This essay presents a literary analysis of the autobiography Educated (2018) by Tara Westover. The analysis examines to what extent Westover’s story conforms and subverts the genre conventions of the Bildungsroman and the autobiography. An overview of the genre constitutions is therefore provided. In addition, the essay focuses on the use of the autobiography in the English as a Foreign Language (EFL) classroom. Besides creating an arena for critical discussion and reflection in the Swedish upper secondary school, the autobiography may also encourage students to share their own stories. The findings show that Educated both conforms to and subverts the Bildungsroman genre. It is concluded that Westover’s autobiography challenges traditional genre conventions and may serve as a valuable tool in the EFL classroom.

It is widely believed among developmental psychologists that old age is a distinct developmental stage with unique goals, struggles and opportunities for growth. Achieving integrity involves making sense of disparate aspects of one's life and seing life as one complete whole, rather than bits and pieces of a puzzle. Integrity is achieved when each part of the puzzle is put into place, forming one complete picture.

This dissertation evaluates the career and work of the underappreciated Austrian-Jewish-American novelist, dramatist, essayist and screen writer Gina Kaus (1894 - 1985). The dissertation's approach is interdisciplinary in nature, drawing from the fields of German, American, exile, literary, feminist, performance, global, cultural as well as film studies. The unusually diverse corpus of Kaus's work in both the literary and filmic medium makes such an interdisciplinary approach indispensable. The dissertation argues that Kaus's specific female and little visible exile experience was shaped and accompanied by a significant, social, cultural, political, linguistic and geographical change. It reconstructs and consciously reinserts Kaus' transatlantic accomplishments into the larger exile history. My dissertation offers close reading of Gina Kaus's second play Toni (1928) and positions her piece within the larger landscape of the Weimar Republic and Vienna during the 1920s. The analysis incorporates a feminist reading, which focuses on the performances of gender and the representation of femininity and illustrates the destabilization of gender and sexual identities during the Weimar period. The analysis of Die Überfahrt (1932), Kaus's second bestseller novel, discusses her novel as a Zeitroman (novel of the times). It contextualizes her book in terms of its readership and the literary market while examining it as a comment on the political, financial and social circumstances of 1920s Weimar culture. A thorough investigation of two films for which Kaus invented the story and collaborated on the screenplay, namely The Wife Takes a Flyer (directed by Richard Wallace, USA, 1942), an Anti-Nazi comedy, and Three Secrets (directed by Robert Wise, USA, 1950), a melodrama, challenges the persistent idea that Kaus's work for Hollywood was incapable to live up to her earlier literary and theatrical successes as an author of the Weimar period. My particular focus on the representation of femininity and female agency sheds light on how the émigrée Kaus, who had been known as an ardent feminist in Europe, successfully managed to subvert ideas of heteronormative gender and power discourses even within the restrictive limits of the Hollywood apparatus. The dissertation further investigates the understudied text form screenplay and the practice of screenwriting. It examines for the first time various unpublished film script versions of the The Wife Takes a Flyer and Three Secrets and thus promotes the film script as a textual form worthy of investigation and integration in both literary and film studies. The script analysis pays attention to the collaborative nature, considers the various versions and revisions the script underwent, offers a comparison to the movies and evaluates the script in its multi-functionality, style, and aesthetics. The scripts also give insight into the ways in which Kaus's exilic consciousness permeates her scriptwriting. My close analysis of Kaus's autobiography, which was published in 1979 and targeted at a German-speaking readership, uncovers the ways in which exile is reflected in the practice of autobiographical writing. The dissertation focuses foremost on the narrative strategies as well as omissions in Kaus's attempt to re-inscribe herself into the literary and artistic scene of Vienna and Berlin; and her effort to position herself among the prominent and predominantly male German-Jewish diaspora in Hollywood. I also shed light on her ability to adapt to the United States and her decision to remain and become a citizen. Her perception of exile as an opportunity, rather than as a limitation is an important new aspect in the existing exile research. Among the Jewish-German exile community in Hollywood, Gina Kaus had a truly transnational career and deserves more credit for her filmic works.

