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Работа посвящена изучению жизни и творчества уральского писателя рубежа XIX–XX вв. А. С. Погорелова (Сигова). Погорелов входит в число малоизученных авторов, раскрывающих в своем творчестве пореформенную уральскую действительность, среди которых: П. И. Заякин-Уральский, А. Г. Туркин, И. Ф. Колотовкин, и др. В рамках данной работы реконструирован жизненный путь писателя, создан целостный портрет контексте литературного процесса Урала, социально-исторического развития региона в XIX–начале ХХ в., развития русской провинции. В работе привлекались архивные источники, использованные впервые при написании магистерской диссертации. Проанализировано творчество Погорелова: впервые представлена типология персонажей автора, осуществлен сопоставительный анализ ряда произведений Погорелова и Мамина-Сибиряка, привлекались произведения других русских классиков. / The work is devoted to the study of the life and work of the Ural writer of the turn of the XIX–XX centuries A. S. Pogorelov (Sigov). Pogorelov is among the little-studied authors who reveal the post-reform Ural reality in their work, among them: P. I. Zayakin-Uralsky, A. G. Turkin, I. F. Kolotovkin, et al. Within the framework of this work, the writer's life path is reconstructed, a holistic portrait of the context of the literary process of the Urals, the socio-historical development of the region in the XIX–early XX century, the development of the Russian province is created. The work involved archival sources used for the first time when writing a master's thesis. The author analyzes Pogorelov's work: the typology of the author's characters is presented for the first time, a comparative analysis of a number of works by Pogorelov and Mamin-Sibiryak is carried out, works of other Russian classics were involved.

Life writing has traditionally been organized into two main subfields: autobiographical writing, focused on the self, and biographical writing, focused on one or more other human beings. Yet, many contemporary texts from different linguistic and cultural contexts defy or complicate such a clear-cut distinction. The present dissertation investigates a group of such texts, which I have called “bifocal narratives.” With this term, I indicate works that, as in an ellipse, hinge upon two foci at once – an autobiographical narrator and a biographical other – and take shape around the relation between these two poles. The dissertation offers both a historical interpretation and a morphology of this form. It does so by comparing three literary contexts (Italian literature, French literature, and Anglophone literature of the North Atlantic) and combining theoretical argumentation, panoramic analyses of a vast corpus, and close readings of individual works. Drawing on bifocal narratives’ amphibious nature as both literary and documentary writings, in the Introduction, I propose to interpret the bifocal form through a twofold lens: as part of a growing interest in the intersubjective formation of identity and the self/other relationship in life writing and life writing criticism; and as a mise en abyme of trends and tensions at work in contemporary literature more at large. In the latter respect, I view bifocal narratives as embodying both a heightened interest in individuality and a tangible difficulty among writers in speaking as characters different from themselves. I link both aspects to a crisis of traditional humanistic ideologies and the mandate of intellectuals in European and North American cultures. In the first chapter, I offer a panoramic view of bifocal narratives by delineating their main manifestations and highlighting some of their defining traits (for example, a strong heuristic tension or a tendency to structure the self/other relationship in polarized terms). In the following three chapters, I focus on three main subgroups of bifocal narratives: hyper-narrative bifocal works, bifocal texts between poetry and prose, and essayistic bifocal narratives. These three clusters of texts allow me to investigate some crucial aspects of the bifocal form, which are particularly evident in these various subsets: the role of narration in shaping a sense of the self, and a serious use of intertextuality; a complex vision of the speaking “I” that complicates a clear-cut division between fiction and nonfiction, an original use of textual blanks, and a deep literary work on both language and documents; and the complication of the auto/biographical model via the alternative paradigm offered by (literary) portraiture, as well as a multilayered approach towards the (post)modern literary and critical traditions. In doing so, I also provide extensive close readings of five main works: Via Gemito (2000) by Domenico Starnone and Limonov (2011) by Emmanuel Carrère; Jane: A Murder (2005) by Maggie Nelson; and Out of Sheer Rage (1997) by Geoff Dyer and Qualcosa di scritto (2012) by Emanuele Trevi. Besides illuminating various aspects of bifocal narratives, these readings also aim to offer original interpretations of these works.

