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本研究利用生命故事中自傳式理解作為媒介，探討個體自我瞭解與心理適應的關係如何於生命故事中展現，由處理層面（認知努力、處理結果）、主題內容（救贖化歷程、汙染化歷程、生發主題、共群主題）切入，探索自傳式理解的不同面向與正/負向心理適應狀態間之關聯性；另一方面，追蹤參與者一年後的心理適應狀態，探討自傳式理解能否預測未來心理適應。本研究採用生命故事訪問法進行訪問，第一年收集48名大學生之生命故事與心理適應狀態量表（希望感/憂鬱）、第二年追蹤42名大學生之心理適應狀態，將訪問內容謄為逐字稿後，針對處理層面及主題內容進行內容分析的計分。研究結果顯示：（一）處理層面中之認知努力程度雖與第一年心理適應狀態無顯著相關或解釋力，但卻對第二年憂鬱程度有顯著解釋力，換言之當個體投入越多的心力在思考自我與過往事件的關聯，則其第二年憂鬱分數越低；處理結果與第一年心理適應有顯著相關，甚至對第一年希望感有顯著解釋力，但無法有效預測第二年希望感與憂鬱分數。（二）主題內容中救贖化/污染化歷程與第一年心理適應狀態皆有顯著相關，與過往研究結果相似，迴歸分析顯示污染化歷程對第一年憂鬱有顯著解釋力，但兩者亦無法顯著預測第二年心理適應狀態；生發、共群主題與第一年心理適應狀態無顯著相關，亦無法有效預測第二年心理適應分數。最後，針對研究結果進行討論並提出臨床上的運用、研究限制與未來研究方向之建議。 / In the present research, autobiographical reasoning (AR) was used to examine the relation between self-understanding and psychological adaptation. This research focused on the process aspect (cognitive effort, process outcome), and the content aspect (redemption/contamination sequences, agency, communal) of AR to explore the relation to psychological adaptation. Also, participants’ psychological adaptation (hope, depression) was followed a year later to test whether AR could predict future psychological adaptation. Life story interview was used to collect 48 college students’ stories in the first year (time 1), and 42 of them were followed in the second year (time 2). Results showed that (1) the relation between cognitive effort and T1 psychological adaptation wasn’t statistically significant. However, cognitive effort could predict T2 depression. The more effort participants put on thinking connections between past events and the inner self, the less depression level they are in the next year. Process outcome was significantly correlated with T1 psychological adaptation, but it could not predict T2 psychological adaptation. (2) Redemption/contamination sequences were significantly correlated with T1 psychological adaptation. Further, contamination sequences could predict T1 depression. But redemption and contamination sequences could not predict T2 psychological adaptation. On the other hand, agency and communal themes neither correlated with T1 psychological adaptation, nor predicted T2 psychological adaptation. Finally, implications and limitations of this study were discussed.

L'objet de cette thèse est de penser la légitimité philosophique du concept d'authenticité et les moyens de parvenir au « moi » véritable. Les questions qui sous-tendent notre approche sont les suivantes : pourquoi l'authenticité est-elle devenue la valeur contemporaine majeure ? Quelles réponses sont actuellement proposées dans la quête de soi ? L'authenticité a-t-elle une quelconque valeur philosophique ? Le « moi » véritable existe-t-il ? Comment ne pas faire de la question de l'authenticité (qui suis-je vraiment ?) une question d'identité personnelle (que suis-je ?) ? Enfin, comment parvenir au « moi » véritable ? L'enjeu s'avère triple : 1/ élaborer un questionnement sur la possibilité même d'un « moi » véritable ; 2/ replacer cette question dans le champ des théories de l'identité personnelle ; 3/ traiter l'authenticité comme étant à la fois représentative et mimétique, et envisager ainsi de manière renouvelée la question du rapport à soi-même. En concevant l'authenticité comme une représentation mimétique, nous verrons qu'elle parvient à résister aux menaces dissolvantes du « moi » tout en échappant aux apories substantialistes. Pour traiter ces questions, ce travail philosophique mobilise les points de vue à la fois philosophiques et littéraires. / This thesis aims to ponder over the philosophical concept of authenticity and the means to reach the true self. The queries underpinning this approach are as follows: why has authenticity become the mainstream contemporary value? What answers are currently suggested concerning the quest for the self? Has authenticity any philosophical value? Does the true self exist? How can we manage not to turn the query about authenticity (who am I really?) into a query about personal identity (what am I?). Finally, how can we reach the true self? The issue is threefold: 1. Work out a questioning about the actual possibility of a true self. 2. Put this question back in the sphere of the theories about personal identity. 3. Regard authenticity as being both representative and mimetic and thus, consider the question of the relation to oneself in a new way. By viewing authenticity as a mimetic representation, we will find out that it can stand up to the dissolving threats of the self and overcome substantialist aporia. To deal with these questions, this philosophical work uses literary as well as philosophical viewpoints.

