When I first started thinking about writing Family Love I wanted to write it as an autobiographical novel. This meant a radical departure from my usual writing methods. For one thing, it was the first time in my writing life that I was interested in the conscious use of a period in my life as material for a novel. I had never before attempted this and felt a certain amount of apprehension in abandoning tried and true approaches for something so new and risky. Obviously there is an autobiographical basis to all my work but it expresses itself not in facts or events so much as oblique flashes, subconscious truths that arise out of the process of writing. In the creation of fictional characters in my novels, for example, I had never before set out to write about a particular person in the naturalistic sense. I have not been interested in telling someone’s story so much as becoming involved in the process of discovering and developing characters constructed from many sources including my own fantasies. A critic once described me as a method actor in the way I went about writing fiction, and, in particular, finding the voice of a character. This is an observation I find useful because there is something almost actorly about my immersion into fictional characters’ lives. It is a complete identification which results in what could be loosely described as super realism. I am writing from life but from my own intensely observed construction of a life a construction which has its own rules, logic and momentum and often bears little resemblance to the facts or the real people. / Doctor of Creative Arts (DCA)

The way we socialize today is radically different from how it was only twenty years ago. Since the arrival of the Internet more and more of what we know about the lives of our friends comes from text-based social networks, or blogs. This means that we all, more or less, have become authors of our own life stories and that the reality we live in have become fictionalized. In this paper I explore what effects this postmodern process of dissolving boundaries has had on the autobiographical genre, where the line between fiction and reality is traditionally stressed. By analysing Carina Rydberg’s (b. 1962) autobiographical novel Djävulsformeln (2000) I reveal how the autobiographical genre has evolved during the postmodernist era and how Philippe Lejeune’s autobiographical contract now commonly is replaced by a double contract (Poul Behrendt). This means that the contemporary autobiographical novel claims to be both a true story and made up, or, as Christian Lenemark calls it, true lies. To understand the mixed signals about whether the literary text is fiction or a true story the contemporary reader turns to the media and therefore authors more and more often choose to comment on and explain their works in interviews and articles to regain some control over how the text is perceived, thus overstepping the boundary of fiction. We have, as Lenemark puts it, a medialization of the role of the author. With the distinction between what is a depiction of reality and what is fiction, in a state of dissolution the traditional genre classifications have become dated. My claim is that the boundary between fiction and reality has imploded as an effect of the post- modern process and that readers today, like cultural consumers in general, look for "the real thing" but want a better reality than the one they get in real life. Traditional classifications like "autobiography", "reality" and "fiction" thereby no longer apply to contemporary literature.

Com base na relevância que se dá hoje aos estudos das escritas de si, foi investigado o teor autobiográfico que permeia a obra do escritor Fernando Sabino em três dos seus livros: O encontro marcado (1956), O menino no espelho (1982) e O tabuleiro de damas (1988). Cada uma dessas obras foi analisada a partir de perspectivas distintas do gênero autobiográfico: romance autobiográfico, autoficção e autobiografia, respectivamente. O trabalho também aborda a construção da imagem do escritor Fernando Sabino na cena literária, analisando o modo como o escritor se apresenta em seus textos e investigando se essa representação está atrelada à imagem de pessoa pública da qual tomamos conhecimento por meio de palestras, depoimentos e entrevistas do autor. Nas declarações de Fernando Sabino, podemos observar, pela frequente reiteração de ideias, que o autor elabora a si mesmo como um personagem. Além da representação que fez de si próprio, Sabino transformou, inclusive, outros escritores em personagens. É o que podemos notar no livro Gente (1975), no qual o autor apresenta personalidades do seu universo artístico de acordo com uma visão pessoal. O mesmo ocorre nos minidocumentários produzidos pelo escritor, na década de 70, nos quais transporta grandes nomes da literatura brasileira para o vídeo. Em um período em que há diferentes trabalhos e publicações referentes ao retorno do sujeito, à problematização da primeira pessoa e aos estudos autobiográficos, buscou-se, nesta dissertação, estudar a produção de um escritor que possui expressivo material pertinente à escrita de si e à representação do sujeito, mas com escassos trabalhos acadêmicos sobre sua obra / Based on the relevance given to the self-writing today, the autobiographical tenor pervading the work of the writer Fernando Sabino has been explored in three of his books: O encontro marcado (1956), O menino no espelho (1982) e O tabuleiro de damas (1988). Each of these works was analyzed from distinct perspectives of the autobiographical genre: autobiographical novel, autofiction and autobiography, respectively. This study also addresses the image construction of the writer Fernando Sabino in the literary scenario, by analyzing the way the author presents himself in his texts and investigating whether such characterization is attached to his public person image about which we learn through lectures, declarations and interviews. From Fernando Sabino's statements, it is noticeable that the author by the frequent reiteration of ideas features himself as a personage. In addition to characterizing himself, Sabino also turned other writers into characters. Such representation is seen in the book Gente (1975), in which the author presents personalities of his own artistic environment from a personal viewpoint. And this is also true of the minidocumentaries produced by the writer, in the 1970s, which convey great names in Brazilian literature to video. In a period when there are varied works and publications concerning the return of the subject, the first person questioning and the autobiographical studies, this dissertation aims to study the production of a writer who owns expressive material relevant to the self-writing and to the representation of the subject, even though few academic papers on his work are available

