Relevant bibliographies by topics / Narrative diary

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Academic literature on the topic 'Narrative diary'

Author: Grafiati
Published: 14 March 2023

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Journal articles on the topic "Narrative diary"

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Dryburgh, Marjorie. "Rewriting Collaboration: China, Japan, and the Self in the Diaries of Bai Jianwu." Journal of Asian Studies 68, no. 3 (August 2009): 689–714. http://dx.doi.org/10.1017/s0021911809990027.

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This essay considers the meanings of Sino-Japanese collaboration before the Second Sino-Japanese War (1937–45) through the personal diary of one collaborator, Bai Jianwu (1886–1937). Rather than debate the veracity of the diary narrative, the author considers the diary as a “political performance”—as an assembly of formulaic elements borrowed from contemporary discourse, historical example, and generic conventions that was designed to locate collaboration within a range of conceivable responses to China's predicament. While the emerging narratives of national resistance typically portrayed collaboration as an unthinkable transgression, the collaboration narrative of the diary, shifting and often ambivalent, illuminates the terms on which Bai was prepared to argue that collaboration with the Japanese was an acceptable choice, and the place that he allowed collaboration in the story of his life.
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Dewi, Ratna Sari. "The Influence of Diary on the Students' Narrative Writing Skills Quasi-Experimental Study at UIN Syarif Hidayatullah, Jakarta." Jurnal Pendidikan dan Pengajaran 53, no. 1 (May 15, 2020): 66. http://dx.doi.org/10.23887/jpp.v53i1.24892.

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This study aims to determine the effect of the diary media on the ability to write narratives for Semester III students. The sample in this study was the 60th semester students of the Department of English Language Education at the Syarif Hidayatullah State Islamic University in Jakarta totalling 60 students. Sampling using a multistage random sampling technique. The method used is an experimental method, with non-equivalent experimental design. Data collection was performed using a narrative writing test and analysed using the t test. The results showed that the diary media had a significant effect on the ability to write student narratives with a coefficient of t count > table = 6.41> 1.70 at a significant level α = 0.05. These results indicate that the diary media can be used as an alternative media in learning to write student narratives. Therefore, teachers need to know the importance of using appropriate learning media to develop students' narrative writing skills.
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Cercato, Maria Cecilia, Elvira Colella, Alessandra Fabi, Isabella Bertazzi, Barbara Giuseppa Giardina, Paolo Di Ridolfi, Mara Mondati, et al. "Narrative medicine: feasibility of a digital narrative diary application in oncology." Journal of International Medical Research 50, no. 2 (February 2022): 030006052110455. http://dx.doi.org/10.1177/03000605211045507.

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Objectives We implemented narrative medicine in clinical practice using the Digital Narrative Medicine (DNM) platform. Methods We conducted a preliminary, open, uncontrolled, real-life study in the oncology and radiotherapy departments of Istituto di Ricovero e Cura a Carattere Scientifico National Cancer Institute Regina Elena, Rome, Italy. We recruited adult Italian-speaking patients who then completed the DNM diary from the start of treatment. The primary endpoint was DNM feasibility; secondary endpoints were health care professionals’ opinions about communication, therapeutic alliance, and information collection and patients’ opinions about therapeutic alliance, awareness, and coping ability. We used open- and closed-ended questions (scores 1 to 5) and a structured interview. Results Thirty-one patients (67%) used the diary (84% women). Health care professionals’ mean scores for feasibility and utility were ≥4.0. Patients’ utility scores were related to health care professionals’ feedback regarding the narratives. The main advantages for health care professionals were the opportunity to obtain relevant patient data and to strengthen communication and patient relationships (mean scores 4.4–5.0). Both groups strongly encouraged introduction of the diary in clinical practice. Conclusion Use of the DNM in oncology patients assisted clinicians with understanding their patients experience.
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Kunt, Gergely. "Ironic Narrative Agency as a Method of Coping with Trauma in the Diary-Memoir of Margit K., a Female Holocaust Survivor." Hungarian Cultural Studies 7 (January 9, 2015): 28–40. http://dx.doi.org/10.5195/ahea.2014.137.

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This paper analyzes the rhetoric of a manuscript written in Budapest immediately after the Holocaust to record the personal experiences of the author, Margit K. I examine the text in terms of the role of writing and narration in processing trauma and how these appear in the narrative. In her memoirs, Margit K. had imbued her personal history of persecution with meanings that facilitated their integration into her life history and her self-definition. She chose to narrate her tragic past using euphemistic, mitigating, or ironic language and constructed her stories to have positive outcomes while attempting to write as little of the pain and tragedy of her persecution as possible. The euphemizing narrative methods used in the memoirs disappear entirely in the diary and the themes discussed in the diary are also different, which shows the advantages of constructing a desired past within the genre of the memoirs in contrast to the more strictly defined genre of diary-writing.
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Kunt, Gergely. "How Do Diaries Begin? The Narrative Rites of Adolescent Diaries in Hungary." European Journal of Life Writing 4 (June 25, 2015): 30–55. http://dx.doi.org/10.5463/ejlw.4.132.

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This paper examines the narrative tropes of Hungarian adolescent diaries written during and after World War II, primarily focusing on the rhetorical forms of beginning a diary that fall into two categories characteristic of adolescent diary-writing – beginning with an introduction describing the author and their environment, or beginning with a memoir in which the author summarizes the most important events of the period between their birth and the start of the diary. The paper also discusses how adolescents personified their diary books and intended those for their adult selves in the course of diary-writing as dialogue.
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Je, Sukhee, and Sunnam Choi. "An Ontological narrative Inquiry on Art Therapist’ Art Diary Experience." Korean Association For Learner-Centered Curriculum And Instruction 22, no. 17 (September 15, 2022): 319–40. http://dx.doi.org/10.22251/jlcci.2022.22.17.319.

