Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Este trabalho pretende examinar como Machado de Assis conseguiu, através da escrita do romance Memórias Póstumas de Brás Cubas, problematizar não apenas este gênero literário, como também o discurso autobiográfico e a própria ficção. Nosso objetivo, portanto, foi analisar o livro dentro do livro, aquele escrito por Brás Cubas, e demonstrar que, através da criação desse artifício, o autor trouxe ao leitor uma discussão relevante sem, no entanto, apresentá-la com ares de tese. Em um primeiro momento, estudamos fundamentalmente os conceitos de autobiografia, romance autobiográfico, memórias e ficção, fundamentando-nos principalmente na teorização desenvolvida por Philippe Lejeune. Apresentamos também um breve panorama histórico do assunto, utilizando para isso, essencialmente, um ensaio de Luiz Costa Lima acerca das origens e dos diversos estágios por que passou o gênero autobiográfico. Em seguida, exploramos detalhadamente as noções de retrato e de auto-retrato, tanto na pintura como na literatura, ora por um viés histórico, ora por um viés conceitual, convocando historiadores da arte, filósofos e críticos literários, na tentativa de chegar a uma compreensão multidisciplinar do assunto. Finalmente, dedicamo-nos ao estudo das Memórias Póstumas de Brás Cubas, retomando os conceitos anteriormente examinados e buscando exemplos no texto que aproximem o livro escrito pelo defunto autor tanto da autobiografia quanto do auto-retrato / This work intends to examine how Machado de Assis achieved, through the writing of the novel Memórias Póstumas de Brás Cubas, the discussion of not only this literary genre, but also the autobiographical discourse and fiction in itself. Therefore, our objective was to analyze the book inside the book, the one written by Brás Cubas, and demonstrate that, through the creation of this artifice, the writer has brought to the reader a relevant discussion without, however, presenting that like a thesis. At first, we study mainly the concepts of autobiography, autobiographical novel, memoirs and fiction, using fundamentally the theories developed by Philippe Lejeune. We also introduce a brief historical panorama of the subject, using for that, essentially, an essay by Luiz Costa Lima concerning the origins and the different stages that the autobiographical genre has passed through. In sequence, we explore in detail the notions of portrait and self-portrait, in painting and in literature, through both a historical and a conceptual angle, gathering art historians, philosophers and literary critics, in the pursue of a multidisciplinary comprehension of the subject. Finally, we dedicate ourselves to the study of Memórias Póstumas de Brás Cubas, resuming the previously examined concepts, and searching for examples in the text that approximate the book written by the dead author both to the autobiography and to the self-portrait

A presente dissertação trata dos romances Memória de Elefante, Os Cus de Judas e Conhecimento do Inferno do escritor português António Lobo Antunes. Para tal, a perspectiva assumida foi tentar entender as obras por parâmetros detectáveis nas mesmas e em outros meios pelos quais o autor dirige-se ao público como crônicas e entrevistas. Essa perspectiva permitiu destacar um aspecto essencial da obra do autor que a crítica em geral chama de uma certa tendência à autobiografia. Esse caráter autobiográfico não só é afirmado por Lobo Antunes como ele propõe sua expansão a todos os livros; só não se sabe se exclusivamente os literários ou não. A partir dessa expansão e de experimentações que algumas falas permitem é possível dissociar a idéia do autor estudado da idéia de autobiografia tradicionalmente demarcada que é estudada por Philippe Lejeune em Le Pacte Autobiographique. Além do que se torna aceitável dizer que, para o escritor português, autobiografia seria uma escrita que provasse a existência de um narrador. Baseando-se na hipótese de que Lobo Antunes deseja, de um modo geral, garantir sua existência e, desse modo, marcar a presença do humano no planeta, a dissertação buscou estabelecer uma outra autobiografia possível deste narrador a fim de destacá-lo e destacar o humano que ele expõe / This dissertation deals with the novels Memória de Elefante, Os Cus de Judas and Conhecimento do Inferno from the portuguese writer António Lobo Antunes. To that end, the view taken was to try to understand the work by parameters detectables in the same and others ways by which the author turns to the public like chronicles and interviews. That prospect highlights an essential aspect in the work of the author, that criticism in general calls "a certain tendency toward autobiography." This autobiographical character is not only claimed by Lobo Antunes as he proposes to expand to all books, but it is not known whether only the literature, or not. From this expansion and experimentation that allowed by some discourses is possible to separate the idea of an author studied from the idea of autobiography traditionally demarcated this subject is studied by Philippe Lejeune in Le pacte Autobiographique. In addition to what is acceptable to say, for the portuguese writer, autobiography is a writing that would prove the existence of a narrator. Based on the hypothesis that Lobo Antunes want, in general, ensure their existence and thus mark the presence of humans on the planet, the dissertation sought to create another possible autobiography of this narrator to highlight it and the humans he explains

