<p>Storytelling serves many purposes. People often tell stories as a coping mechanism, as a way of self-representation, and as a means for self-reflection. Through stories, narrators construct identities and gain perspective on events in their lives. This thesis is a discourse analysis of a single narrative told by a young man staying at a children&rsquo / s home in Cape Town. The study explores how life events are presented and evaluated in narrative and analyses the construction of identities. The objectives of the study are threefold. Firstly it aims to explore how the narrator draws on different social discourses in the telling of his narrative. Secondly, it analyses how, through the telling of these events, identities are constructed. Finally, the study assesses how the participant builds evaluation into his narrative. The study&rsquo / s overall purpose is to gain an understanding of narrative identities. The analysis reveals that Lucas develops three Master Narratives relating to the themes of family, education and drugs. His attitudes towards all three are ambivalent and he weaves competing discourses into his narrative in relation to each. He seeks, through his story, to construct himself as a wise young man who &ndash / having experimented with drugs and dropped out of school &ndash / makes the decision to redeem himself by going back to school, rejecting drugs, and mending his ties with his family. In this sense, his narrative is like an archetypal Bildungsroman. The study takes a qualitative approach and is situated within the fields of Discourse Analysis, more specifically, narrative analysis. The main theoretical influences in the study include Tannen (1989/2007 / 2008) and Labov (1972). The analysis of this study focuses on identifying the Master Narratives that shape Lucas&rsquo / s story as well as the discourses and competing ideologies which support these Master Narratives.</p>

The present dissertation deals with self-representation in a corpus consisting of narrative texts about the exile from Chile, Uruguay and Argentina, that reached Sweden during the 1970s and 1980s. The first part of the analysis focuses on the representation of discursive borders that enclose identity in exile in categories based on gender and ethnicity. The second part focuses on exile subjectivity as situated in a discursive framework of space and time, where the centre of attention is on how the legacies of memories from the political oppression during the dictatorship in the exile’s past inhibit the inclusion of these memories in a pedagogical discourse of the self. The corpus of narrative texts that are analysed consists of novels and short stories in Spanish. Latin American exile in Sweden is a central theme and can therefore be considered as part of the historical contextual framework that surrounds the discourse of Latin American exile identity in Sweden. The analysis is not focused on the authors’ individual experiences of exile, since a point of departure in the dissertation is an immanency between the author’s biography and the narrative text. The object of study is the identity as constructed in the text itself against the backdrop of Latin American exile and immigration in Sweden. The theoretical framework applied mostly derives from poststructural and postcolonial criticism and concerns identity as relational between self and other, as well as culturally and discursively constructed. The analysis of the corpus texts is based on a conception of gender identity as relational and intersectional with identities connected to ethnicity and social class. It also takes as a starting point the assumption that the notion of exile identity is rendered from a male norm, based on the traditional association between national politics and male rationality. Another point of departure is a notion of permeability between exile and immigrant identity, of which the former is conceived as linked to discourses of political rationality and the latter to those of corporality and materiality. The analysis focuses on the way both exile and immigrant identities are represented as constituent parts of exile self in narratives. For the reading of texts that illustrate exile subjectivity as a dislocation in space and time, the theoretical framework is based on Foucault’s notions of heterochronia and heterotopia. The analysis aims to highlight the representation of heterochronic divisions in the texts, between memories of the past and the present in exile. This representation departs from the notion of modern subjectivity as a pedagogical discourse of the self that is rendered as a narrative of the proper life. In some texts, this pedagogy of the self is represented as interrupted in exile by the suppression of memories of political oppression during the dictatorships in the exiles’ countries of origin, such as those of imprisonment, torture and violence. The analysis also focuses on the representation of strategies the individual employs to accomplish the performance of a coherent self in exile.

