Aproximando conceitos como Teatro Documental (Erwin Psicator), Biodrama (Vivi Tellas), autoficção (Serge Doubrovsky) e espetáculos contemporâneos previamente selecionados por suas proximidades discursivas, a pesquisa investiga práticas que tratama memória como agenciadora de criações teatrais. O interesse principal da investigação é refletir como esta memórias e torna uma possibilidade virtual para a problematização e potencialização do "real" na cena, criando mecanismos de composição espetaculares, que aqui se define como Biopoéticas Teatrais. Este processo mnemônico é problematizado neste trabalho tal qual catalisador da cena, inserindo-se em esferas de caráter pessoal, em atos de exposição, pela experiência do revelar-se a si e ao outro em cena. Assim, procura-se evidenciar uma cena que transite entre o individual e o coletivo, criando uma manutenção própria de organização. Busca-se ainda identificar aportes da prática desta construção que se utiliza de si para criação cênica, evidenciando o confronto entre autor e cena, real e ficcional. Para tanto, serão enfocadas as estratégias de criação de três espetáculos: Luís Antônio-Gabriela (direção de Nelson Baskerville), Natalício Cavalo (direção de Patrícia Fagundes) e Br-Trans (criação de Silvero Pereira), que nascem a partir da memória, de relatos, fotografias, vontades, fracassos, etc, para compreender e levantar potencialidades que possibilitem reflexões cênicas, práticas sobre a multiplicidade da vida posta no palco, potencializando produções singulares no teatro. / Approaching concepts such as Documentary Theatre (Erwin Psicator), Biodrama (ViviTellas), autofiction (Serge Doubrovsky) and contemporary shows previously selected by their proximity discursive, this research investigates practices that treat memory as a mediator theatrical creations. The main interest of this research is to understand how this memory becomes a virtual possibility for questioning and enhancement of "real" in the scene, creating spectacular composition mechanisms that here is defined as BioPoetic Theater. This mnemonic process is questioned in this work just like catalyst scene by entering into personal spheres, in acts of exposure, the experience prove to themselves and to each other on stage. So, we try to highlight a scene that transit between the individual and the collective, creating its own maintenance organization. It also seeks to identify practical contributions of this construction that uses itself to scenic creation, highlighting the confrontation between author and scene, real and fictional. Therefore, strategies for creating three shows will be analyzed: Luis Antonio - Gabriela (directed by Nelson Baskerville), Natalício Horse (directed by Patricia Fagundes) and Br -Trans (creating Silvero Pereira), born from memory, reports, photographs, wills, failures, etc., to understand and lift capabilities that enable scenic reflections, practices on the multiplicity of life put on stage, leveraging unique productions at the theater.

What does it mean to link one's own history to that of another person or group of people? In what sense can a given history be 'one's own' or 'another's'? This thesis investigates movements between histories in three autobiographical texts which confront intergenerational shifts in language, triggered by the legacies of violent histories. Nabokov charts his movement from the Russian to the English language against the backdrop of the October Revolution, the Second World War and the Cold War. Perec's text confronts the silences in his family history produced by the death of his father in the Second World War and his mother's deportation to Auschwitz. His autobiography engages with a family history of displacement and movement between religious affiliations, countries, alphabets and languages, triggered by multiple waves of anti-Semitism, culminating with his mother's death in the Holocaust. Chamoiseau explores the ambivalent cultural and linguistic affiliations produced by a post- or neo-colonial childhood in Martinique. The thesis argues that in such contexts the links between the author's life and the lives of previous generations take on a central importance. Further, it demonstrates that each author goes beyond his own collective history to forge links between his life and those of other people who have lived through or are still suffering the legacies of different histories of violence and oppression. Though these movements have sometimes been noted, the original contribution of this thesis is that it argues such movements are central to the autobiographical texts under discussion. It looks at why and how inter-generational shifts in language inflect these authors' approach to the connections between their own histories and those of other people, and tests what is to be gained when the critic takes up the comparative interpretive framework these texts establish. By opening up a dialogue between these texts and a range of current theories of traumatic memory, inter-generational transmission of memory and 'multidirectional' memory, it finds that a comparative approach has the potential to enrich and nuance current debates in these areas.