Orientador: Nuno César Pereira de Abreu / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T23:10:45Z (GMT). No. of bitstreams: 1 Santos_ChristineVillados_M.pdf: 1220701 bytes, checksum: b4f515df2830000b5897bfb2433ad687 (MD5) Previous issue date: 2006 / Resumo: A proposta da presente pesquisa resume-se na análise de dois documentários de Vladimir Carvalho produzidos no início dos anos 80. O Homem de Areia, de 1982 e O Evangelho segundo Teotônio, de 1984; destacam-se na filmografia do diretor por não se centrarem numa coletividade de anônimos como seus filmes anteriores e sim em biografias de duas personalidades públicas e eminentemente políticas: José Américo de Almeida e Teotônio Vilela. Atentando-se para estes dois filmes, a análise se direciona para essa mudança de foco - do popular ao público, partindo de uma revisitação à trajetória filmográfica do autor até chegar à estrutura formal resultante destes dois filmes. A instrumentalização de uma figura pública para se abordar todo um processo sócio-histórico que já vinha sendo questionado nos filmes anteriores; bem como a evolução de toda uma sistemática de produção que estes filmes puderam encampar, constituem a tônica deste estudo. / Abstract: The purpose of this research is to analyze two Vladimir Carvalho's documentaries produced on the early 80's. The Sand's Men, 1982 and The Evangelic according to Teotonio, 1984; they stand out on the director's filming, because they do not focus on anonymous people like his previous movies, instead they focus on the biography of public figures and eminently politics: José Américo de Almeida and Teotônio Vilela. Observing the two films, the analysis goes towards this change on focus - from the popular to the public, starting from the revisit on the filming course from the author until the formal structure resulting from the two movies. The utilization of public figure to approach the social-historical process that were being questioned on the previous movies; as well the production system that the movies used, compose the target of this study. / Mestrado / Mestre em Multimeios

