Orientador: Adilson Nascimento de Jesus / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-24T23:04:54Z (GMT). No. of bitstreams: 1 Silva_NadiaMassagardiCaetanoda_M.pdf: 4965160 bytes, checksum: 73c65fe8b5bd57304650ded87e15dbf9 (MD5) Previous issue date: 2014 / Resumo: A pesquisa configura-se como uma reflexão autobiográfica sobre os processos criativos vivenciados entre professora e crianças de uma instituição pública de educação infantil. Apresentada no formato de uma jornada heroica, a dissertação compõe-se de um entrecruzamento entre as subjetividades da professora pesquisadora e as peculiaridades das experiências vivenciadas com as crianças. Através da observação de três experiências de criação e produção de filmes com algumas turmas de crianças, tem-se um olhar reflexivo sobre a constituição da identidade docente da pesquisadora que aqui se apresenta como sujeito e objeto da pesquisa. Ao refletir sobre as diferentes experiências, buscou-se encontrar indícios dos fatores que justificam determinadas conexões criativas / Abstract: The research appears as an autobiographical reflection on the creative processes experienced between the teacher and children in a public institution of early childhood education. Presented in the format of a heroic journey, the dissertation consists of an interweaving of subjectivities of the teacher-researcher and the peculiarities of the experiences with children. Through the observation of practices of creation and production of animated films with three different groups of children, the teacher takes a thoughtful look at the construction of the teacher identity of who is presented here as subject and object of the research. Reflecting about the three experiences, we sought to find evidence for the factors that justify certain creative connections / Mestrado / Educação, Conhecimento, Linguagem e Arte / Mestra em Educação

Orientador: Eric Mitchell Sabinson / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-21T14:58:23Z (GMT). No. of bitstreams: 1 Diniz_Cristiano_M.pdf: 2308544 bytes, checksum: a738dacf8717ff4931c92a90408ac489 (MD5) Previous issue date: 2012 / Resumo: Hilda Hilst (1930-2004) é considerada pela crítica uma das maiores expressões da literatura brasileira contemporânea. São quase cinco décadas de produção poética e três de prosa de ficção, além de oito peças teatrais e um conjunto de crônicas publicadas no jornal Correio Popular de Campinas entre 1992 e 1995. A escritora concedeu quase uma centena de entrevistas durante sua trajetória literária. Esses diálogos começaram logo no início de sua carreira nos anos cinquenta e foram até poucos meses antes de seu falecimento. O objetivo principal desta dissertação foi reunir um conjunto dessas entrevistas e analisar as imagens construídas por Hilst em torno de si mesma e de seus escritos. Devido ao longo período que a autora se dedicou à literatura, a dissertação destacou, principalmente, as mudanças ocorridas em seu discurso. Para tanto, procurou reunir entrevistas que buscaram ir além da publicidade e da divulgação de uma obra específica, ou seja, que tentou explorar de maneira mais ampla a experiência pessoal da escritora, sua visão de mundo, da história e da literatura contemporânea e dos sujeitos que as compõem. A reunião se inicia em 1952, quando Hilst contava apenas com dois livros publicados, mas, já tinha o reconhecimento da crítica, e termina com uma entrevista realizada em 2003 / Abstract: Hilda Hilst is considered by critics as one of the greatest voices of contemporary Brazilian literature. The author's work consists of almost five decades of poetry production and three of prose fiction, plus eight theatrical plays and a set of chronicles published in the newspaper Correio Popular (Campinas, São Paulo), between 1992 and 1995. The author gave almost a hundred interviews during her literary career. These dialogues started early in her career in the fifties and lasted until few months before her death. The main objective of this dissertation was to gather a set of these interviews and analyze the images constructed by Hilst around herself and her writings. Due to the long period the author devoted herself to the literature, the dissertation points out the changes in her discourse. To do so, it has gathered interviews that went beyond the promotion and dissemination of a particular work that is those that tried to explore more fully the author's personal experience, her world view of the history and contemporary literature and the individuals who compose it. The collection begins with interviews from 1952, when Hilst had only two published books. She had, however, already won the critical acclaim. Her last interview was conceded in 2003 / Mestrado / Teoria Literaria / Mestre em Teoria e História Literária