Today's young people increasingly tend to sit at home and relax, instead of being out and meet friends. This is based on my observations from my experience as a teacher. They are more and more in front of their computers and living their lives through their various Internet sites. There I was, stuck on how they behave in their environment, both private and public but also to their friends and their families versus their "internetlife". Young people are more and more at home and even the daily discussion are now placed on the internet instead of face to face communications or on the phone. This essay deals with the subjects selfrepresentation and self-identity that Erving Goffman handled in his book The self in everyday life respectively Anthony Giddens in Modernity and Sef-Identity. I chose to use Facebook. This to myself in my subconscious was assumed that all were somehow linked too. The internet has become such a big part of people's lives and in particular young people. I have taken two high-school classes and compared them to how they behave in reality and through their Facebook profiles. A media class and a social studies class were compared and back to back interviews, ten interviews with five people from each class. The study shows that students are fooling themselves and that they want to be perceived in a certain way by their environment, but this image does not always correspond with the image they provide on their Facebook profile. Later on their future reflections, but the potential consequences are postponed. / Dagens ungdomar tenderar allt mer att sitta hemma och slappa, istället för att vara ute och träffa kompisar. Detta baserar jag på iakttagelser från min praktik som pedagog. De sitter mer och mer framför sina datorer och lever sina liv genom sina olika internetsajter. Det jag fastnade för var hur de beter sig i sin omgivning, både privat och offentligt men också mot sina vänner och sina familjer kontra sitt ”internetliv”. Ungdomar är mer och mer hemma och till och med diskussioner förs nu via MSN istället för öga mot öga eller telefonen. Uppsatsen behandlar begreppen självrepresentation och självidentitet som Erving Goffman behandlar i sin bok Jaget &amp; Maskerna respektive Anthony Giddens i sin Modernitet och självidentitet. Jag valde att använda mig av Facebook. Detta för att jag själv i mitt undermedvetna antog att alla vi människor på något sätt är knutna till webbplatsen. Internet har blivit en del av människors liv och i synnerhet ungdomars. Jag har tagit två gymnasieklasser och jämfört dessa om hur de beter sig i sin verklighet och genom sin profil på Facebook. En medieklass samt en samhällsklass blev jämförda och ställda mot väggen i tio intervjuer med fem personer från varje klass. Studien visar att eleverna lurar sig själva och att de gärna vill uppfattas på ett visst sätt av sin omgivning, men denna bild överensstämmer inte alltid med bilden de ger på sin Facebookprofil. Sedermera finns framtidsreflektioner, men eventuella konsekvenser skjuts på framtiden.

<p>Storytelling serves many purposes. People often tell stories as a coping mechanism, as a way of self-representation, and as a means for self-reflection. Through stories, narrators construct identities and gain perspective on events in their lives. This thesis is a discourse analysis of a single narrative told by a young man staying at a children&rsquo / s home in Cape Town. The study explores how life events are presented and evaluated in narrative and analyses the construction of identities. The objectives of the study are threefold. Firstly it aims to explore how the narrator draws on different social discourses in the telling of his narrative. Secondly, it analyses how, through the telling of these events, identities are constructed. Finally, the study assesses how the participant builds evaluation into his narrative. The study&rsquo / s overall purpose is to gain an understanding of narrative identities. The analysis reveals that Lucas develops three Master Narratives relating to the themes of family, education and drugs. His attitudes towards all three are ambivalent and he weaves competing discourses into his narrative in relation to each. He seeks, through his story, to construct himself as a wise young man who &ndash / having experimented with drugs and dropped out of school &ndash / makes the decision to redeem himself by going back to school, rejecting drugs, and mending his ties with his family. In this sense, his narrative is like an archetypal Bildungsroman. The study takes a qualitative approach and is situated within the fields of Discourse Analysis, more specifically, narrative analysis. The main theoretical influences in the study include Tannen (1989/2007 / 2008) and Labov (1972). The analysis of this study focuses on identifying the Master Narratives that shape Lucas&rsquo / s story as well as the discourses and competing ideologies which support these Master Narratives.</p>

