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Bigna, Daniel Humanities & Social Sciences Australian Defence Force Academy UNSW. "Life on the margins : the autobiographical fiction of Charles Bukowski." Awarded by:University of New South Wales - Australian Defence Force Academy. School of Humanities and Social Sciences, 2005. http://handle.unsw.edu.au/1959.4/38717.
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Charles Bukowski devoted his writing career to turning his own life into poetry and prose. In poems and stories about his experiences as one of the working poor in post war America, and in those depicting his experiences as a writer of the American underground, Bukowski represents himself as both a literary and social outsider. Bukowski expresses an alternative literary aesthetic through his fictional persona, Henry Chinaski, who struggles to overcome his suffering in a world he finds absurd, and who embarks on a quest for freedom in his youth to which he remains committed all his life. This thesis examines Charles Bukowski's autobiographical fiction with a specific emphasis on five novels and one collection of short stories. In the novels, Post Office (1970), Factotum (1975), Women (1978), Ham on Rye (1982) and Hollywood (1989), and in a number of short stories in the collection Hot Water Music (1983), Bukowski explores different periods of Chinaski???s life with a dark humour, revealing links between Chinaski???s struggle with the absurd and those aspects comprising Bukowski???s alternative aesthetic. The thesis focuses on such aspects of Bukowski???s art as the uncommercial nature of his publishing history, his strong emphasis on literary simplicity, the appearance of the grotesque and Bukowski???s obsession with nonconformity, drinking and sex. These aspects illuminate the distinctive nature of Bukowski???s art and its purpose, which is the transformation of an ordinary life into literature. This thesis argues that Bukowski illuminates possibilities that exist for individuals to create an identity for themselves through aesthetic self-expression. The thesis traces the development of Chinaski's non-conformist personality from Ham on Rye, based on Bukowski's youth in Los Angeles during the Depression, to Hollywood, Bukowski's ironic portrayal of Chinaski's brush with the commercial film industry. Through meeting the many challenges he faced throughout his life with defiance, honesty and an irreverent sense of humour, Bukowski invites readers to identify with his alternative world view. The thesis argues this particular aspect of his writing constitutes his most valuable contribution to twentieth century American fiction.
2
Elliott, Gemma Louise. "'Once more she was part of a novel' : Dorothy Richardson's doubly autobiographical Pilgrimage." Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/30742/.
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This thesis examines Dorothy Richardson's thirteen-volume novel sequence Pilgrimage (1915-1967) as a doubly autobiographical text. Pilgrimage is widely considered to be a fictionalised retelling of Richardson's own life, and many critics have found little difference between the lives of Dorothy Richardson and her protagonist Miriam Henderson. Following the Künstlerroman tradition, Richardson's novel sequence concerns itself exclusively with the life and coming to adulthood of Miriam Henderson who, like her creator, has an interest in documenting her own life. Thus, as Pilgrimage is the product of Richardson's struggle to find a place within literature, it is Miriam's too. I begin by foregrounding the theoretical landscape of autobiographical theory to date, focusing on feminist works and noting a historical concentration on male autobiography in critical pieces. In particular, Laura Marcus's Auto/biographical Discourses (1994) and Max Saunders' Self Impression (2010) are used to discuss the uneasy space Pilgrimage occupies as an example of autobiographical fiction, fitting into neither binary genre. Pilgrimage is then read chronologically, noting Richardson's development as a writer alongside her protagonist's. Miriam is a voracious reader and the progression of her interest in reading is discussed throughout this thesis, finding the influence of a variety of writers such as Ralph Waldo Emerson, Ouida, Charlotte Brontë, Henry James and more. The following of this interest in literature is accompanied by a tracking of the narrative innovations Richardson employs in the writing of the Pilgrimage sequence, such as narrative shifts and unusual punctuation formations, which she uses to suggest points in the text in which Miriam can be seen to be telling her life story in the same way that Richardson has. A case is then made for Pilgrimage as doubly autobiographical, meaning that it is Miriam Henderson writing about herself, by Richardson writing about Henderson as herself. This dual mode of life writing can be traced through the novel sequence, developing in its many narrative innovations, as well as in Miriam's clear interest in both the reading and the writing of literature. Pilgrimage then represents both Dorothy Richardson and Miriam Henderson's attempts to represent their lives in literature.
3
Macabela, Monwabisi Victor. "Country and city: a study of autobiographical tropes in Ncumisa Vapi's novel Litshona limpume." Doctoral thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/11945.
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Includes bibliographical references.<br>The title of this thesis, Country and City - Autobiographical tropes in Ncumisa Vapi's Litshona Liphume arises out of a complex understanding of the author's narrative and literary intentions. Country refers to the fact that the story is set in a specifically named rural area in the Eastern Cape in the late 1960s and early 1970s. City on the other hand does not refer to any particular city, but is rather a symbol of changed and challenge, of opportunity and wealth but also of a world view deficient in tradition and spiritual connection with the land and the ancestors.
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Rhodes, Emma. "A novel measure for the evaluation of autobiographical memory and mentalization in different social contexts." Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4621/.
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Background: The theories used to explain autobiographical memory and mentalization cite complementary mechanisms, and positive associations have been demonstrated between these functions. These cognitive operations may vary in different social contexts, dependent upon the prevailing social mentality (Gilbert, 1989, 2005). Aim: This study evaluated a new method for assessing autobiographical memory retrieval, and reflective-functioning, in response to cues consistent with different social mentalities. Methods: A sample consisting of participants with either schizophrenia-spectrum disorders or complex trauma was recruited. These populations were selected as both exhibit impairments in autobiographical memory and mentalization, and because trauma and psychosis are reciprocally and causally linked. The participants were asked to recall specific memories in response to cues reflecting compassion, threat and drive-focused social contexts, and to reflect upon the retrieval process. The specificity and latency of retrieval were measured, and the narrative coded for level of reflective functioning. Results: Retrieval was less specific in response to drive cues compared to threat cues. Drive cues were associated with longer retrieval latencies compared to threat and compassion cues. Reflective functioning was consistently poor, and did not differ following the different cues. However, consistent with previous research, reflective functioning was positively associated with retrieval specificity. Conclusions: This new method detected differential retrieval patterns in response to the three cue types. Poor retrieval of drive-cued events may reflect a paucity of competitive and motivation-based experiences to draw from, or the abstract nature of the cues. Spontaneous self-reflectivity appears to be poor in these patients, who may require greater support with this process. Specific task developments are recommended to disentangle these hypotheses, including controlling cue familiarity and imageability, and providing more instruction and encouragement for the elaboration of metacognitive responses.
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Eburne, Andrew. "Frederick Rolfe : The Desire and Pursuit of the Whole, 1908-1912; an examination of the autobiographical and fantastic narratives within the novel; with a new text of a novel." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260714.
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Pereira, Alice de Araujo Nascimento. "A (her)story of ones own: fiction and autobiography in Julia Alvarezs novels." Universidade do Estado do Rio de Janeiro, 2011. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=3447.