The long-term memory system for what is conscious and can be verbalized – declarative memory- is often separated into memory for general facts and memory for personal events (Squire, 2009; Tulving, 2002). Personal semantics share elements of both semantic memory (i.e., they are facts that can be known) and episodic memory (i.e., they are self-related and idiosyncratic; Renoult, Davidson, Palombo, Moscovitch, & Levine, 2012). According to the taxonomy of personal semantics (Renoult et al., 2012), they vary in proximity to either semantic or episodic memory. Towards one end of the continuum, memory for autobiographical facts such as jobs and names of friends were hypothesized to be closer to general facts. Towards the other end of the continuum, repeated events are summaries of the core elements of similar events that happened more than once (e.g., getting coffee at a coffee shop), and they were hypothesized to be closer to episodic memory (i.e., the recollection of a unique event). Self-knowledge involves self-reflection about one’s own personality traits and preferences; it was thought to be the most distinct from semantic and episodic memory. However, little research had compared personal semantics to both semantic and episodic memory, or to one another, and these proposals needed to be tested experimentally. In this thesis, I compared the neural correlates of three types of personal semantics to semantic memory (study 1, 2, 3) and episodic memory (study 1, 2), and to one another (study 1) using functional magnetic resonance imaging (fMRI; study 1) and event related potentials (ERPs; study 2, 3). Moreover, I examined whether temporal orientation modified the personal semantics’ relationship to the typically atemporal semantic memory (study 2, 3) and to the typically past-oriented episodic memory (study 2). In study 1, general facts, autobiographical facts, repeated events, and unique events were compared using fMRI, in a follow-up to an ERP study (Renoult et al., 2016). In our analyses of the hippocampus (HPC) and posterior medial network (Ritchey, Libby, & Ranganath, 2015), general semantics and autobiographical facts were often not significantly different from one another (except for the left posterior HPC), and repeated events and unique events did not differ from one another in any comparison. I observed a small graded increase of brain activity from general facts to autobiographical facts to repeated events and unique events (with a significant linear trend) in the left posterior HPC. In contrast, no memory type differed in the anterior temporal network (Ritchey et al., 2015). In study 2 and 3, self-knowledge was operationalized as the knowledge of one’s own traits, and could concern past (study 2), present (study 2, 3) and future selves (study 2, 3). A neural correlate of recollection, the Late Positive Component (LPC), had a larger mean amplitude for thinking about the self than others (study 2, 3), and thinking about a past and/or future self than the present self (on average for study 2, and significant for study 3). The amplitude of the LPC for thinking about the past and future selves did not differ from an episodic recognition memory task (or present self-knowledge; study 2). Further, the temporal orientation effect was smaller and not significant when we compared thinking about the present and the future traits of others (study 3). The operationalization of the “other” as a close friend or a group of people did not modify this result (study 3). Together, in addition to Renoult et al. (2016), these findings suggest that: the neural correlates of autobiographical facts, repeated events, and self-knowledge do not overlap perfectly with semantic or episodic memory. Moreover, the temporal orientation of the knowledge is one factor that can influence the proximity of the neural correlates of personal semantics to either semantic or episodic memory.

