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Letteratura scientifica selezionata sul tema "Autobiographical novel"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 20 febbraio 2023

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Articoli di riviste sul tema "Autobiographical novel"

Stepanova, Anna A., e Liudmyla S. Dushatska. "POETICS OF AUTOBIOGRAPHICAL MEMORY IN RAY BRADBURY’S NOVEL “DANDELION WINE”: ON THE WAY TO AN IMPRESSIONISTIC NOVEL". Alfred Nobel University Journal of Philology 2, n. 24 (20 dicembre 2022): 107–20. http://dx.doi.org/10.32342/2523-4463-2022-2-24-9.

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The focus of this article is on the peculiarities of autobiographical memory images representation in the literary piece. The purpose of this work is to research the poetics of autobiographical memory in Ray Bradbury`s novel Dandelion Wine. To conduct the research biographical, hermeneutic, historico-literary, and comparative-historical methods of analysis were applied. The poetics of autobiographical memory is represented by the set of artistic means used to render the author`s reminiscences and it combines the work`s autobiographical and autopsychological concepts seen as sort of eventual autobiographism and psychological autobiographism. The poetics of autobiographical memory is based on internal psychological kindredness of the author and the hero in the autobiographical work. In Ray Bradbury`s writing autobiographism of events is frequently superseded by psychological one, engaging the mechanisms of autobiographical memory at the level of sensory impressions, emotional states, spiritual associations, defining the peculiarity of autobiographical poetics. The retrospective manner of narrative in the novel reveals two planes of autobiographical memory of the writer, which are represented by both the biographical plane, which manifests itself as factual data, including the names of those close or dear to the author, the names of the real places, locations, events and so on, and the autopsychological plane, used for recreation of the author`s own childhood emotions, which Ray Bradbury defined as “sense impressions”. The purposeful work of the writer`s memory aimed at carefully preserving his own impressions with their subsequent reproduction in the piece can be clearly seen in the vivid expression of the author`s images of experiences and perceptions, brought back to life in the novel. In Dandelion Wine`s text the sensory impressions recalled by Bradbury are transformed into the system of metaphoric images demonstrating the plasticity of representation and visual effect. Each impression acquires its unique plastic image. Conclusion. The poetics of autobiographical memory in the novel Dandelion Wine finds its expression in the depiction of the writer`s memories about his childhood sensory impressions, feelings and perceptions. The main principles of the novel`s poetics are the fragmentary narrative; time, split into a series of moments; the use of stream of consciousness method, actualized through inner monologues of the hero; expression of reminiscences in visual plastic images, sensory impressions, feelings, associations, conveyed through metaphorically exquisite lyrical style of narrative, suggesting that Bradbury follows the tradition and experience of impressionistic aesthetics of Proust, giving to Dandelion Wine the form of impressionistic novel. The principles of autobiographical poetics applied in the novel, appear as the stylecreating principles of the poetics of impressionistic novel genre in literature.

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NARLI, Mehmet. "Autobiography And Novel / Autobiographical Novel". Journal of Turkish Studies Volume 4 Issue 1-1, n. 4 (2009): 901–9. http://dx.doi.org/10.7827/turkishstudies.568.

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김경석. "Rediscussion on ChuangZaoShe’s Autobiographical Novel". Journal of Chinese Language and Literature ll, n. 60 (agosto 2012): 229–51. http://dx.doi.org/10.15792/clsyn..60.201208.229.

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Herouvim, John, e Roger Milliss. "Serpent's Tooth. An Autobiographical Novel". Labour History, n. 49 (1985): 116. http://dx.doi.org/10.2307/27508758.

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Köhler, Cristiano A., André F. Carvalho, Gilberto S. Alves, Roger S. McIntyre, Thomas N. Hyphantis e Martín Cammarota. "Autobiographical Memory Disturbances in Depression: A Novel Therapeutic Target?" Neural Plasticity 2015 (2015): 1–14. http://dx.doi.org/10.1155/2015/759139.

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Major depressive disorder (MDD) is characterized by a dysfunctional processing of autobiographical memories. We review the following core domains of deficit: systematic biases favoring materials of negative emotional valence; diminished access and response to positive memories; a recollection of overgeneral memories in detriment of specific autobiographical memories; and the role of ruminative processes and avoidance when dealing with autobiographical memories. Furthermore, we review evidence from functional neuroimaging studies of neural circuits activated by the recollection of autobiographical memories in both healthy and depressive individuals. Disruptions in autobiographical memories predispose and portend onset and maintenance of depression. Thus, we discuss emerging therapeutics that target memory difficulties in those with depression. We review strategies for this clinical domain, including memory specificity training, method-of-loci, memory rescripting, and real-time fMRI neurofeedback training of amygdala activity in depression. We propose that the manipulation of the reconsolidation of autobiographical memories in depression might represent a novel yet largely unexplored, domain-specific, therapeutic opportunity for depression treatment.

