Made available in DSpace on 2016-04-28T18:22:18Z (GMT). No. of bitstreams: 1 Siberia Regina de Carvalho.pdf: 10177354 bytes, checksum: 4a9c5d4d3bdf4908bb5a6eb4c0462198 (MD5) Previous issue date: 2011-05-31 / The main aim of this thesis is to investigate the students language abilities necessary to perform textual production which can be developed through the structured and systematic teaching of the genre autobiography to 5th grade students at a public school. The genre autobiography was chosen as a result of the observation from this researcher of the students interest to tell their life stories and her confidence that it could contribute to the teaching-learning of autobiography, since students might understand their role as subjects of a socio-historic process where language has a singular importance. According to the genre concerned, we discuss Vygotsky s concepts on teaching-learning (1991, 2006) and the conceptualizations on the teaching of genres by Bakhtin (2003), who assumes a dialogic language view, and, also, by Schneuwly (2004), who adopts genre as psychological tool. Furthermore, we discuss the procedures used in the: 1. elaboration of pedagogical materials for the teaching of genres, starting from the processes of pedagogical transposition (CHEVALLARD, 2005); 2. elaboration of the pedagogical model (DOLZ; SCHNEUWLY; HALLER, 2004); and 3. elaboration of the pedagogical sequence (DOLZ; NOVERRAZ; SCHNEUWLY, 2004) of the genre autobiography. Subsequently, we present the texts analysis framework of socio-discursive interactionism (SDI) (BRONCKART, 2003) which guided the elaboration of the model and pedagogical sequence, along with the analysis of texts written by the students, and, lastly, the concept of language capacities (DOLZ; SCHNEUWLY, 2004). Regarding the methodological procedures, our research is based on a socio-historic approach adopting the following steps: 1. procedures for the elaboration of the autobiography model; 2. procedures for the elaboration of the pedagogical sequence of the genre autobiography; 3. analysis of autobiographies written by the students according to this sequence; and 4. presentation of final results. Considering the final result of the analyses, we realized the relevance of working with textual production based on the genre autobiography through many activities organized in a didactic sequence, always observing the features of this genre defined in the model. All procedures employed in this research come from, above all, the SDI as proposed by the research groups Language, Action, Training (LAF), lead by Bronckart (2003, 2006), from the Faculty of Psychology and Sciences of Education at the University of Geneva, and Analysis of Language, Educational Work, and their Connections (Alter), lead by Machado (2008, 2009), from the Graduate Program in Applied Linguistics and Language Studies at the Pontifical Catholic University of Sao Paulo (LAEL/PUC-SP) / O objetivo principal desta tese é investigar as capacidades de linguagem dos alunos necessárias à produção textual que podem ser desenvolvidas com o ensino planejado e sistemático do gênero autobiografia em turmas de 5o ano em uma escola pública. A escolha do gênero autobiografia resultou da observação por parte da pesquisadora do interesse que os alunos apresentavam em contar suas histórias de vida e da convicção de que isso poderia contribuir para o ensino-aprendizagem da autobiografia, pois possibilitaria aos alunos compreender a sua constituição enquanto sujeitos de um processo sócio-histórico no qual a linguagem tem uma importância singular. De acordo com o gênero escolhido, discutimos os conceitos de Vigotski sobre ensinoaprendizagem (1991, 2006) e as concepções sobre o ensino de gêneros, em Bakhtin (2003), numa visão de linguagem dialogicamente constituída, e, também, em Schneuwly (2004), sobre a adoção do gênero como instrumento psicológico. Discutimos, ainda, os procedimentos utilizados na: 1. elaboração de materiais didáticos para o ensino de gêneros, a partir dos processos de transposição didática (CHEVALLARD, 2005); 2. elaboração do modelo didático (DOLZ; SCHNEUWLY; HALLER, 2004); e 3. elaboração da sequência didática (DOLZ; NOVERRAZ; SCHNEUWLY, 2004) do gênero autobiografia. Em seguida, apresentamos o quadro de análise de textos do interacionismo sociodiscursivo (ISD) (BRONCKART, 2003) que orientou a elaboração do modelo e da sequência didática, além da análise dos textos dos alunos e, por último, o conceito de capacidades de linguagem (DOLZ; SCHNEUWLY, 2004). Quanto aos procedimentos metodológicos, nossa pesquisa pautou-se numa abordagem sóciohistórica e adotou os seguintes passos: 1. procedimentos para a elaboração do modelo de autobiografia; 2. procedimentos para a elaboração da sequência didática do gênero autobiografia; 3. análise das autobiografias dos alunos geradas nessa sequência; e 4. apresentação dos resultados finais. Com o resultado final das análises, constatamos a relevância do trabalho de produção de textos centrado no gênero autobiografia por meio de diversas atividades organizadas em uma sequência didática, sempre seguindo as características do gênero definidas no modelo. Todos os procedimentos utilizados nesta pesquisa têm origem, sobretudo, no ISD proposto pelos grupos de pesquisa Linguagem, Ação, Formação (LAF), liderado por Bronckart (2003, 2006), da Faculdade de Psicologia e Ciências da Educação da Universidade de Genebra, e Análise de Linguagem, Trabalho Educacional e suas Relações (Alter), liderado por Machado (2008, 2009), do Programa de Estudos Pós-Graduados em Linguística Aplicada e Estudos da Linguagem da Pontifícia Universidade Católica de São Paulo (LAEL/PUC-SP)