Orientador: Silvio Donizette de Oliveira Gallo / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-06T09:11:54Z (GMT). No. of bitstreams: 1 Pizarro_Dione_M.pdf: 593089 bytes, checksum: 4df474da829c5dda4cb17314ce7835fc (MD5) Previous issue date: 2006 / Resumo: A partir de minhas experiências como aluna e professora, investigo as transformações e permanências no currículo escolar. Problematizo a pertinência dos projetos inseridos como parte da flexibilização da nova LDB (Lei de Diretrizes e Bases da Educação); a abertura das escolas para projetos de inserção dos menos favorecidos e o discurso da inclusão a partir do multiculturalismo e do localismo, ou seja, a partir da realidade sociocognitiva dos alunos. Proponho, frente à gravidade da situação de analfabetismo ou semi-analfabetismo e também, frente à abertura da escola para atividades extra-curriculares e para todo o azar de violências, que a formação dos estudantes seja pautada pelo desenvolvimento da leitura, do aprendizado da norma culta da língua, do aprendizado dos conhecimentos formais mais universais, os quais devem se constituir em objetivo primeiro da escola, como momento de formação e emancipação intelectual individual e de alteridade. Também, insisto na manutenção da escola como o lugar da disciplina na sua positividade, ou seja, como momento de aprendizagem, de produção de saberes emancipatórios por meio do desenvolvimento da leitura e da intertextualidade / Abstract: Taking as starting point my experiences as student and teacher, I research on changes and fixtures in school curriculum. I question the pertinence of projects included as part of the flexibleness derived from the new LDB -Lei de Diretrizes e Bases da Educação (Law on Education Norms and Foundations); the opening of schools to projects of inclusion of the economically excluded, and the inclusion discourse centered on multiculturalism and localism, that is to say, inclusion based on students¿ socio-cognitive reality. Considering the gravity of students¿ illiteracy and semi-illiteracy as well as the opening of schools to extracurricular activities and to all sorts of violence hazards, I propose that students¿ education should be rooted in the development of reading competence, in the learning of standard Portuguese dialect, in the acquisition of the more universal formal knowledge which must constitute the first and foremost school objective, being school time viewed as the moment for individuals¿ intellectual formation and emancipation, and alterity. Also, I insist on the positive rôle of school as a disciplinary institution in that it provides for the learning and production of emancipating knowledge / Mestrado / Filosofia e História da Educação / Mestre em Educação

O presente projeto de pesquisa debruça-se sobre o livro Vida (Companhia das Letras, 2013), de Paulo Leminski. Trata-se do volume que reúne as únicas quatro biografias escritas pelo poeta entre os anos de 1983 e 1986: Cruz e Sousa o negro branco (1983), Bashô a lágrima do peixe (1983), Jesus a.c (1984), Trótski a paixão segundo a revolução (1986). Os livros foram publicados esparsamente entre 1983 e 1986 pela editora Brasiliense. Os três primeiros compunham uma coleção chamada Encanto Radical, enquanto o último integrou a coleção Antologias & Biografias. A proposta da editora pedia um texto próximo a referências contemporâneas, capaz de conversar com seu tempo. Leminski fez isso a seu modo, poético e errático. O objetivo desta pesquisa é investigar os fragmentos autobiográficos presentes nas obras e com isso testar uma hipótese: poderia o livro Vida conter uma autobiografia fragmentária do poeta? Esta pesquisa deseja mapear o que há de cada biografado em Leminski, bem como o que há de Leminski em cada uma das biografias que escreveu. É possível que esse percurso nos dê pistas sobre a natureza do texto que o poeta produziu nestas obras, pois notoriamente não estamos falando de um texto biográfico convencional (seria Vida uma série de biografias poéticas, um conjunto de ensaios biográficos, uma biografia criativa, ou apenas breves perfis literários?) / This research is focused on the book titled Vida (Companhia das Letras, 2013), written by Paulo Leminski. It is the volume which brings together the only four biographies written by the poet between the years 1983 and 1986: Cruz e Sousa o negro branco (1983), Bashô a lágrima do peixe (1983), Jesus a.c (1984), Trótski a paixão segundo a revolução (1986). These books were published sparsely between 1983 and 1986 by publisher Braziliense. The first three books made up a collection called Encanto Radical, while the last one integrated the collection Antologias & Biografias. The proposal of the publishing company demanded a text close to contemporary references, and able to dialogue with its time. Leminski did it by his own way, poetic and erratic. The objective of this research is to investigate the autobiographical fragments of the book and thereby test an hypothesis: could Vida encompass a fragmentary autobiography of the poet? This research want to map out what exist of each biographee in Leminski, as well as what exist of Leminski in every biography that he wrote. Moreover, this journey may bring us some clues about the nature of the text that the poet has produced on these works, because notoriously we are not talking about a conventional biographical text (what is Vida: a serie of poetic biographies, a collection of biographical essays, one creative biography, or only brief literary profiles?)