Giorgio Vasari nasceu em 1511, na cidade de Arezzo, Itália. Em 1574, quando morreu, deixou atrás de si uma enorme quantidade de pinturas por toda a Toscana, uma série de empreendimentos arquitetônicos em Florença que realizou para o duque, bem como a obra pela qual talvez seja mais conhecido: o livro das Vite de’più eccelenti architetti, pittori e scultori italiani da Cimabue insino a tempi nostri descritte in lingua toscana da Giorgio Vasari pittore Aretino con una sua utile e necessaria introduzione a le arti loro (As vidas dos mais excelentes arquitetos, pintores e escultores italianos de Cimabue até os nossos tempos descritas em língua toscana por Giorgio Vasari pintor aretino com uma introdução útil e indispensável para as diferentes artes). Tão impressionante quanto o sucesso de sua carreira, são a quantidade e a variedade de registros sobre si mesmo que Giorgio Vasari foi capaz de produzir. Hábil também como escritor, registrou uma autobiografia como pintor e arquiteto, que julgou pertinente inserir na segunda edição de seu livro, além de um diálogo em que explica a decoração do Palazzo Vecchio. Também guardou cuidadosamente o registro de boa parte de suas encomendas, e deixou uma série de papéis esparsos que seus descendentes reuniriam com orgulho no chamado Zibaldone, em que estariam preservadas as invenzione do cavaliere Giorgio Vasari. Conhecedor e amante das artes, como se apresenta não apenas em sua autobiografia, mas ao longo de todas as Vite, detinha os meios técnicos necessários para realizar os ciclos decorativos internos das duas casas que adquiriu com o sucesso de sua carreira. Uma em Arezzo, sua cidade natal, a outra em Florença, local de sua realização profissional. Nesses ciclos expressou, ainda que de forma menos evidente do que os padrões contemporâneos exigem, e sempre limitado pelas convenções de sua época, o entendimento que tinha de si mesmo e de sua trajetória. Nesse trabalho, dedico-me a analisar essa documentação deixada por Vasari, procurando os traços de sua descrição de si mesmo, e tentando entender seus limites, suas possibilidades, suas inovações e suas motivações. Procuro compreender esse material a partir de um horizonte de expectativas individual do próprio Vasari, relacionando-o ao contexto de possibilidades que se abriam ao artistas durante esse período do qual ele não apenas fez parte, mas também ajudou a construir conceitualmente para a disciplina histórica: o Renascimento. No primeiro capítulo tento entender os limites dentro dos quais operava sua autorrepresentação escrita recorrendo a fontes mais antigas. A análise dessa figuração retórica através do texto aparece no segundo capítulo, em que realizo o comentário mais extenso de seus escritos. Essa tarefa bipartida é condensada no terceiro capítulo, em que procuro delimitar sua representação pictórica através de exemplos anteriores e contemporâneos, antes de realizar a análise do material vasariano propriamente dito. / Giorgio Vasari was born in 1511 in the town of Arezzo, Italy. In 1574, when he died, he left behind a huge amount of paintings throughout Tuscany, a series of architectural projects in Florence wich he performed for the Duke, and the work for which is perhaps best known: the book of the Vite de’più eccelenti architetti, pittori e scultori italiani da Cimabue insino a tempi nostri descritte in lingua toscana da Giorgio Vasari pittore Aretino con una sua utile e necessaria introduzione a le arti loro (The lives of the most excellent italian architects, painters and sculptors from Cimabue to our times described in the Tuscan language by Giorgio Vasari aretine painter with a useful and indispensable introduction to the different arts). As impressive as the success of his career, is the quantity and the variety of records about himself that Giorgio Vasari was able to produce. Also skilled as a writer, he recorded an autobiography as a painter and architect, wich he judged appropriate to insert in the second edition of his book, as well as a dialogue in which explains the decoration of the Palazzo Vecchio. He also kept carefully the record of most of his works, and left a number of scattered papers that his descendants proudly gathered in the so-called Zibaldone, in wich would be preserved the invenzione of Cavaliere Giorgio Vasari. Connoisseur and lover of the arts, as he presents himself not only in his autobiography, but all over the Vite, he held the technical means to carry out the internal decorative cycles of the two houses he acquired with the success of his career. One in Arezzo, his hometown, the other in Florence, site of his professional achievement. These cycles expressed, albeit in a less obvious way than contemporary standards require, and always limited by the conventions of his time, his understanding of himself and his career. In