Orientador: Fabio Akcelrud Durão / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-27T09:31:29Z (GMT). No. of bitstreams: 1 Zouvi_AlinedeAlvarenga_M.pdf: 20010510 bytes, checksum: 7961a9cb7fab81dcec6c56a743811134 (MD5) Previous issue date: 2015 / Resumo: Este trabalho tem como objetivo a análise da obra autobiográfica da cartunista estadunidense Alison Bechdel publicada no formato livro, composta, até o momento, por duas histórias em quadrinhos: Fun Home ¿ A Family Tragicomic (2006) e Are you my mother? ¿ A Comic Drama (2012). Além do estudo de obras autobiográficas em quadrinhos e as implicações desta combinação de meio e gênero, visamos observar a maneira como Bechdel estrutura suas narrativas através da intertextualidade com outras produções, sejam elas literárias, psicanalíticas, ou imagéticas. Nossa atenção será voltada para o uso que Bechdel faz de tais obras e qual a relação desta construção de paralelos com a sua criação autobiográfica, na qual articula obras e biografias (das personagens relacionadas à sua história e experiência de vida) em diversos níveis, bem como a maneira como a autora reflete sobre o próprio ato de autobiografar-se ao longo de suas obras / Abstract: The aim of this work is the analysis of the autobiographical work of American cartoonist Alison Bechdel, published in book form, composed, so far, of two comics: Fun Home ¿ A Family Tragicomic (2006) and Are you my mother? ¿ A Comic Drama (2012). Apart from the study of autobiographical works in comics and the implications of this specific media and genre combination, we aim to observe how Bechdel structures her narratives through intertextuality with other productions, such as literary, psychoanalytic, or imagery. Our attention will be focused on the use that Bechdel makes of such works and what is the connection between the building of parallels with the author's autobiographical production in which she articulates the works and biographies (of the characters related to her history and life experience) at various levels, as well as the way the author critically thinks, while constructing her autobiographies, of the act of autobiography itself / Mestrado / Teoria e Critica Literaria / Mestra em Teoria e História Literária

Orientador: Adilson Nascimento de Jesus / A tese está acondicionada em uma mala contendo: Bloco 1: Escada-Prelúdios (Composta de 6 dobras, em papel-cartão, com 7 folhas) com 14 Prelúdios ; Bloco 2: Nove Envelopes-Canções com folhas soltas e Sete Anéis (dentro dos envelopes) / Acompanham duas mídias afixadas na tampa interna da mala com o CD "Fractais Sons" e outra com o DVD "Fractais Imagens" / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-31T04:25:20Z (GMT). No. of bitstreams: 1 GuerraFilho_RaulitoRamos_D.pdf: 28135372 bytes, checksum: 28e841c953fd14dba42d91d7cbf86cb8 (MD5) Previous issue date: 2016 / Resumo: O presente estudo objetivou: desnudar, desvelar, desvendar e desventrar a multiplicidade de encontros na composição da obrARtese e (elevado à enésima potência). A composição partiu de 19 canções de minha autoria, gravadas em CD, que se tornaram disparadoras de textos, fotografias, colagens, diagramação, microdocumentário; todos reunidos em uma mala artesanal. Trata-se de um livro de artista-educador, que narra sua trajetória por esses dois universos. O trabalho, inicialmente autobiográfico, torna-se autobiografemático. O processo e a finalização do trabalho ampliaram e potencializaram encontros alegres. Alguns intercessores: Gilles Deleuze, Félix Guattari, Nise da Silveira, Espinosa, Cecíla de Almeida Salles, Silvio Gallo, Paola Zordan / Abstract: Purpose of the present study: undress, disclose, unveil and disembowel the multiplicity of encounters in the composition of the obrARtese e (raised to the enésima power). The composition originated from the 19 songs composed by myself, all of them recorded in CD, which became the starters of texts, photographs, pasting, diagramming, micro documentary; all of them bound in an artisanal bag. It is a book by an educator-artist, which reports his trajectory through these two universes. The work, autobiographical initially, becomes autobiographematical. The work process and finalization increased and strengthened cheerful encounters. Some intercessors: Gilles Deleuze, Félix Guattari, Nise da Silveira, Espinosa, Cecília de Almeida Salles, Silvio Gallo, Paola Zordan / Doutorado / Educação, Conhecimento, Linguagem e Arte / Doutor em Educação