[pt] Esta dissertação desenvolve reflexões sobre a ideia de Oriente, a partir de textos de cunho autobiográfico do intelectual palestino e norte-americano Edward Said e do escritor francês Roland Barthes. Neste trabalho, privilegia-se o entendimento das escritas de si como espaço fértil para a construção de saberes que favoreçam dimensões não exclusivamente científicas da teoria. Assim, tais escritos de Said e Barthes são considerados modos alternativos de produção de conhecimentos e noções sobre o Oriente. O segundo capítulo da dissertação trata da encenação de um personagem oriental e fora de lugar em textos ensaísticos e narrativos de Said. O terceiro aborda como Barthes desenvolve relações com a ideia de Oriente em textos com elementos autobiográficos, sejam memórias ou diários de viagem. O último capítulo traz, na forma de fragmentos, reminiscências e considerações sobre as relações da autora com o Oriente. / [en] The idea of Orient is discussed in this work using texts with autobiographical elements written by the Palestinian-American intellectual Edward Said and the French writer Roland Barthes. In this study I understand self-writings as a fertile ground for the construction of knowledge, supporting non-exclusively scientific dimensions of theory. Therefore, the writings of Said and Barthes are considered alternatives modes of producing knowledge and notions of Orient. The second chapter deals with the enactment of an oriental and out of place character in essays and narratives by Said. The third chapter emphasizes how Barthes develops his own relationship with the idea of Orient in texts with autobiographical elements, including memoirs and travel diaries. The last chapter brings, in form of fragments, reminiscences and my own considerations towards the idea of Orient.

This autoethnography traces the ten-year journey of one teacher’s interest in and exploration of the experiences in English classes of high-achieving quiet students. Named Quiet Intellects (QIs), these students rarely or do not speak during the many district- and curricula- mandated evaluative tasks in my district that demand their oral contributions. To understand the reasoning that may have led to the current emphasis on student voice in my district, I first investigated the historical place and purpose of student talk in English classrooms. I reviewed extensive conversations I had with English department colleagues that were meant to help us understand the impact of our district’s call for more student talk on our quiet students. From there, I conducted a critical observation of one common English department assessment driven by student talk. Finally, I compiled and analyzed the information obtained from a decade of discussions with QIs regarding their experiences of mandated oral tasks. QIs call into question the value of collaborative learning, articulate clearly their preference for writing over speaking, and bring to light the lack of preparation and coaching available for tasks that require speaking. Additionally, my study suggests the existence of two distinct groups of QIs. The silence of one group seemed to be driven by the pressure within the environment of the English classroom of high-stakes assessments requiring their oral contributions, which heightened their fear of peer and teacher judgment, error, and conflict with classmates when they spoke. These students proved to be quite talkative outside of the classroom. The second group, on the other hand, were quiet in all speaking situations, even with close friends and family members. Further investigation is needed, but this study emphatically demonstrates the need to interrogate classroom routines, practices, and curricular edicts for student evaluative tasks that favor sound over silence, demand student talk, and contribute to the silence and silencing of QIs. In the meantime, a balanced pedagogy that teaches skills of silence in tandem with skills of speaking is essential in a society that respects the sense and sounds of all voices.

By the end of 2020, the severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2), better known as COVID-19, had produced over 82,357,482 confirmed cases and 1,802,393 related deaths worldwide. The first pandemic many had ever experienced, the call of duty for public health professionals in the United States and globally was strong. While the contributions of doctors, nurses, and first responders are frequently acknowledged in the media and health-related publications, forgotten key players include health education specialists. Because of their critical role in public health preparedness and response, special attention should be given to their work during disasters and public health emergencies. As the Screening Manager of the New Jersey Department of Health (DOH) COVID-19 Testing Center located at Bergen Community College, I observed firsthand how COVID-19 made people suffer, but also the resilience among health education specialist responders. Using narrative inquiry to detail my response experience, this dissertation offers the world my story, while highlighting the onset of the pandemic in New Jersey from March to June 2020 and the practice of incorporating relevant health education competencies.

