Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Bakalauro darbe nagrinėjama Vinco Mykolaičio-Putino asmenybės savivokos atspindys autobiografiniuose kūriniuose Autobiografijos vietoje ir Atsiminimai bei romane Altorių šešėly Bakalauro darbo objektas – Vinco Mykolaičio-Putino autobiografiniai kūriniai Autobiografijos vietoje, Atsiminimai ir romanas Altorių šešėly. Tikslas – atskleisti Vinco Mykolaičio-Putino autobiografinių kūrinių Atsiminimai, Autobiografijos vietoje ir romano Altorių šešėly autobiografiškumo apraiškas ir kūrėjo savivoką. Šio tikslo siekiama analizuojant Vinco Mykolaičio-Putino autobiografinius kūrinius Atsiminimai ir Autobiografijos vietoje bei romaną Altorių šešėly. Tikslui pasiekti darbe keliami tokie uždaviniai: 1. Apžvelgti autobiografijos žanro, romano teorinius pagrindus, nustatyti šių žanrų sąlyčio taškus ir skirtis; 2. Išsiaiškinti Vinco Mykolaičio-Putino autobiografinių kūrinių atitikimą autobiografijos teoretiko Philippe`o Lajeun`o sukurtam autobiografijos žanro modeliui; 3. Įrodyti romano Altorių šešėly autobiografiškumą; Autobiografijos žanro teorijos analizė padėjo išskirti esminius žanro elementus: autoriaus poziciją, tikrovės ir fikcijos santykį Vinco Mykolaičio-Putino kūriniuose, atminties ir patikimumo reikšmę. Paaiškėjo, kad Putino autobiografiniai kūriniai šabloniški, juos galėtume laikyti tik autobiografinėmis užuomazgomis. Autobiografiniai kūriniai nepasižymi išgyventos patirties turtingumu ir įvairove, dažnai autorius slepiasi, dangsto savo tikruosius jausmus ir ketinimus... [toliau žr. visą tekstą] / In the Bachelor’s paper there is analysed a self-perception’s reflection of Vincas Mykolaitis-Putinas’ personality in the autobiographical works Autobiografijos vietoje and Atsiminimai and novel Altorių šešėly. Object of the bachelor’s paper is Vincas Mykolaitis-Putinas’ autobiographical works Autobiografijos vietoje and Atsiminimai and novel Altorių šešėly. Aim of the bachelor’s paper is to reveal autobiographical manifestations and the author’s self-perception in Vincas Mykolaitis-Putinas’ autobiographical works Autobiografijos vietoje and Atsiminimai and novel Altorių šešėly. This aim is achieved by analysing Vincas Mykolaitis-Putinas’ autobiographical works Autobiografijos vietoje and Atsiminimai and novel Altorių šešėly. To achieve the aim in the paper there are raised the following tasks: 1. To review theoretical basis of the autobiographical genre, novel, to establish the points of these genres’ contact and difference; 2. To ascertain the compliance of Vincas Mykolaitis-Putinas’ autobiographical works with the autobiographical genre’s model developed by the theorist of autobiography Philippe Le Jeune; 3. To prove the autobiographicity of the novel Altorių šešėly. Analysis of the autobiographical genre’s theory helped to highlight essential elements of the genre: author’s position, ratio of reality and fiction in Vincas Mykolaitis-Putinas’ works, importance of memory and reliability. It emerged that Vincas Mykolaitis-Putinas’ autobiographical works are stereotyped which... [to full text]

À partir de courts récits, la narratrice reconstitue le passé d’une famille. Le personnage central, une petite fille, est la narratrice qui retrace les événements qui ont mené à l’éclatement de la cellule familiale. Cette histoire autobiographique est rédigée au « elle » dans un souci de se distancier de ce passé. La petite fille a grandi et la narratrice qu’elle est devenue se réapproprie son héritage : la possibilité d’écrire cette histoire. Dans l’œuvre de Marguerite Duras, les lieux sont souvent sollicités pour participer à la narration des événements. Dans La pute de la côte normande et Écrire, deux œuvres autobiographiques rédigées au « je », les lieux sont ceux du quotidien. Ceux-ci sont révélateurs de la psychologie de l’auteure et se mêlent à la préoccupation d’écrire. Ainsi, Marguerite Duras, ses lieux et son écriture se retrouvent-ils liés par le langage de l’auteure, lequel témoigne du vide laissé par la mort de son père. / Through short accounts, the narrator reconstitutes the past of a family. The main character, a young girl, is the narrator attempting to trace the events which led to the break-up of her family cell. Seeking to distance herself from this past, she delivers the auto-biographical story using the third person. The little girl has grown up, and the narrator she has become attempts to reclaim her heritage: the possibility of writing this story. In Marguerite Duras’ work, the presence of surroundings is often solicited to participate in narrating the events. In La pute de la côte normande and Écrire, two auto-biographical works written in the first person, the places evoked are those sheltering her everyday life. Those are revealing of the author’s psychology and intertwine with the concern of writing. Marguerite Duras, her surroundings and her writing style become bound to one another by the author’s language, which reveals the void caused by her father’s death.

