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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
1

Brev till min dotter : Theodor Kallifatides' palimpsest

Granqvist, Raoul J. 2013 (has links)
This essay is a critical review of the Swedish writer, Theodore Kallifatides' novel Brev till min dotter (2012) ('Letters to My Daughter'). It is formatted, thematically and inspirationally, by Ovid's two works Tristia and Epistulae ex Ponto, written while in exile in Tomis (today's Constanța) on the Black Sea. I have organized Kallifatides' fictive narrative of his pre-Junta (1964) emigration from Greece (where he was born), his multilevelled refashioning of the source material, into a palimpsest that contains three rhetoric layers: the epistle, the autobiography, and the pamphlet. The first depicts the slow transition of 'Ovid', the presumptive Roman imperialist and colonialist, into the less self-centered icon of the Ars Amatoria fame and the more accommadating listener to the people around him. In the second, I show how 'Ovid' is merging into the persona of Kallifatides, a migrant who voluptuously absorbs his new language (Swedish). A language that he masters with the innovatory skill of the best postcolonial writer. The third constitutes a universal praise song of freedom of speech and gender equality. Ovid, in Kallifatides portrait, is feminized.
2

Dear Diary: Wilkie Collins’ Portrayal of Gender Self-Writing

Adrian, Tracy 5 May 2006 (has links)
No description available.
3

地方認同與自我書寫-以七星潭為例

楊博宇, Bo Yu Yang 2014 (has links)
人在某地生活時,會與地景產生特有的互動方式,地景也因為人在其上生活而有了其特定的意義,地景也就變成了有文化意義的地方;本文以筆者與七星潭互動的過程為例,試圖以布厄迪赫慣習的概念,從人文地理學的地方感出發,用作者自身的生命歷程書寫來探討我如何與地方互動,利用筆者本身生活的慣習,與七星潭互動,並形成自己特有的地方認同與地方感,這個地方特有的情感對於我本身的認同造成如何的影響,進而討論地方感又如何來影響筆者的慣習;在我的認同、地方與慣習間這三者是如何反覆、重覆地相互影響,來重新詮釋所屬的空間進而發掘其地方感型塑與轉化的過程。 We can simply use a physical definition to define a location, but after long term interacting with the location, human will attach and develop some relationship with thelocation, this relationship with the location will turn location to place, we call it place identity. difference between place and location, is we define our self by place, not location. This paper use Qixintan as an example, use self writing to describe the interaction between I and the Place influence me a lot by the idea of habitus and place principle, and how habitus and place identity interaction with each other repeatly to explain the transform process of Place principle. 第一章 緒論…………………………………………………………………………1 第一節 研究動機與目的……………………………………………………………1 第二節 研究問題與假設……………………………………………………………3 第二章 文獻探討………………………………………………………………………7 第一節 地景與地方…………………………………………………………………7 第二節 慣習…………………………………………………………………………9 第三節 自我民族誌…………………………………………………………………11 一、 自我書寫……………………………………………………………………11 二、 書寫與社會…………………………………………………………………12 第三章 詮釋……………………………………………………………………………15 第一節 七星潭的過去與現在………………………………………………………15 第二節 地方與社會…………………………………………………………………18 第三節 個人生命歷程書寫…………………………………………………………19 一、 七星潭與家庭結構…………………………………………………………20 二、 七星潭與成長經驗建構……………………………………………………25 三、 七星潭與個人慣習記憶……………………………………………………28 第四章 結論與建議……………………………………………………………………32
4