Esta pesquisa tem como objetivo a identificação e discussão de crises e transformações psicossociais por que passaram estudantes de um cursinho popular de São Paulo. São jovens advindos de famílias de baixa renda, e história destes conheceu reiterado sofrimento político: humilhação social e exclusão de circuitos ou bens públicos. Os cursinhos populares são organizações alternativas cuja intenção principal assim resumíriamos: favorecer o acesso de jovens das classes pobres à universidade pública. A passagem de um jovem por cursinho popular assume figura de uma experiência muito pessoal, rica em traços psicossociais, e a sondagem dessa experiência e as transformações que promoveu foi o que informou esta pesquisa: como lembram e significam essa experiência? Como esta experiência afetou a percepção que estes depoentes tinham sobre si mesmos, sobre seu lugar social e sobre seu relacionamento com a tarefa do conhecimento? Os estudos disponíveis, geralmente dedicados ao exame de processos pedagógicos e ao julgamento da eficácia dos cursinhos populares, suscitaram-nos um exame que privilegiasse o recurso à memória dos estudantes. A pesquisa, como instrumentos metodológicos, adotou a reconstrução autobiográfica do pesquisador e entrevistas em profundidade com três ex-alunos deste Cursinho. A reconstrução autobiográfica pretendeu uma primeira atenção possível para os fenômenos a serem investigados. Vale, nesse sentido, a aposta de que o trabalho narrativo possa gerar e aproveitar alguma distância crítica entre o pesquisador e ele mesmo, entre o pesquisador e sua memória do Cursinho Popular. As entrevistas foram apoiadas por um roteiro de questões que pretendiam a todo tempo estimular o discurso livre referente a episódios no contexto das práticas de um cursinho popular. A análise das entrevistas norteou-se pelos trechos dos depoimentos que diziam respeito à vivência do cursinho e outros momentos de suas histórias que ajudaram a informar os significados das experiências privilegiadas neste trabalho. Nas memórias o Cursinho vai sendo desvelado como um lugar vivo, repleto de experiências significativas para além da sua proposta formal, muitas vezes associado à vivência de igualdade. A postura dos professores e demais agentes do cursinho foi apontado como decisivo na promoção de mudanças na relação que estes alunos tinham com os estudos, com a cultura escrita, com o mundo e com os outros. Um campo intersubjetivo e favorável, uma comunidade de destino, move o desejo e o trabalho estudantil, sustenta e apóia êxitos. Este campo e comunidade, quando abrigados por instituições (o cursinho popular, uma escola pública de qualidade), parecem especialmente apreciados por estudantes das classes pobres, marcados por formas de solidão social. A experiência de comunidade apresentou-se como fundante para uma relação com o conhecimento que não se dá a partir da humilhação ou da necessidade instrumental, mas como possibilidade e caminho para a fruição do mundo e para superação dessas experiências de humilhação. / The objective of the present study is to identify and discuss psychosocial crisis and transformations that students undergo in a popular preparatory course for university entrance (PPC) in São Paulo, Brazil. These juveniles come from working class families whose histories are remarkable for constant political suffering, experienced as social humiliation and exclusion from public places. These PPC are non-governmental organizations, whose mission is to help working class juveniles enter public universities. A juvenile\'s trajectory over a PPC presents a very rich psychosocial experience and the approach of this experience and the transformations derived from constituted the core question in the present study: how do these subjects recall and signify such experience? How has this experienced impacted on these interviewees\' perceptions over themselves, their social place, and their relationship with knowledge? The available researches in Brazil usually focus on the pedagogical and efficacy of such preparatory courses. Therefore, we were willing to investigate these students\' memories. The methodological approaches of the present study comprised the researcher\'s autobiography reconstruction and in-depth interviews with three former students from a PPC. The purpose of autobiography reconstruction was to explore potential phenomena for investigation. It must be highlighted that the narrative work may produce and benefit from some critical distance between the researcher and himself/the subject, the researcher and his memories from the PPC. The interviews were supported by previous guidelines and sought to stimulate as much as possible the interviewees\' free discourse regarding episodes of practices in the PPC. The analysis was guided by reports on the subjects\' experiences at the PPC and other moments of their histories that helped understand the meaning of the experiences selected for the present study. The memories have revealed the preparatory course as a living place, full of meaningful experiences far beyond its formal proposal, and very often associated with the experience of equality. The attitude of teachers and course staff was reported as crucial to promote transformations in the relationship these students had with formal study, written culture, the world and other people. An intersubjective and favorable field, a community of destiny, moves desire and student work, as well as it supports success. When sheltered by institutions (such as the PPC or a high quality public school), these field and community seem especially valued by working class students, distinguished by forms of social loneliness. The experience of community was the basis for a relationship with knowledge that is not oriented by humiliation or instrumental necessity, but rather as a possibility to fulfill the world and overcome these experiences of humiliation.