A dislexia é um transtorno genético, hereditário e de origem neurobiológica que compromete a capacidade de escrita e de leitura em graus que variam de indivíduo para indivíduo. As dificuldades iniciam-se já no período de alfabetização e acompanham o disléxico por toda a sua vida, uma vez que há tratamento, mas não cura. Entre os vários sintomas, está a dificuldade em aprender uma segunda língua. Tendo em vista que a língua inglesa é uma exigência escolar e, muito frequentemente, profissional, há uma grande necessidade de compreensão das questões que envolvem a aprendizagem do idioma e o portador de dislexia. Este trabalho trata da construção de identidade - como imagem de si - do aluno disléxico no ambiente de ensino e aprendizagem da língua inglesa; trata de como suas dificuldades, a postura das instituições de ensino, educadores e família agem e influenciam a maneira como ele se enxerga e age nesse contexto. Este estudo é realizado por meio de entrevistas semiestruturadas cujas análises foram feitas tendo como base a semiótica francesa. A entrevista cobre a vida escolar regular assim como a experiência do disléxico com a língua inglesa, pois o interesse deste trabalho é ter uma visão ampla da trajetória desse sujeito e não somente um recorte de um momento de sua vida. Os resultados revelam que o diagnóstico, acompanhado de uma aceitação interna do mesmo, a dinâmica de relacionamento do disléxico com a escola e os professores e o apoio familiar são fatores que ajudam a moldar como o disléxico vê a si mesmo e como enfrenta suas dificuldades com a língua inglesa. O texto é dividido em seis capítulos, introdução e conclusão. A introdução busca dar uma visão do caminho percorrido no entendimento da dislexia, desde a era vitoriana até os dias atuais. O capítulo um discorre rapidamente sobre a metodologia. O capítulo dois analisa as entrevistas de modo descomplicado, tendo como objetivo manter uma linguagem clara e acessível a todos os leitores. O capítulo três trata da semiótica das paixões e as relações entre as modalidades e as modalizações. O capítulo quatro traz algumas considerações sobre como auxiliar o disléxico em sala de aula de ensino de língua inglesa. O capítulo cinco focaliza nos estereótipos e, finalmente, o capítulo seis, que analisa o percurso do reconhecimento de si do disléxico baseado na obra de Paul Ricoeur. / Dyslexia is a genetic, hereditary and neurobiological disorder that compromises the ability to write and read in degrees that vary from an individual to another. The difficulties begin in the phase of literacy acquisition and accompany the dyslexic throughout his life, since there is treatment, but not a cure. Among the various symptoms is the difficulty in learning a second language. Given that English is a school requirement and, very often, a professional requirement, there is a great need to understand the issues involved in language learning and dyslexia. This work deals with the construction of dyslexic student identity - identity as the image of the self - in the teaching and learning environment of the English language; It deals with how its difficulties, the posture of educational institutions, educators and family act and influence the way in which the dyslexic learner sees himself/herself and acts within that context. This study was carried out by means of semi-structured interviews analyzed within the framework of Greimasian semiotics. The interview cover regular school life as well as the dyslexic experience with the English language, since the interest of this work is to have a broader view of the individuals trajectory and not only a cross section of a moment of his life. The results reveal that the diagnosis, accompanied by internal acceptance of such diagnosis, the dynamics of the dyslexic relationship with the school and the teachers as well as family support are factors that help shape how the dyslexic sees himself/herself and how he/she faces the difficulties with the English language. The text is divided into six chapters, introduction and conclusion. The introduction seeks to give insight into the path taken in the understanding of dyslexia, from the Victorian era to the present day. Ghapter one is on the methodology used. Chapter two analyzes the interviews in an uncomplicated way, aiming at keeping the language clear and accessible to all readers. Chapter three deals with the semiotics of passions and the relations between modalities and modalizations. Chapter four brings some considerations on how to assist the dyslexic in the classroom. Chapter five focuses on stereotypes and, finally, chapter six, which analyzes the path of self-recognition of the dyslexic based on the work of Paul Ricoeur.