Escritoras migrantes frequentemente publicam romances autobiográficos que mesclam ficção com suas histórias pessoais. Essas escritoras usam suas experiências pessoais para discutir questões coletivas relacionadas aos diversos tipos de deslocamento associados ao processo diaspórico. As migrações em massa das ex-colônias para as metrópoles dos países desenvolvidos cresceram significantemente após a Segunda Guerra Mundial, gerando ao mesmo tempo contato mais próximos e conflitos entre culturas. Essa dissertação pretende analisar os romances autobiográficos How the García Girls Lost their Accents (1991) e Yo! (1997) da escritora dominicana-americana Julia Alvarez, A família Alvarez migrou para os Estados Unidos em 1960 devido a perseguição política. Em seus romances, a escritora lida com os traumas do deslocamento e com o processo de crescimento de meninas divididas entre valores culturais diferentes. Pretendo discutir como Alvarez, em sua prática autobiográfica, problematiza questões relacionadas à migração, como gênero, hibridismo cultural, memória lacunar e identidades fragmentadas. Também analiso como essas narrativas contestam as convenções formais tanto do gênero autobiográfico como da ficção, frisando o quanto o limite entre o real e o fictício, entre o privado e o político, é tênue / Migrant women writers often write autobiographical novels intertwining their personal histories with fiction. These writers use their personal experiences to discuss collective matters related to different types of displacement associated with the diasporic process. Mass migration has significantly grown after the World War II, especially from former colonized countries to developed centers, increasing both contact and conflict between cultures. This dissertation intends to analyze the autobiographical novels How the García Girls Lost their Accents (1991) and Yo! (1997) by Dominican-American author Julia Alvarez. The Alvarez family migrated to the U.S.A. in 1960 because of political persecution. In her novels, the writer deals with the traumas of dislocation and with the growing up process of girls caught between different cultural values. I intend to discuss how Alvarez problematizes through her autobiographical practice issues related to migration, such as gender roles, cultural hybridity, discrimination, shattered memories and fragmented identities. I also examine how these narratives contest conventions of both autobiographical and fictional genres, blurring the boundaries between the private and the political, between facts and fiction

