Neste trabalho, refletimos sobre o trabalho com a leitura de uma obra integral em sala de aula de língua estrangeira. Descrevemos como se deu a leitura de LOdeur du café, uma autobiografia de infância de Dany Laferrière, escritor de língua francesa associado à dita literatura migrante, por um grupo de alunos que já possuíam cerca de 130h de aprendizado da língua francesa. Primeiramente, discorremos sobre o uso histórico do texto literário em FLE e sobre as especificidades do texto literário, assim como discutimos os processos de leitura e especialmente a leitura literária em língua estrangeira (capítulo1). Em seguida, abordamos as especificidades da autobiografia, da autobiografia de infância, contextualizamos o autor Dany Laferrière e LOdeur du café (capítulo 2), e apresentamos contribuições teórico-metodológicas que embasaram nosso trabalho em sala de aula (capítulo 3). Por fim, descrevemos e analisamos a recepção literária dos alunos a partir de suas verbalizações escritas e a forma com que estes conseguiram apropriar-se da leitura literária de uma obra integral em língua estrangeira (capítulo 4). / This paper is a reflection about reading a whole piece in a foreign language classroom. I describe the reading of LOdeur du café, a childhood autobiography of Dany Laferrière, French language writer joined to the called migrant literature, by a group of students with 130h of French language learning. First, I discuss the historical use of the literary text in FLE and specifities of the literary text as well as processes of reading and especially literary reading in foreign language (chapter 1). After that, I discuss specifities of autobiography, childhood autobiography, I contextualize the author Dany Laferrière and LOdeur du café (chapter 2), and I present some theoretical-methodologic contributions which are in the bases of our work in classroom (chapter 3). Finally, I describe and I analyze literary reception students from their written verbalizations and the way they have incorporated to themselves a literary reading of a whole piece in foreign language (chapter 4).

Esta tese visa analisar a representação do silêncio como fenômeno discursivo na obra El zorro de arriba y El zorro de abajo de José María Arguedas. Esta abordagem passa pela relação do silêncio como elemento constitutivo de todo discurso. A partir de uma perspectiva centrada em Foucault, Orlandi e na teoria enunciativa de Authier-Revuz, analisar-se-ão as formas de representação do silêncio tanto no discurso autobiográfico (diarios) quanto na narrativa romanesca (hervores). A partir da análise da construção de uma imagem do sujeito (Arguedas), observar-se-á, sob a aparência de unidade e coesão do fio enunciativo, a constituição clivada e dividida de sua identidade, atravessada pelo Outro de si mesmo. Verificar-se-á que a concepção de palavra ligada à matéria das coisas e à vida, segundo o autor, entra em contradição com o processo de erosão dos discursos. A busca pela lìngua literária, sob o signo utópico e mítico, sofre um processo de demolição na obra, que resulta na palavra que traduz o sofrimento da nomeação por meio da falta, do balbucio e dos silêncios. / This thesis aims at analyzing the representation of silence as speech phenomenon in the work El zorro de arriba y el zorro de abajo by José María Arguedas. Such approach passes through the relating of silence as a constitutive element of every discourse. From a perspective focused on Focault, Orlandi and on the enunciative theory of Authier-Revuz, the forms representing silence will be analyzed both in the autobiographic speech (diarios) and in the novel narrative (hervores). From the analysis of the construction of an image of the subject (Arguedas), under the appearance of unit and cohesion of the enunciation, the fragmented and divided constitution of its identity will be observed, crossed by the Other of himself. In this work, it will be verified that the conception of word linked to the matter of things and to life, according to the author, goes against the process of erosion of the speeches. The search for the literary language in a utopic and mythical manner, suffers a process of demolition in the work, which results in the word that translates the suffering of naming through the absence, the babbling and the silences.

