A thesis submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Doctor of Philosophy. Johannesburg, 2015 / This research looks at home video footage and family photographs as part of the visual portrait of a curated record of the autobiographical self. The research includes a written thesis exploring the theoretical concerns and provides a reflexive analysis of the creative component of the PhD, which is a 60-minute documentary film. The research, both creative and written, assesses how autobiographical memory is informed and shaped by home video recordings, and how new digital formats have allowed home video to collapse the boundaries between the personal and the public. It also explores how personal narratives speak to the wider socio-political and cultural concerns of a particular time. These ‘collapses’ between boundaries provide a playful, pluralistic approach to a history of the self. The many paradigms that coexist within the work – the past and the present, time and space, previously accepted narratives and newly formed ones – do not exist as binary to each other, but rather exist in conversation with each other and serves to explore the ever elastic subject/object dichotomy. The autobiographical film is titled Fraternal, with the tagline ‘The future isn’t like it used to be’. It tells the emotional story of the relationships between myself and my twin, and our parents – the hellos and goodbyes, arrivals and departures, beginnings and endings that happen within family ties. The film is set against the backdrop of the political situation in southern Africa during the 1980s and 1990s. It is cut predominantly from personal home video footage: a mixture of Super 8mm, Hi8 and DV footage shot largely between 1984 and 1994 in Zimbabwe and South Africa

Post-apartheid writing has been characterized by an ardent search for a voice that truly depicts the painful apartheid past. The establishment of the Truth and Reconciliation Commission (TRC) promoted a confessional mode of writing as a means to obtaining healing, hence reconstitution. Such a paradigm shift in writing necessitated imagined characters to re-invent and re-align themselves with the new post-apartheid dispensation if they were to remain relevant to South African readership. Reinvention of characters is made possible through several means and various organs of reconstitution such as history, narration, possession of one’s landscape and a disavowal of belonging as depicted in The Native Commissioner. This study seeks to examine the process of self-constitution undergone by the co-protagonist and surrogate narrator, Sam Jameson, following his failure to function as an individual and father in post-apartheid South Africa. To this end, a close reading of the novel is done, to better understand the context of Sam’s trauma. The study traces the self-reconstitutive process of Sam from the moment he decides to re-visit his father’s past, to the moment when he finds release from the trauma. I argue that an investigation of his father’s life, as well as his, ultimately gives him agency over his own. Sam’s identity shifts from his childhood past, in which apartheid exerts primary influence, to that of an adult who lives in the post-apartheid moment, having come to terms with his past. Telling his story, to him becomes an act of re-creation and self-invention and the means by which he formulates his own identity. At the end of the story, it is a totally liberated individual that the reader witnesses. / English Studies / M.A. (English)

Cette recherche se donne pour objectif d’analyser la pertinence de l’utilisation du texte littéraire autobiographique francophone comme outil de la construction de la compétence culturelle et interculturelle de l’apprenant de française langue étrangère. Après avoir défini le cadre théorique et méthodologique dans lequel s’inscrira cette recherche, on établira, dans un premier temps, la biographie langagière des écrivains concernés ainsi que leur motivation respective à utiliser la langue française, comme langue d’écriture, le français pouvant être langue seconde (FLS) ou langue étrangère (FLE). Les textes du corpus sélectionnés seront d’abord abordés sous l’angle d’une lecture littéraire : on analysera le paratexte, les incipit, les excipit et les marques de l’autobiographie. On soulignera, à ce stade, les convergences et les divergences des œuvres autobiographiques qui composent le corpus. Une lecture anthropologique des œuvres mettra en évidence les thèmes et les codes capables de contribuer à l’éducation à l’interculturel et de sensibiliser à l’altérité ; on étudiera, plus particulièrement, les structures familiales, les cultures du quotidien, les rituels, la culture cultivée et les représentations croisées. On s’intéressera aussi à la construction difficile de l’identité personnelle respective de chaque écrivain, dans les différents contextes évoqués. Cette recherche proposera, enfin, un état des lieux du statut du texte littéraire francophone et de l’interculturel dans le champ de la didactique du FLE. / The present research is aimed at analysing the relevance of the use of a French autobiographic text, as a tool of the construction, of cultural and intercultural capacity for the non-native learner of the French language. After having defined the theoretical and methodological framework of our research, we shall present the linguistic biography of the selected writers as well as their purpose in using French as language of writing(one can use French as a second language or as a foreign language).We shall first approach the selected corpus under a literary angle:: study of the title, the first and the last pages as well as the marks of the autobiography, which will enable us to underline the convergences and divergences of the autobiographical works which make the corpus. . An anthropological reading can help us to underline the topics and the codes able to contribute in the intercultural education and to make the learners aware of otherness. We shall study especially the family structures, the culture in every day life, the ritual events, the high culture and the cross representations. We shall also turn our attention to the difficult construction of the respective, personal identity of each writer in the different contexts described. This research will finally propose an inventory of the statute of “francophone” (non native French) texts and of the intercultural (cross-culture) in the field of the French foreign language.