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Objectives The purpose of this study is to understand what art therapists experience in the process of painting diary and what meaning those experiences have in the life of an art therapist. Methods The inquiry method was an autobiographical inquiry, and among the qualitative research methods, the method of narrative inquiry was used. The research procedure was conducted from January 2021 to April 2022, and the analysis contents of the art therapist's analysis process and the researcher's flower drawings and diary writing were used as artifacts. Results As a result of the investigation, the picture diary is a promise to the father, a pure record that connects the past and the present, and the image, that is, the flower painting, freed emotions and experiences. Also, although the analysis was painful, it became the basis for growth and healing, and the picture diary was a process of having time to immerse myself in my inner voice. Conclusions This investigation was a courageous challenge for me as an art therapist to look back on my life through a picture diary, and it was a process of loving myself.
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Cho, Su-mi. "A Study on the Descriptive Strategies of Exile Diaries." Research of the Korean Classic 60 (February 28, 2023): 39–65. http://dx.doi.org/10.20516/classic.2023.60.39.

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The Diary of a Man Who Followed Exile is a diary that records the experience of a father, grandfather, or teacher who is going to exile by a son, grandchild, or disciple. As can be guessed from the relational peculiarity of the exile and the accompanist, the exile and the accompanist are inevitably very closely connected emotionally. Therefore, the diary of the exile does not merely record the experience and the subconscious of the individual without any purpose and intention. The ultimate goal of the diary is to claim the injustice of exile and to restore their damaged reputation. As a result of examining 〈Namhaengnok〉, 〈Bukcheonilrok〉, and 〈Changguekil〉, it was found that narrative strategies of direct explanation and indirect explanation were used to achieve such narrative goals. The descriptive method of direct clarification contributes to securing the basis for identity by providing diverse and rich information. Indirect explanation is not an objective basis, but it is a very intense and effective narrative strategy in that it provides a basis for sympathy that can convince innocent exile. Through the process of examining what narrative strategies were used in the exile diary for identity, we can get clues to understand other exile diaries belonging to the same category, and furthermore, we can identify the universal emotions of human beings who are afraid of history.
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Velychkovska, Yuliia. "The Diary Genre in the Description of Anti-imperial Ideas in the Ukrainian Literature of the XVIII Century." Fìlologìčnì traktati 12, no. 2 (2020): 127–35. http://dx.doi.org/10.21272/ftrk.2020.12(2)-14.

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The article deal the general patterns and main trends in the formation and development of the genre of diary as a self-sufficient form in the national literature in the XVIII century, in the coverage of anti-imperial ideas on the example of memoirs "Home Protocol" (1717-1767) of General Treasurer Yakov Markovich, "Diary or Journal" (1722) and "Diary" (1727 - 1752) of General Cornet Nikolai Khanenko. Analyzes the special approach of J. Markovych and M. Khanenko to the creation of the diary genre. It is proved that the memoirs are characterized by a special manner of narration, reminiscent of a clerical reporting document. The authors described events from their own lives, intertwining them with national ones. Fixing the moments with inherent factual accuracy helped to create a holistic canvas of our history during the period of the development of imperial colonial policy in Ukraine. An important feature of the diary narrative is the conciseness and introversion of the narrative, which is explained by the concealment of independent comprehension and assessment of events by diaries. The social level of everyday poetics emphasized the colonial position of Cossack Ukraine in the eighteenth century. A systematic analysis of the genre features of the diaries "Home Protocol" by J. Markovych, "Diary or Journal" and "Diary" by M. Khanenko genre-wise and problematically interconnected with the Cossack chronicle, suggests that the superficial content of notes on historical events in Ukraine and abroad its boundaries, conciseness and introversion of the story, fixation of moments with factual accuracy, the intertwining of personal life events with national ones contributed to the establishment of anti-imperial themes in national literature, that influenced trends in national literature.
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Urban, Palina. "From diary narrative to the referential Self: how questionnaires and quizzes reshaped online self-writing." Media, Culture & Society 42, no. 5 (April 8, 2020): 777–88. http://dx.doi.org/10.1177/0163443720914033.

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This article discusses the evolution of self-inscription from the soul-searching autobiographical narratives characteristic of personal diaries to the highly referential and indirect language articulated in today’s social media. To trace the origins of this shift, this study considers blogs of the first decade of the 21st century where traditional diary narrative started to transform into a new type of ego-text. It suggests that the spread of online quizzes and questionnaires in the beginning of the 21st century played an important role in the creation of the referential Self characteristic of today’s online rhetoric. Entering the realm of traditional ego-text, these prestructured tools replaced evident self-narration with a disguised indirect version, providing ready-made identity templates and establishing clear rules of information circulation.
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Salkhanova, Zhanat K., and Aray S. Utebekova. "Diary as a literary genre." Neophilology, no. 22 (2020): 368–76. http://dx.doi.org/10.20310/2587-6953-2020-6-22-368-376.