Kwok, Tsz Ki. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (leaves 116-120). / Abstracts in English and Chinese. / Acknowledgements --- p.i / Abstract --- p.ii / 摘要 --- p.iii / Abbreviations --- p.v / Chapter Chapter One --- Introduction --- p.1 / Chapter Chapter Two --- """Honest! Honest!"" - Down and Out in Paris and London" --- p.11 / Chapter Chapter Three --- """It is almost impossible to be honest and remain alive"" -The Road to Wigan Pier" --- p.42 / Chapter Chapter Four --- "“Still, I have done my best to be honest"" ´ؤ Homage to Catalonia" --- p.76 / Conclusion --- p.108 / Bibliography --- p.116

Though casual readers may often assume cookbooks are primarily reference materials,cookbooks actually offer readers a type of autobiography; I examine cookbooks as literary autobiographical acts by analyzing three celebrity chefs' cookbooks and the recent film, Julie and Julia. Julie and Julia, starring Meryl Streep and Amy Adams, illustrates several key autobiographical ideas, specifically Barthes' ideas of readerly and writerly texts and the distinction between an author and a persona. The film acts as a visual representation of the way a reader engages with a text and makes it a writerly text while successfully distinguishing between an author and a persona/narrator. After a brief review of autobiography theory through Julie and Julia, the three selected authors' work further magnifies the ideas. The first celebrity chef, David Lebovitz, uses a highly narrative style and incorporates numerous autobiographical details into his books. The second, Ina Garten, utilizes different methods of creating a persona, including photography. The third chef, Dorie Greenspan, uses the same methods used by Lebovitz and Garten, but has been replicated extensively in online baking groups, making her texts ideal for understanding the role of the reader in an autobiography. The work of these three authors illustrates well how autobiographies function and how readers can reiterate their own autobiographies through the books and food they consume.