Bakgrund: Bipolär sjukdom breder ut sig allt mer i Sverige och orsakar stort lidande för den drabbade individen. Sjukdomen pendlar mellan återkommande maniska och depressiva skov, som sliter både fysiskt och psykiskt. Sjukdomen har hög dödlighet och kräver förståelse och kunskap från sjuksköterskor, som med rätt medel kan göra skillnad för människor som lever med bipolär sjukdom. Syfte: Att beskriva patienters upplevelser av hur bipolär sjukdom påverkar det dagliga livet. Metod: Kvalitativ innehållsanalys med induktiv ansats. Datan samlades ur självbiografier författade av personer med bipolär sjukdom. Resultat: Ur analysen av datamaterialet framträdde två teman: Leva mellan ytterligheter och Känna sig utanför med nio subteman. Konklusion: Att leva med bipolär sjukdom innebär ofta stort lidande, med kroppsliga och mentala besvär. Sjuksköterskor har stora möjligheter att lindra detta lidande, men behöver då kunskap och förståelse för livet med bipolär sjukdom. / Background: Bipolar disease keeps spreading across Sweden and causes great suffering. The disease alternates between recurrent manic and depressive relapses, taking its toll both physically and mentally. The disease has a high mortality and nurses need understanding and knowledge to find the right tools with which they are able to make a difference for people with bipolar disease. Aim: To describe patients experiences of the influence of bipolar disease in the daily life. Method: A qualitative content analysis with an inductive approach. The data was gathered from autobiographies written by people diagnosed with bipolar disease. Result: From the analysis of data material two themes emerged: Living between extremes and Feelings of not fitting in and being singled out. The informants experienced great contrasts in the symptoms, from complete darkness to feelings of invincibility with nine subthemes. Conclusion: Life with bipolar disease causes great suffering, both mentally and physically. Nurses have the opportunity to ease this suffering, but this will need knowledge and understanding of bipolar disease.

Dès le XVIIIe siècle, des Amérindiens ont raconté leur vie en s'appropriant les codes sémiotiques de la société dominante anglo-américaine blanche : l'anglais, l'écriture alphabétique, la production de textes destinés à être lus.Teintées d'une hybridité générique mêlant, souvent de manière subversive, des pratiques narratives, rhétoriques et discursives issues des mondes amérindien et anglo-américain, ces autobiographies donnent à lire pourquoi et comment leurs auteurs ont abordé le thème ambivalent de l'hybridité socio-culturelle et identitaire dans le contexte tendu de la colonisation.Dans une étude en trois parties (se présenter, se raconter, se recomposer), nous montrerons comment et pourquoi des Amérindiens ont fait le choix de s'exprimer dans des textes autobiogaphiques écrits en anglais. Nous analyseronscomment le fond et la forme interagissent pour créer une « performance » narrative, une poét(h)ique de la créolisation, de laquelle émerge une identité stylistique et conjonctive valorisante à travers les textes de cinq auteurs : les textes du Mohegan Samson Occom (1765 et 1768), les deux récits du Pequot William Apess (A Son of the Forest de 1829 et 1831, « The Experience of the Missionary » de 1833), Life Among the Piutes de la Paiute Sarah Winnemucca Hopkins (1883), History of the Ottawa and Chippewa Indians of Michigan de l'Ottawa Andrew Blackbird (1887), The Middle Five: Indian Boys at School de l'Omaha Francis La Flesche (1900). / As early as the 18th century, some Native American Indians began to give accounts of their lives in autobiographical texts using, often subversively, the semiotic codes of the white, dominant, Anglo-American society: English, alphabetical writing, texts made to be read. As hybrid compositions which combine discursive, rhetorical, and narrative practices from both the Native and Anglo-American worlds, these autobiographies also reveal how and why their authors address the ambivalent issue of socio-cultural and identity hybridity in the tense context of colonization.In a three-part rationale (to present oneself, to narrate oneself, to recompose oneself), this dissertation intends to investigate how, in these texts, the form is responsive to the content in order to create a narrative “performance,” a sort of “aesthet(h)ics” of creolization, from which spawns a valorizing stylistic and conjunctive identity. The autobiographies of five authors furnish the basis of our analysis: Mohegan Samson Occom's untitled manuscripts of1765 and 1768, Pequot William Apess's three different versions (1829 A Son of the Forest, revised in 1831, and “TheExperience of the Missionary,” 1833), Paiute Sarah Winnemucca Hopkins's Life Among the Piutes (1883), OttawaAndrew Blackbird's History of the Ottawa and Chippewa Indians of Michigan (1887), Omaha Francis La Flesche's TheMiddle Five: Indian Boys at School (1900).