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Escritoras migrantes frequentemente publicam romances autobiográficos que mesclam ficção com suas histórias pessoais. Essas escritoras usam suas experiências pessoais para discutir questões coletivas relacionadas aos diversos tipos de deslocamento associados ao processo diaspórico. As migrações em massa das ex-colônias para as metrópoles dos países desenvolvidos cresceram significantemente após a Segunda Guerra Mundial, gerando ao mesmo tempo contato mais próximos e conflitos entre culturas. Essa dissertação pretende analisar os romances autobiográficos How the García Girls Lost their Accents (1991) e Yo! (1997) da escritora dominicana-americana Julia Alvarez, A família Alvarez migrou para os Estados Unidos em 1960 devido a perseguição política. Em seus romances, a escritora lida com os traumas do deslocamento e com o processo de crescimento de meninas divididas entre valores culturais diferentes. Pretendo discutir como Alvarez, em sua prática autobiográfica, problematiza questões relacionadas à migração, como gênero, hibridismo cultural, memória lacunar e identidades fragmentadas. Também analiso como essas narrativas contestam as convenções formais tanto do gênero autobiográfico como da ficção, frisando o quanto o limite entre o real e o fictício, entre o privado e o político, é tênue<br>Migrant women writers often write autobiographical novels intertwining their personal histories with fiction. These writers use their personal experiences to discuss collective matters related to different types of displacement associated with the diasporic process. Mass migration has significantly grown after the World War II, especially from former colonized countries to developed centers, increasing both contact and conflict between cultures. This dissertation intends to analyze the autobiographical novels How the García Girls Lost their Accents (1991) and Yo! (1997) by Dominican-American author Julia Alvarez. The Alvarez family migrated to the U.S.A. in 1960 because of political persecution. In her novels, the writer deals with the traumas of dislocation and with the growing up process of girls caught between different cultural values. I intend to discuss how Alvarez problematizes through her autobiographical practice issues related to migration, such as gender roles, cultural hybridity, discrimination, shattered memories and fragmented identities. I also examine how these narratives contest conventions of both autobiographical and fictional genres, blurring the boundaries between the private and the political, between facts and fiction
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Silva, Vivian Bezerra da. "A vida como produto de invenção: o caráter autobiográfico da escrita de Fernando Sabino." Universidade do Estado do Rio de Janeiro, 2015. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=8911.
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Com base na relevância que se dá hoje aos estudos das escritas de si, foi investigado o teor autobiográfico que permeia a obra do escritor Fernando Sabino em três dos seus livros: O encontro marcado (1956), O menino no espelho (1982) e O tabuleiro de damas (1988). Cada uma dessas obras foi analisada a partir de perspectivas distintas do gênero autobiográfico: romance autobiográfico, autoficção e autobiografia, respectivamente. O trabalho também aborda a construção da imagem do escritor Fernando Sabino na cena literária, analisando o modo como o escritor se apresenta em seus textos e investigando se essa representação está atrelada à imagem de pessoa pública da qual tomamos conhecimento por meio de palestras, depoimentos e entrevistas do autor. Nas declarações de Fernando Sabino, podemos observar, pela frequente reiteração de ideias, que o autor elabora a si mesmo como um personagem. Além da representação que fez de si próprio, Sabino transformou, inclusive, outros escritores em personagens. É o que podemos notar no livro Gente (1975), no qual o autor apresenta personalidades do seu universo artístico de acordo com uma visão pessoal. O mesmo ocorre nos minidocumentários produzidos pelo escritor, na década de 70, nos quais transporta grandes nomes da literatura brasileira para o vídeo. Em um período em que há diferentes trabalhos e publicações referentes ao retorno do sujeito, à problematização da primeira pessoa e aos estudos autobiográficos, buscou-se, nesta dissertação, estudar a produção de um escritor que possui expressivo material pertinente à escrita de si e à representação do sujeito, mas com escassos trabalhos acadêmicos sobre sua obra<br>Based on the relevance given to the self-writing today, the autobiographical tenor pervading the work of the writer Fernando Sabino has been explored in three of his books: O encontro marcado (1956), O menino no espelho (1982) e O tabuleiro de damas (1988). Each of these works was analyzed from distinct perspectives of the autobiographical genre: autobiographical novel, autofiction and autobiography, respectively. This study also addresses the image construction of the writer Fernando Sabino in the literary scenario, by analyzing the way the author presents himself in his texts and investigating whether such characterization is attached to his public person image about which we learn through lectures, declarations and interviews. From Fernando Sabino's statements, it is noticeable that the author by the frequent reiteration of ideas features himself as a personage. In addition to characterizing himself, Sabino also turned other writers into characters. Such representation is seen in the book Gente (1975), in which the author presents personalities of his own artistic environment from a personal viewpoint. And this is also true of the minidocumentaries produced by the writer, in the 1970s, which convey great names in Brazilian literature to video. In a period when there are varied works and publications concerning the return of the subject, the first person questioning and the autobiographical studies, this dissertation aims to study the production of a writer who owns expressive material relevant to the self-writing and to the representation of the subject, even though few academic papers on his work are available
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Torstensson, Matilda. "Fiktionen som verklighet, verkligheten som fiktion : En analys av gränsupplösningen mellan verklighet och fiktion i Carina Rydbergs Djävulsformeln." Thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-66230.
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The way we socialize today is radically different from how it was only twenty years ago. Since the arrival of the Internet more and more of what we know about the lives of our friends comes from text-based social networks, or blogs. This means that we all, more or less, have become authors of our own life stories and that the reality we live in have become fictionalized. In this paper I explore what effects this postmodern process of dissolving boundaries has had on the autobiographical genre, where the line between fiction and reality is traditionally stressed. By analysing Carina Rydberg’s (b. 1962) autobiographical novel Djävulsformeln (2000) I reveal how the autobiographical genre has evolved during the postmodernist era and how Philippe Lejeune’s autobiographical contract now commonly is replaced by a double contract (Poul Behrendt). This means that the contemporary autobiographical novel claims to be both a true story and made up, or, as Christian Lenemark calls it, true lies. To understand the mixed signals about whether the literary text is fiction or a true story the contemporary reader turns to the media and therefore authors more and more often choose to comment on and explain their works in interviews and articles to regain some control over how the text is perceived, thus overstepping the boundary of fiction. We have, as Lenemark puts it, a medialization of the role of the author. With the distinction between what is a depiction of reality and what is fiction, in a state of dissolution the traditional genre classifications have become dated. My claim is that the boundary between fiction and reality has imploded as an effect of the post- modern process and that readers today, like cultural consumers in general, look for "the real thing" but want a better reality than the one they get in real life. Traditional classifications like "autobiography", "reality" and "fiction" thereby no longer apply to contemporary literature.
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Ferreira, Quézia Fideles. "O divórcio e a reconciliação da mesquita com estado: a constituição discursiva do sujeito mulher iraniana na escrita autobiográfica." Universidade Federal da Paraíba, 2016. http://tede.biblioteca.ufpb.br:8080/handle/tede/9168.
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Previous issue date: 2016-08-12<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>The constitution of the subject in all societies is closely linked to power relations
established in a given historical moment. These relationships pervade the social
practices and grounded in a set of knowledge, develop real desires that are
incorporated by the subjects as "truths" absolute, unique and unquestionable.