[en] VISUAL AUTOBIOGRAPHY [pt] AUTOBIOGRAFIA VISUAL: PARA ALÉM DA BUSCA DE SENTIDO

LARISSA PINHO ALVES RIBEIRO 31 May 2017 (has links)
[pt] A partir da década de 1980 foi possível observar uma multiplicação de discursos autobiográficos que impregnou os hábitos, costumes e a produção das indústrias culturais e da pesquisa acadêmica. Esse interesse renovado pelas histórias de vida e pela ideia mesmo de vida como reação frente aos anos de inflacionismo teórico e da defesa violenta da impessoalidade, aponta para algo mais que a simples proliferação de formas, e expressa uma tonalidade particular da subjetividade contemporânea. A expansão do biográfico marca um movimento de retorno à problemática do sujeito, não como reafirmação daquele sujeito cartesiano, moderno, mas como continuidade da crítica a esse modelo. É nesse contexto que se insere essa pesquisa, interessada em explorar, de forma pessoal e experimental, formas de compor autobiografias visuais, ou antibiografias, que não aspirem a reconstrução de uma totalidade, a coerência cronológica, ou a afirmação de um eu testemunhal, mas que estejam empenhadas em dar movimento à existência, e não sentido (direção), e que não busque um sentido (significado), mas se colocar sensível. Para tanto, utilizou-se como ferramenta de pesquisa a experimentação artística através do dispositivo fotográfico, observando, através dessa prática, possibilidades de construção e leitura de uma escrita do eu alternativa. [en] Since 1980 it was possible to notice a multiplication of autobiographical discourses which impregnated the habits, behaviors and production of the cultural industry and the academic research. This renewed interest for life stories and for the very idea of life itself as a reaction against all the years of theoretical inflationism and the violent defense of impersonality, points to something more than just the simple proliferation of forms, and expresses a particular tone of the contemporary subjectivity. The biographical expansion marks a movement of return to the problematic of the subject, not as a restatement of the Cartesian and modern subject, but as a sequence to the critics against this very model. The present research is founded in this context, interested to explore, in a personal and experimental manner, ways to create visual autobiographies, or antibiographies, that don t aim for a full reconstruction, a chronological coherence, or the affirmation of a testimonial self, but rather to invest in putting existence into motion, instead of giving it guidance and to search not for meaning, but becoming sensitive to it. To do so, was used artistic experimentation through photographical devices as a research tool, observing, through this practice, possibilities of producing and reading an alternative self-writing.
5

[en] FROM LITERATURE TO BLOGS: A PROMENADE THROUGH SELFWRITING´S TERRITORY [pt] DA LITERATURA AOS BLOGS: UM PASSEIO PELO TERRITÓRIO DA ESCRITA DE SI

ANA PAULA LOBAO PRANGE 6 November 2003 (has links)
[pt] Este trabalho tem como objetivo investigar os significados e funções que vêm assumindo os blogs pessoais para seus autores, como espaços para a escrita de si. Para isso foi realizado primeiramente um levantamento bibliográfico de outras formas de auto-relatos escritos, inaugurados em diferentes períodos da História, desde a Antigüidade. Num segundo momento desenvolveu-se uma pesquisa qualitativa na qual foram analisados os discursos contidos em dez blogs pessoais, de autoria feminina. A partir desta análise chegou-se a algumas categorias para discussão, relacionadas às funções que parecem estar os blogs exercendo para suas autoras, aos destinos das mensagens publicadas e, ainda, aos diferentes níveis de explicitação de si presentes nos mesmos. Os resultados desta pesquisa revelaram serem os blogs um gênero híbrido de escrita de si, que reúnem algumas características dos diários pessoais, outras comumente típicas das correspondências íntimas e, ainda, certas características das formas de escrita de si destinadas à publicação. [en] The present work aims at investigating meanings and functions personal blogs have been performing; the personal ones, for their own authors - as some space for self- writing. Towards that, a bibliography research of other forms of written self-account was initially carried out, inaugurated in different periods of History, since Antiquity. Subsequently, a qualitative research was developed, in which ten speeches, extracted from blogs written by women, were analized. This analysis led to some categories to be further discussed, related to the functions the blogs in reference apparently perform for their authors, to the destinations of the posted messages and, still, to the different levels of self-expliciting present in them. The results of this research revel the blogs to be an hybrid type of selfwriting, which gathers some characteristics depicted in personal diaries, others, commonly found in intimate correspondence and, finally, some characteristics of self-writing forms, destined to posting.
6

