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Although well documented in terms of historical significance, very little is known about South African slaves’ experience of slavery. Except for a few accounts by slaves such as Emilie Lehn and Katie Jacobs, South African slave narratives (unlike their American counterparts) never received much attention. This can be ascribed to, among other things, the prominence of apartheid on the South African social scene and the shame associated with a slave past or being of slave ancestry. As a result of the lack of information regarding the experience of these slaves, fictional narratives such as The Slave Book by Rayda Jacobs and Philida by André Brink have succeeded in filling this gap by making use of historical documents, such as court documents and slave registers, to create stories of slaves. Yvette Christiansë’s Unconfessed makes a notable contribution to South African literature, both in terms of subject matter and narrative technique. This novel directs the reader’s attention to a part of South African history that has been neglected in literature and society. It addresses oppression, racism, hypocrisy and sexual abuse, to name but a few,. It challenges the traditional concept of genre by combining different elements of the traditional autobiography, with the confessional and testimonial modes of literature. The combination of these modes creates a striking and vivid narrative, which relates Sila’s experiences from her own perspective. Furthermore, this fragmented narrative, allows the reader a glimpse into Sila’s mind and thoughts regarding her past, present and future. / Thesis (MA (English))--North-West University, Potchefstroom Campus, 2013

Although well documented in terms of historical significance, very little is known about South African slaves’ experience of slavery. Except for a few accounts by slaves such as Emilie Lehn and Katie Jacobs, South African slave narratives (unlike their American counterparts) never received much attention. This can be ascribed to, among other things, the prominence of apartheid on the South African social scene and the shame associated with a slave past or being of slave ancestry. As a result of the lack of information regarding the experience of these slaves, fictional narratives such as The Slave Book by Rayda Jacobs and Philida by André Brink have succeeded in filling this gap by making use of historical documents, such as court documents and slave registers, to create stories of slaves. Yvette Christiansë’s Unconfessed makes a notable contribution to South African literature, both in terms of subject matter and narrative technique. This novel directs the reader’s attention to a part of South African history that has been neglected in literature and society. It addresses oppression, racism, hypocrisy and sexual abuse, to name but a few,. It challenges the traditional concept of genre by combining different elements of the traditional autobiography, with the confessional and testimonial modes of literature. The combination of these modes creates a striking and vivid narrative, which relates Sila’s experiences from her own perspective. Furthermore, this fragmented narrative, allows the reader a glimpse into Sila’s mind and thoughts regarding her past, present and future. / Thesis (MA (English))--North-West University, Potchefstroom Campus, 2013

FundaÃÃo de Amparo à Pesquisa do Estado do Cearà / Os estudos crÃticos envolvendo a obra de Josà Saramago tÃm privilegiado, em sua maioria, os romances, partindo geralmente de Memorial do Convento (1982). Elegendo um gÃnero (o romance) e uma fase (a maturidade do escritor) como principal objeto de anÃlise, a crÃtica acaba por negligenciar tanto a sua produÃÃo anterior à dÃcada de 1980 quanto o gÃnero autobiogrÃfico cultivado pelo autor. Este Ãltimo assume na obra de Saramago principalmente as formas de diÃrio (Cadernos de Lanzarote, DiÃrios I a V, 1994-1998) e memÃrias da infÃncia (As Pequenas MemÃrias, 2006). Considerando essa produÃÃo, pretendemos confrontÃ-la com sua prosa de ficÃÃo, especialmente o romance Manual de Pintura e Caligrafia (1977), e com textos hÃbridos como as crÃnicas (Deste Mundo e do Outro, 1971 e A Bagagem do Viajante, 1973), alÃm de seus poemas, obras da primeira fase do escritor, em que o carÃter autobiogrÃfico à mais evidente. Nosso intuito à investigar, atravÃs desse cotejo, como a obra de Saramago desenvolveu-se paralelamente a sua formaÃÃo pessoal e estÃtica, dentro de um espaÃo cujo elemento fundamental à a memÃria (pessoal, da tradiÃÃo, da HistÃria e do imaginÃrio) acabando por revelar, em qualquer dos gÃneros, uma imagem do autor, deliberada e coerentemente construÃda.