Com base na relevância que se dá hoje aos estudos das escritas de si, foi investigado o teor autobiográfico que permeia a obra do escritor Fernando Sabino em três dos seus livros: O encontro marcado (1956), O menino no espelho (1982) e O tabuleiro de damas (1988). Cada uma dessas obras foi analisada a partir de perspectivas distintas do gênero autobiográfico: romance autobiográfico, autoficção e autobiografia, respectivamente. O trabalho também aborda a construção da imagem do escritor Fernando Sabino na cena literária, analisando o modo como o escritor se apresenta em seus textos e investigando se essa representação está atrelada à imagem de pessoa pública da qual tomamos conhecimento por meio de palestras, depoimentos e entrevistas do autor. Nas declarações de Fernando Sabino, podemos observar, pela frequente reiteração de ideias, que o autor elabora a si mesmo como um personagem. Além da representação que fez de si próprio, Sabino transformou, inclusive, outros escritores em personagens. É o que podemos notar no livro Gente (1975), no qual o autor apresenta personalidades do seu universo artístico de acordo com uma visão pessoal. O mesmo ocorre nos minidocumentários produzidos pelo escritor, na década de 70, nos quais transporta grandes nomes da literatura brasileira para o vídeo. Em um período em que há diferentes trabalhos e publicações referentes ao retorno do sujeito, à problematização da primeira pessoa e aos estudos autobiográficos, buscou-se, nesta dissertação, estudar a produção de um escritor que possui expressivo material pertinente à escrita de si e à representação do sujeito, mas com escassos trabalhos acadêmicos sobre sua obra / Based on the relevance given to the self-writing today, the autobiographical tenor pervading the work of the writer Fernando Sabino has been explored in three of his books: O encontro marcado (1956), O menino no espelho (1982) e O tabuleiro de damas (1988). Each of these works was analyzed from distinct perspectives of the autobiographical genre: autobiographical novel, autofiction and autobiography, respectively. This study also addresses the image construction of the writer Fernando Sabino in the literary scenario, by analyzing the way the author presents himself in his texts and investigating whether such characterization is attached to his public person image about which we learn through lectures, declarations and interviews. From Fernando Sabino's statements, it is noticeable that the author by the frequent reiteration of ideas features himself as a personage. In addition to characterizing himself, Sabino also turned other writers into characters. Such representation is seen in the book Gente (1975), in which the author presents personalities of his own artistic environment from a personal viewpoint. And this is also true of the minidocumentaries produced by the writer, in the 1970s, which convey great names in Brazilian literature to video. In a period when there are varied works and publications concerning the return of the subject, the first person questioning and the autobiographical studies, this dissertation aims to study the production of a writer who owns expressive material relevant to the self-writing and to the representation of the subject, even though few academic papers on his work are available

Escritoras migrantes frequentemente publicam romances autobiográficos que mesclam ficção com suas histórias pessoais. Essas escritoras usam suas experiências pessoais para discutir questões coletivas relacionadas aos diversos tipos de deslocamento associados ao processo diaspórico. As migrações em massa das ex-colônias para as metrópoles dos países desenvolvidos cresceram significantemente após a Segunda Guerra Mundial, gerando ao mesmo tempo contato mais próximos e conflitos entre culturas. Essa dissertação pretende analisar os romances autobiográficos How the García Girls Lost their Accents (1991) e Yo! (1997) da escritora dominicana-americana Julia Alvarez, A família Alvarez migrou para os Estados Unidos em 1960 devido a perseguição política. Em seus romances, a escritora lida com os traumas do deslocamento e com o processo de crescimento de meninas divididas entre valores culturais diferentes. Pretendo discutir como Alvarez, em sua prática autobiográfica, problematiza questões relacionadas à migração, como gênero, hibridismo cultural, memória lacunar e identidades fragmentadas. Também analiso como essas narrativas contestam as convenções formais tanto do gênero autobiográfico como da ficção, frisando o quanto o limite entre o real e o fictício, entre o privado e o político, é tênue / Migrant women writers often write autobiographical novels intertwining their personal histories with fiction. These writers use their personal experiences to discuss collective matters related to different types of displacement associated with the diasporic process. Mass migration has significantly grown after the World War II, especially from former colonized countries to developed centers, increasing both contact and conflict between cultures. This dissertation intends to analyze the autobiographical novels How the García Girls Lost their Accents (1991) and Yo! (1997) by Dominican-American author Julia Alvarez. The Alvarez family migrated to the U.S.A. in 1960 because of political persecution. In her novels, the writer deals with the traumas of dislocation and with the growing up process of girls caught between different cultural values. I intend to discuss how Alvarez problematizes through her autobiographical practice issues related to migration, such as gender roles, cultural hybridity, discrimination, shattered memories and fragmented identities. I also examine how these narratives contest conventions of both autobiographical and fictional genres, blurring the boundaries between the private and the political, between facts and fiction