Esta pesquisa buscou desenvolver um estudo em antropologia simbólica sobre o processo de autoformação do sujeito a partir da análise de um material de ficção autobiográfica. Este material foi elaborado com base no resgate e registro escrito de memórias da própria autora da pesquisa e teve seu início na escrita do memorial acadêmico, que forneceu elementos propícios para a compreensão do processo de formação de um eu-aprendiz. A ficção autobiográfica analisada, escrita anteriormente à pesquisa, tem como personagem principal a menina Alice, que vive suas aventuras em narrativas fantásticas, cujo simbolismo propicia uma análise fenomenológica sobre as emoções e experiências que, ao longo da vida, permitiram a formação do sujeito-autor deste trabalho, considerando-o mais do que um produto do meio social ou ambiental, mas um ser em constante formação, fruto também das suas escolhas e de suas próprias leituras do mundo. As experiências vividas e representadas no mundo simbólico de Alice consideram como parte de sua criação o contato com alguns mestres, que por meio da palavra e do convívio orientaram desejos e influenciaram escolhas ao longo da vida da autora. Para compreender a relação entre mestre e aprendiz vivida por Alice, partimos para o resgate de histórias de vida de dois mestres que tiveram papéis decisivos para a autora. Buscamos encontrar na autobiografia ficcional conexões entre estas histórias de vida, por via da mitohermenêutica, tentando entender como estas vidas foram sendo construídas e em que momento estas pessoas passaram a ser mestres e a autora, aprendiz. Uma busca sobre o eu e o outro que se constitui em mim. / This research aimed to develop an anthropological study about the subject`s self-formation process from the analysis of an autobiographical fiction. This material was elaborate based on the very author`s rescue and written record of memories and had its beginning on the writing of an academic memorial, providing favorable elements for the comprehension of the self-learner formation process. The autobiographic fiction analyzed was written before the research, has as its main subject the girl called Alice, that lived her adventures in fantastic narratives, whose symbolism foments an phenomenological analysis in the experiences and emotions that, during life, allowed the formation of this author-subjects work, considering herself more than a social and environmental media, but someone in constant formation, also a result of her choices and her own readings of the world. The experiences lived and represented in Alice`s symbolic world, consider, as part of her creation, the contact with some masters that through orality and acquaintanceship, determined desires and influenced choices along the authors life. To understand the relation between master and apprentice played by Alice, we start from the rescue of life stories of two masters that had decisive parts for the author-subject. We seek to find connections between these life stories in the fictional autobiography, via mitohermeneutics, trying to understand how these lives were being constructed and in what moment these people passed to be masters, and the author, apprentice. A search about the self, and the other that is constituted in me.

A presente dissertação busca compreender as afirmações da vida sem condicionantes, o amor fati, tal como foi compreendido por Nietzsche, nos processos formativos de educadores. Ao lado dessa noção, os conceitos de sujeitos em processualidade, corpo-de-sonho, autopoiéticos, (ou seja, sujeitos abertos aos riscos, sem garantias quaisquer) dialogam com a perspectiva trágica nietzschiana na apreensão das escolhas existenciais-profissionais do ser e tornar-se professor. Os procedimentos metodológicos provêm das técnicas da História Oral e das pesquisas que interligam as Ciências Sociais e a memória, mais precisamente aquelas produzidas pelo método autobiográfico. Para sua realização foram coletados e interpretados relatos autobiográficos de dois educadores, além de registros memorialísticos do próprio pesquisador, compreendidos no trabalho como narradores, sob a ótica de Walter Benjamim. Desse modo é possível apreender a complexidade de cada itinerário formativo, os impasses da narrativa no mundo contemporâneo, como já indicara Benjamim, e contribuir, na perspectiva de formação nietzscheana, para a crítica do ensino e da formação de educadores na atualidade. / This presentation aims to understand the statements of life without conditioning, the amor fati, as understood by Nietzsche, in the formative processes of educators. Alongside this notion, the concepts of subjects in processuality, body-of-dream, autopoietic subjects (i.e. open to risks, with no guarantees) dialogue with the tragic Nietzschean perspective in the capture of existential-professional choices of being and becoming a teacher. The methodology utilized in this work derives from the techniques of Oral History and from research interlinking social sciences and memory, namely those produced by the autobiographical method. We collected and interpreted autobiographical notes of two educators, as well as the researchers own memoirs, understood in this work as narrators, as defined by Walter Benjamin. That allowed us to grasp the complexity of each formative itinerary, the impasses of narrative in the contemporary world, as pointed out by Benjamin, and also to contribute to the critique of education and training of educators today, from the Nietzschean perspective of formation.