H.D., Djuna Barnes et Laura (Riding) Jackson incarnent trois visages du modernisme américain expatrié. C’est autour de leur place paradoxale dans le contexte d’instabilité et de circulation de ce moment littéraire que s’articulent leurs parcours respectifs. Cette thèse cherche à montrer comment l’expérience du déplacement géographique s’incarne dans le texte thématiquement, stylistiquement, grammaticalement, génériquement et dans le genre (gender) pour produire une écriture autobiographique déplacée qui interroge et transgresse les frontières. On analysera comment l’expatriation des trois auteurs et leur marginalité dans la communitas des expatriés produisent une écriture qui remet en question la limite entre personnel et impersonnel. On explorera les représentations du déplacement géographique lui-même comme thématique et esthétique. En adoptant une méthode de cartographie littéraire, nous mettons au jour une écriture nomade et interrogerons le rapport à la nation dans les textes qui travaille le trope du Grand Tour. L’analyse de l’esthétique du déplacement de l’autobiographie sur les éléments organiques du texte met au jour la métaphorisation du déracinement et le processus de déterritorialisation/reterritorialisation de l’expatriation et du genre féminin chez H.D., Barnes et (Riding) Jackson. / H.D., Djuna Barnes and Laura (Riding) Jackson embody three facets of American expatriate modernism. Their trajectories hinge on their paradoxical place in modernism’s context of instability and circulation. This thesis purports to show how their works are imbued with the experience of geographical displacement at various levels (thematic, stylistic, grammatical, generically and in gender). This porosity between life and work results in a displaced autobiographical writing which questions and transgresses frontiers. The first section deals with how these authors’ expatriation and marginality in the expatriate communitas produce texts which probe the limit between the personal and the impersonal. The second part focuses on the representations of the geographical displacement itself—both as theme and aesthetics. By resorting to a literary cartography method, we argue for a nomadic writing and interrogate the writers’ relation to the concept of nation in texts which deploy the Grand Tour trope. The final section analyzes the aesthetic transference of the autobiography on the organic elements of the text. These motifs act as metaphors of the subject’s uprootedness and of the deterritorialization/reterritorialization process at work for expatriate women writers.

Les romans à la première personne qui composent la Légende de Duluoz, le cycle autobiographique de Jack Kerouac (1922-1969), sont souvent étudiés à l’aune de la vie privée de l’auteur ou de la mythologie qui entoure les écrivains de la Beat Generation. À la lumière de l’approche performative du genre autobiographique et du genre masculin ainsi que des recherches historiographiques récentes sur la masculinité et la sexualité masculine durant la période de la Guerre froide, cette thèse se propose de déconstruire l’éthos de spontanéité confessionnelle et de virilité héroïque qui entoure l’écriture de Kerouac. Le récit de soi n’est pas chez lui un reflet fidèle du « je » ou un compte-rendu factuel de la vie de son auteur, mais une mise en scène publique de l’identité auctoriale masculine, un théâtre de l’identité en mots et en actes. Ce jeu de masques participe d’une stratégie narrative qui vise à construire une vision idéale de soi en tant qu’homme et en tant qu’écrivain et doit être lu dans le cadre de son projet de revitalisation d’une littérature et d’un homme menacés de déclin à ses yeux. En même temps, les travestissements de sa persona d’auteur témoignent de l’emprise du soupçon d’homosexualité sur la production littéraire des années 1950 et donnent à voir le malaise qui mine cette mascarade du masculin qui menace toujours d’exposer les larmes, les silences et les contradictions qu’elle cherche pourtant à masquer à tout prix. / The first-person novels which make up the Duluoz Legend, the autobiographical cycle written by Jack Kerouac (1922-1969), are often analyzed in the light of what is known of their author’s private life or of the mythology that surrounds Beat Generation writers. Informed by performative approaches to the genre of autobiography and to the masculine gender as well as by recent historiographical research on masculinity and masculine sexuality during the Cold War period, this thesis seeks to deconstruct the ethos of confessional spontaneity and of heroic manliness that surrounds Kerouac’s writings. His narrative of the self are not faithful reflections of the “I” or factual accounts of the author’s own life, but a public staging of male authorial identity, a theatre of identity in words and actions. This playful masquerade sustains a narrative strategy that aims at constructing an ideal vision of oneself as a man and as a writer and shall be read in the perspective of his wish to revitalize American literature and masculinity which he feared to be in decline. Yet, these acts of cross-dressing of the authorial persona also testify to the powerful sway of anti-homosexual paranoia over the 1950s literary output and show the trouble that undermines this performance of masculinity which constantly threatens to reveal the tears, the silences and the contradictions that it tries so hard to mask.