Philippe Lejeune, ao examinar a produção autobiográfica em língua francesa, identificou um traço constante nas obras de sua leitura, ao qual ele deu o nome de pacto autobiográfico. Em uma de suas formulações, o pacto autobiográfico seria a manifestação do engajamento pessoal do autobiógrafo, por meio de uma construção textual (prefácio, nota introdutória, preâmbulo) ou paratextual (título e subtítulo, informações de contracapa e orelhas do livro), que permite ao leitor admitir o texto como expressão da personalidade daquele que escreve, em seu valor de verdade. A construção teórica se mostra insuficiente: de um texto a outro, Lejeune revê e rediscute o pacto, aplicando nuances, levantando as ambiguidades em que o gênero está envolvido. Nessas tentativas de se aproximar mais do gênero, ele se expressa de maneira autobiográfica. Com isso, seu texto torna-se ele mesmo um objeto de estudo. Busco, em minha pesquisa, evidenciar o caráter relacional do pacto autobiográfico, na conjugação de atos de escrita e leitura. Parto de uma leitura de seus estudos sobre o gênero autobiográfico, colocando-os em diálogo com sua própria trajetória de pesquisador. Indo além, interessa-nos observar as leituras que Lejeune empreende em torno das Confissões de Rousseau, em paralelo aos primeiros textos teóricos. Em seguida, considerar os pactos lançados nos estudos em torno de diários, realizados num momento posterior às teorizações do pacto autobiográfico. Importa colocar em evidência as maneiras pelas quais o pacto se manifesta no próprio texto crítico de Lejeune. Nesse sentido, busco articular a dimensão autobiográfica e a dimensão crítica de seus textos. / Philippe Lejeune, examining the autobiographical production in French, identified a constant feature in the readings he did, to which he named autobiographical pact. In one of his formulations, the autobiographical pact would be the manifestation of the personal engagement of the autobiographer through a textual construction (prologue, introductory note, preamble) or para-textual (title and subtitle, information on the inside cover and book flaps), allowing the reader to admit the text as an expression of the personality of the writer, in its true value. The theoretical construction has proved insufficient: from one text to another Lejeune reviews and re-discusses the pact, applying nuances, raising the ambiguities in which the genre is involved. In those attempts to get closer to the genre, he expresses himself in an autobiographical manner. With that, his text becomes an object of study in itself. With my research, I intend to make evident the relational character of the autobiographical pact, in the conjugation of acts of reading and writing. I start with my readings of his studies about the autobiographical genre, putting them in dialogue with his own trajectory as a researcher. Besides that, we are also interested in observing the readings Lejeune undertake around the Confessions by Rousseau, in parallel to the first theoretical texts. After that, consider the pacts cast in the studies of the diaries, made after the theorizations of the autobiographical pact. It is important to make evident the ways in which the pact is expressed in Lejeune\'s critical text itself. In that sense, I expect to articulate both the autobiographical and the critical dimensions in his texts.

This thesis explores the current theories on the personal narrative (as a tool in teaching freshman composition) and examines the ways that this essay is now being used in first year courses at California State University, San Bernardino.