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Onuoha, Onyekachi Peter, e Angela A. Ajimase. "The form and thematic content of #Lori Iro as social media autobiographical novel". International Journal of Humanities and Innovation (IJHI) 5, n. 3 (30 settembre 2022): 97–103. http://dx.doi.org/10.33750/ijhi.v5i3.152.

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The digital space expands our perception of the autobiographical Novel's form in the twenty-first century. Through the application of the concept of form and themes, this paper submits that #Lori Iro is a social media autobiographical novel and exists in multimodal forms across multi social media platforms. This paper observes that social media autobiographical novel is the contribution of Nigerian netizens in the further development of The African Novel. This study observes that the social media autobiographical novel like #Lori Iro is told by multiple narrators, which thrives on auto-fiction linking narratives through (#) hashtags which are fiction as plot development and pagination within the digital apps.

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Kim, Sayeong. "A Model and Case of English Literature Instruction Using Autobiographical Graphic Novels for Critical Multicultural Education". Korean Society for Teaching English Literature 26, n. 3 (31 dicembre 2022): 35–70. http://dx.doi.org/10.19068/jtel.2022.26.3.02.

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Critical multiculturalism has recently been accepted as a pedagogical framework, which emphasizes diversity and social justice as a way of realizing praxis on the issue of race, gender, sexual orientation, religion, disability, migration, refugee, and so on. This frame is in line with rising of autobiographical graphic novels consisting of two different modes, image and text, which sheds light on the marginalized population’s voices. Based on the close potential connection between critical multiculturalism and autobiographical graphic novels, this paper proposes an instruction model and case with autobiographical graphic novels representing a variety of themes for diversity and social justice in the multicultural era. In the first section of the main body, theoretical backgrounds and key concepts of critical multiculturalism will be introduced including intersectionality, identity, positionality. critical race theory, whiteness studies, (trans)languaging, and microaggression. In the second section, a theoretical framework of graphic novel instruction will be examined closely, where basic elements of graphic novels and the Expanded Four Resources Model (EFRM) will be examined. In the third section, the instructional practice of multicultural autobiographical graphic novels will be presented, using six graphic novels. In the conclusion, ethical and political implications and pedagogical strategies will be proposed, which instructors need to recognize for graphic novel instruction based on critical multiculturalism.

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Amiryan, T. N. "DANIEL PENNCAC: FROM DETECTIVE TO AUTOFICTION". Human Being: Image and Essence. Humanitarian Aspects, n. 3 (2020): 98–118. http://dx.doi.org/10.31249/chel/2020.03.07.

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The article considers the evolution of autobiographical prose by Daniel Pennac, which is characterized by the transition from his earlier novels (1970-1990s) to the metanarrative essay «Reads like a novel» (1992), autobiographical novel «School Blues» (2007), and autofictional works such as «Le Journal d’un corps» (2012) and «La Loi du rêveur» (2020). The current article focuses on the literature and means of fictionalization of his own biography, which becomes the central figure and topic for multi-genre writings of the author.

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Morozova, Nataliia, e Andrii Savenko. "TRANSLATION CHALLENGES OF NIKOS KAZANTZAKIS' "AUTOBIOGRAPHICAL" NOVEL". Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, n. 31 (2022): 112–17. http://dx.doi.org/10.17721/1728-2659.2022.31.23.

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Jang, Ma Ri. "Writing a Short Autobiographical Novel : Case-oriented". Journal of Next-generation Convergence Technology Association 6, n. 12 (31 dicembre 2022): 2364–75. http://dx.doi.org/10.33097/jncta.2022.06.12.2364.

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Più fonti

Tesi sul tema "Autobiographical novel"

Bigna, Daniel Humanities &amp 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.

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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.

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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.
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
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
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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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.
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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Libri sul tema "Autobiographical novel"

Kenneth, Rexroth. An autobiographical novel. New York: New Directions, 1991.

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Burrows, Gloria P. Bittersweet: An autobiographical novel. Nassau: Media Pub., 2005.

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Liubinas, Ale. Under Eucalypts: An autobiographical novel. Ascot Vale, Vic: Fosbee, 2001.

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Ale, Liubinas, Liubinas Ale e Liubinas Ale, a cura di. Homeland lost: An autobiographical novel. [Hartwell, Vic., Australia]: Sid Harta, 2003.

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Cary, Nelson, a cura di. Another hill: An autobiographical novel. Urbana: University of Illinois Press, 1994.

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Vali, Gyenge. The promise: A fictional-autobiographical novel. Toronto: Outgoing Press, 2005.

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Fudge, Calvin Louis. Under foreign skies: An autobiographical novel. North Little Rock, AR: Prestige Pub., 2004.

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Zweig, Stefanie. Nowhere in Africa: An autobiographical novel. Munchen: Wilhelm Heyne, 2003.

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Branching out: Emmy's story : an autobiographical novel. Lodi, CA: Portraits West Publishers, 1994.

