No abstract available. / Thesis (M.A.)-University of Natal, Durban, 1993.

Cette thèse porte sur trois textes autobiographiques qui questionnent, à travers l’élaboration d’une pensée de l’événement, les oppositions convenues entre fiction et témoignage. L’Événement (2000) d’Annie Ernaux, Le jour où je n’étais pas là (2000) d’Hélène Cixous et L’Instant de ma mort (1994) de Maurice Blanchot présentent le récit autoréférentiel d’un événement traumatique, soit un avortement clandestin pour Ernaux, la mort en bas âge d’un enfant trisomique pour Cixous et la mise en joue par un soldat nazi lors de la Seconde Guerre mondiale pour Blanchot. Ce corpus, quoique hétérogène à plusieurs égards, loge à l’enseigne d’une littérature placée sous le signe de l’aveu, de la confession et de la révélation ; cette littérature porterait au jour ce qui était jusque-là demeuré impossible à dire. Partant de la figure de la honte inscrite dans ces trois œuvres, mais aussi dans d’autres textes de ces écrivains qui permettent de déployer ce qui se trame de secret et d’événement dans le corpus principal, cette thèse a pour objectif d’analyser les déplacements et les retours d’un trauma gardé secret pendant une quarantaine d’années et qui remonte, par la voie de l’événement, à la surface de l’écriture. Sous la double impulsion de la pensée de Jacques Derrida et de l’approche psychanalytique, cette thèse s’intéresse à la question de l’événement à l’œuvre chez Ernaux, Cixous et Blanchot. Dans chacune de ces œuvres, un événement traumatique intervient comme révélateur de l’écriture et d’un rapport singulier à la pensée de l’événement, marqué soit historiquement et politiquement (Blanchot), soit intimement (Cixous et Ernaux). Par l’écriture, ces auteurs tentent en effet de rendre compte de l’authenticité de l’événement ressenti, problématisant du même coup la nature et la fonction de l’événement tant réel que psychique dans le récit de soi. L’événement est ainsi abordé dans son caractère historique, psychanalytique mais également philosophique, ontologique ; la pensée de l’événement mise à l’épreuve des textes d’Ernaux, de Cixous et de Blanchot permet d’explorer les figures de la date, de l’archive, de la mort et du deuil qui lui sont liées, en plus de donner lieu à une poétique singulière chez chacun. Enfin, la thèse traite du rapport entre l’aveu de l’événement et la langue qui, défiant l’opposition traditionnelle du constatif et du performatif, entraîne l’événement du récit, cet autre événement qui arrive en même temps que le récit de l’événement traumatique. / This thesis focuses on three autobiographical texts: Annie Ernaux’s L’Événement (2000) [Happening], Hélène Cixous’s Le jour où je n’étais pas là (2000) [The Day I Wasn’t There] and Maurice Blanchot’s L’Instant de ma mort (1994) [The Instant of My Death]. Each presents a self-referential narrative of a traumatic event: respectively, Ernaux’s illegal abortion, the death in infancy of a child with Down’s syndrome for Cixous and Blanchot’s experience of having been aimed at by a Nazi soldier during World War II. These three texts work out a conception of the event and therefore question the conventional opposition between fiction and testimony. This corpus, although heterogeneous in many respects, is brought together under the sign of literary confessions, avowals and disclosures. Such literary writing is intent on unraveling or bringing to light what had hitherto remained impossible to say. This thesis analyzes the movements and returns of a trauma kept secret for over forty years which ultimately, by way of the event, resurfaces in writing. The thesis’s point of departure is the figure of shame found in the three works. Yet other texts of the same writers are summoned in an attempt to untangle the secrets and events woven in the main corpus. Under the impulse of both Jacques Derrida’s thought and that of psychoanalysis, this thesis focuses on the events in the making in Ernaux, Cixous and Blanchot’s writings. In each of these works, a traumatic event occurs and reveals the links between writing and a philosophy of the event, be it inscribed historically and politically (Blanchot) or intimately (Cixous and Ernaux). In their writings, these authors attempt to give an authentic account of the event as they experienced it, while at the same time problematizing the nature and function of both the real and the psychic event in self-writing. The event is addressed in its historical, psychoanalytical, and philosophical, ontological dimensions. Close attention to the texts of Ernaux, Cixous and Blanchot allows one to explore the figures of the date, the archive, as well as that of death and work of mourning. Moreover, a singular poetics emerge for each writer. Finally, the thesis deals with the relationship between the acknowledgement of the event and language. Notwithstanding the traditional opposition between constative and performative speech acts, another event—the event of narration—arises at the same time as the traumatic event is narrated.