Léon Tolstoï, écrivain de l'angoisse Leo Tolstoy, writer of angst

Delaunay, Claire 7 December 2017 (has links)
L’angoisse joue un rôle primordial dans l’œuvre de Léon Tolstoï, principe structurant de son système narratif et aiguillon de sa quête personnelle – littéraire, philosophique et religieuse. Trois grandes familles peuvent être distinguées parmi les personnages tolstoïens : ceux du « on », les « hommes de la société », constituant la masse des personnages secondaires ; ceux du « je », « je » qui émerge dans et par l’expérience de l’angoisse, « héros mobiles » auxquels il est donné d’évoluer ; et ceux du « nous », figures de la communauté des « hommes de la nature », détenteurs du savoir auquel aspirent les héros. L’intrigue se construit autour de la destinée de ces héros, dont l’évolution constitue une forme de parcours initiatique procédant par ruptures. Les étapes de ce parcours s’articulent autour de la crise, de la réaction à celle-ci et de sa résolution dans la révélation. Si les héros aspirent au salut de l’angoisse dans le dépassement de l’être individuel et la communion universelle, cette aspiration se traduit chez Tolstoï par un rapport complexe au moi se révélant à travers ses différentes pratiques d’écriture et par l’élaboration d’un projet éthique et esthétique devant permettre cette communion universelle. L’angoisse de Tolstoï lui-même semble devoir en outre être considérée dans le contexte du tournant du siècle, qui représente un tournant dans la culture et en particulier dans la littérature russe. L’utilisation, dans les textes où Tolstoï fait le récit de sa propre conversion, des schémas narratifs et procédés d’écriture élaborés dans les œuvres littéraires semble suggérer la possible « fictionnalité » de la résolution de sa crise personnelle. Angst plays a primordial role in Leo Tolstoy’s writing, being the structuring principle of his narrative system and the heart of his personal – literary, philosophical, and religious – quest. Three categories can be distinguished among tolstoyan characters: the “men of society”, who constitute the mass of the secondary characters; the “mobile heroes”, whose individuality emerges in and from the angst experience; and the figures of the “men of nature”, holders of the knowledge heroes aspire to. The plot is built on these heroes’ destiny, whose evolution represents a form of initiatory path proceeding by ruptures. The steps of this course are articulated around the crisis, the response to it, and its resolution as revelation. While heroes aspire to escape from angst by going beyond the individual “I” and by the universal communion, this desire shows itself in the Tolstoy’s complex relation to the “I”, revealing itself through his various writing practices and by the development of an ethic and aesthetic project that should ensure this universal communion. Tolstoy’s personal Angst should be considered in the context of the century’s turn, representing a turning point in culture and in particular in Russian literature. The use, in the texts in which Tolstoy tells the story of his own conversion, of narrative patterns and writing devices developed in his literary works seems to suggest the possible “fictionality” of his personal crisis’s resolution.
7

L'expressivité de l'intime sur les dispositifs du web : processus de la subjectivité et machinations contemporaines Expressivity of the Intimate on Web devices : Subjectivity processes and contemporary machinations

Lemeilleur, Sandra 22 June 2016 (has links)
L’expressivité de l’intime dans le Web prend trois formes : normée, cachée/montrée et échappée. Chacune a une fonction spécifique, celle de répondre aux injonctions des dispositifs de pouvoir, celle de gérer les liens affectifs et celle qui nous est toujours inconnue. La contextualisation de nos modes d’existence tant dans les rapports au public et au privé que dans la vie professionnelle, fait émerger le passage d’une société réflexive à une société expressive où le sensuel se distingue clairement du sexuel et l’intime de l’intimité. Ces clivages façonnent l’expressivité de l’intime. Il devient un concept interstitiel. Il lie en son sein intériorité la plus profonde et sa forme théâtralisée afin de permettre que s’établisse le lien à l’autre dans des jeux de caché-montré et d’échappé. L’intime à lire sur Facebook ou sur les sites de rencontres fonctionne comme une norme d’échange dans des jeux de dons et de contre-dons : « Si je suis capable de jouer à l’intime et si toi, aussi, tu en es capable, nous pouvons être plus proches. » L’échange de banalités ou le partage des mythes de l’amour sont au service de ce jeu. L’usage du fake, de l’humour et du supposé secret sont des stratégies qui indiquent qu’une maîtrise des enjeux de l’intime est à l’œuvre. Par ailleurs, le corps virtualisé devient un corps spectral, ancillaire de la production de subjectivité répondant à la quête sans fin d’un Corps sans Organes. La diffusion d’une photo de corps sur le Web fait la preuve de son existence et de son unité. Si bien qu’il ne disparaît pas dans le Web car c’est la chair qui s’absente. Cette perte serait l’origine de l’expressivité de l’intime dans sur les réseaux pour la compenser. Chair de mots contre chair de corps. Ce processus communicationnel devient relationnel et poursuit le flux de la production de subjectivité. Souvent limitée dans ses capacités d’énonciation par le danger de la normalisation de l’intime, cette production paraît inopérante car les agencements de désirs semblent, dans ces sites, préfabriqués. Ce moule diffusé, n’empêche aucunement la subjectivité de produire de nouveaux agencements qui seront à leur tour repris par les dispositifs. La subjectivité de plus en plus oppressée jusque dans l’intime trouve de nouvelles voix à sa resingularisation. Il existe alors des liens entre progrès des sociétés démocratiques et développement de défenses perverses utilisant l’intime comme monnaie d’échange et moins comme un gage d’intériorité. The expressivity of the intimate on the Web takes three forms: normalized, hidden/shown and escaped. Each has a specific function, to answer to injunctions of power devices, to manage emotional bonds and a function that is still unknown. Contextualizing our ways of existence whether in our relations with the public and private spheres or in our professional life, reveals that we have moved from a reflexive society to an expressive society where the sensual is distinguished from the sexual and the intimate from intimacy. Theses divides shape the expressivity of the intimate. It becomes a gap concept. It brings together within itself the deepest interiority and its dramatized form in order to allow the establishment of relationships with others through hidden/shown and escaped games. Intimate statements on Facebook or dating sites operate like an exchange norm in games of gifts and counter-gifts. "If I am able to play the intimate game and you are too, we can become closer." The exchange of trivialities or the sharing of love-related myths serve this game. Uses of fakes, humor and supposed secrets are strategies that indicate that a knowledge of intimate issues is at work in the building of links. Furthermore, the virtualized body becomes spectral, an ancillary body at the service of the production of subjectivity which responds to the endless quest of a body-without-organs. The diffusion of a picture of a body online proves its existence and unity. So, it doesn’t disappear in the Web because, as flesh itself is absent from it. This loss could be the origin of the expressiveness of intimacy on the Web as a compensation. The Flesh of words against bodily flesh. This communicational process becomes relational and continues the flow of subjectivity production. Usually limited in its capacities of enunciation by the danger of normalizing the intimate, the production of subjectivity seems ineffective because desire arrangement appear as prefabricated on these Websites. The diffusion of this prototype doesn’t prevent subjectivity from producing new arrangements that will in turn be re-used by devices in the future. Subjectivity is increasingly oppressed even in the intimate but finds new voices for its resingularisation. There then exist relationships between the progress of democratic societies and perverse defenses using the intimate more as a bargaining chip than as a token of interiority.
8

