Bibliografías temáticas / Autobiography

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Literatura académica sobre el tema "Autobiography"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 7 de septiembre de 2024

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Artículos de revistas sobre el tema "Autobiography"

Welch, Kathleen E. "Logical Writing in the Education of John Stuart Mill: The Autobiography and the Privileging of Reason". Browning Institute Studies 16 (1988): 153–68. http://dx.doi.org/10.1017/s0092472500002145.

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In his Autobiography, published posthumously in 1873, twenty years after it was first drafted, John Stuart Mill writes a series of logical essays on ideas. The people who appear in the book do so as personifications of these ideas rather than as palpable characters. This writing strategy leads Mill to make ideas rather than people exciting, and this unusual hierarchy makes his autobiography not only a fascinating book but a peculiar one as well. One in fact wishes that Mill had thought of the title The Autobiography of an Idea sixty years before his intellectual grandson, Louis Sullivan, used it for his autobiography. Mill composes his autobiography of personified ideas with a series of logical essays on his remarkable education and on his political and philosophical writing. Consequently, deductive writing forms these essays, a kind of writing that is not surprising for a logician and an essayist but rare for an autobiographer.

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Depkat, Volker. "Autobiography as Political Legacy in Transition Periods. Benjamin Franklin and Konrad Adenauer Compared". European Journal of Life Writing 9 (28 de diciembre de 2020): BE51—BE74. http://dx.doi.org/10.21827/ejlw.9.37325.

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Developing consciousness of epoch as a category of autobiographical time, the article approaches the autobiographies of Benjamin Franklin and Konrad Adenauer as acts of political communication in historico-biographical transition periods. The temporal semantics of Franklin’s and Adenauer’s autobiographical texts anchor in a consciousness of epoch, which suggests that (a) the foundations for an anticipated ideal future have been laid through the political decisionmaking of the autobiographer, and that (b) it is uncertain whether the succeeding generations of political decision-makers will continue to pursue the political course that, in the eyes of the autobiographer, will eventually realize the anticipated utopia of an ideal world. The article thus moves away from an understanding of political autobiography as justification of political decisions taken and not taken in the past. Instead, it investigates autobiography as acts of political communication legitimating the past with a future anticipated at the moment of writing the autobiography. This angle sheds light on political autobiography as a future-oriented continuation of politics by autobiographical means. The temporal semantics of the autobiographical text anchoring in a given consciousness of epoch and the communicative functions of the autobiographical act thus extend well beyond the endings of the text and the autobiographer’s life.

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Boros, Gábor. "Body and Mind in Two Discourses on Method". KÜLÖNBSÉG 21, n.º 1 (12 de marzo de 2022): 171–87. http://dx.doi.org/10.14232/kulonbseg.2021.21.1.292.

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The point of departure of my presentation will be the fact that in his monumental History of Autobiography, Georg Misch considered Descartes’ Discourse on Method a fine example of intellectual autobiography. Yet, the Discourse is a highly complex text far from a simple autobiography. And what is even more, and more disturbing is that for his work, Misch made intensive use of Dilthey’s concept of an autobiography that was meant to capture the sense of “life as narrating itself” laying down the proper, i.e. “objective” foundation for the historical sciences. But how shall we take “sincerity” in this case, which is the distinguishing feature of a real autobiography in the Dilthey-Misch sense? I will apply a kind of hermeneutic method trying to move back and forth in a double hermeneutic circle: I will take a look at Misch’s whole concept of an autobiography, and at the historical data in Descartes’s life and works presented in Baillet’s The Life of Monsieur Des Cartes in order to understand the autobiographic character of the Discourse moving again from the details to the whole and vice versa. In my view, Descartes’ “history of his intellect” cannot be taken as an autobiography in the Dilthey-Misch sense nor in a usual sense. The body-mind problem will play an important role in my argumentation.

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Garziano, Svetlana. "Le projet autobiographique de Vladislav Xodasevič". Chroniques slaves 5, n.º 1 (2009): 19–37. http://dx.doi.org/10.3406/chros.2009.936.