The purpose of this study is to gain a better understanding of women who have been abused by their partners. The study also examines how violence takes shape in a relationship. Based on a qualitative text analysis of three autobiographies and one novel, we have obtained the material for this study. The three selected autobiographies are; "I have not told you everything" by Jessie Andersson, "The nightmare" by Maria Dahlén and "It would be a pleasure to kill you" by Magdalena Graaf and the novel "Hidden" by Liza Marklund. To gain a better understanding of this topic, we have used the following theories; the process of normalization of violence, gender and masculinity. The analysis of the study is divided into two chapters. In the first chapter we are going to analyze the "Women's experiences as subjects to violence in relationships", where similarities in the four books are revealed, as well as the women’s experiences. The second chapter highlights "The underlying reasons why abuse exists in these relationships". This chapter shows what the gender roles of a man and a woman are, as told in the relationships described in the books. The results of this study show that women first become exposed to psychological violence which later also becomes physical. Women, who live in these conditions, adapt to the men’s behavior and feel shame, guilt, fear and powerlessness about their lives. Furthermore we discuss the society’s influential role towards women who are abused. The society and the social workers, should have an understanding of this problem, in order to help the women and understand why they stay in abusive relationships. / Syftet med denna studie är att få en ökad förståelse för kvinnor som levt i våldsutsatta relationer. Studien undersöker även hur våldet tar sin form i ett förhållande. Utifrån en kvalitativ textanalys av tre självbiografier och en roman får vi fram studiens textmaterial. De tre utvalda självbiografierna är; "Jag har inte berättat allt" av Jessie Andersson, "Nattmaran" av Maria Dahlén och "Det ska bli ett sant nöje att döda dig" av Magdalena Graaf samt romanen "Gömda" av Liza Marklund. För att få förståelse kring ämnet har vi använt oss av teorierna; Våldets normaliseringsprocess, genus och maskulinitet. Studiens analys är indelad i två kapitel. I det första kapitlet analyserar vi "Kvinnors upplevelser i ett våldsutsatt förhållande" där likheter i de fyra böckerna framkommer samt kvinnornas upplevelser. Det andra kapitlet belyser "De bakomliggande faktorerna till den våldsutsatta relationens existens" visar på att könsroller angående vad som är "man" och "kvinna" existerar i relationerna i de fyra böckerna. Resultatet för denna studie visar att kvinnor först blir utsatta för psykiskt våld och som sedan även övergår till fysiskt. Kvinnorna som lever i dessa förhållanden anpassar sig efter männen och känner skam, skuld, rädsla och maktlöshet över sin livssituation. Vidare redovisas samhällets påverkande roll gentemot kvinnor som blir misshandlade. Samhället och de professionella socialarbetare bör ha kunskaper om denna problematik för att kunna hjälpa kvinnan samt förstå varför hon stannar kvar i förhållandet.

This exegesis examines the proposition that playwriting is an entrepreneurial activity when combined with the role of producer. The thesis demonstrates that, when a playwright combines the two roles and considers the development of a network of relationships in the process, positive steps can be made towards the marketing of a work and the career progression of the playwright. The issues of marketing and career progression are considered in a regional context. The thesis comprises the creation of a full-length theatrical work through the MA (Research) Program at Queensland University of Technology and an analysis of that journey in the context of regional theatre practice in Queensland. Nicolas Bourriaud’s theory of the Relational Aesthetic is used as a way of charting my practice and of examining how this approach might be appropriate to theatre-making in regional Australia. The paper establishes strategies by which the playwright, when also undertaking the role of producer, might manage the complex set of circumstances and interactions between the work, the community and the industry. Using practice-led research methodologies, the exegesis examines the process of the creation of a new play, Sinking, and explores, through the use of an autobiographical case study, what the process has meant to the author’s development as a playwright over a fifteen month period. The paper uses a network map to explore the interactions created through a rehearsed reading of the first draft of the play in October 2006 and, in doing so, demonstrates how a close engagement with the community formed the basis of the entrepreneurial strategy. The exegesis demonstrates that Bourriaud’s work connects very closely with the author’s practice and examines how the approach might be useful for other regional arts practitioners, particularly those in the early stages of their careers. The research aims to identify how the creation of the play, and the subsequent interactions generated within a regional community, can lead to opportunities to create connections both within the author’s place of residence and in broader theatre industry contexts, nationally and internationally, in order to provide commercial and professional outcomes.