With regard specifically to the constitution of the subject Iranian woman, the
development of their identity is tied to a particularized power system by a strong
association between State and Religion, which has, over time, inferiorized the
identity of the individual woman , seen as the other child before marriage to the
father and then the celebration of the marriage agreement, the husband. Having
as theoretical support the contributions from the Discourse Analysis, Foucault's
research and cultural studies, this research we aim to analyze the constitution
of the subject Iranian woman immersed in power relations in circulation in the
course of the twentieth century, marked by profound changes political, social
and historical. From this goal, we adopted as of this research investigation
object the autobiographical novel What I did not tell, the Iranian author Azar
Nafisi, whose first edition was translated into Portuguese in 2009, a year after
its publication in the original Things I’ve been silent about. After our reflections,
we found that the novel, narrated in first person, can be understood as an
intimate writing, since the author, in addition to the first-person narrative from
the title makes it clear that it is a vision particular about their country, attempting
to resist the "male tyranny," breaking the silence for a long time the subject
woman.<br>A constituição do sujeito em todas as sociedades está intimamente atrelada às
relações de poder instituídas em determinado momento histórico. Essas
relações perpassam as práticas sociais e, alicerçadas em um conjunto de
saberes, elaboram vontades de verdade que são incorporadas pelos sujeitos
como “verdades” absolutas, únicas e inquestionáveis. No que diz respeito,
especificamente, à constituição do sujeito mulher iraniana, a elaboração de sua
identidade está atrelada a um sistema de poder particularizado por uma intensa
associação entre Estado e Religião, que tem, ao longo do tempo, inferiorizado
a identidade do sujeito mulher, visto como o outro subordinado, antes do
casamento ao pai e depois, da celebração do acordo matrimonial, ao esposo.
Tendo como suporte teórico as contribuições advindas da Análise do Discurso,
das pesquisas foucaultianas e dos Estudos culturais, nesta pesquisa temos
como objetivo analisar a constituição do sujeito mulher iraniana imersa nas
relações de poder em circulação, no transcorrer do século XX, marcado por
profundas mudanças políticas, sociais e históricas. A partir desse objetivo,
adotamos como objeto de investigação dessa pesquisa o romance
autobiográfico O que eu não contei, da autora iraniana Azar Nafisi, cuja
primeira edição foi traduzida para o português no ano de 2009, um ano após a
sua publicação no original Things I’ve been silent about.Após as nossas
reflexões, constatamos que o romance, narrado em primeira pessoa, pode ser
entendido como uma escrita íntima, uma vez que a autora, além de fazer a
narrativa em primeira pessoa, desde o título, deixa claro que se trata de uma
visão particular sobre o seu país, intentando resistir à “tirania masculina”,
quebrando o silêncio imposto por um longo período ao sujeito mulher.
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Nyberg, Johanna. "Berätta då : En narratologisk och tematisk analys av alla vilda och Kärlek i Europa." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-136239.
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The focus of this study is on how the identity narrative is constructed and how the narrative effects the reader’s perception of the protagonist’s identity in the autobiographical novels Kärlek i Europa and alla vilda by Birgitta Stenberg. The discourse of autobiographical writing is used to analyse the novels with the perspective that an autobiographical text communicates with it’s readers. By close-reading the pattern of the narrative becomes visible. The analys of the narrative show that the narrator changes positions throughout the novels. In effect, this means that the narrator and the protagonist sometimes occupies the same position in the text, and sometimes not. By mapping the narrator’s positions and by separating the author, narrator and protagonist the narrative structure emerges as complex. The authors position and the referentiality to something ”real” outside the text creates a picture of the protagonist as a part of the awareness of gender discrimination toward female writers. It also raises the issue of the historical discrimination toward LGBTQ persons and ethnic groups. The narrator’s changing position re-structures time and space by inserting different timelines. Through the historical, the traveling and the future timelines the development of the protagonist’s identity emerges. In contrast to the genre bildungsroman the identity narrative becomes visible as a self-reflexive project. The reflexive project allows the narrator to compare the identity of the self through time. This structure also invites the reader to co-create the protagonist identity alongside the narrator.
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Neves, Caroline Resende. "Virginia Woolf e o espaço autobiográfico em Os anos." Universidade Federal de Juiz de Fora (UFJF), 2018. https://repositorio.ufjf.br/jspui/handle/ufjf/6784.
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Previous issue date: 2018-04-07<br>O objetivo da presente dissertação é discutir os pontos de intersecção entre a vida da autora inglesa Virginia Woolf e sua obra ficcional Os anos, assinalando quais experiências foram utilizadas como fonte criativa no espaço autobiográfico ocupado pela obra citada. O livro que se configura como objeto de estudo narra a saga de uma família vitoriana que claramente se assemelha à própria família de Woolf, abrangendo o espaço de tempo de 1880 até os anos 1930, e dessa forma também abarcando as mudanças não só familiares, como também da sociedade inglesa. Com esse propósito, buscou-se inicialmente apresentar a biografia da escritora, seguido de um breve panorama da literatura de autoria feminina e da análise da produção crítica de Woolf, criando um paralelo em relação ao uso das experiências pessoais entre sua teoria e sua prática. Em um segundo momento, discute-se as teorias relacionadas à
escrita de si, almejando encontrar uma que possa melhor definir a prática de escrita utilizada em Os anos. Não encontrando um conceito adequado ao objeto de estudo, apresentou-se uma expansão da noção de romance autobiográfico, levando em consideração todas as informações obtidas durante a pesquisa. Por fim, é feita uma análise do livro Os anos, discutindo seu enredo, simbolismos e apresentação das personagens femininas, culminando no cruzamento dos dados biográficos obtidos através de biografias e autobiografias com a história narrada.<br>The aim of this study is to discuss the connection between the private life of the British writer Virginia Woolf and her fictional work The years, pointing out which of her private experiences were used as a creative source in the autobiographical space present at the aforementioned title. The book, which is the object of this study, tells the story of a Victorian family that clearly resembles Woolf's own family. It is set from 1880 to 1930, thus depicting not only the changes in the families, but also in the British society as a whole. Having this study's purpose as basis, a biography of the writer was firstly presented, followed by a brief women's writing overview and by an analysis of Woolf's literary criticism, establishing a connection between her theory and the practice concerning the usage of private experiences. Secondly, theories on self-writing are discussed, aiming to find one which can define the writing practice used in The years. As a consequence for not finding a suitable concept for the object of this study, an expansion of the idea of autobiographical romance was introduced, taking all the information obtained during the research process into account. Finally, an examination of the book The years was carried out, analyzing its plot, symbolism and female characters, resulting in a cross-check of biographical data - which was obtained from biographies and autobiographies - and the story told.
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Moura, Milena Martins. "Caio no abismo do paraíso: o gênero romanesco e a ficção autobiográfica em Os dragões não conhecem o paraíso, de Caio Fernando Abreu." Universidade do Estado do Rio de Janeiro, 2012. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4186.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>Seguindo a ideia exposta por Caio Fernando Abreu em nota introdutória presente em todas as edições de Os dragões não conhecem o paraíso de que o livro pode ser lido não apenas como um exemplar de contos, mas também como um romance-móbile (ou espatifado) e considerando que, por meio do conhecimento de dados biográficos de um escritor, é possível construir a biografia de um escritor através de sua obra, a presente dissertação busca analisar Os dragões não conhecem o paraíso sob a ótica de uma nova perspectiva de leitura, entendendo o livro como um romance de ficção autobiográfica e formação<br>Following Caio Fernando Abreus statement about Os dragões não conhecem o paraíso [in english, Dragons] in which the author declares that the aforementioned work may be read not only as a short stories book, but also as a mobile-novel (or crashed) and considering its possible, by the knowledge about a writers biographical data, to build an authors biography through his works, this dissertation intends to analyze Os dragões não conhecem o paraíso from a new reading perspective, which comprehends the book as an autobiographical fiction and formation novel
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Dreger, Sharon Teresa. "Dreaming herself whole, Doris Lessing's autobiography and semi-autobiographical novels." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0006/MQ28933.pdf.