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The specifics of the diary as a genre of literature is considered. An attempt is made to understand the genre nature of the diary and identify the characteristic features of its narrative structure. Turning to the diary entries of Bakhyt Kairbekov, we analyze the subspecies of the diary as a genre and pose the question of the intertextual specifics of the poet’s diaries. We reveal such characteristic features of the narrative structure of diaries as chronology, dating, aphorism, dialogics, evaluation. It is proved that the specific form of the diary is one of the individual style of a artistic person who realizes his abilities in various fields of artistic work. We establish that the diary form of writing is characterized by a number of features that can be implemented to a greater or lesser extent in each diary: 1) the frequency, regularity of recordings; 2) the relationship of records with current, and not with long-past events; 3) the spontaneous nature of the records; 4) literary rawness of records; 5) addresslessness or uncertainty of the addressee; 6) the intimate and therefore sincere, private nature of the notes.
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Dissertations / Theses on the topic "Narrative diary"

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Lee, Ming-Yu. "Diary film in America and in Taiwan : narrative, temporality, and changing technology." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6679/.

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The diary film as a unique, personal, and private cinematic genre for a long time has not received its fair share of attention in academic research. This thesis therefore focuses mainly on the historical development, characteristics, and aesthetics of the diary film per se, conducting a critical dialogue between them in order to explore a field of study that should be clarified instead of staying ambiguous. The discussion of this thesis can be divided into two parts: first, I pay specially attention to the historical context of the diary film in the 1950s to 1960s in America. Combing through different film theories regarding amateurism and different personal filmmaking approaches proposed by Marie Menken, Maya Deren, and Jonas Mekas, the first part of the thesis aims to locate the origins of the diary film. Moreover, with the discovering of the early historic material of the avant-garde film movement and the diary film in Taiwan, a transnational connection of the diary film between America and Taiwan has been established. The second part of the thesis focuses on the analyses of the diary film texts from various filmmakers in America and in Taiwan across different periods of time: they include Jonas Mekas, Hollis Frampton, Saul Levine, George Kuchar, Shine Lin, and myself. By the close reading of these films, I provide concepts from different perspectives as analytic tools in the diary film research: the parenthetical structure of the voice-over and the image in the diary film, and the different modes of diary filmmaking (perceptive, retrospective, and access) in terms of temporality and technology. To conclude, this thesis not only wishes to suggest forward-looking views on this marginal field, but also to reconstruct and reinvent the research of the diary film in Taiwan.
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Vanky, Anna-Marie. "The Secret Aria on Shame : An Analysis of Narrative Structure and Theme in Coetzee's "Diary of a Bad Year"." Thesis, Högskolan Dalarna, Engelska, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:du-4208.

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Coetzee’s last novel Diary of a Bad Year (2007) has an intriguing triple-voiced narrative structure and deals with the grey area of shame. The narrative is divided between a writer, his written contribution to a book called “Strong Opinions”, and his secretary’s thoughts about both the opinions in the manuscript and her employer’s circumstances. This essay explores the relation between form and theme in Diary of a Bad Year; to see in what way these two fundamental elements of the novel intervene and support each other. By doing so the narrative structure is read through Freud’s structural model of personality, whereby each narrator’s voice is related to the notions of the super-ego, the ego and the id. In other words, this essay argues that the specific threefold narrative structure in Diary of a Bad Year, by reflecting the interrelated parts of human identity, helps in creating and developing the theme of shame, which only exists connected to the human psyche. This connection in turn gives special meaning to the entire narratology of the novel.
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Rickard, Rebellino Rachel L. "A Trace of the Moment: Constructing Teen Girlhood in Young Adult Diary Books." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555280497496411.

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Sutherland, Sherman W. "Diary of the Coolville Killer: Reflections on the Bush Years, Rendered in Fictional Prose." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1209671681.

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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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Antunes, Adriana Guimarães. "O linguajear e o emocionar no diário de uma professora iniciante." reponame:Repositório Institucional da FURG, 2013. http://repositorio.furg.br/handle/1/4792.

