Il a été suggéré que lorsqu’une trace de mémoire consolidée est rappelée (réactivée), elle devient instable et sujette aux modifications avant de se stabiliser à nouveau en mémoire à long terme. Nous avons récemment démontré que lorsque la réactivation d’un souvenir négatif est couplée à l’exposition à un stress psychosocial, le souvenir de l’évènement négatif est augmenté de façon durable. En se basant sur ces résultats, le but de cette thèse est de préciser le rôle du stress psychologique et physiologique (hormones de stress) sur la modulation de souvenirs réactivés. Plus précisément, la première étude visait à déterminer si le cortisol, hormone de stress majeure, est un joueur clé dans la modulation des souvenirs réactivés. Pour ce faire, nous avons inhibé pharmacologiquement les niveaux de cortisol au moment de la réactivation d’un souvenir contenant des segments neutres et négatifs. Les résultats démontrent que la réactivation du matériel négatif est amoindrie lorsque les niveaux de cortisol sont inhibés, et cet effet est toujours présent quatre jours plus tard. Étant donné que les stimuli utilisés jusqu’à maintenant ont une faible validité écologique, nous avons voulu déterminer si d’autres types de mémoires pouvaient également être modulables lors de leur réactivation. L’objectif de la deuxième étude était donc de déterminer si les mémoires autobiographiques collectives sont modulables par le stress au moment de leur réactivation. Pour ce faire, nous avons exposé les participants à de vrais extraits de journaux, neutres ou négatifs, afin de réactiver les mémoires collectives associées à ces évènements. Par la suite, tous les participants ont été exposés à un stress psychosocial et leur mémoire des extraits a été évaluée la journée suivante. Les résultats démontrent que les femmes ayant lu les nouvelles négatives avaient une réactivité physiologique accrue face au stresseur et une mémoire augmentée de ces mêmes nouvelles le jour suivant. Ce phénomène n’était cependant pas observable chez les hommes. Le but de la troisième étude était de déterminer si les mémoires autobiographiques personnelles sont modulables par le stress au moment de leur réactivation. Nous avons demandé aux participants de se remémorer deux évènements de leur passé, négatifs ou neutres. Par la suite, ils ont été exposés à un stress psychosocial et leur mémoire pour ces mêmes évènements a été évaluée à nouveau la journée suivante. Les résultats démontrent que les mémoires autobiographiques personnelles réactivées ne semblent pas être modulables par l’exposition à un stresseur. Globalement, les résultats de cette thèse démontrent que le cortisol a la capacité de moduler des souvenirs négatifs réactivés, mais que la nature (extrinsèque vs. intrinsèque) et l'intensité des souvenirs réactivés sont des facteurs déterminants pour que ce phénomène prenne place. / It has been suggested that when a consolidated memory trace is recalled (reactivated), it becomes active and sensitive to modifications before stabilizing again in the long-term memory system. We have recently demonstrated that when the reactivation of a negative memory is followed by exposition to a psychosocial stressor, the memory for the negative material is enhanced in a long-lasting manner. Based on these results, the goal of this thesis is to clarify the role of physiological (stress hormones) and psychological stress on the modulation of reactivated memories. More precisely, the first study aimed to determine whether cortisol, a major stress hormone, is a key player in the modulation of reactivated memories. To do so, we have pharmacologically inhibited cortisol levels at the time of reactivating a memory composed of neutral and negative segments. Results showed that the reactivation of the negative material is decreased when cortisol levels are inhibited and this effect is still present four days later. Given that the stimuli used so far have a weak ecological validity, we wanted to determine whether other types of memories could also be modified upon their reactivation. The goal of the second study was to examine whether collective autobiographical memories were sensitive to the effects of stress at the time of reactivation. To do so, we have exposed participants to real newspaper excerpts, either neutral or negative, in order to reactivate the collective memories associated to these events. We have then exposed all the participants to a psychosocial stressor and their memory for the excerpts was assessed the following day. Results showed that women who have read negative news excerpts had a more pronounced physiological reactivity to the stressor and an increased memory for these news the following day. This phenomenon, however, was not observed in men. The goal of the third study was to determine whether personal autobiographical memories were sensitive to the effects of stress at the time of their reactivation. We have asked participants to recall two personal events, either negative or neutral. We then exposed them to a stressor and their memory for these events was tested the following day. The results showed that reactivated personal autobiographical memories were not sensitive to stress. Globally, the results of this thesis show that cortisol has the capacity to modulate reactivated negative memories, but that the nature (extrinsic vs. intrinsic) and the intensity of the memories are determining factors for this phenomenon to occur.