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Henry-Thommes, Christoph. "Recollection, memory and imagination selected autobiographical novels of Vladimir Nabokov." Heidelberg Winter, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2838318&prov=M&dok_var=1&dok_ext=htm.
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Wiesehan, Gretchen. "History, identity, and representation in recent German-language autobiographical novels /." Thesis, Connect to this title online; UW restricted, 1992. http://hdl.handle.net/1773/6653.
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Mogoboya, Mphoto Johannes. "African indentity in Es'kia Mphahlele's autobiographical and fictional novels : a literary investigation." Thesis, University of Limpopo, Turfloop Campus, 2011. http://hdl.handle.net/10386/972.
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Thesis (Ph.D. (English studies)) -- University of Limpopo, 2011<br>This thesis explores the theme of identity in Es’kia Mpha-hele’s fictional and autobiographical novels, with special attention given to the quest for the lost identity of Afri-can cultural and philosophical integrity. In other words, the revival of the core African experience and the efforts to preserve and promote things African. Mphahlele wrote most of his novels during the time when Africa was under colonial influence. His native land was under the abhorred apartheid system which sought to relegate the African expe-rience to the background. In this sense, he was the voice of the people, reminding them of their past and giving them direction for the future.
Chapter One of the thesis outlines the background to the study, defines concepts and gives a survey of African lit-erary identity. It also probes salient aspects which have influenced Mphahlele’s perspective on African identity dur-ing his early years as a writer and socio-cultural activ-ist. Approaches and methodology employed to examine Mphahlele’s writings are also outlined.
Chapter Two synthesises the theoretical underpinnings of the study. The thesis adopts Afrocentricity as the basis of analysis, looking at aspects such as the African worldview, humanism (ubuntu) and collectivism. Views by different Af-rican literary critics on what African literature should entail in its distinctive definition are also discussed. Two main literary traditions, orality and the contemporary tradition, which give African literature its unique charac-ter as well as its phases are identified and brought to the fore.Identity in African literature is discussed in detail in Chapters three and four where Mphahlele’s literary works are closely examined. Chapter Five concludes the study and recommends that in order for Africa to forge ahead in her attempt to reclaim and promote her cultural identity, a new perspective must be cultivated and Mphahlele proposes hy-bridity, which is a harmonious co-existence of two or more cultural beliefs without one oppressing the other.<br>The University of Limpopo
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Caesar, Karen. "Margiad Evans : body, book and identity : an analysis of the novels and autobiographical texts." Thesis, Open University, 2012. http://oro.open.ac.uk/54529/.
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This thesis sets out to find Margiad Evans (1909-1958) in her works. To this end it offers an analysis of her four novels, her autobiographical texts, both published and unpublished, and her private writing, including letters and journals. Benefiting from insights drawn from autobiographical and psychoanalytic theory, the thesis explores the relationship between the life and the work and illuminates the various processes by which Evans uses the raw material of her experiences to create and recreate an identity. This resulting self is multi-faceted and shifting, but a continuing thread is her aim to construct for herself the identity of writer. Writing, therefore, becomes a perfonnative act creating and reinforcing the desired identity. This thesis explores the significance of the body in Evans's texts: she not only perceives body as text but also intuits how the text might come to stand for the suffering body. The latter, the need of the writer to construct herself through language, becomes acute for Evans as her body fails and motivates the writing of her two pathographies. A Ray of Darkness (1952) is one of the first of its examples of the genre. I also demonstrate the various ways in which Evans's texts can be read in the light of the history of Modemism. I explore the way shifting borders and identities are portrayed in the texts, as well as their self reflexive concern with their own production and the blurring of the distinction between fiction and autobiography. The thesis shows the continuity and development of Evans's personal therapeutic ideology of writing through all her texts. Evans's subject is always herself, but crucially herself as an author intimately and passionately involved in the process of writing.
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Lombard, Sunell. "Fiction, friction and fracture : autobiographic novels as a site for changing discouses [i.e. discourses] around subjectivity, truth and identity." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/21778.
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Thesis (MPhil)--Stellenbosch University, 2008.<br>ENGLISH ABSTRACT: The concept of the self or subject is more relevant now than ever, since society’s perceptions about
selfhood are in the process of changing. Autobiography is an important site for the critical discussion of
issues surrounding the subject – such as truth, identity formation and agency – seeing that it is one of
the most revealing spaces in which these altering perceptions manifest.
As can be deduced from the title of my thesis, FICTION, FRICTION AND FRACTURE: Autobiographic
Novels as a Site For Changing Discourses Around Subjectivity, Truth and Identity, I explore what
autobiographic novels disclose about the notions truth, self-representation and identity formation that
emerge from an investigation of the subject.
Poststructuralism and feminism have been instrumental in destabilizing the notion of a unified subject
as well as any concept that makes universal claims. Throughout this thesis I will be applying
poststructuralist and feminist theories around subjectivity to my work as well as the work of a selection
of autobiographic novelists, namely Robert Crumb, Dan Clowes, Art Spiegelman and Chris Ware.
When referring to autobiographic novels I will be applying Leigh Gilmore’s term autobiographics.
Autobiographics introduces a way of thinking about life narrative that focuses on the changing
discourses of truth and identity that feature in autobiographical representations of selfhood. I will be
utilizing Gilmore’s term since it so neatly encompasses the concepts that I will be investigating.<br>AFRIKAANSE OPSOMMING: Die konsep van die self of subjek is nou meer as ooit relevant siende dat die samelewing se
persepsies omtrent die subjek tans ’n transformasie ondergaan. Outobiografie is ’n belangrike
platform vir die kritiese bespreking van idees wat uit besprekings van die subjek vloei – soos
waarheid, identiteits konstruksie en agentskap – aangesien die genre ’n duidelike refleksie van die
veranderende persepsies lewer.
Soos afgelei kan word uit die titel van my skripsie FICTION, FRICTION AND FRACTURE:
Autobiographic Novels as a Site For Changing Discourses Around Subjectivity, Truth and Identity,
beoog ek om vas te stel wat autobiografiese romans blootlê in terme van konsepte soos waarheid,
self-voorstelling en identiteitskonstruksie wat uit die ondersoek rondom die subjek na vore kom.
Poststrukturalisme en feminisme speel beide ‘n belangrike rol in die destabilisering van die
uniformige subjek asook enige ander konsep wat aanspraak tot enige universiële veronderstellings
maak. Ek plaas poststrukturalistiese en feministiese teorie rondom subjektiwiteit deurlopend op my
werk, asook the werk van die outobiografiese kunstenaars Robert Crumb, Dan Clowes, Art
Spiegelman en Chris Ware toe.