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Este trabalho propõe-se a investigar como o linguajear e o emocionar da docência modificam-se no início da carreira. O estudo foi desencadeado pelo desconforto que a metodologia do ensino de Matemática, baseada em sua maioria na apresentação do conteúdo e na realização de exercícios, causava tanto nos estudantes quanto na professora. A situação vivenciada nos primeiros anos da docência indicava a necessidade de estabelecer outro linguajear e emocionar com os estudantes, que favorecesse suas aprendizagens e não mais os negasse enquanto sujeitos aprendentes. Escolhemos a metodologia de Projetos de Aprendizagem como proposta facilitadora da aprendizagem, o que demandou a construção do saber no coletivo. Para conhecermos as transformações no linguajear e no emocionar foi necessário utilizar um instrumento de acompanhamento das atividades docente. Escolhemos o diário de aula como instrumento para o registro da experiência vivida no ensino de Matemática, de junho a dezembro de 2012, com os alunos do sexto e sétimo anos, de uma escola da rede pública de ensino. Analisamos e discutimos a narrativa presente no “Diário de uma professora iniciante” a partir da Investigação Narrativa, que se constitui tanto como fenômeno que se investiga quanto método de investigação. O conversar no diário mostrou uma professora iniciante com muitas inquietações em relação ao seu fazer docente, trazendo indicadores da insatisfação com a metodologia de ensino utilizada e o quanto o trabalho na perspectiva reprodutiva refletia-se na falta de desejo de aprender dos estudantes. Revelou também um emocionar de conflito com as certezas relacionadas aos processos de ensinar e aprender. Na experiência, aprendemos a respeitar os diferentes sujeitos e aceitá-los na sua singularidade, a refletir na ação e a tomar decisões a respeito do que já estava determinado de antemão (sistema escolar, ambiente físico, relações sociais, finalidades e objetivos educativos) que normalmente não questionávamos. Refletir na e sobre a ação permitiu-nos compreender os fundamentos de um fazer que emergiu da constituição docente que, em sua maioria, ocorre pela incorporação de um modo de viver. Estar em constante processo de formação foi o que nos mobilizou e forneceu subsídios para realizarmos a reflexão e, consequentemente, modificarmos as condutas estabelecidas com os estudantes. Problematizar a própria ação e as questões que permeiam a profissão docente possibilitou-nos questionar e compreender as razões pelas quais definimos nosso linguajear e emocionar no espaço de sala de aula e qual cultura de escola queremos gerar com os alunos. Tomamos a reflexão sobre a reflexão na ação como estratégia que nos permitirá fazer a docência na objetividade-entre-parênteses e gerar uma cultura que legitime a ação de todos os sujeitos como protagonistas dos processos de ensinar e aprender, de forma recíproca e igualmente válida.
This study aims to investigate how the language and the emotion of teaching are modified in teacher's early career. The study was triggered by the discomfort that the methodology of teaching Mathematics, based mostly on the presentation of content and exercises, caused both the students and the teacher. The situation experienced in the early years of teaching indicated the need to establish another language and emotion with the students, which may favor their learning and no longer deny them as learners. We chose the Learning Projects methodology as learning facilitator proposal, which required the collective construction of knowledge. To find out the changes in language and emotion, it was necessary to use a monitoring tool for teaching activities. We chose the diary as a tool to record the experience in teaching Mathematics, from June to December 2012, with students of the sixth and seventh years of a public school education. We analyze and discuss the narrative present in "Diary of a beginning teacher" from Narrative Research perspective, which is both a phenomenon that is being investigated and an investigation method. The conversation in the diary showed a beginner teacher with many concerns regarding their teaching. It brings indicators of dissatisfaction with the teaching methodology applied and how the work in reproductive perspective was reflected in the students' lack of learning desire. It also revealed an emotion of conflict about the certainties of the teaching and learning processes. In this experiment, we've learned to respect the different subjects and accept them in their uniqueness; to reflect in the course of action and to make decisions about what was in advance already determined (school system, physical environment, social relationships, educational goals and objectives), which normally there were no questioning about. Reflecting in the course and about the action has allowed us to understand the acting bases, which has emerged from the teacher's constitution, which mostly occurs by the incorporation of a way of living. Being in a constant process of study mobilized us and provided subsidies to accomplish a strong reflection about our practices and, as a result, a modified behavior with the students. Problematizing the action itself and the issues that underlie the teaching profession enabled us to question and understand the reasons why we define our language and emotion in the classroom space and which school culture we want to create with the students. We take the reflection about the reflection in course of action as a strategy that will allow us to make the objectivity- between-parenthesis teaching and to generate a culture that legitimizes the action of all the subjects as protagonists of the processes of teaching and learning, in a reciprocal and equally way.
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Brunton, Jennifer. "Cultural narratives and the historical subject : Annie Garnett, her diary, life and works." Thesis, Lancaster University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.301817.

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This thesis investigates and contextualises as a historical subject a woman textile artist, Annie Gamett (1864-1942). It explores her personal writings, in particular the diary which she kept between the years 1899 and 1909. The use of autolbiographical writings requires a reflexive methodology. In recognising this I engage with the fragmentary material in the archive using feminist theories and discourses to produce an 'intellectual biography', within which the elements of Annie Gamett's life, revealed through her own words, interact with the cultural narratives which challenged and impinged on her individual life. In engaging with Annie's subjectivity, as a historical 'site', I aim to reveal the subtle complexities of 'real' lived experience, and show how a woman, who was inspired by her love of nature and troubled by the effects of industrialisation, was able to develop her creative skills and run a successful textile business within the remit of the Arts and Crafts Movement. My approach to this historical subject unites a feminist perspective with an endorsement of the discipline of Women's History and its central commitment to the recovery of lost vOIces.
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Kremer, Jessica M. "Creating and Negotiating Narratives: Understanding the Positionality of Hayashi Fumiko." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/819.

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Through examining the positionality of Hayashi Fumiko as well as the changing socio-political, economic and historical contexts in which she lived in, I look to better understand how Hayashi navigated through the patriarchal systems of society as a woman writer. This thesis includes a survey of the Meiji, Taisho and Showa periods as well as a comparative analysis of Hayashi's prewar, interwar and post-war works.
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Jonsson, Ida. "Petticoats or Miniskirts: A Comparative Analysis of Feminine Narration in Pride and Prejudice and Bridget Jones's Diary." Thesis, Stockholms universitet, Engelska institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-164773.

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Abstract Both Pride and Prejudice (Jane Austen) and Bridget Jones’s Diary (Helen Fielding) have been thoroughly examined by literary critics. When discussed from a feminist perspective, critics are ambiguous as some claim that the novels work against feminist values rather than the reverse. This essay aims to add to the existing discussion, with focus on narration, specifically the narrative authority heroines Elizabeth and Bridget claim. Thus, it is situated within feminist narratology, examining the discourse of the narrative rather than the story. Analysis is conducted with Alison Case’s concept feminine narration, where women traditionally have been narrative witnesses without authority. Through acts of plotting and preaching, authority is claimed by which the narrator can control the meaning the reader is meant to derive from the narrative. I argue that Elizabeth and Bridget both assert narrative authority throughout their stories, thus breaking gendered conventions by claiming agency in traditionally male positions. Additionally, the comparative analysis enables discussion on “Chick lit” literary status, which has been questioned by critics.             Analysis shows that both Elizabeth and Bridget assert narrative authority throughout their stories, by acts of plotting and preaching. Often, both heroines meet male characters attempting to usurp narrative authority by assuming the role of master-narrator, a figure who traditionally possesses more authority. By avoiding these attempts, Elizabeth and Bridget escape the position as narrative witnesses and claim authority, thus directing the readers towards the intended meaning of respective narratives. Furthermore, the comparative analysis opens up for a broader discussion of issues women have faced, and continue to face, throughout time.
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Lagos, Labbé Paola. "La imagen bisagra. Representación de los intersticios narrativos, visuales y sonoros en los diarios documentales de David Perlov: Diary (1973-1983), Updated Diary (1990-1999) y My Stills (1952-2002)." Doctoral thesis, Universitat Autònoma de Barcelona, 2021. http://hdl.handle.net/10803/673765.