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The article “Vladislav Khodasevich’s Autobiographical Project” studies the question of the autobiography’s status in Vladislav Khodasevich’s work. This writer develops autobiographical genre's criteria in his critical and theoretical works. The present study is composed of three parts : Khodasevich about the autobiography and the biography, memories and the diary and the autobiography Infancy [Младенчество, 1933]. The author of the article distinguishes two structuring elements in Infancy : things’ futility and humor. phy Infancy [Младенчество, 1933]. The author of the article distinguishes two structuring elements in Infancy : things’ futility and humor.

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Hanssen, Jorid Krane. "The researcher-initiated autobiography’s work as an actant in producing knowledge about the social". Qualitative Research 19, n.º 3 (1 de marzo de 2018): 311–22. http://dx.doi.org/10.1177/1468794118760748.

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This article addresses how a researcher-initiated autobiography’s work as an actant may offer illuminating insights into how we as humans and nonhumans are associated in networks. The aim is to discuss how the effects of these associations produce knowledge about the social. With inspiration from actor-network theory and by using an example of a researcher-initiated autobiography from the study ‘The Daughters and Sons of Rainbow Families’, the discussion firstly concentrates on how associations between the autobiography and the researcher may produce emotional effects. Secondly, the discussion focuses on how a researcher-initiated autobiography works as an actant ‘in itself’. This indicates the necessity to trace associations between the written events (actants) in the text, and discuss their effects. As an example, the article addresses how associations between written events concerning family members, produce knowledge about the relations between the members.

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Zweers, A. F. "An Autobiography, is an Autobiography, is an Autobiography". Canadian Slavonic Papers 34, n.º 4 (diciembre de 1992): 487–92. http://dx.doi.org/10.1080/00085006.1992.11092006.

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Klein, Holger. "Robert Nye’s Falstaff: A Remarkable Case of Creative Reception". Revista Alicantina de Estudios Ingleses, n.º 25 (15 de noviembre de 2012): 209. http://dx.doi.org/10.14198/raei.2012.25.16.

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Among fictitious autobiographies as well as among historical novels, Robert Nye’s Falstaff (1976) is a special case in that it is not the autobiography of a historical personage, but of a dramatic character —who happens to be one of the most famous in Shakespeare, indeed in world drama, to be dictated by Falstaff to various amanuenses. After briefly discussing the sub-genre of fictitious autobiography, this paper will analyze the varied use of intertextuality, the tensions fabricated between the autobiographer and his helpers, and the critical thoughts and tendencies which Nye absorbed in preparing the work with particular emphasis on the clash between the Shakespearean intertexts and the diction surrounding it.

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Watson, Julia. "Is Relationality a Genre?" European Journal of Life Writing 5 (21 de septiembre de 2016): R16—R25. http://dx.doi.org/10.5463/ejlw.5.201.

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Review of Anne Rüggemeier, Die relationale Autobiographie: Ein Beitrag zur Theorie, Poetik und Gattungsgeschichte eines neuen Genres in der englischsprachigen Erzählliteratur [Relational Autobiography: A Contribution to the Theory, Poetics, and Genre History of a New Genre in English-language Narrative Literature] (Wissenschaftlicher Verlag Trier, 2014)

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Vizcaíno-Alemán, Melina. "The Autobiography of an Ancient Statue". Aztlán: A Journal of Chicano Studies 38, n.º 1 (2013): 45–71. http://dx.doi.org/10.1525/azt.2013.38.1.45.

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This essay focuses on Fray Angélico Chávez’s 1954 narrative La Conquistadora: The Autobiography of an Ancient Statue as a critical model for re-reading Mexican American women’s literature and Chicana feminist art. The statue of La Conquistadora, which arrived in Santa Fe in 1625, is venerated as the oldest Marian representation in the United States. The autobiography is worth serious study because of its transvestite narrative voice: the female statue tells “her-story” as written by the male author. In La Conquistadora Chávez crosses gender and genre in ways that prompt a critical assessment of the autobiography’s significance through a deconstructive reading that draws on Southwest studies, feminism, and queer theory. This analysis offers a fresh perspective for determining how gender works in the life writings of early-twentieth-century Mexican American writers and the feminist works of contemporary Chicana artists.