Wanneer ek na autobiografiese romans verwys, verwys ek spesifiek na Leigh Gilmore se term
autobiografies. Gilmore se interpretasie behels ‘n begrip van outobiografie wat fokus op die
veranderende diskoerse van waarheid en identiteit wat in outobiografiese voorstellings van die self
voorkom. Ek beoog om haar term te gebruik aangesien dit die konsepte waarna ek kyk duidelik
omvat.
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Duffus, Cheryl. "Mudslinging storytellers : autobiographical narrative form, identity, and métissage in novels by Mayotte Capécia, Michéle Lacrosil, Jacqueline Manicom, Maryse Condé, and Myriam Warner-Vieyra /." Full text available from ProQuest UM Digital Dissertations, 2006. http://0-proquest.umi.com.umiss.lib.olemiss.edu/pqdweb?index=0&did=1260790371&SrchMode=1&sid=3&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1193421366&clientId=22256.
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Cheng, Rong-hwa, and 鄭蓉華. "Fiction and Facts:Meridian As Alice Walker's Autobiographical Novel." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/34528067323583278748.
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碩士<br>國立高雄師範大學<br>英語學系<br>94<br>Abstract
Meridian can be regarded as an autobiographical novel of Alice Walker. Born in a poor black family, Walker grew up in the suffering from oppression and violence. The life background has a great influence on her works which mostly are related to the improvement of black people’s lives and social status. The most distinguished feature that differentiates Walker’s works from other black female writers is her plain and natural style.
For Walker and Meridian, silence and solitude become an essential prologue to speech and social action. Meridian is brave, eloquent and preoccupied with her survival as well as the struggle of the people she works with. Meridian’s story confronts the question of whether one can survive in the time of revolution. To stop the destructiveness, Walker goes for a new definition of revolution. She hopes that there is not only a political change in society but also a personal transformation.
This thesis is divided into five parts—the introduction, three body chapters and the conclusion. The introductory chapter focuses on the exploration of many concepts relevant to the novel. Chapter Two deals with the struggles the character, Meridian, goes through. It includes the relationship with her mother as well as that with other influential people in her life, her unfulfilling marriage, the thought of murdering her own child, abortion and the revolution. Chapter Three explores how the oppression brought about by sexism and racism leads to the silence and lack of self-affirmation of the black, especially black women. Chapter Four will be focused on the autobiographical embodiment as well as intimacy in Meridian. In the final chapter, I will explore Walker’s literary use of Civil Rights values, which contributes to the changes in her personal life and development.
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Scott, Judy Rosemary, University of Western Sydney, College of Arts, and School of Humanities and Languages. "Family love : a memoir and writing family love autobiographical novel to memoir, an exegesis." 2006. http://handle.uws.edu.au:8081/1959.7/14596.
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When I first started thinking about writing Family Love I wanted to write it as an autobiographical novel. This meant a radical departure from my usual writing methods. For one thing, it was the first time in my writing life that I was interested in the conscious use of a period in my life as material for a novel. I had never before attempted this and felt a certain amount of apprehension in abandoning tried and true approaches for something so new and risky. Obviously there is an autobiographical basis to all my work but it expresses itself not in facts or events so much as oblique flashes, subconscious truths that arise out of the process of writing. In the creation of fictional characters in my novels, for example, I had never before set out to write about a particular person in the naturalistic sense. I have not been interested in telling someone’s story so much as becoming involved in the process of discovering and developing characters constructed from many sources including my own fantasies. A critic once described me as a method actor in the way I went about writing fiction, and, in particular, finding the voice of a character. This is an observation I find useful because there is something almost actorly about my immersion into fictional characters’ lives. It is a complete identification which results in what could be loosely described as super realism. I am writing from life but from my own intensely observed construction of a life a construction which has its own rules, logic and momentum and often bears little resemblance to the facts or the real people.<br>Doctor of Creative Arts (DCA)
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Cerne, Helen. "Shifting: the creation and theoretical exploration of a collaborative autobiographical novel." Thesis, 1998. https://vuir.vu.edu.au/15448/.
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This Master of Arts thesis has two parts: a collaborative
autobiographical novel Shifting, written by Helen and Serge
Cerne, and a theoretical commentary which explores aspects of collaborative writing. The research material in this thesis has come from a variety of resources: primary and secondary sources, literature data bases, a journal I kept while writing the novel, interviews with family members, discussions with my partner and field visits to places represented in the novel. Only my part of the novel has been submitted for examination but the whole of Shifting has been included because all of it must be read to
understand the thesis. The novel, written from a male and female narrative perspective, has alternate chapters which tell the story of an Italian migrant boy and an Australian-born girl growing up during the 1950s and 1960s. The story deals with physical, emotional and psychological changes in the lives of the two central characters. Shifting is a social history of the period which mainly documents the western suburbs of Melbourne. The central argument of the thesis, both novel and commentary, is that identity is not fixed but constantly changes or shifts, especially in
moments of crisis such as migration. Displacement and
marginalisation, or repositioning of identity, are delineated in each chapter of Shifting to contrast or echo the 'other' narrative.
The theoretical commentary also discusses various models of
collaboration, collaborative agreement, dialogue and negotiation, with special references to Shifting. An analysis of heterosexual collaboration shows how socio-economic circumstances or gender expectations can limit the female partner's contribution to the creative partnership. Finally, autobiography as a form of self narrative is explored as a form of personal mythologising.
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Scott, Judy Rosemary. "Family love : a memoir and writing family love autobiographical novel to memoir, an exegesis." Thesis, 2006. http://handle.uws.edu.au:8081/1959.7/14596.
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When I first started thinking about writing Family Love I wanted to write it as an autobiographical novel. This meant a radical departure from my usual writing methods. For one thing, it was the first time in my writing life that I was interested in the conscious use of a period in my life as material for a novel. I had never before attempted this and felt a certain amount of apprehension in abandoning tried and true approaches for something so new and risky. Obviously there is an autobiographical basis to all my work but it expresses itself not in facts or events so much as oblique flashes, subconscious truths that arise out of the process of writing. In the creation of fictional characters in my novels, for example, I had never before set out to write about a particular person in the naturalistic sense. I have not been interested in telling someone’s story so much as becoming involved in the process of discovering and developing characters constructed from many sources including my own fantasies. A critic once described me as a method actor in the way I went about writing fiction, and, in particular, finding the voice of a character. This is an observation I find useful because there is something almost actorly about my immersion into fictional characters’ lives. It is a complete identification which results in what could be loosely described as super realism. I am writing from life but from my own intensely observed construction of a life a construction which has its own rules, logic and momentum and often bears little resemblance to the facts or the real people.
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Brányiková, Katarína. ""Tetička Julie" a Vargas Llosa: Literárnost dvou autobiografií." Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-435254.
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The work will focus on the comparison of Maria Vargas Llosa's autobiographical novel Aunt Julia and the Scriptwriter (La Tía Julia y el escribidor, 1977), where its one half tells a story of his marriage to his "aunt" and the other half presents fictional radio stories, and the autobiographical text What Varguitas didn't say (Lo que Varguitas no dijo, 1983), which is a response to this book, in which the author Julia Urquidi wrote her own version of the relationship with Mario Vargas Llosa. The work focuses on the differences between these two books, which tell the story of the same relationship, but from a different perspective. It will analyze the literary character of both works and with it the intention of both authors during the construction of their books. The work will analyze the composition, time, narrator and style of both books. Especially in the novel Aunt Julia and the Scriptwriter, it focuses on the author's play with autobiographical and fictional elements. The work tries to find an answer to the question of how much fiction can be combined with reality and to what extent it can be used in an autobiographical text and vice versa. The work also analyzes the text of Julia Urquidi and places it in the context of the work of Mario Vargas Llosa.