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Aquesta tesi es basa en l’anàlisi i interpretació qualitativa i reflexiva dels recursos narratius, visuals i sonors que articulen els assajos cinematogràfics “Diary” (1973-1983), “Updated Diary” (1990-1999) i “My Stills” (1952-2002), per descriure les poètiques de l’interval que el seu autor, el cineasta, fotògraf i artista visual brasiler-israelià David Perlov (Rio de Janeiro, 1930 - Tel Aviv, 2003) desplega per representar el desarrelament. El conjunt d’aquests diaris conforma un corpus cinematogràfic únic; un film-fleuve de prop de deu hores que canalitza l’experiència quotidiana de Perlov al llarg de cinquanta anys de la seva vida i esdevé un monumental passatge que connecta els diversos plans en els què oscil·la la realitat representada pel cineasta, entre ells, la seva intimitat afectiva i personal, la seva identitat com a nòmada i les crisis i conflictes bèl·lics en els que Israel es va veure involucrat durant la segona meitat de segle XX. Per modelar una subjectivitat fracturada i en trànsit, Perlov convoca una diversitat d’estratègies assagístiques d’autorepresentació que operen tant a nivell discursiu, com estètic i polític, i que travessen les diverses manifestacions artístiques que va conrear al llarg de la seva vida. Així, les recerques expressives que emprenen els seus diaris recullen elements propis no tan sols de les arts cinematogràfiques, sinó també de la fotografia, la pintura, la literatura i la música. Per aquest motiu la mirada documental de Perlov comporta una gran complexitat audiovisual, rica en girs intertextuals, gests, rostres, cossos, trajectòries, espais, coses, cases, sons, veus i reflexions que s’imbriquen formant un teixit fílmic obert, fluid i intersticial. La investigació aspira a interrogar aquesta multiplicitat de recursos des d’una aproximació interrelacional que examini aquelles pràctiques intersticials que formulen una estètica de l’interval característica en els diaris de Perlov. A partir d’aquest enfocament i fruit de la correspondència entre teoria i anàlisi, la tesi proposa delimitar el concepte de “imatge frontissa” per simbolitzar els passatges, relacions i tensions entre vida i art; entre el privat i el públic; interior i exterior; dins i fora —metaforitzats a la llar i al carrer-; entre el domèstic i el polític; la microhistòria i la macrohistòria; el temps passat i el temps present; entre l’univers dels vius i l’univers dels morts; entre el jo i els altres; entre desterraments i retorns; entre nomadismes, fronteres, pàtries i ciutats (Tel Aviv, Sâo Paulo, Rio de Janeiro, Belo Horizonte, París); pertinença i desarrelament, entre la imatge fixa i la imatge en moviment; entre tecnologies analògiques —el cel·luloide— i dispositius electromagnètics -el vídeo-; entre so i sentit; veu i paraula, per esmentar alguns dels múltiples trànsits a través dels llindars que ens ofereix l’obra de Perlov. Entre d’altres elements, la poètica intersticial de la imatge frontissa es tradueix visualment en la persistent presència de finestres, portes i llindes, com xarneres que regulen els fluxos entre els diferents universos de representació entrellaçats en els diaris de Perlov i les relacions que operen a la problematització del seu desarrelament i estrangeria substancials.
Esta tesis se basa en el análisis e interpretación cualitativa y reflexiva de los recursos narrativos, visuales y sonoros que articulan los ensayos cinematográficos “Diary” (1973-1983), “Updated Diary” (1990-1999) y “My Stills” (1952-2002), para describir las poéticas del intervalo que su autor, el cineasta, fotógrafo y artista visual brasileño-isarelí David Perlov (Río de Janeiro, 1930 - Tel Aviv, 2003) despliega para representar el desarraigo. El conjunto de estos diarios conforma un corpus cinematográfico único; un filme-fleuve de cerca de diez horas que canaliza la experiencia cotidiana de Perlov a lo largo de cincuenta años de su vida y deviene en un monumental pasaje que conecta los diversos planos en los que oscila la realidad representada por el cineasta, entre ellos, su intimidad afectiva y personal, su identidad como nómade y las crisis y conflictos bélicos en los que Israel se vio involucrado durante la segunda mitad del siglo XX. Para modelar una subjetividad fracturada y en tránsito, Perlov convoca una diversidad de estrategias ensayísticas de autorrepresentación que operan tanto a nivel discursivo, como estético y político, y que atraviesan las diversas manifestaciones artísticas que cultivó a lo largo de su vida. Así, las búsquedas expresivas que emprenden sus diarios congregan elementos propios no solo de las artes cinematográficas, sino también de la fotografía, la pintura, la literatura y la música. De ahí que la mirada documental de Perlov detente una gran complejidad audiovisual, rica en guiños intertextuales, gestos, rostros, cuerpos, trayectorias, espacios, cosas, casas, sonidos, voces y reflexiones que se imbrican formando un tejido fílmico abierto, fluido e intersticial. La investigación aspira a interrogar esta multiplicidad de recursos desde una aproximación interrelacional que examine aquellas prácticas intersticiales que formulan una estética del intervalo característica en los diarios de Perlov. A partir de dicho enfoque y fruto de la correspondencia entre teoría y análisis, la tesis propone delimitar el concepto de “imagen bisagra” para simbolizar los pasajes, relaciones y tensiones entre vida y arte; entre lo privado y lo público; interior y exterior; adentro y afuera —metaforizados en el hogar y la calle—; entre lo doméstico y lo político; la microhistoria y la macrohistoria; el tiempo pasado y el tiempo presente; entre el universo de los vivos y el universo de los muertos; entre el yo y los otros; entre destierros y retornos; entre nomadías, fronteras, patrias y ciudades (Tel Aviv, Sâo Paulo, Río de Janeiro, Belo Horizonte, París); pertenencia y desarraigo, entre la imagen fija y la imagen en movimiento; entre tecnologías analógicas —el celuloide— y dispositivos electromagnéticos —el vídeo—; entre sonido y sentido; voz y palabra, por mencionar algunos de los múltiples tránsitos a través de los umbrales que nos ofrece la obra de Perlov. Entre otros elementos, la poética intersticial de la imagen bisagra se traduce visualmente en la persistente presencia de ventanas, puertas y dinteles, como goznes que regulan los flujos entre los distintos universos de representación entrelazados en los diarios de Perlov y las relaciones que operan en la problematización de su desarraigo y extranjería sustanciales.
This thesis is based on a qualitative and reflexive analysis in order to interpret the narrative, visual and sound resources that articulate the cinematographic essays “Diary” (1973-1983), “Updated Diary” (1990-1999) and “My Stills” (1952-2002). These operations seek to describe the poetics of the interval that its author, Brazilian-Israeli filmmaker, photographer and visual artist, David Perlov (Rio de Janeiro, 1930 - Tel Aviv, 2003), displays to represent his uprooting. The set of these diaries forms a unique cinematographic corpus; a filme-fleuve of around ten hours that shapes the daily experience of Perlov throughout fifty years of his life, and becomes a monumental passage that connects the different spheres in which his reality oscillates: his affective and personal intimacy, his identity as a nomad and the crises and wars in which Israel was involved during the second half of the 20th century. In order to depict a fractured and “in transit” subjectivity, Perlov convenes diverse essayistic self-representation strategies that operate on a discursive, aesthetic and political level, and which travers the various artistic manifestations he developed throughout his life. The expressive searches set out by his diaries gather together elements not only from the cinematographic arts, but also from photography, painting, literature and music. Hence, Perlov’s documentary gaze holds a great audiovisual complexity, rich in intertextual winks, gestures, faces, bodies, trajectories, spaces, objects, houses, sounds, voices and reflections that imbricate to shape an open, fluid and interstitial filmic weave. This research aims to interrogate this multiplicity of resources from an inter-relational approach, able to examine those interstitial practices that formulate an aesthetic of the interval, characteristic in Perlov’s diaries. Based on this scheme and as a result of the correspondence between theory and analysis, the thesis proposes to delimit the concept of “hinge image” to symbolize the passages, relations and tensions between life and art; the private and the public; interior and exterior; inside and outside —metaphorized in the home and the street—; between domestic and political; microhistory and macrohistory; past and present; between the universe of the living and the realm of the dead; between the self and the others; between exile and returns; between nomadism, borders, homelands and cities (Tel Aviv, Sâo Paulo, Rio de Janeiro, Belo Horizonte, Paris); belonging and uprooting, between the still and the moving image; between analogue technologies —celluloid— and electromagnetic devices —video—; between sound and sense; voice and word, just to mention some of the multiple transits through the thresholds offered by Perlov’s ouvre. Among other elements, the interstitial poetic of the hinge image visually decodes into a persistent presence of windows, doors and archways, as mechanisms of fluctuation that regulate both the flows between the different universes of representation intertwined in Perlov’s diaries, and the relations that operate in the problematization of his substantial uprooting and foreignness.
Universitat Autònoma de Barcelona. Programa de Doctorat en Comunicació Audiovisual i Publicitat
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Books on the topic "Narrative diary"