Orientador: Márcio Orlando Seligmann Silva / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-22T18:20:08Z (GMT). No. of bitstreams: 1 Loterio_GuaraciaraR._M.pdf: 1174598 bytes, checksum: 565d71131e7ef358643c47e9f2eba8d4 (MD5) Previous issue date: 2013 / Resumo: A intenção inicial desta pesquisa era analisar a maneira como se constitui o sujeito ao longo dos escritos confessionais de Walter Benjamin, levando em consideração os movimentos e possíveis transformações que lhe seriam essenciais. Para tanto, pretendi levar em conta a forma peculiar pela qual Benjamim se constrói como sujeito nessas narrativas, isto é, rompendo com a ideia de linearidade e transparência de si. Deste modo, o autor parece possibilitar o desenvolvimento de uma leitura alçada na imagem e na representação desse sujeito dentro da autoescritura. Tal leitura visa lidar com as constantes transformações - que, por vezes, chegam até mesmo a expressar contradições - sofridas pelo sujeito benjaminiano ao longo dos textos. No princípio, parti da hipótese de que o termo "confessional" e o termo "autobiográfico" seriam sinônimos. Deste modo, a pergunta pela "escrita confessional" benjaminiana se confundiria com a questão da autobiografia na obra do autor. Posteriormente, e por uma questão paradigmática no que tange ao andamento do trabalho, percebi que a escrita do sujeito benjaminiano mescla momentos confessionais e testemunhais, inaugurando, segundo creio, um novo viés dentro da escritura autobiográfica. Proponho-me a desenvolver este trabalho a partir da leitura das seguintes obras de Walter Benjamin: Infância em Berlim por Volta de 1900 (Berliner Kindheit um Neunzehnhundert); Crônica Berlinense (Berliner Chronik) e Diário de Moscou (Moskauer Tagebuch). Tal recorte foi feito tomando por base o realizado por Gerhard Richter em seu artigo "Acts of Self-Portraiture: Benjamin's Confessional and Literary Writings", publicado pela primeira vez em 2004 no The Cambridge Companion to Walter Benjamin1 / Abstract: The original intention of this research was to examine how the subject constitutes itself through the confessional writings of Walter Benjamin, taking into consideration the movements and possible changes that would be essential to it. Therefore, I wanted to take into account the peculiar way in which Benjamin constitutes it as a subject into these narratives, i.e., rupturing the idea of linearity and transparency of it. Thus, the author appears to enable the development of competence in a read image and a representation of the subject within his 'self writing'. This reading aims to deal with the constant transformations - which sometimes even expresses contradictions - suffered by Benjamin's subject over the texts. At the beginning, I staged the hypothesis that the term "confessional" and the term "autobiographical" were synonymous. Thus, the question of Benjamin's "confessional writing" became merged with the matter of autobiography in his works. Later, as a paradigm regarding the working process, I realized that Benjamin's 'self writing' and its subject merge confessional and testimonial moments, presenting what I think it is a new bias into the autobiographical writing. I propose to develop this work from the following works of Walter Benjamin: Berlin Childhood around 1900 (Berliner Kindheit one Neunzehnhundert); Berliner's Chronicle (Berliner Chronik) and Moscow's Diary (Moskauer Tagebuch). This selection was done by taking the base held by Gerhard Richter in his article "Acts of Self-Portraiture: Benjamin's Confessional and Literary Writings", first published in 2004 in The Cambridge Companion to Walter Benjamin.2 / Mestrado / Teoria e Critica Literaria / Mestra em Teoria e História Literária

Orientador: Lygia Arcuri Eluf / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T13:06:48Z (GMT). No. of bitstreams: 1 Brescancini_NataliaFernandes_M.pdf: 45111906 bytes, checksum: 8a206e1ce7e615f3b3dceade4621f87b (MD5) Previous issue date: 2012 / Resumo: O estudo propõe uma investigação sobre o processo criativo, a partir da execução e análise de uma série de pinturas - autorretratos - realizadas entre 2008 e 2011. Os eixos estruturais de organização são o uso da cor como elemento fundamental para a construção do espaço pictórico e os diferentes modos de registrar as etapas do processo. Foram estabelecidos contrapontos com a produção de algumas artistas contemporâneas cuja abordagem das questões de linguagem e da representação do próprio corpo são um parâmetro importante para minhas reflexões sobre a prática e a técnica / Abstract: The research proposes an investigation into the creative processes, from the execution and analysis of a series of paintings - self-portraits - produced in between 2008 e 2011. The structural organization are the use of color as a key element in the construction of pictorial space and the different ways to record the steps of the process. Counterpoints have been established with the production of some contemporary artists whose approach to issues of language and representation of their own body are an important parameter for my reflections on the practical and technical / Mestrado / Artes Visuais / Mestre em Artes

This thesis examines the belief that ideologies about blindness which have their provenance in religious, mythical and symbolic belief are 'infused into our literature and art' to become 'an important part of the way we perceive ourselves and others'. Depictions of the enduring power and influence ot symbolic belief is examined in fictional and autobiographical writings from 1600-1995. The history of theories of causation of disease in general is discussed in the first chapter. This is tollowed in the second chapter by an examination of the myths, meanings, symbols and ideologies which have become attached to blindness from pre-Christian times to the present day. The third chapter is devoted to an assessment of the influential meanings given to his own blindness by the poet John Milton and to an appraisal oi the responses, in the following century and a half, both by his adherents, notably Marveli, Dryden and the Romantic Poets, and his detractors, not least among whom was Samuel Johnson. The tollowing two chapters are given to an examination of the influence of ideology on depictions of blindness in Nineteenth and twentieth Century literature. Special attention is given to portrayals of blindness in recent works for children, in view of the belief and recommendation that writings about and for handicapped children should be realistic and tree from stereotype. Both chapters are underpinned by brief surveys of the then current social situation of the blind and of the state of medical knowledge at the time. Finally, fictional representations of blindness are compared with a number of experiental accounts taken from autobiographies of blind people written between 1870-1990.