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周秀紋. "A study of Nie Hualing’s autobiographical novels." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/49401153236920904857.
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Stejskalová, Anna. "Podoby autobiografických forem. Přestupný rok - Disiecta membra - Let let." Doctoral thesis, 2016. http://www.nusl.cz/ntk/nusl-348923.
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This doctoral thesis is concerned with autobiographical forms, their general characteristics as well as with three examples of Czech works of art that prove how difficult it is to make that general characteristics and show various kinds of autobiographical narrative. It aims to show the often heterogeneous character of the so- called autobiographical genres, and present some approaches in their study. In the opening chapter, we define the term autobiography or autobiographical form in regard to literary history and theory, and special attention to Czech research in this field. We concentrate on the genre specifics of autobiographical forms, the opposition of "literary" and "authentic" diary, the term "autobiographical pact" coined by Philippe Lejeune and several patterns of autobiographical memory introduced by James Olney. The key aspect of our study is the nature of autobiographical form derived from the subject's style and illocutionary acts, i. e. stylization as defined by John Searle followed by Jean Starobinski or Paul de Man. Out of the wide spectrum of issues connected with autobiography we focus on the description of the subject's narrative structure, mainly on its language, style, frequent motifs, its memory and relationship to other characters in its text. The complexity of the very...
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Beauregard, Martin. "L'intergénéricité dans « L'énigme du retour » de Dany Laferrière." Thèse, 2018. http://hdl.handle.net/1866/21257.
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Shen, Hsin-Wen, and 沈欣文. "Self-image and Desire Narrative： Shi Mingzheng’s Autobiographical Novels Research." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/z232zf.
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碩士<br>國立清華大學<br>臺灣研究教師在職進修碩士學位班<br>107<br>Abstract
This thesis paper adopted Shi Mingzheng’s twelve autobiographical novels as the research text, focusing on the self-image and desire narrative presented in the novel text as the main research aspects. Shi Mingzheng’s novel creation was once interrupted for ten years. Therefore, this paper chronologically divided his novel creation into early and later periods in order to observe changes in Mingzheng’s self-image and desire narrative in his autobiographical novels. Secondly, the author adopted Lacan’s mirror stage, desire subject theory, and psychoanalytically oriented trauma theory as the research methods to examine the self-image and desire narrative connotations of Shi Mingzheng’s autobiographical novels. The research findings show that in Shi Mingzheng’s early novel text, the author’s self-image was formed in the text, namely, the Western codes of the artist and the devil, showing the spirit of rejecting castration and resisting symbolic order. On the other hand, in terms of the desire narratives, the characteristics of traumatic reconstruction was shown. Repeatedly writing about the theme of eroticism not only pointed to the source of his trauma, but also became a thrilling experience in his unconsciousness. As for the text in his later novels, the Formosa Incident was the key to Shi Mingzheng’s repression and return of his trauma after the White Terror. Unfortunately, his era did not give him an opportunity for public recognition. Failing to successfully gain symbolic recognition, his self-image also changed time and agin. As his self-recognition gradually changed towards heterogeneity, Shi Mingzheng’s desire narrative connotation also changed. Repressed by political altruists and the super-ego, redemption by means of eroticism was not possible; therefore, the spirit of religious martyrdom became an illusion, ultimately leading him towards his fateful tragic end.
This paper is the first monograph to study Shi Mingzheng’s autobiographical novels from the perspective of psychoanalysis. It views the essence of human existence from a microscopic psychological point of view, revealing the psychological process of constantly struggling with internal and external difficulties for the survival of the “self” and observing the corresponding relationships among autobiographical novels, the author’s inner mentality, and the times, thereby guiding readers to recognize Shi Mingzheng’s autobiographical novels once again, reinterpret Shi Mingzheng’s life writing, awakening Taiwan’s literary community’s once lost memory of Shi Mingzheng, and repositioning the value of Shi Mingzheng’s autobiographical novels in the history of Taiwanese literature and its significance to the era.
Keywords: Shi Mingzheng, autobiographical novels, Lacan’s psychoanalytic theory, self-image, desire narrative
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Johnson, Tara Jessica. "Representations of trauma in autobiographical graphic narratives." 2014. http://liblink.bsu.edu/uhtbin/catkey/1747403.
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This study has analyzed the relationship between trauma and otherness in two autobiographical graphic narratives. The study suggests that autobiographical graphic narratives are better equipped to represent the effects, mainly that of otherness, on the self as a result of trauma. In the ten volume manga series Barefoot Gen, Keiji Nakazawa details his childhood survival of the atomic bombing of Hiroshima during World War II. As he rebuilds his life, fellow survivals that look like his deceased family members recall his trauma of the bombing. Like we see in Nakazawa’s Barefoot Gen, Art Spiegelman also uses repetitious imagery and a fragmentary form of comic narration to represent the experience of trauma throughout In the Shadow of No Towers. However, while Nakazawa repeats specific imagery of the atomic bombing throughout Barefoot Gen based on his eyewitness testimony, Spiegelman manipulates imagery of the September 11, 2001, terrorist attacks to reject the notion that only one specific set of images can represent a traumatic event. Thus, by the end of the second section of In the Shadow of No Towers, Spiegelman creates a multiplicity of images to reenact the trauma of 9/11.<br>Access to thesis permanently restricted to Ball State community only.
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Booth, Rayne. "Eileen - a graphic memoir: navigating and exploring autobiographical comic books." Master's thesis, 2021. http://hdl.handle.net/10451/48864.
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Esta é uma memória gráfica baseada em memórias da minha avó Eileen Constance Booth (Neé Peet), e o seu lugar na minha vida durante toda a minha infância até à sua morte. A personagem de Eileen serve-me como um dispositivo para explorar a minha própria trajectória de vida e para olhar objectivamente para as importantes influências que me moldaram, incluindo família, religião, feminismo, sexualidade, criatividade e trauma. Paralelamente, escrevi uma tese que explora o trabalho em maior detalhe e analisa a história das memórias gráficas, e alguns artistas na forma como influenciaram o meu trabalho. Esta tese é escrita em apoio ao meu projecto “Eileen, que incluo em anexo. Este trabalho pretende dar mais contexto à forma como abordei a investigação e desenvolvimento do trabalho Eileen. O projecto, intitulado “Eileen” toma a forma de um livro a cores medindo cerca de 28 x 21cm, contendo 72 páginas. Contém uma narrativa original escrita e desenhada por mim e, traça aproximadamente a minha relação com a minha avó Eileen Constance Booth (Neé Peet), utilizando flashbacks tanto das minhas memórias como dos episódios da vida de Eileen, e flashbacks para os dias de hoje em que conduzo a minha pesquisa sobre a sua vida e a vida dos meus antepassados paternos através de conversas com o meu pai, Tim. Ao contar a história de Eileen, estou a contar uma história sobre as estreitas relações filiais na minha família, explorando e procurando razões para a existência de certos traços na minha família. Em última análise, estou a contar a minha própria história. Os livros de banda desenhada autobiográfica são uma forma dos autores darem sentido ao seu próprio passado. Eileen é para mim uma tentativa de examinar os meus interesses e crenças e compreender de onde elas vêm. Tal como detalhado na banda desenhada, passei uma grande parte do meu tempo como criança na companhia de Eileen, crescendo na sua proximidade. Muitos dos seus valores e interesses foram-me transmitidos, e a sua casa era para mim um “lugar seguro”. A principal razão pela qual passei tanto tempo com ela foi o facto de os meus pais se terem divorciado quando eu tinha cerca de sete anos de idade e nenhum deles se encontrava realmente disponível para cuidar de mim.