Fragments, arrêts sur image, flashs et autant de planches anatomiques d’un je éphémère qui cherche la fixité dans les manqués du passé, dans les possibles du présent et dans l’incertitude de l’avenir, Carnet d’Apparitions explore les recoins de l’intimité et du corps, ces lieux mouvants et hésitants entre la lucidité, l’onirisme, la douceur et la cruauté. Des lieux où la peau parfois s’écaille, se fait carapace puis devient un masque qui s’enfile comme une seconde peau. Comme un assemblage de morceaux de soi, Carnet d’Apparitions questionne ce je qui tente de s’édifier et de s’articuler alors qu’il est constamment mangé et en digestion de l’autre, de son regard, de ses mots, de son jugement et des hérédités qu’il n’a pas choisies. Je cherche aussi à s’exprimer singulièrement, à s’émanciper de cette image qu’il donne de lui. Mais toujours visible dans le coin de son œil, alors qu’il se regarde à travers différents prismes, l’ombre de la mort —prête à l’avaler, à le faire soi et autre. À travers ces apparitions, je se quitte, se cherche, je meurt et revit en même temps, tout à la fois. Dans son autobiographie, Jeanne des Anges revient sur l'affaire des possessions de Loudun dont elle fut, en 1632, la principale victime. Le statut de possédée qui fut le sien à l'époque ne lui offrait qu'un rôle secondaire : celui d'un corps inquiétant, manipulé par le Diable, constamment observé par le public, les médecins et les juges. Malgré les nombreux écrits rapportant cette « crise diabolique », la sœur a peu eu la chance de témoigner de sa vérité et de son expérience auprès du public. L’Autobiographie, après coup, lui permet de raconter son histoire, de modifier des faits portant sur l’affaire tout en (re)prenant les masques et les rôles des personnages clés de l’affaire qui lui permettent d'imposer et de légitimer sa voix d'autrice et de metteure en scène. Les dimensions judicaire et théâtrale réinvesties dans la narration délivrent des accès à son intériorité et au combat intérieur qui se joue derrière la scène publique. Le lecteur de l’Autobiographie se fait ainsi témoin, juge et spectateur d’une nouvelle affaire, d’une représentation de soi dans laquelle la sœur tente d'associer singularité et réciprocité constante à l'autre : car chez Jeanne des Anges, l’altérité se fait soi et soi se reflète toujours dans le regard de l’autre. Elle a besoin de lui, d’eux, afin de renverser son statut d'actrice passive en celui de narratrice-sainte légitime / Fragments, freeze frames, flashes and so many anatomical plates of an ephemeral self which seeks fixity in the failures of the past, the possibilities of the present and in the uncertain-ty of the future. Carnet d'Apparitions explores the corners of intimacy and the body, these mov-ing and hesitant places between lucidity, dreamlikeness, gentleness and cruelty. Places where the skin sometimes flakes off, becomes a shell then a mask which ends up becoming a second skin. Like an assembly of pieces of itself, Carnet d'Apparition questions this I which tries to build and articulate itself while it is constantly eaten and digested by the other, by its gaze, its words, its heredities that it did not choose. I also seek to express itself in a singular way, to emancipate itself from this image that it gives of itself. But with Death always visible in the corner of its eye - Ready to swallow it, to judge and to make it its own enemy, to do it itself and another. Throughout these apparitions, I leave itself, seek itself, dies and lives again at the same time, all at once. In her autobiography, Jeanne des Anges revisits the Loudun possessions affair of which she was, in 1632, the main victim. The status of a possessed woman at the time only offered her a secondary role: a disturbing body, manipulated by the Devil, constantly observed by the public, doctors and judges. Despite the numerous writings reporting this “diabolical crisis,” the sister had only a little chance to testify to the public about her truth and her experience. The Autobiography, after the fact, allows her to tell her story, to modify the facts relating to the affair while (re)taking the masks and the roles of the key characters of the affair which allow her to impose and legitimize her voice as an author and director. The judicial and theatrical dimensions reinvested in the narration provide access to one's interiority and to the internal battle that takes place behind the public stage. The reader of the Autobiography thus becomes a witness, judge, and spectator of a new affair, of a self-representation in which the sister attempts to associate singularity and constant reciprocity with the other: because in Jeanne des Anges, otherness makes oneself and oneself is always reflected in the gaze of the other. She needs him, them, in order to reverse her status as a passive actress into a legitimate saint-narrator.

The issue of identity is receiving the most attention in recent times. Communities, groups and individuals tend to ask themselves who they are after the colonial period. The dawn of modern democracy and the fall of the Berlin Wall have become important sites of self-definition. In this study, I examine narratives of self-invention and selflegitimisation from a variety of texts ranging from poetic to dramatic voices. The author creates characters who represent his wishes, desires and fears in dramatic form. The other characters re-present the other members of his family. He uses autobiographical voices to re-create and re-present history, particularly his family history which has been dismembered by memory's inability to recover the past in its entirety. Memory, visions and dreams are used as tropes to negotiate the pain of loss. These narratives assist him to recapture that which has been lost dearly, and imaginatively re-members what has been dismembered. The autobiographical I shifts into an autobiographical we where the author uses his poetry to lambast the injustices of apartheid. The study further examines some aspects of postcolonial identity, which include the status of African writing and the role of africalogical discourse, the conception of home in apartheid South Africa as well as the juxtaposition of power between indigenes and settlers. These reflect the problem of marginality as a postcolonial condition and how the marginals can be returned to the centre of power. Marginalisation of the indigenes occurs by coercion, inferiorisation, tabooing certain political and cartographical spaces, harassment, torture and imprisonment. Despite these measures, the poetry of NS Puleng persisted to remove the fetish of apartheid disempowerment and disenfranchisement. / African Languages / D.Litt. et Phil. (African Languages)