this work, I dedicate myself to examine this documentation left by Vasari, looking for traces of his description of himself, and trying to understand its limits, possibilities, innovations and motivations. I try to understand this material from a perspective of Vasari‟s individual expectations, but also relating it to the context of possibilities that opened to artists during this period in which not only he took part, but also helped to form conceptually for the historical discipline: the Renaissance. In the first chapter I try to understand the limits within which Vasari operated his written self-representation using older sources. The analysis of this rhetoric figuration through the text appears in the second chapter, in which I render the more extensive review of his writings. This bipartisan task is condensed in the third chapter, in which I try to delineate his pictorial representation through previous and contemporary examples before performing the analysis of Vasari material itself.

L’objectif de cette thèse est de contribuer à la construction des connaissances sur l’inclusion scolaire d’élèves en situation de handicap en appréhendant le sens qu’ils accordent à leur expérience scolaire et leurs représentations de soi, eu égard à leur trajectoire scolaire. Nous avons rencontré 111 élèves en situation de handicap intellectuel, 50 filles et 61 garçons, âgés de 7 à 16 ans (M = 12,4 ; ET = 2,08) scolarisés en ULIS école (N = 44), ULIS collège (N = 49) et IME (N = 18) dans la région Midi-Pyrénées.Cinq outils complémentaires, tous adaptés pour les élèves rencontrés, ont été utilisés afin de recueillir nos données : le dessin de soi et du bonhomme (Hurtig & Rohrer, 1979), un Q-Sort de représentations de soi (Pierrehumbert & Rankin, 1990), le questionnaire « Les jeunes, l’école et leur avenir » (Prêteur, Constant & Féchant, 2004), le Dessin de l’Ecole Réelle et de l’Ecole Imaginaire (Caglar, 1983) et un bilan de savoir oralisé (Charlot, Bautier & Rochex, 1992).Nos résultats indiquent l’existence d’une pluralité de trajectoires scolaires révélatrices de la scolarisation d’élèves en situation de handicap. Les contextes actuels de scolarisation ainsi que les modalités d’enseignement sont des dimensions saillantes composant ces trajectoires. Le sens de l’expérience scolaire de ces élèves, qui se construit sur la base de ces trajectoires, souligne une importante valorisation des apprentissages intellectuels et scolaires. L’enseignant est perçu comme le principal agent de médiation entre les élèves et les savoirs. L’absence de relations aux pairs dans les activités récréatives est aussi constatée. L’étude des liens entre les variables met en exergue l’effet modérateur du sens accordé à leur expérience scolaire, notamment les apprentissages du quotidien, les rapports entretenus avec les enseignants, les représentations concernant les liens aux pairs et les contenus scolaires, dans la relation entre les trajectoires scolaires et les représentations de soi. / We would propose to contribute to knowledge building by directly investigate pupils concerns about their schooling experiment' sense and the development of self-representations in terms educational trajectories. Their characteristics and specificities would be highlighted. We met 111 intellectually disabled pupils, 51 girls and 60 boys, aged 7.5 to 16 years old (A (average) = 12.4 ; SD (standard deviation) = 2.08), schooled in ULIS based in primary school (N=44), ULIS based in secondary school (N=49) and in specialized environment (N=19), in the Midi-Pyrénées area. Five additional instruments, all suitable for pupils we met, have been used to collect our data : self-drawing and man drawing (Hurtig & Rohrer, 1979), a Q-Sort of self-representations (Pierrehumbert & Rankin, 1990), the questionnaire Les jeunes, l’école et leur avenir (Prêteur, Constant & Féchant, 2004), a drawing of real school and dreaming school Dessin de l’Ecole Réelle et de l’Ecole Imaginaire (Caglar, 1983) and an orally bilan de savoir (knowledge assessment) (Charlot, Bautier & Rochex, 1992).Our results show existence of plural educational trajectories which emphasize pupils in a disability situation’s schooling. Current context of schooling and methods of teaching are prominent dimensions of these trajectories. The sense of schooling experience, based on these trajectories, underlines higher values given to intellectual and schooling knowledge. The teacher is perceived as the principal mediating agent between pupils and knowledge. The lack of peer’s relations is also observed in their recreational activity. Studying links between the variables of our study disclose a moderated effect of sense given to their schooling experience, particularly in daily knowledge, relationships with teachers, link to peers and school content, in the relationship between educational trajectories and self-representation.