abstract: La autobiografía, como medio de expresión y reivindicación del yo, ofrece a las autoras/artistas femeninas la oportunidad de definirse a sí mismas. El género autobiográfico tiene orígenes muy antiguos y resulta fundamental en el proceso de construcción de la identidad por parte de mujeres pertenecientes a grupos étnicos minoritarios. El discurso autobiográfico permite a la mujer ser al mismo tiempo escultura y escultor, creador y creación. El objetivo de este trabajo es ofrecer una nueva aproximación al universo femenino de la autorepresentación visual. La autonarración debería estar en el centro de la atención feminista, siendo uno de los métodos más efectivos que las mujeres pueden aplicar para hablar sobre sus experiencias y condiciones. Esta investigación intenta reunir voces multiétnicas y promueve un recurso interdisciplinario que interesa no solo a la literatura y la cultural, sino también a otros campos de las humanidades, como la historia, la sociología y los estudios de género y de la discapacidad. Una de las principales intenciones es desmantelar las formas tradicionales de identidad y destruir las fronteras sociales, adoptando la diferencia y la alteridad como un componente único de cada individuo. Mi proyecto de disertación analiza textos autobiográficos femeninos en sus diferentes formas visuales poniendo especial énfasis en los países de Argentina, México y Estados Unidos. A través de narrativas personales, fotografías, películas, pinturas, murales y producciones digitales, estas obras femeninas examinan temas como la homofobia, la identidad política, la soberanía nativa, la maternidad, la identidad lesbiana y diferentes identidades culturales minoritarias. Algunas de las autoras seleccionadas viven al margen de la supremacía blanca por el hecho de pertenecer a grupos étnicos y sociales minoritarios. Otras voces viven al margen del sistema heteronormativo dominante para reconocerse a sí mismas como lesbianas o bisexuales. Más allá de estos contextos, todas las autoras se encuentran discriminadas por ser mujeres en un contexto patriarcal. Los marcos teóricos que se emplean incluyen en sí definiciones autobiográficas interdisciplinarias teorizadas exclusivamente por mujeres. Podrían mencionarse, por ejemplo, los conceptos de HERstory (Ashby y Gore 1995), Autohistoria (Anzaldúa 1999) Pathography (Hawkins 1999), Feminography (Abrams 2017) y Autobiografilm (Paola Lagos Labbé 2011). Las diferentes historias visuales exploran los diferentes matices de la identidad racial y/o lesbiana de las mujeres que a menudo se perciben como forasteras dentro de su propio país. Todas las artistas objetos de mi análisis se enfrentan a diferentes formas de represiones y están motivadas por un deseo de reconocimiento social. Estos grupos marginados invitan a los lectores a desarrollar nuevas formas de diálogos, prácticas y alianzas transculturales. / Dissertation/Thesis / Doctoral Dissertation Spanish 2020

[À l'origine dans / Was originally part of : Thèses et mémoires - FAS - Département de littératures et de langues modernes] / Le présent travail porte sur l’analyse de la reconstruction identitaire de l’auteur Benedicto Chuaqui dans son œuvre Memorias de un emigrante (1942). Autobiographique, l’œuvre raconte l’expérience migratoire au Chili de Chuaqui, d’origine syrienne, durant une période où le pays est marqué par de nombreux changements sociaux, politiques et économiques. L’analyse de la subjectivité de Chuaqui au sein du texte nous révèle une reconstruction identitaire qui s’effectue par son désir d’appartenir à la nation chilienne. En reconstruisant son passé, l’auteur défend son appartenance à la nation et, par ce fait, propose sa propre définition de l’identité chilienne. L’œuvre remet en question la définition essentialiste de l’identité tant au niveau individuel que collectif, puisque l’auteur la conçoit comme étant fracturée, multiple et reconstruite au fil du temps. / The purpose of this thesis is to analyze Benedicto Chuaqui’s identity reconstruction in his autobiographical work Memorias de un emigrante (1942). Born in Syria, Chuaqui recreates his migratory experience in Chili, at a time when the country is marked by many social, economic and political changes. The analysis of Chuaqui’s subjectivity within the text reveals an identity reconstruction propelled by his desire to belong to the Chilean nation. By reconstructing his past, the author defends his membership to the nation, and by doing so, offers his own definition of Chilean identity. The work calls into question the essentialist definition of identity both individually and collectively, as the author sees it as fractured, multiple and reconstructed over time. / El presente trabajo tiene como objetivo mostrar el proceso de reconstrucción identitaria que el autor Benedicto Chuaqui lleva a cabo en su obra Memorias de un emigrante (1942). De carácter autobiográfico, la obra relata la experiencia de migración de Chuaqui, de origen sirio, en Chile durante un periodo bastante dinámico social, económica y políticamente. El análisis de la subjetividad de Chuaqui en el texto nos revela la reconstrucción identitaria que se lleva a cabo en función de su deseo de pertenecer a la nación chilena. A través de la reconstrucción de su pasado, el autor defiende su pertenencia a la nación, definiendo, al tiempo, lo que significa ser chileno. La obra cuestiona la definición esencialista de la identidad, tanto a nivel individual como colectivo, ya que el autor entiende que ésta puede ser fracturada y múltiple, así como reconstruida a través del tiempo.

