis, University of Reading, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.374026.

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44

Mascuch, Michael J. „Social mobility in English autobiography, 1600-1750“. Thesis, University of Cambridge, 1989. https://www.repository.cam.ac.uk/handle/1810/272622.

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45

Sutton, Mathew D. „Just Friends: Racial Allies in Jazz Autobiography“. Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/7829.

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Autobiographical accounts of interracial friendships tend to take on unrealistic Huck-andJim-type dimensions, particularly in southern musicians’ autobiographies, where musical compatibility is often mistaken for a larger sense of harmony. A select few memoirs, however, have dispensed with this master narrative to illustrate instances of overcoming segregation through interpersonal means. In the vein of fellow Alabamian W.C. Handy’s The Father of the Blues, (1941), jazz composer/performer Willie Ruff’s A Call to Assembly (1991) uses the tools of African American respectability politics (ideals of democracy, Christianity and common humanity) to build more balanced relationships with young white contemporaries also enraptured by jazz, in the process shaming segregationists. In this case, music paves the way for whites’ understanding of larger social equality. In Bakhtinian terms, this authorial positioning is “centripetal” (literally meaning “rotation toward the center”), affirming unity and common core values to the reader. By contrast, bebop musician Dizzy Gillespie in his To Be or Not to Bop (1979) takes on more centrifugal proportions, “clowning” his way around segregation like the time-honored trickster figure, finding allies in the jazz counterculture in the west, the north and abroad, beyond the reach of Jim Crow. Like Ruff, though, Gillespie takes advantage of jazz’s strategies to escape the trap of asymmetrical “friendships.” By eschewing the platitudes of the interracialbrotherhood tale, Ruff and Gillespie reveal the reciprocity and sacrifice necessary for white ally ship and establish jazz as a medium for political expression and true collaboration.

46

Wang, Jing. „Strategies of Modern Chinese Women Writers' Autobiography“. The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392046947.

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47

Fragar, Julie. „Kissing the Toad: Marlene Dumas and Autobiography“. Thesis, Griffith University, 2013. http://hdl.handle.net/10072/367588.

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The work of South African born painter Marlene Dumas has frequently been described as “intimate”, “conversational” and filled with “desire”. Though her work is fiercely material and painterly, and though the majority of her subjects derive from universal mass-media images or art history, a preoccupation with Dumas’ biographical self persists in most interpretations of her work. This thesis considers why this is so. I assert that Dumas’ work engages in a highly self-reflexive mode of authorial presence that is marked by a reference to its own artificiality or contrivance. I argue that, while understandable, simplistic biographical or intentional readings of Dumas’ work are unhelpful, and that Dumas’ authorial presence, more interestingly, questions the nature of authentic communication through art. This argument also suggests that the visual arts require a more nuanced understanding of the authorial self in art than has been evident to date. To demonstrate better critical engagement with the author, I refer to theories from contemporary autobiographical studies that provide a rich language of authorial presence.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
Full Text

48

Rajan, Gita. „'Ecriture feminine' as autobiography in Walter Pater“. Diss., The University of Arizona, 1990. http://hdl.handle.net/10150/185119.

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This is the first study that examines the concept of autobiography in Walter Pater's works using ecriture feminine. Ecriture feminine serves as a critical model that interrogates the semiotics behind Pater's strategy in the composition of his oeuvre. The study goes beyond the scope of traditional scholarship by reading Pater's texts not oniy as thematic expressions of his artistic ability, but also by uncovering his hidden political agenda by examining the language of the texts against the grain of his cultural milieu. By positing a speaking subject at the intersection of language and text, this study reveals how Pater uses intertextuality to portray his marginalization from the intellectual and cultural community of his time. This study focuses mainly upon "Diaphaneite," Gaston de Latour, Imaginary Portraits, and his letters. The validity of the study clearly lies in its systematic inquiry of the concept of a gendered speaking subject in Pater's texts, particularly one that is structured both rhetorically and semiotically through the typical Victorian metaphor of crisis yet enunciates a radical response to Victorian ideology.

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Huish, M. R. „Some aspects of the nature & content of autobiography, with particular reference to the 20th century autobiography of childhood“. Thesis, Middlesex University, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.568496.

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50

Reeds, Nolan. „"Only the vague outline of my original shape remains" : the miscarriage of autobiography in the novels of Audrey Thomas“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ43938.pdf.

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Dissertationen zum Thema „Autobiography“

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