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Greene, Jody. "Francis Kirkman's Counterfeit Authority: Autobiography, Subjectivity, Print". PMLA/Publications of the Modern Language Association of America 121, n.º 1 (enero de 2006): 17–32. http://dx.doi.org/10.1632/003081206x96096.

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This essay explores the relation between print culture and literary authority in seventeenth-century England, through the career of the rogue author, translator, and autobiographer Francis Kirkman. Barred from traditional forms of authority by his middle-class birth and rudimentary education, Kirkman claimed new forms of self-authorization promised by the press. In his autobiography, The Unlucky Citizen, as well as in his biography of the impersonator Mary Carleton, the self-styled “German Princess,” Kirkman developed strategies of counterfeiting authority to compensate for the traditional entitlements he, like Carleton, lacked. These strategies involved harnessing the press to circulate authoritative versions of his authorial persona that were intended to substitute for his unauthorized status. Kirkman's ultimate failure to “gain some Reputation by being in Print” is instructive for scholars interested in the history of autobiography and in the changing conditions of authorship in the first era of print culture. (JG)

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Tesis sobre el tema "Autobiography"

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Libros sobre el tema "Autobiography"

Robertson, Norvell. Autobiography. 3^a ed. Seminary, Miss: Mollie Rose Press, 2008.

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Randle, George Wesley. Autobiography. [United States]: G.W. Randle, 1999.

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Robertson, Norvell. Autobiography. 3^a ed. Seminary, Miss: Mollie Rose Press, 2008.

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Cooper, Diana. Autobiography. New York: Carroll & Graf, 1985.

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Izhar Research Institute of Pakistan., ed. Autobiography. Lahore: IRIP, 2006.

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Russell, Bertrand. Autobiography. London: Routledge, 1998.

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Kaplan, Saul. Autobiography. Alexandria, VA: Alexander Street Press, 2004.

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Haley, Ryan. Autobiography. Brooklyn, NY: Ugly Duckling Presse, 2010.

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Russell, Bertrand. Autobiography. London: Routledge, 2009.

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Benjamin FRANKLIN Autobiography: Autobiography. Independently Published, 2020.

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Capítulos de libros sobre el tema "Autobiography"

Nash, John Forbes, Helge Holden y Ragni Piene. "Autobiography". En The Abel Prize, 351–55. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-99028-6_16.

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Nirenberg, Louis. "Autobiography". En The Abel Prize, 379–89. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-99028-6_18.

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Sinai, Ya G. "Autobiography". En The Abel Prize, 169–73. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-99028-6_5.

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Varadhan, S. R. Srinivasa. "Autobiography". En The Abel Prize, 281–88. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-01373-7_12.

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Atiyah, Michael. "Autobiography". En The Abel Prize, 101–9. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-01373-7_5.

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Singer, Isadore M. "Autobiography". En The Abel Prize, 111–16. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-01373-7_6.

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Lax, Peter D. "Autobiography". En The Abel Prize, 183–89. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-01373-7_8.

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Tate, John. "Autobiography". En The Abel Prize 2008-2012, 249–57. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-39449-2_14.

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Milnor, John. "Autobiography". En The Abel Prize 2008-2012, 353–60. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-39449-2_18.

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Szemerédi, Endre. "Autobiography". En The Abel Prize 2008-2012, 451–57. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-39449-2_24.

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Actas de conferencias sobre el tema "Autobiography"

Schoina, K. D. y St Zakka. "Melpo Axioti's incomplete autobiography". En VI Международная научная конференция по эллинистике памяти И.И. Ковалевой. Москва: Московский государственный университет им. М.В. Ломоносова, 2021. http://dx.doi.org/10.52607/9785190116113_243.