Jewellery as a tool in the identification of the deceased is increasingly referenced within the scientific process of Forensic Human Identification (FHI). Jewellery’s prevalence in society, connection to both place and geographic region, potential to corroborate primary methods of identification (such as DNA, fingerprinting, or odontology), and robust physical form, means it progressively contributes to practices surrounding identification in a number of forensic fields. Physical marks or characteristics such as hallmarks or serial numbers, personal inscriptions or engravings, representational symbols (such as medals, badges of office, religious iconography or military insignia), and genealogical or gemmological markings, may also prove useful in informing investigators much about a piece - and potentially - the individual to whom it may have belonged. Despite this, jewellery is an approach to establishing human identity that has yet to be explicitly investigated from the perspective of either forensic science or jewellery design. The aim of this research has been to explore the potential of jewellery and highlight its significance within this context, through employing the processes and approaches of design. Informed by my own background in both jewellery and service design; I sought to co-design the interdisciplinary proposition of Forensic Jewellery as an extension of my own personal design practice, in addition to a broader hybrid methodology through which the dualistic perspective(s) of both forensic science and jewellery design may come to be mutually explored. By centring my methodology upon my practice, the research serves to document and reflect upon my auto-ethnographic experiences in inadvertently ‘prototyping’ my emergent new role as a Forensic Jeweller – a jewellery designer engaged within, or whose work pertains to, the field of forensic science. Through a range of forensic-based fieldwork, I sought to immerse myself within various communities of forensic practice by way of considering how a design practitioner may come to add value to this otherwise polarised field - a highly subjective and interpretive framework that has remained wholly unconsidered within forensic science. In simultaneously considering the impact of the perspective of forensics upon the broader field of jewellery design, I came to capture some of the otherwise restricted narratives of Forensic Jewellery emerging from the developing research context through a series of theoretically-informed design ‘reconstructions’: objects, concepts, and scenarios (representational, propositional, and metaphorical); educational material, and series of public engagement activities. The research thus culminates in a unique portfolio of practice – written, conceptual, and visual – with relevance to both forensic science and jewellery design history, theory, and practice. Original contributions to knowledge are demonstrated through the direct study of jewellery within real-world forensic settings through combined theory and practice, while the theoretical and conceptual debates surrounding identity, death, and the human body present within the field of jewellery design are simultaneously extended through the inclusion of forensics as a perspective. The research additionally demonstrates how the visual and tangible sensibilities of design can help to attend to otherwise challenging, emotional, or difficult subjects, capture and communicate tacit knowledge or anecdotal evidence, and ultimately contribute to the development of new and emergent research contexts.

La thèse se propose d’examiner l’écriture romanesque chez Simone de Beauvoir à la lumière de la notion du deuil et de l’identité narrative. L’enjeu de notre travail est de donner un second éclairage sur les œuvres romanesques de Beauvoir. La plupart des œuvres fictionnelles de l’auteure peuvent être comprises comme un travail de deuil qui se révèle sous la forme d’une quête du sujet. Dans ce but, la première partie intitulée « Cérémonie des adieux » s’intéresse, tout en préparant le terrain pour une analyse approfondie des fictions de Beauvoir, à mettre en évidence le concept philosophique du sujet de Beauvoir qui peut servir de lien entre le concept du deuil derridien et l'identité narrative ricoeurienne. Les deuxième et troisième parties sont consacrées plus spécifiquement aux analyses des œuvres romanesques. La deuxième vise au travers d’une analyse des personnages et du thème de la mort représentée dans les fictions à définir en profondeur le statut du sentiment de culpabilité chez la romancière, qui est étroitement lié à la crise identitaire pour les personnages beauvoiriens. La troisième partie tente de montrer comment la narration devient un remède pour les personnages de Beauvoir et pour l’auteure afin de surmonter leur crise existentielle. Tout au long de l’analyse, une mise en parallèle entre le pouvoir narratif des personnages féminins en crise avec celui de Beauvoir permet de dégager l’évolution que les personnages féminins ont subie dans l’écriture romanesque de Beauvoir, mais aussi de tracer le processus de la constitution du nouveau soi à travers l’acte de narration. Par ce travail de recherche nous serons en mesure de prouver l’existence d’un projet littéraire cohérent de l’auteur, c’est-à-dire une quête de l’intersubjectivité qui présente également parmi tous les ouvrages romanesques. / This work attempts to shed new light on Simone de Beauvoir by examining her novels through the concepts of mourning and narrative identity. Most of Beauvoir’s fictional works can be understood through the lens of mourning, revealing itself in a quest for herself as the subject. The first part, entitled "Farewell Ceremony,"delineates the philosophical link between the concept of Derridian mourning and Ricoeurian narrative identity. It also lays the groundwork for an in-depth analysis of Beauvoir's fiction found in the second and third parts.The second part aims to analyze the characters and the theme of death, as depicted in her fiction. The analysis will define the role of guilt in the novelist, which is closely linked to the identity crises seen in Beauvoir’s characters. The third part examines how the narration becomes a remedy for the characters of Beauvoir as well as for the author in order to overcome their existential crisis. A comparison of the narrative power of the female characters in crisis with that of Beauvoir herself reveals not only the evolution of her female characters , but also the evolution of the author’s new self through the act of narration. The three parts work together to prove the existence of a coherent literary project from the author, that is to say a quest for intersubjectivity.