Cette étude examine le canon littéraire d'Alice Walker et explore les différentes dimensions de sa philosophie du « womanism » par rapport à la double oppression des femmes noires américaines. Elle explore les liens qui peuvent émerger entre la politique et l'esthétique ainsi que l'impact des éléments autobiographiques sur l'œuvre de fiction. La première partie traite de la représentation fictive du mouvement des Droits Civiques dans Meridian (1976) et explore l'activisme politique de Walker pendant les années 1960. La deuxième partie se concentre sur l'analyse théorique du « womanism » et propose une étude de The Color Purple (1982) qui explore la violence conjugale dans la communauté noire et dépeint le poids de la solidarité féminine. Enfin, la troisième partie se penche sur le sujet controversé de la mutilation génitale des femmes (excision) et sa représentation dans Possessing the Secret of Joy (1992) et Warrior Marks (1993). En somme, les écrits de fiction de Walker affichent une interprétation significative des réalités politiques de l'oppression institutionnalisée entre les sexes, aux Etats-Unis et dans le monde. / The purpose of this study is to examine Alice Walker's literary canon and to investigate the different dimensions of her womanist philosophy regarding the racial and gender oppression of African American women. This research explores the links that may emerge between politics and aesthetics as well as the impact of autobiographical elements on the work of fiction. It displays the weight of Walker's womanist contribution in black literature and her ability to offer new definitions of blackness and womanhood. The first part deals with the fictional representation of the Civil Rights Movement in Meridian (1976) and explores Walker's own political activism in the 1960s. The second part centers on a theoretical analysis of womanism and offers a study of The Color Purple (1982) which explores domestic violence in the black community. Finally, the third part delves into the controversial subject of Female Genital Mutilation and its representation in Possessing the Secret of Joy (1992). In sum, Walker's fictional writings display a significant interpretation of the political realities of institutionalized gender oppression in the USA and around the world.

The life of Henri-Pierre Roché (1879 – 1959), art collector, journalist, writer, finds its singular rhythm in a continual meandering between dispersion and the search for unifying harmony. This dispersion – moral and physical – appears to represent a necessary evil for him since he considers his vocation to be the gathering of human experiences from as wide a spectrum as possible in order to create a work that would be useful to society, that would lead to better understanding of issues such as political harmony, eroticism and polygamy. The dissertation consists of a detailed biographical study which covers Roché’s formative years until the publication of his first literary works (1879 – 1907). A biographical summary of the remainder of his life is followed by a chapter on his first major publication, Don Juan et... , which has not formed the subject of any literary analysis prior to this. The third chapter consists of an interpretation of Roché’s novel Deux Anglaises et le Continent as both a work of initiation and an initiation to his work, illustrating how it introduces themes that recur in two further novels, Jules et Jim and Victor. Through his way of life, Roché’s life becomes his most extensive and involved œuvre. This dissertation traces the roots of his propensity for dispersion and lack of unity, to his childhood and specifically to the form of education advocated by his mother Clara Roché. This attribute surfaces again in Roché’s keeping of a personal diary, spanning almost sixty years, in which he compulsively observes and notes his own behaviour and that of those around him. The diary emphasises and prepares the fragmentary, compressed style and open-ended writing which would later become Roché’s trademark. Abandoning his studies in political science, Roché sets out on a career which has much in common with the lives dilettante intellectuals fashion for themselves towards the end of the 19th century. His first human project, formulated around 1902, is an attempt to understand the mystery of erotic love and the possibilities of sexual relationships. To this end, he transforms his own life into a kind of laboratory. At a time when France has hostile inclinations towards Britain and Germany, Roché undertakes extensive journeys to these countries, learning the languages and opening himself to literary, social and philosophical influences. The dissertation pays particular attention to the analysis of these influences, an area which has not yet been covered by any other research. Through a detailed interpretation of Don Juan et..., the nature of seduction and desire is examined in the context of the literary myth of Don Juan and the association between fragmentation and desire is emphasised. In conclusion, the association between desire and its written expression is examined and found to be reflected in Roché’s fragmentary writing, through which he appears to find a solution/ compromise in the form of voluntary incompleteness compensating for his failure in the impossible quest for unity. / Thesis (DLitt)--University of Pretoria, 2009. / Modern European Languages / unrestricted