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Kurako, Julia. "GUO MORUO’S MY CHILDHOOD AND HU SHI’S SELF-NARRATION AT FORTY: COMMON AND SPECIAL FEATURES IN REPRESENTATION OF NEW MAN OF THE NEW ERA". En 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.20.

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The genre of literary autobiography started its formation in China during the New Culture Movement and entered a phase of rapid development by the end of the 1920s. A new understanding of autobiography as a generalized and objectified experience of the writer generated the diversified and syncretic form based on the combination of national tradition and foreign experience. The most representative works of that period are Guo Moruo’s My Childhood (1928) and Hu Shi’s Self-narration at Forty (1933). Based on the main characteristics of the genre of literary autobiography in world literature, the present article attempts to compare these two works in order to identify similarities and differences in authors’ approaches to the representation of personality, as well as to reveal typological features of the Chinese literary autobiography genre of the first half of the 20th century.

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Wang, Wanying. "Autobiography as a Curriculum of Cosmopolitanism". En 2020 AERA Annual Meeting. Washington DC: AERA, 2020. http://dx.doi.org/10.3102/1572342.

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Matveeva, V. P. "AUTOBIOGRAPHY AS A SPEECH GENRE IN ONLINE MEDIA". En ACTUAL PROBLEMS OF LINGUISTICS AND LITERARY STUDIES. TSU Press, 2021. http://dx.doi.org/10.17223/978-5-907442-02-3-2021-6.

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Barreiro, Jacqueline. "Storytelling With Theory in Retrospective Autobiography: Exploring Nonmethodologies". En 2020 AERA Annual Meeting. Washington DC: AERA, 2020. http://dx.doi.org/10.3102/1571020.

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Shchukina, Mariia А. "Complex autobiography-based psychography in the training of psychologists". En The Herzen University Conference on Psychology in Education. Herzen State Pedagogical University of Russia, 2021. http://dx.doi.org/10.33910/herzenpsyconf-2021-4-69.

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Tarchanyn, Mariana. "AUTOBIOGRAPHY IN GRAPHIC NOVELS AS THE EXAMPLE OF INTERCULTURAL PERSPECTIVE". En KORSZERŰ MŰSZEREK ÉS ALGORITMUSA TAPASZTALATI ÉS ELMÉLETI TUDOMÁNYOS KUTATÁSI. European Scientific Platform, 2020. http://dx.doi.org/10.36074/18.09.2020.v3.22.

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"LINGUISTIC ELEMENTS IN AUTOBIOGRAPHY OF SWAMI SIVANANDA: A SELECTIVE STUDY". En 2nd National Conference on Translation, Language & Literature. ELK Asia Pacific Journals, 2015. http://dx.doi.org/10.16962/elkapj/si.nctll-2015.24.

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Tang, Jie y Changfei Yu. "The Heterotopia of Exile in the Autobiography of Jewish Refugee". En proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.490.

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Harbus, Antonina. "Written autobiography as a source of influence on autobiographical memory". En 9th Conference of the Australasian Society for Cognitive Science. Sydney: Macquarie Centre for Cognitive Science, 2010. http://dx.doi.org/10.5096/ascs200920.

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Informes sobre el tema "Autobiography"

Haglund, Kristine A. y Elizabeth H. Clancy. DMNS Report 19: The Fortunate Life of a Museum Naturalist: Alfred M. Bailey, Volume 4—North America 1927–1936. Denver Museum of Nature & Science, agosto de 2022. http://dx.doi.org/10.55485/nvtp7050.

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Gaponenko, Artiom y Vitaly Gaponenko. Site «Gaponenko Artiom Vasilievich – autobiography and results of scientific and pedagogical activity». Science and Innovation Center Publishing House, abril de 2021. http://dx.doi.org/10.12731/www.gaponenko.info.