For this study, twelve life stories of alumni from the Vrije Universiteit in Amsterdam, who were enrolled during the Nazi Occupation between 1940 and 1945, were collected and analyzed. Besides exploring the extent to which the interviews were co-constructed jointly by the interviewer and interviewees, this study addresses three questions. First, it acknowledges methodological concerns associated with an overabundance of narrative data, and suggests a new method for arriving at a core narrative based on the distribution of time. This core narrative can then be analyzed further. Second, it is suggested that early memories serve as identity claims; because of their congruency with the remainder of the story, they appear to foreshadow what is to come. As a result, it is argued that childhood memories merit special attention in the analysis of narratives. Third, and finally, the constraints on narratives imposed by cultural conventions, or master narratives, are explored. Narrators use a variety of strategies in order to satisfy sometimes competing demands on their narratives. It is argued that culture makes its influence felt in ways that are not always obvious, particularly if the interviewee and interviewer share the same culture.

Title from second page of PDF document. Includes bibliographical references (p. 136-142).

Le croisement entre communication et exil ne va pas de soi. L’exilé n’est-il pas en effet celui qui perd, par son arrachement communautaire, toute possibilité de communiquer : langue, repères sémantiques, amis et familles ? Cependant, il est également celui qui entre en relation avec une nouvelle culture et société. En s’intéressant au corpus des auteurs de la francophonie choisie d’Europe médiane de 1939 à nos jours, notre thèse a pour objectif de comprendre comment l’exilé peut entrer en relation au sein de la communauté de culture rejointe.Nous nous intéressons au discours littéraire et à la fonction-auteur, dans le sens foucaldien, afin d’étudier la façon dont, par la mise en récit de sa vie, l’exilé peut configurer un ethos apte à la relation. En faisant jouer l’opposition entre un visage pré-discursif des auteurs, marqué par le contrat de communication du témoignage, et leur volonté d’être reçus comme des artistes, nous proposons de s’intéresser à la façon dont ces voix d’Europe médiane viennent s’inscrire dans le dispositif littéraire français. Nous montrons alors que le discours de l’exilé est un discours souvent soumis au processus d’incommunication : sa voix est inaudible, soumise à un contrat de communication et en proie à des erreurs sémantiques.Nous proposons alors de considérer le récit l’exil sous l’intrigue du « héros de la liberté » comme étant une possibilité pour ces auteurs de gérer cette opposition entre régime de singularité et nécessité de disposer d’un ancrage au sein du champ littéraire nouveau.Dans un deuxième temps, nous questionnons cette possibilité qu’ont les auteurs de refuser le contrat de communication pré-discursif et nous introduisons le concept de « non-lieu » afin de penser un espace de communication qui ne serait plus relié avec le public de réception premier de ces œuvres. Face à cette menace, nous intéressons au processus de révérence-inclusion présent dans les œuvres. Par ce processus il s’agit de maitriser les marqueurs de l’espace discursif français afin de montrer au lecteur son inscription dans le champ. Les réemplois de ces marqueurs agissent comme des « discours constituants » et permettent alors de montrer l’appartenance de ce corpus à un même « cadre de l’expérience ».Enfin, nous interrogeons la possibilité de parler de cette littérature comme étant assimilée. Par l’opposition entre assimilation structurelle et culturelle, nous émettons l’hypothèse que cette littérature n’est pas réellement assimilée, et que la conscience de cette intégration complexe amène les auteurs à retravailler leur positionnement discursif. Aussi, la mise en mémoire du soviétisme permet à ces auteurs de présenter une « étrangeté réappropriée » où leur expérience du nazisme et du soviétisme n’est plus rejetée dans une « commémoration négative », mais devient un jalon à partir duquel lire la modernité française. Ces réflexions nous mènent à s’interroger sur l’expérience même de ces auteurs et aux métacommunications qu’ils présentent lorsqu’ils abordent la question de l’identité, de l’Europe et de la mondialisation culturelle.Cette thèse de doctorat réalisée en science de l’information et de la communication s’intéresse aux relations interculturelles européennes. Par le corpus littéraire large choisi, cette thèse entend montrer la complexité des exils européens et réfléchir aux enjeux contemporains de cette notion. Enfin en s’interrogeant à partir de l’incommunication, cette thèse expose l’idée que si la communication n’est jamais innée, elle peut se produire grâce aux efforts de traduction de soi, de ce fait nous pensons la communication non seulement comme un facteur de diffusion, mais également comme un sujet à penser. / The link we make between exile and communication is not a classic one. In fact, an exile is someone who leaves his country and changes his language and