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Hoeber, Rudolph Susanne, Rudolph Lloyd I, Kānotā Mohanasiṃha, and American Institute of Indian Studies., eds. Reversing the gaze: Amar Singh's diary, a colonial subject's narrative of Imperial India. New Delhi: Oxford University Press, 2000.

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Singh, Amar. Reversing the gaze: Amar Singh's diary : a colonial subject's narrative of imperial India. Boulder, Colo: Westview Press, 2002., 2002.

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Hoeber, Rudolph Susanne, Rudolph Lloyd I, and Kānotā Mohanasiṃha, eds. Reversing the gaze: Amar Singh's diary, a colonial subject's narrative of Imperial India. 2nd ed. New Delhi: Oxford University Press, 2011.

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Rāvata, Amara Siṃha. Reversing the gaze: Amar Singh's diary, a colonial subject's narrative of Imperial India. Boulder, Colo: Westview Press, 2002.

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McKillop, Carlene. The diary of Gabriella Conrow: A historical narrative of the Oregon Trail, circa 1850-1855. Eagle River, Alaska: Northbooks, 2003.

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D, Gutchess Alan, ed. The narrative of the capture of Abel Janney by the Indians in 1782: From the diary of Abel Janney. Bargersville, IN: Dresslar Pub., 1997.

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Hors sujet: Journal d'une auto-analyse. [Bruxelles]: les Impressions nouvelles, 2011.