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Demeule, Fanie. "Entre désincarnation et réincarnation : la poétique du corps dans le récit d'un soi anorexique suivi de Carnet d'une désincarnée." Thèse, 2014. http://hdl.handle.net/1866/11295.
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Mémoire de recherche et création, incluant une partie essai et un texte de création.<br>Ma recherche questionne la relation entre anorexie et écriture, omniprésente en littérature, mais dont la problématique du récit de soi reste un objet assez obscur; le potentiel de réincarnation de l’être ascétique à travers le récit de soi a faiblement été soulevé. Amélie Nothomb (Biographie de la faim) et Geneviève Brisac (Petite) se sont remémorées, par le biais de romans autofictionnels, leur passé anorexique dans une poétique elle-même ascétique. À travers l’analyse de cette performativité textuelle, ainsi que des procédés d’écritures d’autodérision et de distanciation narrative sollicités par ces auteures, mon essai propose que ces manifestations poétiques contribuent à une réincarnation indépendante du corps anorexique en œuvre littéraire, et de ce fait, poser un regard nouveau sur les souffrances antérieures.
Prenant la forme d’un recueil de fragments scellé d’un pacte autofictionnel, Carnet d’une désincarnée expérimente l’écriture mémorielle de mon adolescence marquée par l’anorexie mentale. Ainsi, chacun des fragments relate, dans un « je » autodiégétique, une situation isolée d’un quotidien en lutte perpétuelle contre soi, lutte dont l’ultime et unique but est la désincarnation. Or, suite à cette désincarnation, l’objectif de mon projet était de me réincarner à travers les mots dans un carnet de chair et d’os. À cheval entre réalité et fiction, Carnet d’une désincarnée explore la possibilité de créer un texte performatif afin de projeter l’émaciation physique de l’anorexie sur l’échafaudage même du texte, qui deviendrait à part entière un corps amaigri, mais bien vivant.<br>My research questions the relation between anorexia and writing, omnipotent in literature, but which the question of self-writing is still really obscure; the potential of reincarnation of the ascetic individual through writing being barely tackled. Amélie Nothomb (Biographie de la faim) and Geneviève Brisac (Petite) have been both remembering themselves, through autobiographical novels, their anorexic past through an ascetic poetic in itself. Analysing this textual performativity, as well as writing process such as self-mockery and narrative detachment solicited by these authors, my essay observes that these poetical features lead altogether to an independent corporeal reincarnation of the anorexic body into literary work, and therefore, draw a new vision on the past sufferings.
Taking the form of a fragmented text sealed by an autofictionnal pact, Carnet d’une désincarnée (Disembodied’s Diary) experiment the reminiscence of my adolescence marked by anorexia. In this way, each fragment recall, using the pronoun « I » as talking to myself, an isolated situation of a routine in a perpetual battle with the self, battle which the unique goal is disembodiment. Further to this disembodiment, the objective of my project was to reincarnate myself with words through the production of a diary made out of flesh and bones. In between fiction and reality, Carnet d’une désincarnée is exploring the possibility of creating a performative text that projected the emaciation of anorexia, becoming a barebonned but alive body in itself.
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Gerard, Shannon. "Drawn onward : representing the autobiographical self in the field of comic book production /." 2006. http://proquest.umi.com/pqdweb?index=4&did=1240690011&SrchMode=1&sid=7&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1194986884&clientId=5220.
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Thesis (M.A.)--York University, 2006. Graduate Programme in Interdisciplinary Studies.<br>Typescript. Includes bibliographical references (leaves 159-167). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://proquest.umi.com/pqdweb?index=4&did=1240690011&SrchMode=1&sid=7&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1194986884&clientId=5220
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Køhlert, Frederik Byrn. "Drawing in the margins : identity and subjectivity in contemporary autobiographical comics." Thèse, 2014. http://hdl.handle.net/1866/12014.
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Mon projet de thèse démontre comment le genre de la bande dessinée peut être mobilisé de façon à déstabiliser les idéologies identitaires dominantes dans un contexte autobiographique. À partir de théories contemporaines de récits de vie et de leurs emphase sur la construction du sujet au travers du processus autobiographique, j’explore les façons par lesquelles les propriétés formelles de la bande dessinée permettent aux artistes féminines et minoritaires d’affirmer leurs subjectivités et de s’opposer aux idéaux hégémoniques reliés à la représentation du genre, du traumatisme, de la sexualité, de l’ethnicité, et du handicap, en s’auto-incarnant à même la page de bande dessinée. Par une analyse visuelle formelle, ma thèse prouve que les esthétiques hyper-personnelles du dessin à la main découlant d’une forme ancrée dans l’instabilité générique et le (re)mixage continu des codes verbaux et visuels permettent aux artistes de déstabiliser les régimes de représentation conventionnels dans une danse complexe d’appropriation et de resignification qui demeure toujours ouverte à la création de nouveaux sens.
Suite à l’introduction, mon second chapitre explique la résistance de Julie Doucet par rapport aux plaisirs visuels découlant de la contemplation des femmes dans la bande dessinée par son utilisation du concept originairement misogyne de la matérialité féminine grotesque comme principe génératif à partir duquel elle articule une critique de la forme et du contenu des représentations normatives et restrictives du corps féminin. Le troisième chapitre considère la capacité de la bande dessinée à représenter le traumatisme, et se penche sur les efforts de Phoebe Gloeckner visant à faire face aux abus sexuels de son enfance par l’entremise d’un retour récursif sur des souvenirs visuels fondamentaux. Le chapitre suivant maintient que la nature sérielle de la bande dessinée, sa multimodalité et son association à la culture zine, fournissent à Ariel Schrag les outils nécessaires pour expérimenter sur les codes visuels et verbaux de façon à décrire et à affirmer le sens identitaire en flux de l’adolescent queer dans sa quadrilogie expérimentale Künstlerroman. Le cinquième chapitre suggère que l’artiste de provenance Libanaise Toufic El Rassi utilise la forme visuelle pour dénoncer les mécanismes générateurs de préjugés anti-Arabes, et qu’il affirme son identité grâce au pouvoir de rhétorique temporaire que lui procure l’incarnation d’un stéréotype connu. Mon dernier chapitre démontre comment Al Davison emploie la bande dessinée pour mettre en scène des rencontres d’observations dynamiques avec le spectateur implicite pouvant potentiellement aider l’auteur à éviter le regard objectivant généralement associé à la perception du handicap.<br>This dissertation argues that the comics form can be mobilized to destabilize dominant notions of identity in an autobiographical context. Drawing on current theories of life writing that stress the construction of the self through the autobiographical process, it explores how the specific formal properties of comics provide opportunities for women and minority artists to assert subjectivity and contend with hegemonic ideas concerning the representation of gender, trauma, sexuality, ethnicity, and disability through the embodiment of the self on the comics page. Through formal visual analysis, the dissertation shows how the highly personal and hand-drawn aesthetics of a form that thrives on generic instability and the continual (re)mixing of verbal and visual codes allows artists to destabilize conventional representational schemes in a complex dance of appropriation and resignification that is always open to the creation of new meanings.