The work will focus on the comparison of Maria Vargas Llosa's autobiographical novel Aunt Julia and the Scriptwriter (La Tía Julia y el escribidor, 1977), where its one half tells a story of his marriage to his "aunt" and the other half presents fictional radio stories, and the autobiographical text What Varguitas didn't say (Lo que Varguitas no dijo, 1983), which is a response to this book, in which the author Julia Urquidi wrote her own version of the relationship with Mario Vargas Llosa. The work focuses on the differences between these two books, which tell the story of the same relationship, but from a different perspective. It will analyze the literary character of both works and with it the intention of both authors during the construction of their books. The work will analyze the composition, time, narrator and style of both books. Especially in the novel Aunt Julia and the Scriptwriter, it focuses on the author's play with autobiographical and fictional elements. The work tries to find an answer to the question of how much fiction can be combined with reality and to what extent it can be used in an autobiographical text and vice versa. The work also analyzes the text of Julia Urquidi and places it in the context of the work of Mario Vargas Llosa.

[pt] Esta dissertação tem como objetivo refletir sobre questões relacionadas à autobiografia dentro da perspectiva contemporânea dos estudos biográficos, legitimadora dos discursos situados à margem dos cânones literários.O objeto de análise da mesma é uma carta e algumas fotografias. A carta, de 317 páginas, foi escrita por Camilo Cândido de Araújo - meu avô materno -, no período de 14 de setembro de 1969 a 26 de janeiro de 1970 e endereçada ao seu filho mais velho. A correspondência - de conteúdo memorialista - é um legado que o pai deixa ao filho; uma espécie de autobiografia que, além de ter sido escrita no final da vida do autor, teve papel fundamental em sua história. A partir desse documento, encontrado recentemente, são feitas reflexões sobre questões pertinentes à literatura como escrita epistolar e autobiográfica, a necessidade da escrita e a memória. A relação biógrafo/biografado é tomada como ponto de partida para destacar a linhagem materna. As fotografias familiares são lidas em contraponto com o texto, como suplemento do material de análise. / [en] The purpose of this thesis is to reflect on questions relating to the autobiographical genre within the contemporary perspective of biographical studies, a perspective that has been legitimizing these discourses situated at the margins of literary canon. The object of analysis is a testament/letter and a few photographs. The 317-page document was written by Camilo Cândido de Araújo, my maternal grandfather, between September 14, 1969 and January 26, 1970, and it was addressed to his eldest son. The epistle - a memoir in content - is a legacy from a father to his son; it is a form of autobiography that, besides having been written in the final years of the authors life, played a fundamental role in his own life history. Based on this recently found material, reflections are made on matters pertinent to literature as epistolary and autobiographic writings, the necessity of writing, and memory. The relationship between the biographer and his subject is the starting point for highlighting the maternal lineage. The family photographs serve as a counterpoint to the text, as a supplement to the material in question.