Quelle place ont la culture et la littérature dans les méthodes actuelles d’enseignement-apprentissage des langues étrangères ? Comment transmettre ces compétences en accord avec les manuels de FLE en Espagne et remotiver ainsi les apprenants envers la langue française? Voici les questions principales auxquelles nous essaierons de répondre tout au long de ce travail. Tout d’abord, nous réfléchirons à propos de diverses problématiques constatées dans le domaine de la didactique du FLE dans notre pays.Cela sera suivi d’une réflexion sur les caractéristiques qui font de la littérature –particulièrement la littérature de l’intime– une source très riche pour enseigner la culture étrangère dans toutes ses dimensions, en établissant parallèlement des liens avec la culture maternelle de l’apprenant. Ensuite, à partir de l’analyse de plusieurs textes autobiographiques d’un corpus d’ouvrages de M. Proust, R. Queneau, G. Perec et A.Ernaux, nous proposerons une méthodologie didactique pour enseigner le FLE à partir de textes autobiographiques. Enfin, nous présenterons des propositions pratiques, sur la base de certains textes de ce corpus, qui ont été essayées dans plusieurs contextes éducatifs en Espagne. / This work fits into the broader study of languages and cultural didactics. This is the result of one Action-Research project of 6 years having taken place in several school contexts in Spain. Our main aim is to answer to the following questions: What place is offered to culture and literature by foreign languages teaching and learning methodologies for today? How could these skills be transmitted according to Spanish methods to teaching French as a foreign language? First of all the notion of culture will be considered as well as some of the several problems caused by it in the field of FFL in Spain.Secondly, we will analyse some of the reasons which make Personal literature a very rich source to teach culture in all its dimensions and in parallel with mother culture thought a corpus of M. Proust, R.Queneau, G. Perec and A. Ernaux. To finish, a few ideas so as to work around some texts of these authors will be given.