The focus of this study is on how the identity narrative is constructed and how the narrative effects the reader’s perception of the protagonist’s identity in the autobiographical novels Kärlek i Europa and alla vilda by Birgitta Stenberg. The discourse of autobiographical writing is used to analyse the novels with the perspective that an autobiographical text communicates with it’s readers. By close-reading the pattern of the narrative becomes visible. The analys of the narrative show that the narrator changes positions throughout the novels. In effect, this means that the narrator and the protagonist sometimes occupies the same position in the text, and sometimes not. By mapping the narrator’s positions and by separating the author, narrator and protagonist the narrative structure emerges as complex. The authors position and the referentiality to something ”real” outside the text creates a picture of the protagonist as a part of the awareness of gender discrimination toward female writers. It also raises the issue of the historical discrimination toward LGBTQ persons and ethnic groups. The narrator’s changing position re-structures time and space by inserting different timelines. Through the historical, the traveling and the future timelines the development of the protagonist’s identity emerges. In contrast to the genre bildungsroman the identity narrative becomes visible as a self-reflexive project. The reflexive project allows the narrator to compare the identity of the self through time. This structure also invites the reader to co-create the protagonist identity alongside the narrator.

Submitted by Maike Costa (maiksebas@gmail.com) on 2017-07-31T11:57:53Z No. of bitstreams: 1 arquivototal.pdf: 928533 bytes, checksum: 50c7a01860e44bc1dcc59f2057924f81 (MD5) / Made available in DSpace on 2017-07-31T11:57:53Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 928533 bytes, checksum: 50c7a01860e44bc1dcc59f2057924f81 (MD5) Previous issue date: 2016-08-12 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The constitution of the subject in all societies is closely linked to power relations established in a given historical moment. These relationships pervade the social practices and grounded in a set of knowledge, develop real desires that are incorporated by the subjects as "truths" absolute, unique and unquestionable. With regard specifically to the constitution of the subject Iranian woman, the development of their identity is tied to a particularized power system by a strong association between State and Religion, which has, over time, inferiorized the identity of the individual woman , seen as the other child before marriage to the father and then the celebration of the marriage agreement, the husband. Having as theoretical support the contributions from the Discourse Analysis, Foucault's research and cultural studies, this research we aim to analyze the constitution of the subject Iranian woman immersed in power relations in circulation in the course of the twentieth century, marked by profound changes political, social and historical. From this goal, we adopted as of this research investigation object the autobiographical novel What I did not tell, the Iranian author Azar Nafisi, whose first edition was translated into Portuguese in 2009, a year after its publication in the original Things I’ve been silent about. After our reflections, we found that the novel, narrated in first person, can be understood as an intimate writing, since the author, in addition to the first-person narrative from the title makes it clear that it is a vision particular about their country, attempting to resist the "male tyranny," breaking the silence for a long time the subject woman. / A constituição do sujeito em todas as sociedades está intimamente atrelada às relações de poder instituídas em determinado momento histórico. Essas relações perpassam as práticas sociais e, alicerçadas em um conjunto de saberes, elaboram vontades de verdade que são incorporadas pelos sujeitos como “verdades” absolutas, únicas e inquestionáveis. No que diz respeito, especificamente, à constituição do sujeito mulher iraniana, a elaboração de sua identidade está atrelada a um sistema de poder particularizado por uma intensa associação entre Estado e Religião, que tem, ao longo do tempo, inferiorizado a identidade do sujeito mulher, visto como o outro subordinado, antes do casamento ao pai e depois, da celebração do acordo matrimonial, ao esposo. Tendo como suporte teórico as contribuições advindas da Análise do Discurso, das pesquisas foucaultianas e dos Estudos culturais, nesta pesquisa temos como objetivo analisar a constituição do sujeito mulher iraniana imersa nas relações de poder em circulação, no transcorrer do século XX, marcado por profundas mudanças políticas, sociais e históricas. A partir desse objetivo, adotamos como objeto de investigação dessa pesquisa o romance autobiográfico O que eu não contei, da autora iraniana Azar Nafisi, cuja primeira edição foi traduzida para o português no ano de 2009, um ano após a sua publicação no original Things I’ve been silent about.Após as nossas reflexões, constatamos que o romance, narrado em primeira pessoa, pode ser entendido como uma escrita íntima, uma vez que a autora, além de fazer a narrativa em primeira pessoa, desde o título, deixa claro que se trata de uma visão particular sobre o seu país, intentando resistir à “tirania masculina”, quebrando o silêncio imposto por um longo período ao sujeito mulher.