Diários pessoais na aula de Língua Portuguesa : artesanato com a constituição da autoria e da intimidade

Peres, Danubia Fernanda Zevoli 2017 (has links)
Orientador: Laura Noemi Chaluh Resumo: Um feito-a-mão sobre escrita de si, autoria e intimidade a partir da escrita de diários pessoais na aula de Língua Portuguesa. Este é o resumo mais resumo dessa dissertação. Mas, pede a formalidade da linguagem acadêmica que o resumo seja mais amplo. Pois bem. Temos então: esta dissertação é a compreensão de alguns aspectos desencadeados por uma pesquisa, desenvolvida a partir da perspectiva sócio-histórica (FREITAS, 2003), junto a duas turmas de 8º ano do Ensino Fundamental de uma escola pública da rede estadual na cidade de Rio Claro/SP. Considerando quinze diários disponibilizados pelos autores-alunos, bem como os diários de campo da professora-pesquisadora e os post its que a mesma foi escrevendo ao longo da compreensão dos dados, por meio do paradigma indiciário de Ginzburg (1996), esta dissertação busca compreender a escrita de diários pessoais como forma de constituição dos sujeitos envolvidos na pesquisa, a partir das marcas de autoria que os mesmos instituíram no gênero discursivo diário pessoal. Na sequência, adentra a intimidade, pensada como amizade, enquanto aspecto inerente das relações estabelecidas entre os sujeitos na escrita dos diários pessoais, a fim de percebê-la como espaço da constituição do “eu” junto ao “outro”, bem como a relevância da responsabilidade ética das relações de intimidade estabelecidas na pesquisa com/na escola e, consequentemente, na/com a aula de Língua Portuguesa. Por fim, traz considerações acerca de “práticas outras” na aula de Líng... (Resumo completo, clicar acesso eletrônico abaixo) Mestre
9

L'essai chez Marguerite Yourcenar : métamorphoses d'une forme ouverte Marguerite Yourcenar's Essays : Metamorphoses of an Open Form