« Je ne peux pas supporter mon vrai nom, je me sens aussitôt coincé » affirme le narrateur de Pseudo, roman que Romain Gary a signé de son pseudonyme Émile Ajar. Il ajoute qu’il a « tout essayé pour [se] fuir » et en particulier tenté d’apprendre des langues très éloignées de la sienne, voire d’inventer sa propre langue. Comme Gary, certains écrivains ont considéré leur langue maternelle ou leur patronyme comme des carcans limitant leurs possibilités. Pour tenter de « tout sentir, de toutes les manières » (expression de Pessoa) ils ont pu changer de langue ou prendre des pseudonymes. Afin d’étudier conjointement le plurilinguisme et la pseudonymie, nous avons choisi un corpus de quatre auteurs du XXe siècle : le poète portugais Fernando Pessoa (1888-1935), le romancier russo-américain Vladimir Nabokov (1899-1977), l’écrivain argentin Jorge Luis Borges (1899-1986) et le romancier français Romain Gary (1914-1980). Tous les quatre se situent au carrefour de plusieurs langues et cultures. Maîtrisant le français et l’anglais en plus de leur langue maternelle, ils ont utilisé l’anglais comme deuxième langue d’écriture et ont pratiqué la traduction et/ou l’autotraduction. De plus, ils ont tous pris des pseudonymes et se sont inventé des doubles d’écrivains fictifs. Le concept pessoen d’hétéronyme (très lié à son plurilinguisme) nous a permis d’éclairer les pratiques des trois autres auteurs. Pour cela, nous avons comparé les principaux hétéronymes de Pessoa avec Bustos Domecq (pseudonyme commun à Borges et à Bioy Casares), Émile Ajar (pseudonyme de Gary, incarné par un homme de paille, Paul Pavlowitch) et Sirine (le double russe de Nabokov). Comme la traduction, l’écriture hétéronymique nécessite une certaine dépersonnalisation. Et comme l’autotraduction, elle oblige un auteur à se confronter à un alter ego. Pour écrire dans une autre langue ou inventer un style nouveau dans la sienne, il faut renoncer à une certaine maîtrise et à une part de soi. L’hypothèse de notre travail est que les changements de langues et/ou de noms effectués par ces auteurs constituent finalement moins un rejet de leur identité qu’une façon détournée de faire route vers soi. En les libérant d’eux-mêmes, les hétéronymes leur ont permis de s’observer avec plus de recul, de commenter leur propre œuvre comme si c’était celle d’un autre et de se confier davantage. Il en va de même pour l’écriture dans une langue seconde qui crée, elle aussi, une certaine distance propice aux confessions et aux expérimentations. / “I cannot stand my real name, I feel immediately stuck” says the narrator of Pseudo, a Romain Gary novel authored under his pseudonym, Émile Ajar. He adds that he “has attempted everything to run away from [himself]”. He tried specially to learn different languages and even to invent his own. Like Gary other writers have considered their mother tongue or their surname as restraints limiting their possibilities. In order to “feel everything in every way” (Pessoa’s expression) they would change their language or use pseudonyms. To jointly study multilingualism and the use of pseudonyms, we focused on four 20th century authors: the Portuguese poet Fernando Pessoa (1888-1935), the Russian-American novelist Vladimir Nabokov (1899-1977), the Argentinian writer Jorge Luis Borges (1899-1986) and the French novelist Romain Gary (1914-1980). The writings of all four authors are at the intersection of several languages and cultures. In addition to their mother tongue, they each mastered French and English. They used English as a second language for their writing, were translators and/or self-translators. Additionally, all four took pseudonyms and invented fictitious alter egos. Pessoa’s concept of heteronym (closely connected to his multilingualism) allowed us to shed light on the work of the three other authors. To do this, we compared Pessoa’s main heteronyms with those of Bustos Domecq (pseudonym of Borges and Bioy Casares), Emile Ajar (pseudonym of Gary, embodied as the straw man Paul Pavlowitch) and Sirine (Nabokov’s Russian alter ego). Like translation, heteronymous writing requires some depersonalization. And like self-translation, it forces the author to confront an alter ego. To write in another language or to invent a new style in one’s own language, one must renounce a part of one’s self. This thesis aims to show that for these authors using pseudonyms and writing in different languages represents less of a rejection of their identities than an indirect way to come back to themselves. Freed from themselves by their heteronyms, they can better appreciate who they are, be self-critical and thus they can open their hearts to their readers. Writing in a second language also creates a certain distance that enables them to confess and experiment.

The aim of this master’s thesis was to study the portrayal of discrimination that occurs because of multiple factors in Maya Angelou’s book I Know Why the Caged Bird Sings. The analysis has been conducted through the lens of Critical Race theory as the theory draws on the affiliation between race, racism and power. The main focal point of this essay was the intersectionality of race, gender and social class. The results of this study showed recurring events in which the characters in the book are marginalized. However, the study also showed the resilience and resistance the characters manifests in their exertion for an equal society. Additionally, this Master’s thesis addressed how the English as a Foreign Language classroom with the inclusion of Caged Bird and the usage of Critical Race pedagogy can start a development of fundamental values such as equality and gender roles whilst diminishing prejudice.