Notre réflexion consiste à analyser, sur le plan narratologique et énonciatif, la fiction et l'autofiction de Patrick Chamoiseau. Le rôle de l'écrivain y est démultiplié. Il instaure le doute dans la caractérisation générique de son œuvre, résolument digressive et paratextuelle. Il s'efforce de donner à lire un dire narratif créole dans une poétique du compromis- l'oraliture – où l'écrit et l'oral se télescopent, où une esthétique plus personnelle se débat dans une esthétique plus dominante. La mise en scène de la parole des personnages est le lieu d'une négociation scripturaire, littéraire : les énoncés mettent en relief le mariage heuristique de la fiction et de la diction, mais aussi de leur interaction intime avec des implicites énonciatifs – au sens bakhtinien de la théorie énonciative – qui traduisent le propre engagement idéologique de l'auteur. Chamoiseau tente d'extraire de sa narration polyphonique un sujet indemne des affres du présent et de l'Histoire. Il le construit par une parole, anodine et sérieuse, qui use de tout un spectre identitaire, pour se dire et dire la communauté. Les échanges prolifèrent ainsi à l'intérieur du rêve, de l'imaginaire, des histoires ou des mémoires que ses textes engendrent. / Our thinking is to analyze, through narratology utterance, fiction and fictionalized autobiography of the writer Patrick Chamoiseau. Its role is multiplied. He creates doubt in characterization of generic text, a strongly digressive and paratextual text. He tries to give a reading to a narrative creole telling in a poetic compromise – the oralture – where written and oral collide, where a more personal aesthetic struggles in a more dominant one. The staging of the characters ‘speech is the place of a scriptural and literary negotiation: the statements highlight the marriage of heuristic fiction and diction, but also their intimate interaction which implicit enunciation – in a Bakhtinian sense of the theory of enunciation – that reflect the author's specific ideological commitment. In his polyphonic narration, Chamoiseau attempts to retrieve a subject free from horrors of the present and History. He built this subject with a trivial and serious word which uses a spectrum of identity, to say and tell the community. Exchanges proliferate inside the dreams, imagination, stories or memories that his lyrics create.

Dans ma thèse, j’analyse la pratique de l’« autobiographie sérielle » et autofiction dans les mémoires et les romans d’Andrej Belyj.Andrej Belyj, qui dans ses mémoires et dans ses romans réécrit de manière constante son enfance et sa vie, peut être considéré comme auteur engagé dans la création d'une «sérielle» autobiographie. Ce processus de réinvention de soi est caractérisé par remodelage et déplacement de son ego et de ses relations avec les parents, avec ses connaissances marquantes et avec ses proches amis, aussi que par les changements des points de vue mystiques, religieux et philosophiques (philosophie néo-kantienne, anthroposophie, etc.). Des identités multiples et des récits sont articulés comme les constituants d'une séquence autobiographique toujours inachevée et qui ne peut jamais aboutir à la conclusion ou à la signification définitive. La construction par Belyj de sa propre identité apparaît sous forme de développement des «variations sur un thème» (Belyj, « Zapiski chudaka »), où chaque nouvelle variation entre en dialogue avec les précédentes en les éliminant partiellement. Les mémoires et les romans de Belyj représentent sa vie comme une série de thèses et antithèses, autrement dit comme une narration dialectique de la vie montante en spirale. / My dissertation examines the practice of serial autobiography and autofiction in Andrej Bely’s prose including his memoirs and novels. Andrej Bely who in his memoirs and fiction constantly rewrites his childhood and life may be said to be engaged in creating serial autobiography. This process is characterized by the reinvention, recreation and relocation of his self and his relationships with his parents, significant others, and close friends.A series of identities and stories are constructed as the constituents of an incomplete, or open, autobiographical sequence which never can reach a conclusion or final signification. Bely’s creation of self-identity presents itself as the development of “variations of a theme” (Bely, Zapiski chudaka) in which every consequent variation engages in a dialogue with and partially cancels the preceding ones. Bely’s memoirs and novels present his life as series of theses and antitheses, in other words as a spirally ascending dialectical life-narrative.