This study explores the social ‘vision’ of three Shona women writers vis-à-vis their Zimbabwean society, attempting to ascertain whether this vision is entrenched in the post-independence context or has been shaped by the whole canvas of colonization and its impact on Shona society. For this purpose, Tsitsi Dangarembga’s Nervous Conditions (1988), Yvonne Vera’s Why Don’t You Carve Other Animals (1992) and Freedom Nyamubaya’s Dusk of Dawn (1995) have been selected to explore the representation of Zimbabwean society in different artistic genres. The approach is mainly socio-historical, examining the selected texts in the context of Zimbabwean history and paying attention to how the socio-political dynamics in both colonial Rhodesia and post-independence Zimbabwe influence the creative output of Zimbabwean writers, in general, and of the selected writers, in particular. In addition, this study refers to other aspects of literary theory, especially African feminist theories, since all three writers discuss the plight of black African women. This study consists of four chapters arranged according to the historical period in which the texts are set, which coincides with publication date. Chapter One provides a general background to Zimbabwean writing in English to root the study in the socio-historical experiences of the country. This chapter thus considers the works of both white and black writers. Chapter Two discusses Nervous Conditions, critiquing it as a women’s narrative in a social realist mode, because it portrays the social and political forces as significant shapers of human lives. Chapter Three analyzes Why Don’t You Carve Other Animals as a text in the fabulist mode, which re-imagines cultural and literary politics. Nyamubaya’s poetry, discussed in Chapter Four, is autobiographical and ideological. It revisits the Zimbabwean liberation war, situating it within both the private and national spheres, and arguing that such a standpoint emanates from Nyamubaya’s need to make sense of her own experiences during the war and in post-independence Zimbabwe. In conclusion, the study summarizes the major findings of the research, analyzing these against the background to Zimbabwean writing in English given in Chapter One. / Dissertation (MA (English))--University of Pretoria, 2007. / English / unrestricted

L’œuvre de De Quincey s’inscrit à la croisée de trois concepts presque indéfinissables : autobiographie, romantisme, et une dimension trop souvent négligée, l’ironie. Qu’elle soit rhétorique, tragique ou « romantique », l’ironie exprime parfaitement les multiples contradictions du mangeur d’opium : outil rhétorique de confrontation et d’autodérision, individualiste et communautaire, sociable et provocatrice, l’ironie est à la fois l’instrument d’une rédemption et l’expression d’un profond malaise, une façon de se mettre en avant comme de s’effacer totalement. Entre Romantisme et Victorianisme, De Quincey interroge les limites de son identité et de son statut d’intellectuel, et reste réticent à exploiter le potentiel subversif de la parodie : l’ironie semble alors s’effacer derrière ses protestations nostalgiques et autocritiques. Pourtant elle sous-tend pour une bonne part la vitalité et la diversité de l’écriture des essais, dont elle manifeste une modernité largement sous-estimée, tant par les critiques que par De Quincey lui-même. L’ironie permet finalement d’esquisser une unité qui recentre les Confessions au cœur de la diversité de l’œuvre, plutôt qu’à la marge d’un ensemble hétéroclite au statut incertain. / Studying the works of De Quincey necessarily leads to three concepts almost impossible to define: autobiography, Romanticism, and all-too neglected irony. Whether rhetorical, tragic or “romantic”, irony expresses perfectly the many contradictions of the opium-eater. As the rhetorical tool of conflict and self-derision, claiming both individualistic and community values, sociable and provoking, irony is the way to redemption as much as the expression of deep unease, a way of pushing himself forward, or of withdrawing into the background. Caught between Romanticism and Victorianism, De Quincey questions the limits of his own identity and his status as an intellectual, and exploits reluctantly the potential subversion of parody, so that irony seems to yield to nostalgia and self-derogatory laments. And yet it can be said to underlie the vitality and diversity of the essays, whose modernity has been greatly underestimated by the critics and by De Quincey himself, as well. Finally, irony allows us to re-evaluate the Confessions as the centre of a unified, though diverse, set of writing, rather than as one of many, rather ill-assorted essays of unequal value.