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Carnegie, Southesk James. Saskatchewan and the Rocky Mountains: A diary and narrative of travel, sport, and adventure during a journey through the Hudson's Bay Company's territories in 1859 and 1860. Toronto: J. Campbell, 1985.

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Dilworth, Rankin. The march to Monterrey: The diary of Lieutenant Rankin Dilworth, U.S. Army : a narrative of troop movements and observations on daily life with General Zachary Taylor's army during the invasion of Mexico. El Paso, Tex: Texas Western Press, 1996.

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O'Donnell, Ruan. 1798 diary. Dublin: Irish Times, 1998.

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Book chapters on the topic "Narrative diary"

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Suleiman, Susan Rubin. "Diary as Narrative." In The Search for a New Alphabet, 234. Amsterdam: John Benjamins Publishing Company, 1996. http://dx.doi.org/10.1075/z.76.46sul.

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Trapp, Erin. "Redacted Tears, Aesthetics of Alterity: Mohamedou Ould Slahi’s Guantánamo Diary." In Terror in Global Narrative, 55–76. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-40654-1_4.

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Nericcio, William Anthony. "Tex[t]-Mex, Seductive Hallucinations of the “Mexican” in America, 2.0 or “Narcissus Mexicanus”: A Diary Chronicling the Transmogrifying Metamorphosis of a Mexican American’s Neurosis from Psyche to Book to Museum and on to the Internet." In Latinos and Narrative Media, 91–109. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137361783_6.

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Gabryś-Barker, Danuta. "Teacher Narratives in Teacher Development: Focus on Diary Studies." In Second Language Learning and Teaching, 243–58. Heidelberg: Springer International Publishing, 2013. http://dx.doi.org/10.1007/978-3-319-00188-3_16.

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Long, Thomas Lawrence. "The Midwife’s Calling: Martha Ballard’s Diary and the Empire of Medical Knowledge in the Early Republic." In Women’s Narratives of the Early Americas and the Formation of Empire, 77–91. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/9781137543233_6.

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Samsudin, Suhartini, and Anitawati Mohd Lokman. "Women and Emotion: The Themes and Narratives of the ‘Diary of a Muhajirah’ Tumblr Page." In Advances in Intelligent Systems and Computing, 187–95. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-8612-0_21.

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Bruce Wan, C. K. "Exploring a Travel Diary that Promotes Wellbeing – Synergy Between Oral and Visual Narratives of Memorable and Meaningful Experiences." In Information and Communication Technologies in Tourism 2019, 187–99. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-05940-8_15.

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Olivier-Messonnier, Laurence. "An Original Example of Exploring the Inner Self Through the Archives of a Diary: André Fontaine, Jean Corentin Carré, The Youngest Hero of the Great War (1900–1915–1918)." In Personal Narratives, Peripheral Theatres: Essays on the Great War (1914–18), 65–76. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-66851-2_4.

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Smith, Leonard V. "Diary and Narrative:." In The Diary, 333–47. Indiana University Press, 2020. http://dx.doi.org/10.2307/j.ctvxcrxgp.23.

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"The Diary and Serial Narrative." In Women's Diaries as Narrative in the Nineteenth-Century Novel, 109–26. Routledge, 2016. http://dx.doi.org/10.4324/9781315233536-16.

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Conference papers on the topic "Narrative diary"

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Sorocean, Inga. "”A Writer’s Diary” by Nicolae Esinencu: Identity Markers of the Diary Character." In Conferință științifică internațională "Filologia modernă: realizări şi perspective în context european". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2022. http://dx.doi.org/10.52505/filomod.2022.16.23.

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“A writer’s diary (1972-2012)” by Nicolae Esinencu represents an interesting case of (re)construction of the self and essential self-definition in relation to external (social, literary, political) and internal (crises, anguish, revelations) events. We will follow in the writing the key defining identity markers for the diary character, this narrative self par excellence, from the effort to relive the “first self” related to the symbol of the parental home and the emblematic figures of the parents in the first chapter of the diary, to the attempts of autoscopy and disclosure of the essential self that stems from a reflexive consciousness bent on understanding the world and preoccupied with the national drama (the struggle for the Romanian language, the Latin script, the exit from the administrative tutelage of the Moscow Writers’ Union). Besides these, we will also discover the internal dialogue, the inner turmoil in the later chapters, which configure a search for the essences of the writer in a conflicting relationship with time.
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Su, Chen. "Illness Narrative in Doris Lessing’s The Diary of a Good Neighbour." In 2020 International Conference on Language, Communication and Culture Studies (ICLCCS 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210313.058.

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Mbali, Msizi, and Angela James. "A TUTOR’S PERSONAL AND PROFESSIONAL EXPERIENCES OF TUTORING IN A SCIENCE TEACHER EDUCATION MODULE." In 3rd International Baltic Symposium on Science and Technology Education (BalticSTE2019). Scientia Socialis Ltd., 2019. http://dx.doi.org/10.33225/balticste/2019.139.

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Student tutoring in innovative teaching and learning practices promotes personal and professional learning. Experiential learning theory underpins this research. An interpretive, qualitative approach and narrative strategy with purposive sampling was used. The tutor narrative accounts of tutoring the Research and Service-Learning module in Biological Science Education were compiled from a reflective diary, coordinator - tutor discussions and tutor notes. The qualitative data were analysed using descriptive content analysis. The tutor’s self-confidence, language competence, understanding and application of research and Service-Learning and engagements with students were greatly improved. Keywords: experiential learning, pre-service teacher, teacher education, tutor’s personal and professional experiences.
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Bandalo, Višnja. "ICONOGRAPHIC DEPICTION AND LITERARY PORTRAYING IN BERNARD BERENSON'S DIARY AND EPISTOLARY WRITING." In NORDSCI Conference Proceedings. Saima Consult Ltd, 2021. http://dx.doi.org/10.32008/nordsci2021/b1/v4/18.