Boyhood: Scenes from provincial life by J.M. Coetzee tells the story about John Coetzee from the age of ten until thirteen. Since many details in the story point to the idea that the protagonist might be the author, it is often said to be an autobiography. However, it is not a conventional one. A third person narrator tells the story in the present tense, which is rather different from the autobiographiy’s conventional first person narrator speaking in the past tense. The definition used in order to define the genre to which Boyhood belongs is Lejeune’s criterion author=narrator=protagonist. According to this theory, Boyhood is a biography. However, Lejeune does not take the connection author=protagonist inte sonsideration, but focuses only on the connection narrator=protagonist. Thus an additional description of the text’s generic style must be used. Furthermore, the theme of otherness is analysed. A close reading of the novel shows that the protagonist often feels different from his family and peers. He makes a distinction between two kinds of different – a good and a bad kind. The good means that he is better than his peers, and the bad kind means that he has failed to accomplish something he thinks is important. Although the author wrote the story about his boyhood in a rather unconventional style and the protagonist perceives himself as different, the otherness in the two do not parallel each other. What they might have in common is perfectionism. Thus, the theme of otherness is only to be found in the protagonist, whereas the author’s style of writing is merely unconventional.

This thesis examines three South African memoirs using M. M. Bakhtin’s theories of the dialogical relationship in language and literature. By offering an alternative to a postmodern or multicultural interpretation of autobiographies, Bakhtin’s precepts, that define a dialogic, help to reframe a way of discussing memoirs and avoiding dead-ends previously arrived at by essayists in James Olney’s 1980 collection. Bakhtin’s ideas discussed here, which include the “once-occurrent moment”, “architectonic contraposition”, ”emotional-volitional tone”, “alibi”, “non-alibi”, and “centripetal” and “centrifugal” force, help to rebuild a discussion based on temporary and evolving self truth rather than fiction, the postmodern interpretation, or confession, the new-age secular spiritualism based on multicultural and politically correct standards. For this, each author’s memoir had to be examined separately and a conclusion was arrived at through inductive analysis. Rather than try to find similar characteristics, I focused on what made each memoir different and unique. Janet Varner Gunn’s Autobiography: Toward A Poetics of Experience (1982) refocused the debate over autobiography on process. The question, what steps did each author take toward writing about himself, led the discussion to an examination of the priorities each author exemplified. Beginning with Fugard who emphasized spatial, concrete, and sensory detail to help him contain his emotional life, the thesis moves on to an examination of Coetzee’s sense of justice. From the physical and intellectual world follows Breytenbach’s spiritual space-making. In each memoir, control of space is evident on different levels of experience. Articulating space inevitably leads to a discussion of boundaries. Here, Charles Taylor’s emphasis on the modern self’s need to articulate a horizon or a framework is helpful in generalizing the effect of the autobiographical process. The conclusion reached is that autobiography is inherently centrifugal: it moves away from the center of cultural thinking because its “truth” bolsters itself on dialogical process which does not depend on a fixed authority but rather on communicative exchange. As an example of exchange, autobiography’s central truth is that it returns to a “unique point of origin”, namely the self, only to reconnect to the other in a potentially eternal exchange of responsiveness moving away from the center.

The subject of this diploma thesis is Cellini's literary work The Autobiography. Firstly, his profile is introduced within the cultural and historical context as well as the events that mostly influenced his artistic career. Secondly, other prominent biographers of his era are introduced and the most important issues of The Life as well as Cellini himself, as a unique exponent of Italian Cinquecento, are analyzed. In the next chapter The Life is confronted with The Lives of the Artists written by Giorgio Vasari, especially with the life of Michelangelo Buonarroti who was Cellini's lifelong teacher. The final chapter is dedicated to the Renaissance concept of an artist regarded as a god. Powered by TCPDF (www.tcpdf.org)