Depuis quelques décennies, nous assistons dans le champ littéraire caribéen francophone à la prolifération d’écrits dans lesquels les écrivains font le récit de leur propre vie. Ces récits que nous pourrions répertorier dans les « écritures du moi » semblent fortement marqués de l’empreinte autobiographique. Pourtant, au regard des travaux réalisés par Philippe Lejeune et Georges Gusdorf sur le genre, ces œuvres, pétries de traces autobiographiques, semblent en contourner les canons.Notre recherche consiste donc à nous interroger sur ce qui pourrait empêcher la classification de ces récits comme des autobiographies, au sens strict du terme. Nous émettons l’hypothèse d’un détournement des règles propres au genre inhérent au « moi empêché » de l’auteur, ou bien à l’affirmation d’un polymorphisme du genre (en contexte caribéen francophone).L’autobiographie serait-elle purement occidentale ? En nous appuyant sur un corpus d’une douzaine d’œuvres, dont les écrivains sont issus de la Caraïbe francophone (Patrick Chamoiseau et Raphaël Confiant pour la Martinique ; Maryse Condé, Henri Corbin, Daniel Maximin pour la Guadeloupe ; Jan-J. Dominique et Émile Ollivier pour Haïti), nous tenterons de répondre à cette problématique. / Since recent decades, we are seeing a proliferation of papers in the French Caribbean literature in which writers talk about themselves, the story of their own life. These narratives which could be list as “writings of myself” seem strongly marked with autobiographical imprint. Nevertheless, according to the works of Philippe Lejeune and Georges Gusdorf about the genre, these works molded by autobiographical tracks seem to stretch the rules. This present research deals with wondering about what could prevent the classification of these narratives as real autobiographies, in the strict sense of the word. We emit the hypothesis of a diversion of rules appropriate to the inherent genre in the “self-restraint” of the author, either in the assertion of a polymorphism of the genre (in the French-speaking Caribbean context)Is the autobiography a pure European genre?Basing on a corpus of a dozen of works, writers who arise from the French-Speaking Caribbean (Patrick Chamoiseau and Raphaël Confiant for Martinica; Maryse Condé, Henri Corbin and Daniel Maximin for Guadeloupe; J.-J. Dominique and Emile Ollivier for Haïti), we shall try to answer this problematic.

Nathalie Lamprecht Abstract Class, Sexuality and Nationalism: Identity Building in the Prose Writings of Brendan Behan focuses on Irish author, playwright and rebel Brendan Behan's prose fiction. It uses notions of Irish autobiography, memory and narrativity in order to analyse his collected short stories, his only crime novel The Scarperer and his columns, originally published in the Irish Press, as well as his most extensive work, the autobiographical novel Borstal Boy. Due to the autobiographical nature of most of these texts, throughout this thesis biographies of the author function as co-texts. The aim of this thesis is to find out how Behan uses the themes of class, sexuality and nationalism in order to create identity in his prose. Mostly, the author is critical of his time's accepted version of Irishness, creating characters principally based on himself that do not fit the mould.

The aim of this student thesis is to achieve a translation of an excerpt of a previously untranslated book from English to Swedish. The translated material has been collected from the autobiographical book Kingdom of Fear by the author Hunter S. Thompson and consists partly of paratexts. The translation has been performed in accordance with a principle that was formed within the theoretical frames of Gideon Toury’s Descriptive Translation Studies. Accordingly, the discussion about the translation is based on the terms adequacy and acceptancy. The paper includes analyses of relevant aspects of the translated material, for example genre, paratext, and persona related problems. To illustrate the translation process, comments on the translation are also enclosed, which deal with solutions regarding grammatical and syntactical changes, imagery and cultural-specific expressions. / Syftet med detta examensarbete är att åstadkomma en översättning av ett utdrag från ett tidigare oöversatt verk från engelska till svenska. Det översatta materialet är hämtat från det autobiografiska verket Kingdom of Fear av författaren Hunter S. Thompson och består bland annat av paratexter. Översättningen har utförts efter en princip som formulerats inom de teoretiska ramarna för Gideon Tourys Descriptive Translation Studies. Därmed utgår diskussionen kring översättningen från termerna adekvans och acceptans. Arbetet innefattar analyser på relevanta aspekter av det översatta materialet, exempelvis genre, paratext och personaproblematik. För att åskådliggöra översättningsprocessen medföljer även översättningskommentarer som behandlar lösningar angående grammatiska och syntaktiska ändringar, bildspråk och kulturspecifika uttryck.