Thesis (MA (Afrikaans and Dutch))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: Autobiography is a growing, but elusive literary genre. However, when texts are read as autobiographical – and thus as a form of self-representation – the theme of identity provides the reader with an interesting and useful method by which to approach it. In this study, two Afrikaans autobiographical texts are approached in a comparative manner, with the aim being to examine the writers’ representations of themselves. The texts studied are ’n Wonderlike geweld (2005) by Elsa Joubert, and ’n Ander tongval (2005) by Antjie Krog. Besides the autobiographical nature of these texts, the comparison is also based on: the writers’ status in the Afrikaans literary system, similarities beween them and their backgrounds, and the corresponding publication dates. The theoretical basis from where the concepts autobiography and identity are viewed is explained briefly. The emphasis falls on autobiography as a hybrid genre, that is defined mainly by how it is read. The use of identity as a reading strategy is suggested, with identity being understood as an unstable construction that changes constantly, depending on the context in which it is constructed. Consequently, the different identities according to which Joubert and Krog reveal themselves to the reader and the autobiographical forms through which they achieve this, are examined and discussed in separate chapters. Specific emphasis is placed on how they convey the spirit of the time and on the influence of the context in which the texts are published. Finally, the differences and similarities in the writers’ representation of themselves are summarised. In the end it emerges that the reading strategy focused on identity provides the reader with a useful approach to the study of texts in the autobiographical genre, since it is possible to successfully apply it to two texts with diverse autobiographical qualities. Furthermore, it becomes clear that the structure and style of these texts mirror the writer’s approach to identity to a great extent. / AFRIKAANSE OPSOMMING: Outobiografie is ’n groeiende, maar onpeilbare literêre genre. Wanneer tekste as outobiografies – en dus as ’n vorm van self-representasie – benader word, bied die tema van identiteit egter ’n interessante en nuttige invalshoek. In hierdie studie word twee Afrikaanse outobiografiese tekste vergelykend benader, met die doel om die skrywers se voorstellings van hul identiteit daarin te ondersoek. Die twee tekste wat gebruik word, is ’n Wonderlike geweld (2005) van Elsa Joubert, en ’n Ander tongval (2005) van Antjie Krog. Benewens die outobiografiese aard van die tekste, sluit die basis vir vergelyking ook die skrywers se status binne die Afrikaanse literêre sisteem, ooreenkomste tussen hulle en hul agtergronde, en die ooreenstemmende publikasiedatums in. Die teoretiese basis vanwaar die begrippe outobiografie en identiteit beskou word, word kortliks uiteengesit. Die klem val op outobiografie as ’n hibridiese genre wat veral gedefinieer word op grond van hoe ’n mens dit lees. Die gebruik van identiteit word dan as ’n lees-strategie voorgestel, met identiteit wat verstaan word as ’n onstabiele konstruksie wat konstant verander op grond van die konteks waarbinne dit gekonstrueer word. Die verskillende identiteite waarvolgens Joubert en Krog hulself aan die leser openbaar en die outobiografiese vorme wat hulle hiervoor gebruik, word dan ondersoek en bespreek in twee afsonderlike hoofstukke. Spesifieke klem word gelê op die tydsgees wat vasgevang word en die invloed wat die konteks waarbinne die tekste gepubliseer word, het. Uiteindelik word die verskille en ooreenkomste in die skrywers se voorstellings van hulself saamgevat. Ten slotte blyk dit dat die lees-strategie wat fokus op identiteit ’n nuttige invalshoek bied vir die studie van tekste binne die outobiografiese genre, aangesien dit met vrug op twee tekste met uiteenlopende outobiografiese eienskappe toegepas kan word. Verder word dit ook duidelik dat die struktuur en styl van die tekste in ’n groot mate die skrywer daarvan se benadering tot identiteit weerspieël.

Autobiographies and documentaries usually aim to elicit a discussion about social issues by shocking and horrifying readers and viewers, often through graphic imagery. This study's ambition is to examine how literary documentary borrows from the gothic tradition to depict real societal issues. My aim is to show how the gothic style transcends the borders of the genre and that literary documentary about self-harm tends to work through the same thematic and narrative structures as the literary gothic. With a focus on contemporary depictions of self-harm and mental illness in young women and girls in Sweden, this analysis explore how the function of sexuality, gender and self-harm in gothic horror can be applied on these texts. At the same time this study explores how selfharming women tend to use gothic imagery to portray the horrors of their own reality that is saturated with extreme and negative emotions. For comparison, two famous depictions of girls going through puberty from the literary horror genre; Carrie and The Exorcist, are examined to further anchor the connection between femininity, blood and puberty in the gothic theoretical field.