Orchids: Intersex and Identity in Documentary explores the creative practice challenges of working with bodies with intersex in the long-form auto/biographical documentary Orchids. Just as creative practice research challenges the dominant hegemony of quantitative and qualitative research, so does my creative work position itself as a nuanced piece, pushing the boundaries of traditional cultural studies theories, documentary film practice and creative practice method, through its distinctive distillation and celebration of a new form of discursive rupturing, the intersex voice.

Overseas Shipwrecks: Depictions in Spanish and Portuguese Sources from the 16th Century PhDr. Jaroslava Marešová Abstract This dissertation analyses Spanish and Portuguese shipwreck accounts of the 16th century. These accounts were written mainly by survivors of catastrophic shipwrecks on overseas voyages to America and India and therefore belong to the huge corpus of works written in the 16th century about exploring and conquering new territories. But unlike the most of the written sources of the period, these accounts does not celebrate the overseas enterprise, they bring a new, tragic, perspective and describe the dangers and misery of overseas voyages. Portuguese shipwrecks accounts were very popular among the readers of the 16th century and therefore they created a kind of tradition. They are often seen as a specific genre and represent an important topic of the Portuguese literature of the 16th century and are studied by many Portuguese literary scholars. In this dissertation six Portuguese accounts are analysed, five of them written by survivors. There are not as many shipwreck accounts written in Spanish. The best known of them is the account by Álvar Núñez Cabeza de Vaca. The second shipwreck account written in Spanish and analysed in this dissertation is the letter by Maestre Juan in which he...

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)

The study critically investigated the concept of ―Double Consciousness‖ in selected African-American autobiographies. In view of the latter, W.E.B. Du Bois defined double consciousness as a condition of being both black and American which he perceived as the reason black people were/are being discriminated in America. The study demonstrated that creative works such as Harriet Jacobs‘ Incidents in the Life of Slave Girl: Told by Herself, Frederick Douglass‘ The Narrative of Frederick Douglass, W.E.B. Du Bois‘ The Souls of Black Folk, Booker T. Washington‘s Up from Slavery, Langston Hughes‘ The Big Sea, Zora Neale Hurston Dust Tracks on a Road, Malcolm X‘s The Autobiography of Malcolm X, Maya Angelou‘s All God’s Children Need Travelling Shoes, Cornel West‘s Brother West: Living and Loving Out Loud and bell hooks‘ Bone Black affirm double consciousness as well as critiqued the concept, revealing new layers of identities and contested sites of struggle in African-American society. The study used a qualitative method to analyse and argue that there are ideological shifts that manifest in the creative representation of the idea of double consciousness since slavery. Some relevant critical voices were used to support, complicate and question the notion of double consciousness as represented in selected autobiographies. The study argued that there are many identities in the African-American communities which need attention equal to that of race. The study further argued that double consciousness has been modified and by virtue of this, authors suggested multiple forms of consciousness. / English Studies / D. Litt. et Phil. (English)

[pt] Portinari em re-trato: uma escrita de si em letra e imagem investiga a escrita autobiográfica do pintor brasileiro Candido Portinari através de diversos registros – sua correspondência, seu diário, seu poema e seus autorretratos. Sob a perspectiva das representações do eu – e partindo do significado etimológico da palavra retrato, derivada do latim re-traho (re-traçar) –, busquei retratar o homem por trás da máscara do pintor, seguindo as pistas deixadas nessa série de repetições de si mesmo. / [en] Portinari in por-trait: a self-writing in letter and image investigates the autobiographical writing of the brazilian paiter Candido Portinari through its various registers – his letters, his journal, his poems and his selfportraits. Under the perspective of self-writing, my goal is to picture the man behind the mask of the painter, following the clues in his series of self-repetitions. / [fr] Portinari en por-trait : une écriture de soi par la lettre et l image enquête l écriture autobiographique du peintre brésilien Candido Portinari à travers divers documents – sa correspondance, son journal intime, son poème et ses autoportraits. Du point de vue des représentations du moi- et en m appuyant sur le sens etymologique du mot portrait, dérivé du latin pro-trahere, infinitif de pro-traho, de traho (tirer) avec le prefixe pro - (tirer en avant, faire sortir, traîner hors de; sortir au grand jour, révéler, dévoiler), j ai cherché à dépeindre l homme derrière le masque du peintre, en suivant les indices laissés dans cette série répétitions de soi-même.