Aproximando conceitos como Teatro Documental (Erwin Psicator), Biodrama (Vivi Tellas), autoficção (Serge Doubrovsky) e espetáculos contemporâneos previamente selecionados por suas proximidades discursivas, a pesquisa investiga práticas que tratama memória como agenciadora de criações teatrais. O interesse principal da investigação é refletir como esta memórias e torna uma possibilidade virtual para a problematização e potencialização do "real" na cena, criando mecanismos de composição espetaculares, que aqui se define como Biopoéticas Teatrais. Este processo mnemônico é problematizado neste trabalho tal qual catalisador da cena, inserindo-se em esferas de caráter pessoal, em atos de exposição, pela experiência do revelar-se a si e ao outro em cena. Assim, procura-se evidenciar uma cena que transite entre o individual e o coletivo, criando uma manutenção própria de organização. Busca-se ainda identificar aportes da prática desta construção que se utiliza de si para criação cênica, evidenciando o confronto entre autor e cena, real e ficcional. Para tanto, serão enfocadas as estratégias de criação de três espetáculos: Luís Antônio-Gabriela (direção de Nelson Baskerville), Natalício Cavalo (direção de Patrícia Fagundes) e Br-Trans (criação de Silvero Pereira), que nascem a partir da memória, de relatos, fotografias, vontades, fracassos, etc, para compreender e levantar potencialidades que possibilitem reflexões cênicas, práticas sobre a multiplicidade da vida posta no palco, potencializando produções singulares no teatro. / Approaching concepts such as Documentary Theatre (Erwin Psicator), Biodrama (ViviTellas), autofiction (Serge Doubrovsky) and contemporary shows previously selected by their proximity discursive, this research investigates practices that treat memory as a mediator theatrical creations. The main interest of this research is to understand how this memory becomes a virtual possibility for questioning and enhancement of "real" in the scene, creating spectacular composition mechanisms that here is defined as BioPoetic Theater. This mnemonic process is questioned in this work just like catalyst scene by entering into personal spheres, in acts of exposure, the experience prove to themselves and to each other on stage. So, we try to highlight a scene that transit between the individual and the collective, creating its own maintenance organization. It also seeks to identify practical contributions of this construction that uses itself to scenic creation, highlighting the confrontation between author and scene, real and fictional. Therefore, strategies for creating three shows will be analyzed: Luis Antonio - Gabriela (directed by Nelson Baskerville), Natalício Horse (directed by Patricia Fagundes) and Br -Trans (creating Silvero Pereira), born from memory, reports, photographs, wills, failures, etc., to understand and lift capabilities that enable scenic reflections, practices on the multiplicity of life put on stage, leveraging unique productions at the theater.

In this paper, I recount my experiences with PTSD and my own initial reluctance to seek treatment. I address similar stigmas associated with sexual assault and PTSD— how they are reinforced by media, and their role in silencing victims. I explore how trauma transforms my academic research and work as a media artist. Finally, I explore how art is a healing process through my partially autobiographical thesis project, “The Things that We Create.” By sharing my journey, I hope to continue the dialogue on structural changes that are necessary to combat stigmas of sexual assault and PTSD (not only exclusive to sexual assault victims), and highlight the art-making process as a fundamental tool in restorative recovery.

Orientador: Marcos Antônio Siscar / Banca: Flávia S. Nascimento / Banca: Susanna Busato / Banca: Marcos Aparecido Lopes / Banca: Wilton José Marques / Resumo: Este trabalho pretende investigar a retórica confessional na poética memorialista de Carlos Drummond de Andrade. Observaremos como esta forma de escrita negocia conceitos da tradição religiosa, como pecado e perdão, em estreita relação com problemáticas sociais e filosóficas. O cerne do estudo são os três livros mais caracteristicamente memorialistas escritos pelo autor: Boitempo & A Falta que Ama (1968), Menino Antigo (1973) e Esquecer para Lembrar (1979). Utilizaremos os fundamentos teóricos de Jacques Derrida acerca da característica ―auto-imunitária‖ do texto autobiográfico, sua possibilidade de articular as vivências pretéritas do sujeito como forma de desprendimento de si mesmo em busca de uma auto-avaliação que proporcione o auto-conhecimento e a auto-purificação. Pretende-se, dessa forma, enriquecer o campo ―crítico‖ da lírica do itabirano por meio desse olhar que incide sobre a escrita, não para reiterar nem julgar os pressupostos poéticos, mas para ajudar a revelar os impasses constitutivos da experiência escrita / Abstract: This work intends to study the rhetoric confession in the memoirist poetic of Carlos Drummond de Andrade. We will observe how this form of writing negotiates concepts of religious tradition as a sin and forgiveness in close relation with the social and philosophical issues. The focus of the study are the three books most characteristically memoirists written by the author: Boitempo & A falta que ama (1968), Menino Antigo (1973) and Esquecer para lembrar (1979). We will use theoretical fundamentals of Jacques Derrida about the "self-immunity" characteristic of the autobiographical text and its ability to articulate the subject preterit experiences as form of detachment from himself in search of an self-assessment that provides self-knowledge and self-purification. We intend to enrich the "critical" field of the itabirano's lyric through this view that focus on writing. We don't want to reiterate or dismiss their assumptions, but to help reveal the constitutive dilemmas of the experience in writing / Doutor