This Masters thesis is based on the qualitative content analysis of four autobiographies of film directors Krzysztof Kieslowski, Vojtech Jasny, Roman Polanski and Juraj Herz. The main goal of his thesis is to find out what are the most important aspects of the craft of directing for the selected directors of fiction and documentary films. The second goal is to point to similarities between the craft of journalists and the craft of film directors. The thesis consists of two central parts. In the first part, the craft of the director is analysed from the perspective of personal character traits of the directors. In the second part, the craft is analysed from the perspective of making a film with focus on coming up with ideas, creating scripts and directors the actors. This thesis is written from the perspective of an author who wishes to follow a career in making documentary films. UNIVERZITA KARLOVA FAKULTA SOCIÁLNÍCH VĚD Institut Komunikačních studií a žurnalistiky Katedra Žurnalistiky Filmové řemeslo v autobiografiích filmových režisérů Diplomová práce Autor práce: Lubomír Ballek Studijní program: Žurnalistika Vedoucí práce: prof. MgA. Martin Štoll, Ph.D. Rok obhajoby: 2020

This qualitative narrative study investigated the relationship between emerging adults’ understandings of themselves as writers and their autobiographical memories of writing. Narrative data, largely elicited through semi-structured interviews, were collected from 14 participants who were recruited from six postsecondary institutions. Recruitment efforts aimed to yield participants who had divergent educational experiences, career ambitions, and dispositions towards writing, and who inhabited divergent racial, social, and cultural identities. The study contributes to writer identity research by applying a sociocultural framework that holds memory, narrative, identity, and culture as reflections—and, often, distortions—of each other. The research questions, asked through this lens, aimed to provide insight into the emotional residues of pre-college writing experiences, the potential patterning of narrated memories or identities among participants, and the ways in which the stories participants shared and the identities they storied shape each other. While this is fundamentally an inquiry into the narrative features of writer identity, it is also a study about how certain lived writing experiences reincarnate as highly emotive autobiographical memories; even if such memories tend to be unstable, unreliable, and suggestable, they are nonetheless meaningful reflections of the lingering effects of the past. Through this retrospective study, a portrait emerges of classroom conditions and writing experiences that are particularly hospitable to the nurturement of positive memories and healthy writing identities, as well as to the inverse. This research is intended to speak to both secondary English teachers and English teacher educators and college composition instructors by bridging secondary and postsecondary understandings of how student writers are moving between worlds, the memories they are bringing with them, and the ways in which they might be storying their writer identities en route.

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Thesis (Ph.D.)--University of the Witwatersrand, Faculty of Arts, 2000 / This thesis explores in empirical fashion the contribution made by St Peter's Secondary School to South African literary history. It takes as its starting point the phenomenon of the first black autobiographies having been published within a ten-year period from 1954 to 1963, with all but one of the male writers receiving at least part of their post-primary schooling at St Peter's School in Johannesburg. Among the texts, repositioned here within their educational context, are Tell Freedom by Peter Abrahams, Down Second Avenue by Es'kia Mphahlele, Road to Ghana by Alfred Hutchinson, and Chocolates for My Wife by Todd Matshikiza. The thesis examines the educational milieu of the inter-war years in the Transvaal over and against education in the other provinces of the Union, the Anglo-Catholic ethos of the Community of the Resurrection who established and ran the school, the pedagogical environment of St Peter's School, and the autobiographical texts themselves, in order to plot the course which the autobiographers' subsequent lives took as they wrote back to the education which had both liberated and shackled them. It equipped them far in advance of the opportunities available to them under the colour bar, necessitating exile, even as it colonised their minds in a way perhaps spared those who never attended school, requiring a continual reassessment of their identity over time. The thesis argues that their Western education was crucial in the development of their hybrid identity, what Es'kia Mphahlele has termed `the dialogue of two selves', which was in each case worked out through an autobiography. The typical, if simplified, trajectory is an enthusiastic espousal of the culture of the West encountered in their schooling at St Peter's, and then a rejection out of a sense of betrayal in favour of Africa, eventually leading to a synthesis of the two. The thesis concludes that it was the emphasis on all-round education and character formation, in the British boarding school tradition, with its thrust of sacrifice and service, which helped to fashion the strong belief systems of Abrahams and Mphahlele's later years, namely Christian socialism and African humanism, which inform their mature writings.