This project considers ways mid-Victorian fictional autobiographies created new models for women's spiritual formation, testing Nancy Armstrong's theory that novels are antecedent to the cultural conditions they describe. I pair three mid-Victorian fictional texts Jane Eyre, Aurora Leigh, and The Mill on the Floss with three later non-fictional autobiographies written by women near the end of the Victorian Era: Annie Besant (1847- 1933), Mary Anne Hearn (1834-1909) and Frances Power Cobbe (1822-1904). These women came to spiritual maturity during the same time period in which the fictional heroines Jane Eyre, Aurora Leigh and Maggie Tulliver became prominent in the popular imagination and informed the cultural dialogue about women's roles and spirituality. With the advantage of hindsight, Besant, Hearn and Cobbe are able to offer perspective on cultural and religious trends that these novelists predicted, and they are also able to show how the models presented in novels did or did not correspond with the realities of women's spiritual lives in Victorian England. To draw attention to ways that both the fictional and non-fictional autobiographies use the genre to convert readers to new beliefs about how and what women believe, I focus on the persuasive elements of the conversion narrative and read these texts through the lens of classical rhetorical appeals. By identifying the conversion experience as the common denominator in these diverse texts, I bring these examples of fictional and non-fictional autobiographies onto a level playing and demonstrate both the flexibility of the conversion narrative and the artistry of the non-fictional autobiographers in revising it. I find that the fictional autobiographers employ models of private introspection and substitute scenes of domestic reconciliation for traditional reconciliation with God; however, the three real-life autobiographers must reconcile their personal spiritual transformations with their public personae. Hence they replace the novels' domestic allegories of reconciliation with accounts appropriate to their own new spiritual identities, ranging from Evangelical Christian, to Theist, to Theosophist.

Thesis (Ph. D.)--Ohio State University, 2006. / Title from first page of PDF file. Includes bibliographical references (p. 344-360).

La narrazione letteraria autobiografica si presenta come un genere di difficile definizione e quasi ai confini della letteratura, caratterizzato da un insieme inestricabile di testualità, referenzialità e costruzione. il narratore autodiegetico si pone il complesso obiettivo di riordinare la propria storia di vita, dando un senso ai ricordi, nel momento stesso in cui ne decide l'ordine e la composizione. Ci proponiamo qui di rintracciare le origini del genere autobiografico ed evidenziare la continuità della tradizione dei fondatori in alcuni casi rappresentativi della narrazione letteraria autobiografica del ventesimo secolo. / Autobiography is difficult to define as a literary genre and is almost at the boundaries of literature. It is marked by an inextricable mixture of textuality, referentiality and construction. The autodegetical narrative aims at giving an order to a life story, thus attributing a meaning to memories in the same time as it defines their order and composition. We intend to trace back the origin of the autobiographical genre and underline the continuity of tradition in some representative examples of literary autobiographical narrative of the twentieth century.

This thesis explores the possibilities of embodied writing for social inquiry. Using an examination of the social production of bodily pain to exemplify my approach, and drawing upon autobiographical writing, I develop an embodied writing practice and theorize its implications for decolonizing knowledge production. Following a phenomenologically informed interpretive sociology, I attend closely to language and the construction of meaning through reflexive engagement with pain as a social phenomenon. I also utilize mindfulness meditative practice methodologically to centre the body within social research and intervene in the mind/body split which underwrites much Western knowledge production and reproduces normative, medicalized relations to bodily knowledge. I suggest that by undoing those traditional boundaries demarcating the possibilities of knowledge production, and attending to our epistemological locations which are themselves deeply political, we might generate differently imagined relations to embodiment.