Esta pesquisa teve como finalidade permitir a expressão das características do diagnosticador, a fim de que ele próprio reconhecesse como suas características pessoais influenciam suas decisões clínicas. OBJETIVOS: Testar um programa de formação permanente, baseado em histórias de vida, para o aprimoramento do raciocínio clínico em enfermagem; descrever os temas presentes nos processos cognitivos e metacognitivos dos participantes, desencadeados pelas estratégias do programa; analisar a influência das estratégias do programa sobre o raciocínio clínico dos participantes; descrever as intervenções realizadas pelas pesquisadoras. MÉTODO: Planejamento e execução de pesquisa-formação em três hospitais e uma escola de enfermagem de São Paulo, Brasil. Os dados foram constituídos pelas produções escritas dos participantes e pelas observações das pesquisadoras, anotadas em diário. Esses dados foram interpretados a partir da análise de seus conteúdos, com base em proposições teóricas sobre raciocínio clínico e sobre histórias de vida e formação. RESULTADOS: O programa foi implementado com um grupo de 7 enfermeiras de um hospital geral universitário e com dois grupos (um com 7 e outro com 6) de estudantes de graduação em enfermagem. Nos três grupos houve 8 encontros semanais em que ocorreram análises de textos, avaliações de saúde, estudos de caso de pacientes, escritas e partilhas das histórias de vida e projetos. Os temas recuperados com o programa referiram-se aos domínios afetivo e cognitivo. As participantes realizaram e refletiram sobre a coleta e interpretação de informações, elaboraram julgamentos clínicos, analisaram dilemas ético-morais e significados sobre o cuidado de si e dos outros. CONCLUSÕES: As reflexões sobre o autocuidado e as próprias histórias de vida (cuidado de si) permitiram às participantes reavivarem as múltiplas influências que as formam, e que formam os outros, e dinamizaram conhecimentos, habilidades e atitudes necessárias em suas relações com os usuários do sistema de saúde, colegas de trabalho e profissão (cuidado de outros) / The present study intended to enable the expression of the characteristics of diagnosing professionals, so that they could acknowledge to what extent personal characteristics could influence their clinical decisions. OBJECTIVES: To test a program of permanent training, based on life histories, to improve clinical reasoning in nursing; to describe the topics present in cognitive and metacognitive processes of participants, triggered by program strategies; to analyze the influence of program strategies over clinical reasoning of participants; to describe the interventions used by the researchers. METHOD: Planning and execution of the research program and training in three hospitals and one nursing school in Sao Paulo, Brazil. Data consisted of the writing productions of participants and the observations of the researchers, registered in diaries. Data were interpreted by analyzing the content based on theoretical assumptions about clinical reasoning and life histories and training. RESULTS: The program was implemented in a group of 7 nurses in a general university hospital and in two groups (7 and 6 members, respectively) of undergraduate nursing students. The three groups had 8 weekly meetings where they analyzed texts, healthcare examinations, case studies, written pieces and shared life histories and projects. The topics retrieved by the program comprised the affective and cognitive domains. Participants performed and reflected about the collection and interpretation of information, made clinical judgments, analyzed ethical-moral dilemmas, and the meanings of taking care of others and of themselves. CONCLUSIONS: Reflections about self-care and their own life histories (taking care of themselves) enabled the participants to revive the multiple influences that had formed them and had formed the others. They could maximize knowledge, skills and attitudes required to their relationships with healthcare users, co-workers and the profession (taking care of the others)

Esta Tese visa aprofundar algumas questões da poética nabokoviana, a partir de uma tradução inédita do russo para o português brasileiro de capítulos de (Druguíe Beregá), de 1954, uma das variações de sua autobiografia, chamada, na Rússia, de romance. Incluída em seleções e antologias no mundo todo, esta obra de Nabókov possui uma história repleta de matizes linguísticos e estilísticos: um de seus princípios foi um conto-ensaio escrito em francês, Mademoiselle O (1936), recomposto e traduzido para o inglês, tornando-se uma primeira versão em livro de memórias, Conclusive Evidence, ou Speak, Memory (1951, EUA e Inglaterra, respectivamente), revertido e reformulado em russo, por sua vez retransformado em uma versão final, Speak, Memory: An Autobiography Revisited (1967). A comparação entre os textos corrobora a hipótese de que as transformações que se concretizam na recriação de , obra mediadora, são fundamentais para a leitura tanto da última versão em inglês, como também da primeira. Para Nabókov, essa reescritura, além do processo criativo inerente ao ato tradutório, passa a ser uma releitura