Made available in DSpace on 2014-12-17T14:36:20Z (GMT). No. of bitstreams: 1 VeraLXP.pdf: 739385 bytes, checksum: 39e55369e3d68f24ba74cd42c7b6cab6 (MD5) Previous issue date: 2006-09-11 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / This paper gives clues for the educative action in nutrition subjects. It deals about the professors experiences deployments lived in 2003 e 2004, both in Nutrition undergraduate course of the Federal University of the Rio Grande do Norte (UFRN), in Nutrition Education and Supervised Internship in Social Nutrition academic disciplines, as well as in the II Update Course in Nutrition Practices for Health Basic Care , offered to the supervisors nutritionists of internship, in this same department, being able to be characterized as an action-research, with interventionism purpose. The study stands out the importance of a new point of view about the nutritionist formation to overcome the limits imposed by the scientism, and the adoption of a complex and reflexive reference about the educational practice in this area. The corpus is made up by 81 undergraduate students alimentary autobiography (source of generating subjects for interventions with the nutritionists), 17 questionnaires and 05 interviews, being 03 of them biography (the start up for an initial dialogue with the nutritionists). The data found and the professors experiences allied to a theoretic reference, by the light of the education proposals for the XXI century were used as establishment elements for the proposition of five guidance axles used to build a complex and reflexive nutrition education, which are: 1) Take the cookery and the culture of eating together as significant elements for the human being integral formation; 2) Conceive the religion manifestations associated to feeding process as relevant elements of the human food culture; 3) Discuss the rupture nature/culture aiming the preservation of live in earth; 4) Search for the overcoming of the identity conflicts by a higher inclosing conscience degrees of being part of this process. 5) Face the limits of fragmented formation. The presented thesis stands that the autobiography method, allied to the freirean pedagogy and to a complex reference, could be taken as an important tool to the health educative subjects, contributing to the formation of reflective individuals able to transform themselves and the world. / Este trabalho apresenta pistas para a a??o educativa em nutri??o. Trata do desdobramento de viv?ncias docentes experienciadas em 2003 e 2004, tanto no curso de Gradua??o em Nutri??o, da Universidade Federal do Rio Grande do Norte (UFRN), nas disciplinas de Educa??o Nutricional e Est?gio Supervisionado em Nutri??o Social , bem como no II Curso de Atualiza??o nas Pr?ticas de Nutri??o na Aten??o B?sica ? Sa?de , oferecido ?s nutricionistas supervisoras de est?gio, pelo mesmo departamento, podendo ser caracterizada como uma pesquisa-a??o, de cunho intervencionista. O estudo ressalta a import?ncia de um novo olhar sobre a forma??o do nutricionista para a supera??o dos limites impostos pelo cientificismo, e a ado??o de um referencial complexo e reflexivo sobre o fazer educativo nesta ?rea. O corpus est? constitu?do por 81 autobiografias alimentares de graduandas (fonte de temas geradores para interven??es junto a nutricionistas), 17 question?rios e 05 entrevistas, sendo 03 biogr?ficas (ponto de partida para o in?cio de um di?logo junto ?s nutricionistas). Os dados encontrados e a experi?ncia docente aliada ao referencial te?rico, iluminados pelas propostas de educa??o para o s?culo XXI serviram como elementos fundantes da proposi??o de cinco eixos norteadores para a constru??o de uma educa??o nutricional complexa e reflexiva, que s?o: 1) Tomar o fazer culin?rio e a comensalidade como elementos significativos para a forma??o integral dos seres humanos; 2) Conceber as manifesta??es de religiosidade associadas ? alimenta??o como elementos relevantes da cultura alimentar humana. 3) Discutir a ruptura natureza/cultura visando a preserva??o da vida da Terra; 4) Buscar a supera??o dos conflitos identit?rios pela consci?ncia de graus de pertencimento mais abrangentes; 5) Enfrentar os limites da forma??o fragmentadora. A tese apresentada ? a de que o m?todo autobiogr?fico, aliado ? pedagogia freireana e a um referencial complexo, pode ser tomado como uma ferramenta importante para o trabalho educativo em sa?de, contribuindo para a forma??o de sujeitos capazes de refletir para transformar a si e ao mundo