Les récits d'enfance de Marina Cvetaeva écrits entre 1933 et 1937, de part leur style fragmenté et une ligne narrative constamment obscurcie par différentes réminiscences, digressions, citations ou autocitations, constituent un genre unique d'autobiographie. Ils reflètent la quête de nouvelles formes littéraires propre à l'Âge d'Argent et l’intérêt grandissant vis-à-vis du monde de l’enfance dans le modernisme russe. Alors que Mandel’štam et Pasternak s’attachent à aborder la conscience historique et la mémoire culturelle dans leurs œuvres autobiographiques, Cvetaeva à l’instar de Belyj, préfère se plonger presque exclusivement dans sa mémoire individuelle et mythique pour tenter de dégager la source de sa vocation poétique. L'espace environnant dans les récits de Cvetaeva, qui s'articule autour des mythes cosmogoniques fondateurs, a pour fonction de faire le pont entre le monde réel et le monde de l'au-delà. Bien que clos et isolé, cet espace est vivant et dynamique. L'imagination de l'enfant rend anthropomorphe l'espace alentour dans un but d'appropriation et d'une recherche de l'essence des choses qui reflète une véritable conscience artistique chez l'enfant. Enfin, la structure temporelle des récits fait directement écho aux conceptions de Cvetaeva sur le temps; son rôle en tant que poète est d'immortaliser chaque moment vécu ou imaginé par elle enfant, de rendre éternel chaque proche disparu par différents procédés stylistiques qui dilatent l'espace temps et rompent le cours linéaire du temps. / Marina Cvetaeva's prose essays on her childhood, written between 1933 and 1937, form a unique autobiographical cycle. It reflects the search of new literary forms and the enhanced interest towards the childhood world during the Siver Age in Russia. Her fragmented style and her narration constantly obscured by various reminiscences, digressions, citations or self citations depart from the canonical autobiographical prose. While Mandel’štam and Pasternak are more concerned by their historical and cultural consciousness in their autobiographical writings, Cvetaeva, like Belyj, prefers to immerse herself in her individual and mythical memories to extract the origins of her poetic vocation. The surrounding space inside these childhood essays, which is mainly organized by the principles of the cosmogonical myths, makes the bridge between the real and after-life worlds. Although enclosed and isolated, it is a lively space actively participating in the narration. The imagination of the young Marina renders the space and the surrounding elements anthropomorphic in an attempt to capture their essence that reveals the child’s artistic consciousness. Finally, the temporal structure of these essays reflects Cvetaeva's conceptual thoughts about time; her role as a poet consists of making everlasting each moment which has been really lived through or imagined by herself when she was a child. She also aims at immortalizing each of her nearest through various stylistic processes that dilate the space-time and break the linear evolution of the time.

Magister Artium - MA / This thesis considers introspection and female consciousness in the novels Woman At Point Zero and Two Women In One by Nawal El Saadawi, an Egyptian writer and So Long A Letter and Scarlet Song by Mariama Bâ, a Senegalese writer. This study looks at how narrative technique impacts on questions of self and identity, subjective experience, coherence and transformation. The form of the novel is also highly significant because it shows the connection between form, individualism and consciousness of experience and this is important in understanding these questions of self and identity, subjective experience, coherence and transformation. It allows insight into the internal workings of the individual. The form of the novel is therefore particularly relevant because of the focus on the individual, subject and the consciousness of the individual. Pertinent to the discussion in this thesis is how narrative provides a creative space to enable the reflexive process and also how narrative contributes to the construction and understanding of the self and identity. The dynamic between narratology and novel form, on the one hand, the modes of confession and letter writing, on the other are considered both of which use first person narration.Confession as a genre of personal narrative enables the subject to move inward as part of the self reflection process which allows knowledge of the self. Letter writing a form of personal narrative plays an important role in the exploration of the self and identity.The novel in letter form forces the introspective process through the act of writing and the character reaches a realisation about events and experiences which have shaped her present consciousness. By contrast third person narration in Scarlet Song and Two Women In One foregrounds the social context which shapes the characters‟ sense of self and identity and worldview. The narrative which is rebellious and resistant in form,although quietly so, enables a “revolution” in the character‟s self- and world view.