LIMA, Denise Noronha. O espaço da memória em José Saramago: literatura e autobiografia. 2017. 392f. – Tese (Doutorado) – Universidade Federal do Ceará, Programa de Pós-Graduação em Letras, Fortaleza (CE), 2017. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-04-25T12:37:12Z No. of bitstreams: 1 2017_tese_dnlima.pdf: 7758414 bytes, checksum: 3c4712fb0914c5293d2338a31efae057 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-05-02T18:06:21Z (GMT) No. of bitstreams: 1 2017_tese_dnlima.pdf: 7758414 bytes, checksum: 3c4712fb0914c5293d2338a31efae057 (MD5) / Made available in DSpace on 2017-05-02T18:06:21Z (GMT). No. of bitstreams: 1 2017_tese_dnlima.pdf: 7758414 bytes, checksum: 3c4712fb0914c5293d2338a31efae057 (MD5) Previous issue date: 2017 / Critical studies involving the work of José Saramago have mostly favored novels, beginning from Memorial do Convento (1982). Choosing a genre (the novel) and a phase (the writer's maturity) as the main object of its analysis, the literary critique ends up neglecting both its production prior to the 1980s and the autobiographical genre cultivated by the author. The latter assumes in the work of Saramago mainly the forms of diary (Cadernos de Lanzarote, Diaries I to V, 1994-1998) and childhood memories (As Pequenas Memórias, 2006). Considering this production, we intend to confront it with his prose of fiction, especially the novel Manual de Pintura e Caligrafia (1977), to hybrid texts like his chronicles (Deste Mundo e do Outro, 1971 and A Bagagem do Viajante, 1973), besides his poems, works of the first phase of the writer, in which the autobiographical element is more evident. Our intention is to investigate, through this comparison, how the work of Saramago developed in parallel with his personal and aesthetic formation, within a space whose fundamental element is the memory (personal, tradition, history and imaginary) eventually revealing , in any of the genres, an image of the author, deliberately and coherently constructed. / Os estudos críticos envolvendo a obra de José Saramago têm privilegiado, em sua maioria, os romances, partindo geralmente de Memorial do Convento (1982). Elegendo um gênero (o romance) e uma fase (a maturidade do escritor) como principal objeto de análise, a crítica acaba por negligenciar tanto a sua produção anterior à década de 1980 quanto o gênero autobiográfico cultivado pelo autor. Este último assume na obra de Saramago principalmente as formas de diário (Cadernos de Lanzarote, Diários I a V, 1994-1998) e memórias da infância (As Pequenas Memórias, 2006). Considerando essa produção, pretendemos confrontá-la com sua prosa de ficção, especialmente o romance Manual de Pintura e Caligrafia (1977), e com textos híbridos como as crônicas (Deste Mundo e do Outro, 1971 e A Bagagem do Viajante, 1973), além de seus poemas, obras da primeira fase do escritor, em que o caráter autobiográfico é mais evidente. Nosso intuito é investigar, através desse cotejo, como a obra de Saramago desenvolveu-se paralelamente a sua formação pessoal e estética, dentro de um espaço cujo elemento fundamental é a memória (pessoal, da tradição, da História e do imaginário) acabando por revelar, em qualquer dos gêneros, uma imagem do autor, deliberada e coerentemente construída.

A presente tese, A forma confessional nos Diários de Miguel Torga, analisa os três diários iniciais do autor, escritos durante os anos de 1932 a 1946 e publicados entre 1941 e 1946. O recorte realizado procura, na primeira seção, mostrar o processo de constituição de Miguel Torga como autor intimista, que se deu na primeira metade do século passado, por meio dos debates do movimento presencista e da leitura intensa de autores confessionais. Esse percurso formativo foi fundamental para que pudesse elaborar um diário extremamente original, que soube preservar, no entanto, o lastro da tradição literária europeia, como demonstramos na segunda seção. Na seção final, realizamos a leitura imanente do Diário a fim de identificar e discutir as bem sucedidas estratégias de que Miguel Torga lançou mão para construir um texto em que sujeito, forma literária e vida social se entrelaçam profundamente. / The present thesis, The confessional form in the Diaries of Miguel Torga, analyses the authors three initial diaries, written during the years of 1932 and 1946 and published between 1941 and 1946. This work seeks to demonstrate, in the first section, the process by which Miguel Torga became an intimist author in the first half of the last century, through the debates conducted by the presencista movement and the extensive reading of confessional authors. As we demonstrate in the second section, that formative trajectory was fundamental for him to get to elaborate a highly original diary, which yet preserves the grounding of the literary European tradition. In the final section, we make an immanent reading of the Diary so to identify and discuss the successful strategies used by Miguel Torga in order to build a text in which subject, literary form and social life are intensely interwoven.

A presente tese, A forma confessional nos Diários de Miguel Torga, analisa os três diários iniciais do autor, escritos durante os anos de 1932 a 1946 e publicados entre 1941 e 1946. O recorte realizado procura, na primeira seção, mostrar o processo de constituição de Miguel Torga como autor intimista, que se deu na primeira metade do século passado, por meio dos debates do movimento presencista e da leitura intensa de autores confessionais. Esse percurso formativo foi fundamental para que pudesse elaborar um diário extremamente original, que soube preservar, no entanto, o lastro da tradição literária europeia, como demonstramos na segunda seção. Na seção final, realizamos a leitura imanente do Diário a fim de identificar e discutir as bem sucedidas estratégias de que Miguel Torga lançou mão para construir um texto em que sujeito, forma literária e vida social se entrelaçam profundamente. / The present thesis, The confessional form in the Diaries of Miguel Torga, analyses the authors three initial diaries, written during the years of 1932 and 1946 and published between 1941 and 1946. This work seeks to demonstrate, in the first section, the process by which Miguel Torga became an intimist author in the first half of the last century, through the debates conducted by the presencista movement and the extensive reading of confessional authors. As we demonstrate in the second section, that formative trajectory was fundamental for him to get to elaborate a highly original diary, which yet preserves the grounding of the literary European tradition. In the final section, we make an immanent reading of the Diary so to identify and discuss the successful strategies used by Miguel Torga in order to build a text in which subject, literary form and social life are intensely interwoven.