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The opposite of Hollywood: An autobiographical novel. San Francisco, CA: Whoa Nelly Press, 2014.

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Capitoli di libri sul tema "Autobiographical novel"

Santos, Filipe Delfim. "José Régio and the Portuguese Autobiographical School Novel". In Education and the Boarding School Novel, 71–92. Rotterdam: SensePublishers, 2017. http://dx.doi.org/10.1007/978-94-6300-741-2_5.

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Graczyk, Agnieszka. "Images of Destruction in the Autobiographical Novel of Iraqi Writer Haifa Zangana". In Travel and Identity: Studies in Literature, Culture and Language, 75–84. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-74021-8_7.

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Wood, Madeleine. "Charles Dickens—Lost Children and ‘Primal Scenes’: The ‘Autobiographical Fragment’, Dombey and Son and Great Expectations". In Parents and Children in the Mid-Victorian Novel, 141–201. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-45469-2_4.

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Wagner-Egelhaaf, Martina. "Of Strange Loops and Real Effects: Five Theses on Autofiction/the Autofictional". In Palgrave Studies in Life Writing, 21–39. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-78440-9_2.

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AbstractThis chapter explores the advantages of understanding the autofictional as a flexible matrix with scalable parameters. It puts forward five theses: (1) The fact that so many scholars have tried to work with the term “autofiction” indicates an obvious need for the “autofictional” to grasp what is vibrant between life and text. (2) The autofictional is a scalable and latent dimension in all autobiographical writing. Therefore, autofiction is not a separate genre in addition to autobiography and the novel. (3) Imagination and the use of the supernatural may support autobiographical reference. (4) Autofiction produces real-life effects. (5) Autofiction oscillates between fictionality and factuality. Although it brings one or other aspect to the foreground, all of them persist and continue to, more or less, resonate together.

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Kovach, Elizabeth. "Work and the Writing Life: Shifts in the Relationship Between ‘Work’ and ‘The Work’ in Twenty-First-Century Literary-Advice Memoirs". In New Directions in Book History, 345–65. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53614-5_15.

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AbstractThis article focuses on memoirs that grapple with how to resolve tensions between ‘work,’ labor performed for a wage or salary, and ‘the Work,’ a creative pursuit performed for reasons beyond material necessity. Dorothea Brande’s Becoming a Writer (1934) and Wake up and Live! (1936), like many self-help publications of their kind, position writing and other creative pursuits as acts of living that stand in opposition to the necessity of making a living. Recently, however, a number of publications on “the writing life” have begun to complicate this opposition. When considering works ranging from Annie Dillard’s 1989 The Writing Life to Deborah Levy’s Things I Don’t Want to Know (2013) and The Cost of Living (2018) and Alexander Chee’s How to Write and Autobiographical Novel (2018), it seems that the dichotomy of work vs. writing life is not simply undergoing demystification but also reconceptualization. These contemporary literary-advice memoirs thematize dissolutions between work, personal, and writing lives, thereby also disrupting generic patterns in issuing literary advice. They push the literary advice genre away from technicalities and visions of artistic autonomy and toward accounts of creative production that is subject to the demands placed on creative workers throughout the white-collar labor market of late capitalism.

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"3.5 Autobiographical Novel". In Handbook of Autobiography / Autofiction, 464–72. De Gruyter, 2019. http://dx.doi.org/10.1515/9783110279818-061.

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"The Autobiographical Novel". In Design and Truth in Autobiography, 162–78. Routledge, 2015. http://dx.doi.org/10.4324/9781315674605-11.

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"Comics and Autobiographical Identity". In Cultural Excavation and Formal Expression in the Graphic Novel, 33–42. BRILL, 2013. http://dx.doi.org/10.1163/9781848881990_005.

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McGlothlin, Erin. "Art Spiegelman’s Autobiographical Practice fromMaustoMetaMaus". In The Cambridge History of the Graphic Novel, 203–18. Cambridge University Press, 2018. http://dx.doi.org/10.1017/9781316759981.013.

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Kuhlman, Martha. "The Autobiographical and Biographical Graphic Novel". In The Cambridge Companion to the Graphic Novel, 113–29. Cambridge University Press, 2017. http://dx.doi.org/10.1017/9781316258316.009.

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Atti di convegni sul tema "Autobiographical novel"

"The Author's "Psychological Autobiography"-"Martin Eden" Is an Autobiographical Novel of Appreciation". In 2017 International Conference on Humanities, Arts and Language. Francis Academic Press, 2018. http://dx.doi.org/10.25236/humal.2017.11.

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Kramar, Olga. "Reception of Production Ideas of V. Meyerhold in the Autobiographical Novel "Tyapkatan" by T. Churilin". In Proceedings of the International Conference "Topical Problems of Philology and Didactics: Interdisciplinary Approach in Humanities and Social Sciences" (TPHD 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/tphd-18.2019.41.

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