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

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

Giorgio Vasari nasceu em 1511, na cidade de Arezzo, Itália. Em 1574, quando morreu, deixou atrás de si uma enorme quantidade de pinturas por toda a Toscana, uma série de empreendimentos arquitetônicos em Florença que realizou para o duque, bem como a obra pela qual talvez seja mais conhecido: o livro das Vite de’più eccelenti architetti, pittori e scultori italiani da Cimabue insino a tempi nostri descritte in lingua toscana da Giorgio Vasari pittore Aretino con una sua utile e necessaria introduzione a le arti loro (As vidas dos mais excelentes arquitetos, pintores e escultores italianos de Cimabue até os nossos tempos descritas em língua toscana por Giorgio Vasari pintor aretino com uma introdução útil e indispensável para as diferentes artes). Tão impressionante quanto o sucesso de sua carreira, são a quantidade e a variedade de registros sobre si mesmo que Giorgio Vasari foi capaz de produzir. Hábil também como escritor, registrou uma autobiografia como pintor e arquiteto, que julgou pertinente inserir na segunda edição de seu livro, além de um diálogo em que explica a decoração do Palazzo Vecchio. Também guardou cuidadosamente o registro de boa parte de suas encomendas, e deixou uma série de papéis esparsos que seus descendentes reuniriam com orgulho no chamado Zibaldone, em que estariam preservadas as invenzione do cavaliere Giorgio Vasari. Conhecedor e amante das artes, como se apresenta não apenas em sua autobiografia, mas ao longo de todas as Vite, detinha os meios técnicos necessários para realizar os ciclos decorativos internos das duas casas que adquiriu com o sucesso de sua carreira. Uma em Arezzo, sua cidade natal, a outra em Florença, local de sua realização profissional. Nesses ciclos expressou, ainda que de forma menos evidente do que os padrões contemporâneos exigem, e sempre limitado pelas convenções de sua época, o entendimento que tinha de si mesmo e de sua trajetória. Nesse trabalho, dedico-me a analisar essa documentação deixada por Vasari, procurando os traços de sua descrição de si mesmo, e tentando entender seus limites, suas possibilidades, suas inovações e suas motivações. Procuro compreender esse material a partir de um horizonte de expectativas individual do próprio Vasari, relacionando-o ao contexto de possibilidades que se abriam ao artistas durante esse período do qual ele não apenas fez parte, mas também ajudou a construir conceitualmente para a disciplina histórica: o Renascimento. No primeiro capítulo tento entender os limites dentro dos quais operava sua autorrepresentação escrita recorrendo a fontes mais antigas. A análise dessa figuração retórica através do texto aparece no segundo capítulo, em que realizo o comentário mais extenso de seus escritos. Essa tarefa bipartida é condensada no terceiro capítulo, em que procuro delimitar sua representação pictórica através de exemplos anteriores e contemporâneos, antes de realizar a análise do material vasariano propriamente dito. / Giorgio Vasari was born in 1511 in the town of Arezzo, Italy. In 1574, when he died, he left behind a huge amount of paintings throughout Tuscany, a series of architectural projects in Florence wich he performed for the Duke, and the work for which is perhaps best known: the book of the Vite de’più eccelenti architetti, pittori e scultori italiani da Cimabue insino a tempi nostri descritte in lingua toscana da Giorgio Vasari pittore Aretino con una sua utile e necessaria introduzione a le arti loro (The lives of the most excellent italian architects, painters and sculptors from Cimabue to our times described in the Tuscan language by Giorgio Vasari aretine painter with a useful and indispensable introduction to the different arts). As impressive as the