Aproximando conceitos como Teatro Documental (Erwin Psicator), Biodrama (Vivi Tellas), autoficção (Serge Doubrovsky) e espetáculos contemporâneos previamente selecionados por suas proximidades discursivas, a pesquisa investiga práticas que tratama memória como agenciadora de criações teatrais. O interesse principal da investigação é refletir como esta memórias e torna uma possibilidade virtual para a problematização e potencialização do "real" na cena, criando mecanismos de composição espetaculares, que aqui se define como Biopoéticas Teatrais. Este processo mnemônico é problematizado neste trabalho tal qual catalisador da cena, inserindo-se em esferas de caráter pessoal, em atos de exposição, pela experiência do revelar-se a si e ao outro em cena. Assim, procura-se evidenciar uma cena que transite entre o individual e o coletivo, criando uma manutenção própria de organização. Busca-se ainda identificar aportes da prática desta construção que se utiliza de si para criação cênica, evidenciando o confronto entre autor e cena, real e ficcional. Para tanto, serão enfocadas as estratégias de criação de três espetáculos: Luís Antônio-Gabriela (direção de Nelson Baskerville), Natalício Cavalo (direção de Patrícia Fagundes) e Br-Trans (criação de Silvero Pereira), que nascem a partir da memória, de relatos, fotografias, vontades, fracassos, etc, para compreender e levantar potencialidades que possibilitem reflexões cênicas, práticas sobre a multiplicidade da vida posta no palco, potencializando produções singulares no teatro. / Approaching concepts such as Documentary Theatre (Erwin Psicator), Biodrama (ViviTellas), autofiction (Serge Doubrovsky) and contemporary shows previously selected by their proximity discursive, this research investigates practices that treat memory as a mediator theatrical creations. The main interest of this research is to understand how this memory becomes a virtual possibility for questioning and enhancement of "real" in the scene, creating spectacular composition mechanisms that here is defined as BioPoetic Theater. This mnemonic process is questioned in this work just like catalyst scene by entering into personal spheres, in acts of exposure, the experience prove to themselves and to each other on stage. So, we try to highlight a scene that transit between the individual and the collective, creating its own maintenance organization. It also seeks to identify practical contributions of this construction that uses itself to scenic creation, highlighting the confrontation between author and scene, real and fictional. Therefore, strategies for creating three shows will be analyzed: Luis Antonio - Gabriela (directed by Nelson Baskerville), Natalício Horse (directed by Patricia Fagundes) and Br -Trans (creating Silvero Pereira), born from memory, reports, photographs, wills, failures, etc., to understand and lift capabilities that enable scenic reflections, practices on the multiplicity of life put on stage, leveraging unique productions at the theater.

The happening of life can reduce you in to a machine where its only focus is on the relentless rationing of energy. When down on the deep sea plane, not much work gets done. But; I write everything down. Because of my fear of forgetting. I forget anyway, so it might seem pointless. I leave the notes, tucked away behind my back while trying to get out of bed, get dressed, answer an email, speak and understand language, remembering the now. Why take notes that does not get read for weeks, months, years or never. Halfway through my masters I realized its importance; my practice contains of the excavation of my own archive. The words of time has always been my foundation, my point of departure; this essay is surrounded of the past but exists in the now. "All this time with a different pulse. Maybe it is something inside of the water."