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The site of Artiom Vasilyevich Gaponenko (https://www.gaponenko.info/) is intended to give a holistic view of the personality and the results of the scientific and pedagogical activity of the author. The site contains an autobiography, a list of scientific and pedagogical works, a link to the developed educational system MLESYS (https://mlesys.ru/), as well as information about advanced training, professional retraining and participation of A.V. Gaponenko. in competitions. At the bottom of the site page there is a personal Science Index counter (RSCI), there is a link to the author's portfolio.

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Chornodon, Myroslava. FEAUTURES OF GENDER IN MODERN MASS MEDIA. Ivan Franko National University of Lviv, febrero de 2021. http://dx.doi.org/10.30970/vjo.2021.49.11064.

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The article clarifies of gender identity stereotypes in modern media. The main gender stereotypes covered in modern mass media are analyzed and refuted. The model of gender relations in the media is reflected mainly in the stereotypical images of men and woman. The features of the use of gender concepts in modern periodicals for women and men were determined. The most frequently used derivatives of these macroconcepts were identified and analyzed in detail. It has been found that publications for women and men are full of various gender concepts that are used in different contexts. Ingeneral, theanalysisofthe concept-maximums and concept-minimum gender and their characteristics is carried out in the context of gender stereotypes that have been forme dand function in the society, system atizing the a ctual presentations. The study of the gender concept is relevant because it reveals new trends and features of modern gender images. Taking into account the special features of gender-labeled periodicals in general and the practical absence of comprehensive scientific studies of the gender concept in particular, there is a need to supplement Ukrainian science with this topic. Gender psychology, which is served by methods of various sciences, primarily sociological, pedagogical, linguistic, psychological, socio-psychological. Let us pay attention to linguistic and psycholinguistic methods in gender studies. Linguistic methods complement intelligence research tasks, associated with speech, word and text. Psycholinguistic methods used in gender psychology (semantic differential, semantic integral, semantic analysis of words and texts), aimed at studying speech messages, specific mechanisms of origin and perception, functions of speech activity in society, studying the relationship between speech messages and gender properties participants in the communication, to analyze the linguistic development in connection with the general development of the individual. Nowhere in gender practice there is the whole arsenal of psychological methods that allow you to explore psychological peculiarities of a person like observation, experiments, questionnaires, interviews, testing, modeling, etc. The methods of psychological self-diagnostics include: the gender aspect of the own socio-psychological portrait, a gender biography as a variant of the biographical method, aimed at the reconstruction of individual social experience. In the process of writing a gender autobiography, a person can understand the characteristics of his gender identity, as well as ways and means of their formation. Socio-psychological methods of studying gender include the study of socially constructed women’s and men’s roles, relationships and identities, sexual characteristics, psychological characteristics, etc. The use of gender indicators and gender approaches as a means of socio-psychological and sociological analysis broadens the subject boundaries of these disciplines and makes them the subject of study within these disciplines. And also, in the article a combination of concrete-historical, structural-typological, system-functional methods is implemented. Descriptive and comparative methods, method of typology, modeling are used. Also used is a method of content analysis for the study of gender content of modern gender-stamped journals. It was he who allowed quantitatively to identify and explore the features of the gender concept in the pages of periodicals for women and men. A combination of historical, structural-typological, system-functional methods is also implemented in the article. Descriptive and comparative methods, method of typology, modeling are used. A method of content analysis for the study of gender content of modern gender-labeled journals is also used. It allowed to identify and explore the features of the gender concept quantitatively in the periodicals for women and men. The conceptual perception and interpretation of the gender concept «woman», which is highlighted in the modern gender-labeled press in Ukraine, requires the elaboration of the polyfunctionality of gender interpretations, the comprehension of the metaphorical perception of this image and its role and purpose in society. A gendered approach to researching the gender content of contemporary periodicals for women and men. Conceptual analysis of contemporary gender-stamped publications within the gender conceptual sphere allows to identify and correlate the meta-gender and gender concepts that appear in society.

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