Es planteja el caràcter bifront del gènere autobiogràfic. Siegfried Sassoon, poeta i combatent de la Primera Guerra Mundial, és l'autor de les memòries de George Sherston que narren la infantesa i joventut del protagonista en l'entorn rural idíl·lic del sud d'Anglaterra i, després, la seva participació al front occidental. Tanmateix, resulta difícil adscriure aquestes memòries a la ficció pel sol fet que els noms de l'autor i el narrador-protagonista no coincideixin. La trilogia autobiogràfica de Sherston narra amb precisió documental les vicissituds biogràfiques més rellevants de Sassoon. Ficció i autobiografia, història i memòria configuren alguns dels trets distintius d'una narració que explora i explota la hibridesa genèrica. / The dual nature of the autobiography genre is approached. Siegfried Sassoon, poet and combatant in the First World War, is the author of the memoirs of George Sherston, which narrate the childhood and youth of the protagonist in the idyllic rural environment of southern England followed by his participation on the Western Front. However, it is difficult to label these memoirs as fiction only because the names of the author and the narrator-protagonist are not the same. Sherston's autobiographical trilogy narrates with documentary accuracy the most relevant biographical vicissitudes of Sassoon. Fiction and autobiography, history and memory make up some of the distinctive traits of a narrative that explores and exploits the hybridism of the genre.

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During my years as a Cabinet Minister in New Zealand, the relationship between a Minister and his key officials was strongly modelled on the Westminster system as then applied in Britain. As in Britain, the ministers were the product of the political and parliamentary processes. The leader of the political party with the majority in the House was called upon by the Queen's representative (our Governor General) to form the new Government. All Ministerial appointees were necessarily chosen entirely from members then in Parliament. As in Britain, also, the key officials to serve each Minister in their portfolios were provided by the career Public Service, the long-serving body of officials who were there to advise and manage the system for successive governments. The Minister did not choose his departmental head, nor did that departmental head choose his minister. There were many assumptions inherited from the past which helped to make the relationship work. Policy decisions were shaped by the Minister representing the political side of the equation. Execution and management was carried out by the head official, responsible for the operation of the bureaucratic machine he headed. In explaining my thesis message - "Managing Change as a Minister of the Crown" - a very strong autobiographical dimension to my experience and comments is inevitable. In the political setting, the relationship between Minister and Head of Department, though a key factor, is but one of many. All change affects many people - some positively and beneficially, and some the reverse. The effects of change can be anticipated rather than actually felt. Perceptions can sometimes become bigger problems to manage than realised consequences. Change in politics invariably reaches out far beyond those obviously and directly affected. Handling change therefore involves making plans for how one can best point the change in a forward-looking and constructive way, and put a socially positive spin on one's efforts and the outcome. If one's efforts are done openly, and one's arguments are well founded, real progress can be made. One of life's constants is change itself. It affects us all in some measure. In communities categorized as "developed", it can be particularly fast and sweeping. This means, inevitably, that the forms of its infrastructures - from public services to business enterprises - which enable society and the economy to function effectively must adapt, and constructively, to those changes. From my experience, in facing a variety of problems calling for change in handling portfolio responsibilities, I have found every case is different from the others, and each solution had to be shaped to meet the characteristics of that particular case. The only common denominator I would call the "people factor". Compounding the challenge, that "people factor" had to be fashioned as appropriate for the personalities with whom I was working, and the characteristics of the problem being addressed. I did, however, find that there were some common fundamentals in the "people factor" which I address in my conclusion. They helped facilitate co-operation in managing change.

Zugl.: München, Univ., Diss., 2008

Thesis (M.A. of Arts)--Miami University, Dept. of Spanish and Portuguese, 2008. / Title from first page of PDF document. Includes bibliographical references (p. 34-36).

Thesis (M.A.)--Miami University, Dept. of English, 2007. / Title from first page of PDF document. Includes bibliographical references (p. 59-61).