culture. He is also someone who tries to reach a new culture and society. By considering the literature of writers from East and Central Europe, who choose to write their books directly in French, our thesis seeks to understand the way how an exile can generate new relationships in this space.We focus on the literary discourses and the notion of the author, as Foucault spoke about them, in order to understand how an author uses the narration of his own life to configure a face-speech acceptable to his host community. By using the difference between this face in a pre-discursive manner marked by the contract between the testimony and the authors’ will to be perceived as artists, we try to focus on the way those voices show their inclusion in the French literary world. We show that the exiles’ discourses must deal with the possibility of lack of communication due to inaudibility cause by semantic mistakes.We think that the configuration of exile is a way to present oneself as a « hero of freedom. » Authors manage the opposition between singularity and the necessity to find a new community in order to communicate. Moreover, we also consider the possibility of refusing the first contract of communication and we include the concept of « non-lieu » created by Marc Augé, a concept which refers to a space with no link to the community. Confronts with this threat, we consider that an author may manage this risk by a process of reverence-inclusion. According to this process, writers give their own description of French social markers to indicate to the public that they belong to the French culture. Those descriptions allow them to give to the French audience the rule of interpretation for their own books. Finally, we examine the possibility of speaking about this literature as an assimilated one. We show that this literature is not fully integrated because of the complex social integration of those authors. This difficulty of integration forces them to redefine their position in French society. As a result of their Soviet education, authors try to show a disturbing strangeness not as a marker of an outsider, but as an indication of their social place in French society. This past is made a tool for understanding French modernity. This specificity directs us to consider those writers, particularly their views on communication, identity, Europe and cosmopolitanism.Our thesis focuses on the problem of communication and tries to increase our knowledge of intercultural relations in Europe. By focusing on a large literary corpus, our thesis endeavours to understand this complex phenomena of European exiles. Finally, our thesis integrates the problem of non-communication as a conceptual center of interrogations in order to show that if communication is not an innate capacity, it can be developed into something beyond a tool for spreading a message, namely a concept to think.

L’autofiction terme inventé par Serge Doubrovsky en 1979 dans son roman Fils est une catégorie de l’écriture de soi qui connaît une vogue en Occident. En particulier, en France, de nombreux écrivains ont pratiqué et pratiquent encore ce type d’écriture en décrivant des éléments de leur vie personnelle et en dévoilant, souvent profondément, leur intimité. En revanche, en Iran, si l’écriture de soi a commencé à se développer à partir de la fin du XIXème Siècle et s’est renforcée dans les années 1990, en mélangeant la fiction et la réalité, l’autofiction n’est pas pratiquée de manière aussi intense qu’en France en raison de la société holiste, où l’individu n’est pas encore parvenu à acquérir sa pleine autonomie et une totale liberté. Cette thèse examine les romans de quatre écrivains iraniens écrits entre les années quatre-vingt-dix et deux mille dix, portant sur la société plutôt que sur leur vie personnelle, en prenant pour modèle deux écrivains français récents. Ce travail s’appuie également sur des théoriciens français à partir du dernier tiers du XXème siècle qui décrivent les bases de l’écriture de soi de l’autobiographie et de l’autofiction, comme par exemple Philippe Lejeune et Serge Doubrovsky / The term autofiction invented by Serge Doubrovsky in 1979 in his novel Son is a category of self-writing that is popular in the West. In particular, in France, many writers have practiced and still practice this type of writing by describing elements of their personal life and revealing, often deeply, their intimacy. On the other hand, in Iran, although self-writing began to develop from the end of the 19th century and grew stronger in the 1990, by mixing fiction and reality, autofiction is not practiced as intensely as in France because of holistic society, where the individual has not yet managed to acquire full autonomy and complete freedom. This thesis examines the novels of four Iranian writers written between the nineties and two thousand and ten, on the subject of society rather than their personal life, taking as their model two recent French writers. This work also relies on French theorists from the last third of the 20th century who describe the basics of self-writing autobiography and autofiction, such as Philippe Lejeune and Serge Doubrovsky