e revisão de sua própria obra, com alterações que vão além das peculiaridades de cada língua. Dessa forma, faz-se necessário ler, traduzir e examinar cada versão como texto independente. A tradução, em todas as suas formas e manifestações, como mote e como prática, tem papel essencial na obra e na vida de Nabókov. É com ela que ele inicia sua trajetória literária, é por meio dela que ele retorna à Rússia e à língua russa. A relação do escritor com o tradutor e a (auto)tradução é crucial e a Tese tem o propósito de refletir sobre não uma Arte da Tradução nabokoviana, mas Artes da Tradução, já que transformam o tradutor em escritor, o autotradutor em revisor, e o revisor em reescritor. / This dissertation aims to deepen some issues about the Nabokovian poetics, presenting the first Russian translation into Brazilian Portuguese of some chapters of (1954), one of the variations of his autobiography, known as a novel in Russia. Included in selections and anthologies around the world, this work has a history full of linguistic and stylistic nuances: one of the first versions was a story-essay written in French, Mademoiselle O (1936), recomposed and translated into English, becoming a memoir, Conclusive Evidence, or Speak, Memory (1951, USA and England, respectively), reworked in Russian, and then reprocessed into a final version: Speak, Memory: An Autobiography Revisited (1967). A comparison of the texts shows that the transformations performed in recreating , an interposed work, are key to reading the last version in English, as well as the first. For Nabokov, this rewriting, besides the creative process inherent to the act of translation, becomes a reinterpretation and revision of his own work, full of changes beyond the peculiarities of each language. Thus, it is necessary to read, translate and study each version as a autonomous text. Translation in all its forms and expressions, as a theme and as a practice, plays an essential role in Nabokov\'s work and life. It is translating that he began his literary career, it is through it that he returns to Russia and Russian language. The writer\'s relationship with the translator and (self)translation is critical and the dissertation aims to reflect on not a Nabokovian Art of Translation, but multiple Arts of Translation since they transform the translator into a writer, the self-translator into an editor, the editor into a rewriter.

L’invention du mythe casanovien se fonde sur l’occultation de l’écrivain : elle entre en contradiction avec une ambition poursuivie pendant plusieurs décennies par le Vénitien, à la faveur d’une œuvre polygraphique. Dans un siècle où la condition des « gens de lettres » subit des transformations cruciales, Casanova échappe pour l’essentiel aux instances de légitimation. L’échec de la reconnaissance n’est pas étranger aux contradictions dont il investit la figure de l’écrivain. Cette étude interroge plus spécifiquement son rapport à la notion d’auteur, envisagée sous les deux pôles de l’auctorialité et de l’autorité. Entre « refus des conséquences » et « inconséquence », l’auteur s’élabore sous sa plume comme une instance labile et fuyante. Nous nous sommes intéressée aux logiques permettant de rendre compte de cette instabilité. Les habitudes de lecteur de Casanova comme ses pratiques d’écriture révèlent en outre un écrivain travaillé par une conception stratégique de la littérature. Nous avons cherché à explorer ces stratégies d’écriture et à en mesurer les effets dans le corpus philosophique et autobiographique. À sa manière, depuis la marge, Casanova est un miroir des paradoxes et des ambiguïtés de son temps : son œuvre offre un point de vue singulier sur l’évolution des sensibilités et des esthétiques, ainsi que sur les bouleversements qui affectent, au cours du siècle, le statut des écrivains, leurs relations avec les autorités ou avec le public. / The invention of the Casanovian myth is based on the writer's occultation. It contradicts an ambition pursued for several decades by the Venetian. In a time when the condition of the “man of letters” is undergoing crucial transformations, Casanova’s successive attempts to achieve recognition in various literary genres were not successful. This study more specifically questions his relationship with the notion of author, considered under the two poles of auctoriality and authority. Between the "refusal of consequences" and "inconsistency", the author appears, in Casanova’s works, as a labile and evasive instance. The instability of his positions is linked to tactical constraints and epistemological biases, but also to a playful and theatrical conception of existence. Casanova's reading habits and writing practices reveal a writer haunted by a strategic conception of literature. The study focuses on these writing strategies, both in the philosophical and autobiographical works, and aims to understand their effects. Long marginalized, Casanova's work offers nevertheless a unique perspective on the evolution of sensibilities and aesthetics over the century, as well as on the upheavals that affect the status of writers, their relationship with the authorities or with the "public".