Ce travail de recherche s’inscrit dans le cadre d’une étude de genre, celui de la photobiographie, qui englobe tous types de livres autobiographiques dans lesquels la photo (mentionnée, décrite ou effectivement reproduite) joue un rôle central. Il s’appuie sur les œuvres de trois auteurs emblématiques, Roland Barthes, Denis Roche et Annie Ernaux, qui se rejoignent autour de leur commun désir de capter une trace de leur existence en s’en tenant au plus près de la réalité concrète du vécu, conformément au modèle d’enregistrement photographique. Dans cette perspective, leurs démarches respectives sont traversées par une même problématique de l’écriture de notation de la vie qui bouleverse considérablement les enjeux du genre autobiographique traditionnel. Dans le travail de Barthes, la photo offre non seulement le modèle d’une écriture notationnelle du présent, mais elle pourvoie également des « biographèmes » studium et punctum construisant un sujet fragmenté. Roche se pose pour sa part comme un praticien accumulant inlassablement des dépôts graphiques de vie, et les incluant occasionnellement dans divers dispositifs faisant valoir les caractéristiques essentielles de la photographie (instantanéité, mécanicité, exposabilité, sérialité). Quant à Ernaux, elle inscrit davantage son entreprise « auto-socio-biographique » dans l’optique d’un témoignage sociologique et historique, et se sert de la photo pour révéler la part d’altérité et la dimension collective dans le « moi ». Les trois oeuvres formant ce corpus appartiennent en définitive à un paradigme argentique ancré dans la fin du XXème siècle, et sur le point de disparaître à l’aube du XXIème, celui de la technologie numérique. / This thesis examines the literary genre of photobiography, which encompasses autobiographical works in which photographs play an essential role, be they reproduced or merely described within the text. It focuses more specifically on the works of three contemporary photobiographers, Roland Barthes, Denis Roche and Annie Ernaux. These authors share a desire to capture material traces of their own existence and to grasp the concrete reality of their lives. In doing so, they follow the model of photographic recording and produce a notational form of life writing that significantly challenges traditional autobiography. In Barthes’s photobiographical project, the photograph is not only viewed as an exemplary form of the notation of the present, but also provides a number of studium and punctum ‘biographemes’ that eventually construct a fragmented autobiographical subject. Roche’s photobiographical activity is that of a practitioner (he is both a photographer and a writer) and consists in ceaselessly accumulating graphic ‘deposits’ of life and in incorporating them within intermedial devices that exploit the principal characteristics of photography (instantaneity, mechanicity, exposability, seriality). Finally, Ernaux’s ‘auto-socio-biographical’ work provides a sociological and historical testimony that makes use of the photograph to reveal the collective dimension and alterity of the ‘self’. This body of work belongs to the paradigm of analogue photography, which is anchored in the twentieth century and is on the verge of disappearing at the dawn of the twenty-first.

Aim: The aim of this study is to find a deeper understanding of how children who are exposed to child abuse cope and how it affect the contact between them and the public authority. Method: It is a qualitative study and the autobiographies are analyzed with a hermeneutic science theory. Result: The study shows that the children we have learned about through their autobiographies has different kinds of coping strategies in the contact with the public authority. The coping strategies has been helpful for them to handle what they have been exposed to and also from their perspective been helpful to control their situations. The coping strategy that has been the most visible is the emotional focused strategy which is determined of guilt, shame and fear. The emotional focused strategy brought avoidance to talk about their situation with the public authority to be able to stay in control over their situation. The shame and guilt is also a part why the children choose to avoid talking about what they are exposed to. The fear of losing control over the situation is the most visible reason why they would not talk to the public authority even though their childhood was striked with serious abuse and a great fear of not knowing what would happen if the public authority got involved which would result in the feeling of losing control. Conclusion: The children's coping strategies has made an impact on the relations between them and the public authority and has been an conductive variable to the public authorities lack of action. As a social worker it is in greatest interest to be aware of which coping strategies can figure in matters of child abuse.

This thesis is concerned with the specific genre of biographical literature - autobiographies of czech rock musicians. Since the terminology in the topic of the thesis is unclear, the author is first going to define it. Furthermore it asks the question of who really is a old-timer as well as who is a rocker. The material studied are texts in which the narrator recalls his past life and tries to reconstruct their path of life. The author seeks thematic and formal parallels in the chosen autobiographies. Using these the author intends to define the specifics of the rock autobiography genre in the Czech Republic. Key words: rock, autobiography, old-timer, rock musician, stereotype