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The paper focuses on the interlacement of literary and iconographic elements by displaying an innovatory philological and stylistic approach, from a comparative perspective, in thematizing multilingual translational and adaptive aspects, ranging across Bernard Berenson's diaristic and epistolary corpus, in conjunction with his works on Italian visual culture. This interweaving gives occasion to the elaboration of multilinguistic textual influences and their verbo-visual artistic representations deduced from his innovative interpretative readings in the domain of world literature in modern times. Such analysis of the discourse of theoretical and literary nature, and of the pictoricity, refers to Bernard Berenson's multilingual considerations about canonical authors in English, Italian, French, German language, belonging to the Neoclassical and Romantic period, as well as to the contemporary era, as conceptualized in his autobiographical works, in correlation with his writings on Italian figurative art. The scope of this presentation is to discern and articulate Berenson's aesthetic ideas evoking literary and artistic modernity, that are infused with crucial notions of translational theory and conveyed through the methodology of close reading and comprising at the same time, in an omnicomprehensive manner, a plurality of tendencies intrinsic to social paradigms of cultural studies. Unexplored premises reflecting Berenson's vision of Italian culture, most notably of a visual stamp, will be analyzed through author's understandings of such adaptive translations or volumes to be subsequently translated in Italian, and through their intertwined intertextual applications, significantly contributing to further critical and hermeneutic reception thereof. Particular attention is drawn to its instancing in the field of Romantic literary production (Emerson, Byron), originally underscoring the specificities of each literary genre and expressive mode, of the narrative, lyric or theatrical nature, as well as concomitantly involving parallel notions as adapted variants within visual arts, and in such a way expressing theoretical views pertainable to Italian artworks too. Other analogous elements relevant to literary expression in the most varied cultural sectors such as philosophy, music, civilisational history (Goethe, Hegel, Kant, Wagner, Chateaubriand, Rousseau, Mme de Staël, Taine) are furnished, as well as the examples of the resonances of non-western cultures, with the objective of exploring the effect among readership bringing also to the renewal of Italian tradition.
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Krasovec, Aleksandra N. "“KALEIDOSCOPIC” NOVEL OF JOSIP OSTI IN THE ASPECT OF TRANSCULTURALITY." In 50th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063183.10.

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The Slovenian-Bosnian poet, writer, essayist, literary critic, translator and editor Josip Osti (1945–2021) was born in Sarajevo, lived and worked in Slovenia since 1990. Being a recognized poet in his homeland, writing in Croatian, one of the largest translators of Slovenian literature into Serbo-Croatian, since 1997 he has been writing in Slovenian. The transcultural aspects of Josip Osti’s literary works, both poetry collections and novels, are a unique phenomenon. In our study, we turned to the novels of Josip Osti, namely his trilogy — Ghosts of the House of Heinrich Böll (2016), In Front of the Mirror (2016) and Life is a Creepy Fairy Tale (2019). All three works have a strong (auto)biographical component and form a special novel form, which the author calls the “kaleidoscope-mosaic” novel. The latter has a fragmented structure and consists of short stories, life stories, anecdotes, urban legends, essayistic notes, literary-critical digressions, lyrical passages, diary entries, etc. In Osti’s novels, we also find a connection with the tradition of short prose in Bosnian-Herzegovina literature, in particular, with the works of the 1990s by such authors as M. Jergović, D. Karahasan, N. Veličković, K. Zaimović and others. Their texts are characterized by a destabilized genre form, a mosaic narrative, personal and documentary evidence, and a palimpsest narrative model. The kaleidoscopic structure of Osti’s prose texts helps him to reflect the transcultural view characteristic of his intimate and artistic world, to embrace the complex overlap of heterogeneous elements. The novels are written in Slovene, but they are mainly devoted to the space of Sarajevo, the unique multicultural atmosphere of this city, as well as the tragedy unfolding in it; thus, the writer complements the so-called “Sarajevo text”, but already in the field of Slovenian literature, artistically comprehending the interconnectedness of Bosnia and Slovenia. Refs 19.
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Murzilli et Fabio Caffarena, Nancy. "Du vécu au visuel : créations transmédiales de (contre-)storytelling. Des Diari de la Sacher aux travaux de Sandy Amerio." In Pratiques contre-narratives à l’ère du storytelling. Littérature, audiovisuel, performances. Fabula, 2019. http://dx.doi.org/10.58282/colloques.6117.

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Пилипенко, Г. П. "Адаптация испанских глаголов в речи славян-переселенцев в Аргентине." In Межкультурное и межъязыковое взаимодействие в пространстве Славии (к 110-летию со дня рождения С. Б. Бернштейна). Институт славяноведения РАН, 2021. http://dx.doi.org/10.31168/0459-6.09.

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In the north-east of Argentina, in the province of Misiones, there are speakers of Ukrainian, Polish, Belarusian dialects, descendants of labor migrants who began to settle there since the end of the XIX century. During the field researches carried out from 2015 to 2019, narratives in dialect were collected in these languages. The paper discusses models of verb adaptation borrowed from the Spanish language in the speech of the descendants of Slavic immigrants. Both oral speech recordings and written sources of the dialect are involved (the diary of a migrant from Volhynia, Kirill Wozniuk, written in the South Volhynian dialect of the Ukrainian language). The models of verb adaptation in all three languages are identical.
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