This thesis considers elements of autobiography and autobiographical fiction in the writings of three female Modernists: Jean Rhys, Gertrude Stein and Djuna Barnes. In chapter 1, after drawing distinctions between male and female autobiographical writing, I discuss key male autobiographical fictions of the Modernist period by D.H. Lawrence, Marcel Proust and James Joyce, and their debt to the nineteenth century literary forms of the Bildungsroman and the Künstlerroman. I relate these texts to key European writers, Andre Gide and Colette, and to works by women based on two separate female Modernist aesthetics: first, the school of "lyrical transcendence"—Dorothy Richardson, Katherine Mansfield and Virginia Woolf—in whose works the self as literary subject dissolves into a renunciatory "female impressionism;" the second group—Rhys, Stein and Barnes--who as late-modernists, offer radically "objectified" self-portraits in fiction which act as critiques and revisions of both male and female Modernist fiction of earlier decades. In chapter 2, I discuss Jean Rhys' objectification of female self-consciousness through her analysis of alienation in two different settings: the Caribbean and the cities of Europe. As an outsider in both situations, Rhys presents an unorthodox counter-vision. In her fictions of the 1930's, she deliberately revises earlier Modernist representations, by both male and female writers, of female self-consciousness. In the process, she offers a simultaneous critique of both social and literary conventions. In chapter 3, I consider Gertrude Stein's career-long experiments with the rendering of consciousness in a variety of literary forms, noting her growing concern throughout the 1920's and 1930's with the role of autobiography in writing. In a close reading of The Autobiography of Alice B. Toklas, I examine Stein's parody and "deconstruction" of the autobiographical form and the Modernist conception of the self based on memory, association and desire. Her witty attack on the conventions of narrative produces a new kind of fictional self-portraiture, drawing heavily on the visual arts to create new prose forms as well as to dismantle old ones. Chapter 4 focuses on Djuna Barnes' metaphorical representations of the self in prose fiction, which re-interpret the Modernist notion of the self, by means of an androgynous fictional poetics. In her American and European fictions she extends the notion of the work of art as a formal, self-referential and self-contained "world" by subverting it with the use of a late-modern, "high camp" imagery to create new types of narrative structure. These women's major works, appearing in the 1930's, mark a second wave of Modernism, which revises and in certain ways subverts the first. Hence, these are studies in "late Modernism" and in my conclusion I will consider the distinguishing features of this transitional period, the 1930's, and the questions it provokes about the idea of periodization in general. / Arts, Faculty of / English, Department of / Graduate

This study is aimed at elucidating the meaning of therapeutic change within the context of a person's life story. The author believes that delineation of therapeutic change within this context may help to overcome the incongruence among counselling theory, research, practice, and the experience of counselling clients. After reviewing the traditional literature on therapy outcome and change, the new options coming from narrative approaches were considered. The qualitative method of a multiple-case study was chosen as the most appropriate for the posed question. Three participants in this project completed either individual (1 woman) or group (1 woman and 1 man) therapy, and believed that they achieved a substantial therapeutic change; all of them had written their autobiography in the beginning of their therapy. In each case study, the autobiography was interpreted, the interpretation refined in the Life story interview, and validated in another interview with the participant. Then the Current life interview and the Interview with a significant other were conducted, and the Portrait of change was construed; again, the product was reviewed and validated with the participant. All interpretations, and the videotapes of interviews were reviewed by two independent judges. The three Portraits of change were mutually compared, and the working delineation of the therapeutic change within the context of a person's life story was abstracted from this comparison. In all 3 cases, the change seemed to be connected with a substantial reinterpretation of the individual's life story. This reinterpretation seemed to be based on the change of the individual's fundamental beliefs about self and others in-the-world, on greater and more flexible acceptance of self and others in their relational complexity, and on positioning one's Self as an agentic hero in his or her own life story. These changes were also reflected in the genre, the formal structure, and the explanatory reasoning of the new stories the participants told about their current lives, and lived by. The limitations of this study, and the implications of the findings for counselling theory, practice, and future research are discussed. / Education, Faculty of / Educational and Counselling Psychology, and Special Education (ECPS), Department of / Graduate