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-05-17T10:57:39Z No. of bitstreams: 1 carolineresendeneves.pdf: 6479902 bytes, checksum: 2d348b4138ee37480f38c0148da7522f (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-05-22T14:25:08Z (GMT) No. of bitstreams: 1 carolineresendeneves.pdf: 6479902 bytes, checksum: 2d348b4138ee37480f38c0148da7522f (MD5) / Made available in DSpace on 2018-05-22T14:25:08Z (GMT). No. of bitstreams: 1 carolineresendeneves.pdf: 6479902 bytes, checksum: 2d348b4138ee37480f38c0148da7522f (MD5) Previous issue date: 2018-04-07 / O objetivo da presente dissertação é discutir os pontos de intersecção entre a vida da autora inglesa Virginia Woolf e sua obra ficcional Os anos, assinalando quais experiências foram utilizadas como fonte criativa no espaço autobiográfico ocupado pela obra citada. O livro que se configura como objeto de estudo narra a saga de uma família vitoriana que claramente se assemelha à própria família de Woolf, abrangendo o espaço de tempo de 1880 até os anos 1930, e dessa forma também abarcando as mudanças não só familiares, como também da sociedade inglesa. Com esse propósito, buscou-se inicialmente apresentar a biografia da escritora, seguido de um breve panorama da literatura de autoria feminina e da análise da produção crítica de Woolf, criando um paralelo em relação ao uso das experiências pessoais entre sua teoria e sua prática. Em um segundo momento, discute-se as teorias relacionadas à escrita de si, almejando encontrar uma que possa melhor definir a prática de escrita utilizada em Os anos. Não encontrando um conceito adequado ao objeto de estudo, apresentou-se uma expansão da noção de romance autobiográfico, levando em consideração todas as informações obtidas durante a pesquisa. Por fim, é feita uma análise do livro Os anos, discutindo seu enredo, simbolismos e apresentação das personagens femininas, culminando no cruzamento dos dados biográficos obtidos através de biografias e autobiografias com a história narrada. / The aim of this study is to discuss the connection between the private life of the British writer Virginia Woolf and her fictional work The years, pointing out which of her private experiences were used as a creative source in the autobiographical space present at the aforementioned title. The book, which is the object of this study, tells the story of a Victorian family that clearly resembles Woolf's own family. It is set from 1880 to 1930, thus depicting not only the changes in the families, but also in the British society as a whole. Having this study's purpose as basis, a biography of the writer was firstly presented, followed by a brief women's writing overview and by an analysis of Woolf's literary criticism, establishing a connection between her theory and the practice concerning the usage of private experiences. Secondly, theories on self-writing are discussed, aiming to find one which can define the writing practice used in The years. As a consequence for not finding a suitable concept for the object of this study, an expansion of the idea of autobiographical romance was introduced, taking all the information obtained during the research process into account. Finally, an examination of the book The years was carried out, analyzing its plot, symbolism and female characters, resulting in a cross-check of biographical data - which was obtained from biographies and autobiographies - and the story told.

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.