Bipolar disorder is characterised by intense fluctuations in mood, including the experience of severe episodes of depression, mania and hypomania. The experience of bipolar disorder can also be associated with biases in various cognitive processes, including rumination in response to positive and negative mood states and tendencies to make dysfunctional self-appraisals. Preliminary research has also suggested that bipolar disorder may be associated with deficits in the recall of specifically detailed autobiographical memories. The lack of specificity in the recall of autobiographical memories, known as the 'overgeneral' recall bias, refers to tendencies to generate generalised memory representations as the memory recall process is terminated prior to the activation of specifically detailed memories. This overgeneral recall of autobiographical memories can also contribute to ruminative thought patterns, impair the generation of effective solutions to problems, and is associated with poor illness outcomes. The overgeneral bias has been extensively researched within major depressive disorder and suicidality, but has been comparatively under-researched in bipolar disorder and in vulnerable individuals. A series of eight studies were designed to: (i) investigate the cross-sectional associations across measures of positive and negative rumination and self-appraisal with the vulnerability to hypomania, and investigate the associations of these cognitive styles with prospective mood symptoms in an at-risk sample; (ii) investigate the cognitive vulnerability to hypomania in relation to rumination, problem-solving and autobiographical memory specificity; (iii) conduct a preliminary investigation into the associations between goal-related memory processes and extreme goal-pursuit in relation to hypomania vulnerability; (iv) investigate whether the vulnerability to hypomania and future bipolar disorders is associated with similar patterns of overgeneral memory recall on a standardised cue memory task; and (v) investigate the patterns of autobiographical memory specificity within a remitted bipolar sample. The heightened vulnerability to future bipolar disorders was associated with tendencies to engage in both positive and negative forms of ruminative thought processes, and with poorer psychosocial problem-solving, however, this relationship with problem-solving was not independent of current mood symptoms. The results of two studies indicated that the heightened vulnerability to hypomania was associated with an overgeneral memory bias across two different assessments of memory specificity, in direct contrast to previous research. Individuals diagnosed with bipolar disorder also reported more extreme overgenerality during memory recall than a sample of age and gender-matched healthy controls, but were able to recall some specifically detailed negative memories in short response latencies compared to non-bipolar control participants. The research presented within this thesis supports the notion of a continuum of increasing overgenerality in the bipolar disorder spectrum, inclusive of at-risk individuals to people formally diagnosed with bipolar disorder. Although bipolar disorder appears to be associated with a trait-based overgeneral memory bias, bipolar individuals appear to have ready access to some specific negative memories even during remission from symptoms. The clinical implications of this research, methodological considerations in the assessment of memory specificity, and directions for further investigations into the nature of autobiographical memory recall in bipolar spectrum disorders are discussed.

This study is a qualitative examination of the construction of identities of three novice English teachers at one university-level institute in Saudi Arabia. The study uses multiple theoretical frameworks to build a narrative describing construction of these identities: Goffman’s (1959; 1963; 1974) performing, frame analysis, and spoiled identity concepts, Anderson’s (1991) imagined community, Canagarajah’s (1996) “from bottom up” narrative style, Wenger’s (1998) three modes as a framework of the identity construction, and Pinar and Grumet’s (1976) currere. The purpose of this study is twofold: (a) to offer a rich description of how novice, nonnative English speakers (NNES), especially teachers, constructed their identities and their positions, both inside and outside the classroom, and how they negotiated their access to power and were perceived as legitimate bilingual English teachers, as it pertains to the NNES label, and (b) theoretical multiplicity establishes a novel methodological approach to use narrative as a research tool that can fully capture the complexity of novice teachers’ identities. These purposes are embedded in an action and movement to remove stigmas that NNES English Language teachers experience because of the NNES label given to them and their learners (Kamhi-Stein, 2016). This study adopted the interview autobiographical narrative approach, reflections, and observations inside and outside the classroom because of the many life stories that were shared as a window or frame into understanding the participants’ experiences as English Language teachers. The findings suggest that the dichotomy of the native and nonnative English speaker is power-driven and political, rather than linguistic power (Canagarajah, 1999; Phillipson, 1992). This study’s participants were able to strategically position themselves as legitimate speakers where they were able to show a part of their identity that was worthy of investment. Their investment did not fit the community of practice (CoP) expectations. They were able to build relationships with the CoP and they felt satisfied in their job positions.