Following the introduction, Chapter 2 shows how Julie Doucet resists the visual pleasure associated with looking at women in comics by using the originally misogynistic concept of grotesque female materiality as a generative principle from where she articulates a critique in both form and content of normative and restricting representations of the female body. Chapter 3 examines the comics form’s ability to depict trauma, and focuses on Phoebe Gloeckner’s attempts to come to terms with childhood sexual abuse through a recursive return to key visual memories. Chapter 4 argues that the form’s serial nature, multimodality, and association with zine culture provides Ariel Schrag with the tools to experiment with visual and verbal codes in order to delineate and assert a sense of the in-flux and queer teenage self in an experimental four-volume Künstlerroman. Chapter 5 argues that Lebanese-born artist Toufic El Rassi uses the visual form to expose the mechanism behind the production of anti-Arab prejudice, and that he asserts personal identity through the temporary rhetorical power afforded by the inhabitation of a known stereotype. Chapter 6 shows how Al Davison employs the comics form to stage dynamic staring encounters with the implied observer that have the potential to help the author elude the objectifying gaze commonly associated with looking at disability.
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"Itwestamakewin: the invitation to dialogue with writers of Cree ancestry." Thesis, 2013. http://hdl.handle.net/10388/ETD-2013-03-991.
Texto completoResumen
This study explores the effects of engaging with contemporary dual language texts, specifically Cree texts, as a non-Cree educator intent on using the literature classroom as a place in which to explore cross-cultural communication. It considers how the in/accessibility of meaning when reading across cultural boundaries may be read as a challenge or a bridge for non-Cree readers. An interdisciplinary approach was employed as a research methodology to explore the potential interstices and intersections of Aboriginal epistemologies, decolonizing pedagogies, literary theories, and contemporary dual language texts. In order to begin defining the manner in which one perceives the significance of the code-switching and the varied translation practices within dual language texts, a reader response theory was developed and termed construal inquiry. As a decolonizing pedagogy that employs dialogic engagement with a text, construal inquiry is undrepinned by a self-reflective approach to meaning-making that is grounded in Luis Urrieta, Jr.'s (2007) notion of figured worlds, Jerome Bruner's (1991) model of narrative inquiry, and Mikhail Bakhtin's (1981) concept of heteroglossia.
The research explores a collaborative approach to meaning-making with an awareness of how forms of subjectivities can affect reading practices. Texts that range from picture books to junior novels to autobiographical fiction are examined for the forms in which code-switching, culture, and identity can shape reader response and the dialogic discourse of cross-cultural communication. The research proposes experiential and contextual influences shape reading and interpretation and seeks to engage with how subjectivities affects pedagogical perspective, which negates a singular approach to linguistic and cultural representations and their interpretation.
The research suggests that the complexities of negotiating meaning cross-culturally necessitiates relationship building with community members of the culture represented in a text and that engaging with code-switching in dual language texts using construal inquiry as a decolonizing pedagogy offers an opportunity to transform one's own subjectivity.
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Macháčková, Michaela. "Téma rodiny v díle Natalie Ginzburg." Master's thesis, 2018. http://www.nusl.cz/ntk/nusl-388857.
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The subject of this master's thesis called Family theme in Natalia Ginzburg's works is analysis of the chosen prosaic works of one of the biggest writers of the twentieth century, concentrated on the topic of the family. The introduction is a short presentation of the author (her biographical and bibliographical data). After that there is an analysis of her most known prosaic works with the family topic and with the topic of the relations in general. It is followed by more detailed analysis of her most known novel Lessico famigliare. In the final part, the work is concentrated on the biography of Manzoni's family in La famiglia Manzoni.
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Neuschäfer, Markus. "Das bedingte Selbst." Doctoral thesis, 2012. http://hdl.handle.net/11858/00-1735-0000-0001-BAB5-6.
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Štefková, Michaela. "Gustav Leutelt, básník Jizerských hor." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-350788.
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Keywords: regional literature, legends, autobiographical prose literature, fiction, short stories, novellas, literary creation, aesthetics of nature Abstract: The subject of this thesis is a life and writing of the Gustav Leutelt, one of the lesser known German writing authors of Bohemia from the turn of the 20th century. Special attention is paid on describing the Jizera Mountains that play a pivotal role in his creation. The first chapter formulates the subject matter and establishes the goals of the thesis. The second chapter takes a brief look at the Leutelt's life and his writing. The third chapter covers introduction of specific works from three main areas of his art, which were fictional prose, legends and natural works. The final chapter summarizes the results and insights of the thesis.
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Ku, Ming-Fang, and 古茗芳. "Autobiographical Writing of Female Novels during the 1950s and 1960s: A Study Based on My Memories of Old Beijing by Lin Haiyin, The Lost Golden Bell by Hualing Nieh Engle and The Reverberating Notes by Tsu Chung-Pei." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/j78v29.
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碩士<br>國立臺北教育大學<br>台灣文化研究所<br>104<br>Based on My Memories of Old Beijing by Lin Haiyin, The Lost Golden Bell by Hualing Nieh Engle and The Reverberating Notes by Tsu Chung-Pei, this dissertation aims to study differences between autobiographical novels and autobiographical writing to see how this three female writers in patriarchal societies displayed constructing female subjective consciousness and the pursuit of self-identification by writing their own experiences into the three texts. The reasons for choosing the three writers as research subjects are that they have similar life experiences and their novels are commonly regards as autobiographies of depicting their life stories.
Firstly, the study focused on autobiographical writing of novels and two issues occurred with discourse analysis on autobiographical writing: (1) The novels intermingled fact with fiction by the writers’ own memories; (2) the writers created novels in their own perspectives. In addition, since the three novels were written from the first-person perspective, it later discussed relationships among space, the place and ‘My’ memories of the writers followed by difficulties the female protagonists of the autobiographical novels easily met in terms of marriage and education because they passively accepted norms by patriarchy. Besides, it studied that the protagonists reversed female social status in the processes of female growth under the traditional male-dominated environment so that readers could review stories from the female narrative angle unlike males’.
Next, it made further talks closely around traditional thoughts and family status of their mothers in the texts, discussing if the protagonists as mothers were deeply influenced by restrictions of traditional concept or subconsciously imitated their mothers; how the protagonists reversed images of traditional women by long-term effects of their mothers; how the protagonists changed the status in patriarchal societies and became the head of a family under sex-role reversal environment that the fathers or male characters in the texts did not play leading role with no voice in the families.
Compared traditional men's autobiographies with women's autobiographies, the study found that women's autobiographies provide a new narrative from the different angle to readers and put emphasis on family values instead of social values so that women's autobiographies could improve drawbacks of male literature by this innovative way.