success of his career, is the quantity and the variety of records about himself that Giorgio Vasari was able to produce. Also skilled as a writer, he recorded an autobiography as a painter and architect, wich he judged appropriate to insert in the second edition of his book, as well as a dialogue in which explains the decoration of the Palazzo Vecchio. He also kept carefully the record of most of his works, and left a number of scattered papers that his descendants proudly gathered in the so-called Zibaldone, in wich would be preserved the invenzione of Cavaliere Giorgio Vasari. Connoisseur and lover of the arts, as he presents himself not only in his autobiography, but all over the Vite, he held the technical means to carry out the internal decorative cycles of the two houses he acquired with the success of his career. One in Arezzo, his hometown, the other in Florence, site of his professional achievement. These cycles expressed, albeit in a less obvious way than contemporary standards require, and always limited by the conventions of his time, his understanding of himself and his career. In this work, I dedicate myself to examine this documentation left by Vasari, looking for traces of his description of himself, and trying to understand its limits, possibilities, innovations and motivations. I try to understand this material from a perspective of Vasari‟s individual expectations, but also relating it to the context of possibilities that opened to artists during this period in which not only he took part, but also helped to form conceptually for the historical discipline: the Renaissance. In the first chapter I try to understand the limits within which Vasari operated his written self-representation using older sources. The analysis of this rhetoric figuration through the text appears in the second chapter, in which I render the more extensive review of his writings. This bipartisan task is condensed in the third chapter, in which I try to delineate his pictorial representation through previous and contemporary examples before performing the analysis of Vasari material itself.

Mito y logos se unen en la descripción del mito que admite una representación (Vergegenwärtigung) y es comprensible para el entendimiento: muqologei=n”. De este modo, aquel logos que era en el principio” es él mismo un mito, si no se hiciera presente (vergegenwärtigt) a sí mismo como logos. El principio de la religión, el Eterno mismo, deja narrar en el judaísmo un mito que culmina en un logos y puede ser interpretado como tal. En el cristianismo, la auto-re-presentación del principio de la religión como autorreflexión, esto es, la encarnación, pone al logos antes que al mito: El que me ve a mí, ve al Padre” (Jn. 14, 9). Esto es lo que distingue al cristianismo de aquello que ha de permanecer ajeno al judaísmo, pues: No puedes ver mi rostro y seguir viviendo” (Ex. 33, 11ss). --- ‘In the beginning was the logos’ –or was it rather the mythos? On the Re-presentation Principle in Judaism and Christianity”. Myth and logos are united in the description of myth which allows for a re-presentation (Vergegenwärtigung) and is comprehensible for the understanding: muqologei=n”. Thus, that logos which was in the beginning” would be itself a myth, if it does not present (vergegenwärtigt) itself as logos. The principle of religion, the Eternal itself, allows in Judaism the narration of a myth that ends in a logos and can be interpreted as such. In Christianity, the self-representation of the principle of religion as self-reflection, that is, incarnation, puts the logos before the myth: He who has seen me has seen the Father” (Jn., 14,9). This is what distinguishes Christianity from that which will remain foreign to Judaism, since: you cannot see my face; for no one shall see me and continue to live” (Ex. 33, 11ff).