Hébert, Julie 20 March 2010 (has links)
Dans la variété des thèmes et des formes offerte par les essais de Marguerite Yourcenar, s’ébauche et s’affine le « portrait d’une voix », incitant le lecteur à réfléchir, à la suite de l’essayiste elle-même, à l’avertissement de Jorge Luis Borges : « Un écrivain croit parler de beaucoup de choses, mais ce qu’il laisse, s’il a de la chance, c’est une image de soi ». Ces essais où s’affrontent des visions contradictoires du temps et de l’identité, retracent l’histoire de la résistance du moi à son extinction, prônée par un je qui reste souverain par-delà les métamorphoses. Des premiers essais, où la jeune « Marg Yourcenar » s’effraie et s’enchante, dans un style « tendu et orné », de la décadence de l’Occident, aux dernières notes jetées dans ses carnets, la métaphore récurrente de l’érosion traduit le travail d’épure auquel est soumis le genre, comme l’autoportrait qui s’y dessine. Ce travail est sous-tendu par une vision du temps qui oscille entre écoulement et permanence, et d’où émerge la valeur accordée à l’instant, premier pas vers la « magie sympathique » qui permet de s’établir en n’importe quel point du temps humain. Ainsi dilaté aux dimensions de la « constellation » universelle née de rencontres aléatoires ou surdéterminées, le moi inextinguible incarne pourtant les résurgences de l’individualité, enfin acceptée comme voie d’accès à l’universel. Au terme de cinquante ans de pratique de l’essai, Marguerite Yourcenar a conquis la liberté propre au genre, aux confins de l’autobiographie longtemps refusée, en acceptant que ses métamorphoses épousent au plus près la fluidité de la vie individuelle. Through the variety of themes and forms offered by Marguerite Yourcenar's essays, the "portrait of a voice" progressively takes shape, inclining the reader to ponder, after the essayist herself, Jorge Luis Borges's warning : "A writer thinks he is tackling a lot of subjects; what he leaves behind, however - if he is lucky - is an image of himself". The essays, in which two contadictory conceptions of time and identity constantly clash, testify to the way the "self" resists its extinction, strongly recommended by the "I", which remains supreme beyond the metamorphoses. From the first essays, in which the young "Marg Yourcenar", in a tense and ornate style, appears to be both alarmed and enchanted by the decline of the West, to the last remarks jotted down in her notebooks, the recurring metaphor of the erosion conveys the extent to which the form is being refined, as well as the self-portrait that emerges from it. The process involves a conception of time that wavers between the flowing and the permanent, and brings forth the value given to the moment, first step towards the "sympathetic magic" which enables the reader to settle at any point of the human time. Thus expanded to the dimensions of the universal "constellation" born of random, or highly determined, encounters, the irrepressible "self" still embodies the resurgences of the individuality, accepted at last as a path towards the universal. After writing essays for fifty years, Marguerite Yourcenar conquered the liberty that defines the form and borders on the autobiographical, when she finally allowed its metamorphoses to closely match the fluidity of the individual life.
10

L'écriture, ou la construction d'un autoportrait protéiforme d'Eugène Ionesco

Oka, Kenji 18 November 2011 (has links)
La présente thèse étudie le rapport entre la vie et l’oeuvre d’Eugène Ionesco selon la perspective de l’autoportrait. Dans ses ouvrages fort divers — essai, roman et théâtre — l’écrivain se penche ouvertement sur sa vie et son passé pour y trouver l’essence de son existence. L’autoportrait ainsi dressé revêt constamment de nouvelles formes. Complexe et transgénérique, il embrasse plusieurs enjeux littéraires et métaphysiques que nous tentons d’analyser et de circonscrire dans le cadre d’une réflexion tripartite. Dans un premier temps, nous étudions la nature de « l’écriture de soi » chez Ionesco en regard des notions d’autobiographie et de journal pour en saisir l’originalité. Nous abordons ensuite l’écriture romanesque de l’auteur afin de montrer d’une part comment ce dernier introduit une dimension autobiographique dans une œuvre fictive et afin de révéler d’autre part son objectif sur le plan de l’écriture de soi. Enfin, nous analysons la nature de l’autoportrait dramatique ionescien du point de vue générique et examinons le mode de représentation de soi « hors de soi », c’est-à-dire, sur scène. This thesis analyzes the relationship of Eugène Ionesco's life and works through a selfportrait lens. In his rich variety of works across multiple genres, e.g. essays, novels and plays, the author openly examines his life and his past to find the essence of his existence. Thus approached, the self-portrait constantly takes on new forms. Complex and cross-genre, it takes up various literary and metaphysical issues which will be analyzed and delineated through a tripartite approach. Firstly, the nature of self-writing in Ionesco's works will be considered in comparison to the concepts of autobiographical and journal writing in order to appreciate his originality more thoroughly. Next, his novelistic writing will be explored to show, on the one hand, how he adds an autobiographical dimension to fiction, and to reveal on the other hand, his goal as far as self-writing is concerned. Finally, the nature of Ionesco’s dramatic selfportrait will be analyzed from a genre standpoint as will his self-representation from “ outside himself”, that is to say, on stage.

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