Made available in DSpace on 2016-04-28T19:59:21Z (GMT). No. of bitstreams: 1 Glaucy Cristina do Amaral.pdf: 384474 bytes, checksum: 6de3cc77b9a6a2c3914f53e4d09d199c (MD5) Previous issue date: 2010-05-10 / The objective of this thesis is the reading of the memorialistic narrative in Zélia Gattai in A Casa do Rio Vermelho (1999), recognizing the hybrid autobiographical gender inventive and procedures of ME, narrators of their own biography as the object of his storytelling, a biographical memoir of the Other. Considering the remembering as a perceptual memory, impressions, emotions and affections, his writing requires the past memories to revive it in this between two voices: the first and third person, in which the narrator merges oral speech to writing, rearranging, simultaneously, the personal history and historical reality. The narrator exercises autobiographical method by two speeches, the testimonial and the confessional ones. Both images in the personal and the surrounding geographical and historical material are fictional invention, a work of rebuilding the meta-memory. In Chapter I, it is presented the autobiographical method in the transformation of gender memorialistic, in contrast to the copyright discourses, the generating biographies dialogical imaginary worlds without dates and dating. In Section II, the focus is on practical memorial of the author Zelia Gattai, between two narrators: the author and the author-narrator-character, interweaving their speeches to the truth and verisimilitude in the work of self-representation and the natural unfolding of identities . In Chapter III, The House of the Red River is treated as the House of Memory of the Other and his characters, the scenarios described in third person, the narrator observer to cross two times in two stages, confirming the fusion of the outer within the memory allocated to meta-memory. The conclusion shows the memorialistic fictional working of Gattai and reveals the outcome of the autobiographical outside the boundaries of time on the genre, now in the theater of the imagination of his own author-narrator / O objetivo desta dissertação é a leitura da narrativa memorialística de Zélia Gattai em A CASA DO RIO VERMELHO (1999), reconhecendo o gênero híbrido autobiográfico e os procedimentos inventivos do EU, tanto daquele que narra a sua própria biografia quanto a do objeto de sua contação, a memória biográfica dos Outros. Considerando a lembrança como uma memória perceptiva, impressões, emoções e afetos, sua escritura necessita de memória do passado para revivê-la no presente entre duas vozes: a primeira e a terceira pessoa, nas quais o narrador funde a fala oral à escrita, recompondo, em simultâneo, a história pessoal e a realidade histórica. A narradora exercita o método autobiográfico por meio de dois discursos, o testemunhal e o confessional. Tanto as imagens da memória pessoal quanto as do entorno geográfico e histórico são material ficcional de sua invenção, num trabalho de recomposição da metamemória. No capítulo I, tratamos do método autobiográfico na transformação do gênero memorialístico, no contraponto com o discurso autoral, a gerar biografias dialógicas entre mundos imaginários sem datas e datados. No capítulo II, o foco é a prática memorialística da autora Zélia Gattai, entre dois narradores: o autornarrador e o autor-personagem, entrelaçando seus discursos, o da veracidade e o da verossimilhança em trabalho de auto-representação singular e no desdobramento de identidades. No capítulo III, A casa do Rio Vermelho é tratada como a Casa da memória do Outro e suas personagens-cenários descritos em terceira pessoa, pelo narrador observador, ao cruzar dois tempos, em duas fases, os quais confirmam a fusão do exterior com o interior da memória, atribuído a meta-memória. A conclusão expõe o fazer ficcional da obra memorialística de Gattai e revela o resultado do método autobiográfico fora dos limites do tempo sobre o gênero, agora no teatro da imaginação da própria autora-narradora