Depuis les années mille neuf cent soixante-dix, l'autobiographie littéraire ne cesse de susciter un intérêt croissant et les travaux critiques à son sujet sont actuellement nombreux. Cependant, aucune étude théorique exhaustive sur l'autobiographie uniquement théâtrale n'existe à ce jour. Face à cet écart flagrant entre la pratique existante et la théorie manquante, il semble nécessaire d'apporter une contribution à la théorisation et à la classification de cette catégorie problématique. La présente thèse, dont le titre se réfère à l'ouvrage charnière de Philippe Lejeune Pour l'autobiographie, s'interroge dans un premier temps sur la crise des genres (autobiographique et théâtral) afin d'analyser l'histoire et la genèse de l'autobiographie dramatico-théâtrale à partir du Drame de la vie de Restif de la Bretonne. Cette recherche se doit cependant non seulement de défendre un genre déprisé, mais également de plaider pour son existence.Étant donné l'essor du théâtre autobiographique après la Seconde Guerre mondiale (dont l'Histoire générale ne cesse de contaminer l'histoire intime des autobiographes en question), ce travail porte sur l'insertion de l'autobiographie dans les drames et les spectacles européens de la seconde moitié du XXe siècle. Les exemples choisis mettent en lumière les créateurs investis entièrement dans la mise en espace de leur propre histoire : de l'écriture, en passant par la scénographie et la mise en scène, jusqu'au jeu et / ou présence scénique. Les critères de sélection des œuvres du corpus (six cas d'études principaux : Anouilh, Duras, Grumberg, Ionesco, Kantor, Różewicz) portent sur le rapport direct des écrivains dramatiques à la conception du spectacle vivant, et soulèvent par là la question de la création totale, de la transformation des genres, de l'(ir)représentabilité de l'autobiographie sur scène et de la (re)construction de soi et de son passé par le biais d'un spectacle théâtral. Le dialogue constant entre l'histoire personnelle de l'auteur (autobiographie mise en forme) et l'Histoire générale (mémoires subjectivisés) constituera donc le motif privilégié de cette étude.Cette étude a ainsi pour vocation d'apporter non seulement une contribution à la définition et à l'évolution du théâtre autobiographique, en démontrant les spécificités et les caractéristiques communes des œuvres théâtrales de soi, mais aussi – ou avant tout – d'identifier ce que le théâtre apporte au genre autobiographique et par quel(s) moyen(s) il permet de le renouveler. Le cheminement proposé permet d'observer la genèse et l'évolution du théâtre autobiographique dans lequel la matérialité de la scène occupe une place grandissante : l'histoire du genre dans la première partie, la réécriture d'une autobiographie en prose en une pièce dramatique (par Duras et Ionesco) mise en scène par un artiste associé et accompagné dans la seconde partie, la participation active de l'autobiographe à la mise en scène collective de sa pièce intime (Anouilh, Grumberg) dans la troisième partie, la déconstruction du texte dramatique préexistant cédant le premier rôle au plateau (Różewicz, Kantor, Podehl) dans la quatrième partie. C'est ainsi que le mélange de l'onirisme et de la plasticité (Mądzik, Znorko) constitue en quelque sorte l'aboutissement de cette forme d'expression de soi et permet de saisir au mieux l'essence-même du théâtre autobiographique qui ne doit plus raconter la vie de l'autobiographe, mais la recréer dans l'espace. / Since the Seventies of the twentieth century literary autobiography has been arousing deep interest among the researchers and a plethora of critical works have been written on the issue. Yet to this day there is no comprehensive resarch work on the subject. In consideration of a surprising discrepancy between the existing theatre practice and the missing theory, theorisation and classification of this problematic category seems indispensable. This doctoral thesis, the title of which refers to the work of Philippe Lejeune entitled « Pro the autobiography », sees the crisis of forms (the dramatic and theatre forms) and literary genres (the autobiographical genre) a reason for the genesis of dramatic-theatrical autobiography, the story of which will be followed starting with Restif de La Bretonne's « The life's play ».Taking into consideration the development of the autobiographical theatre after the Second World War (the general history of which influenced formation of the intimate history of the autobiographical authors subjected to analysis), the present thesis takes on the task of analysis of the relationship between autobiography and the European theatre of the second half of twentieth century. The selected works present the profiles of dramatic authors fully dedicated to staging the story of their lives : starting with the process of writing a play, through stage design and stage direction to acting or/and stage presence. The selection criteria regarding the analysed works (the six principal playwrights being Anouilh, Duras, Grumberg, Ionesco, Kantor, Różewicz) are based on the direct relationship between the dramatic writers and a theatre performance and take up the issues of total creation, form-genre metamorphosis of works situated on the border between (auto)biography, historical memoirs and diary as well as the possibility of staging the autobiography and reconstruction of one's self and one's past through the medium of a performance.The aim of this treatise is not only presentation of theorisation and periodisation of the autobiographical theatre through distinction of the specifics of each of the analysed works and pointing out the common features but also presenting the elements the theatre introduces to the autobiographical genre and the way it enables its renewal. The suggested way of subject presentation allows to follow the development of the autobiographical theatre where the stage materiality plays increasingly significant role : the first part is dedicated to the analysis of the genre history, while the second one – to the issue of transcribing and transforming the autobiographical prose into a stage play (based on the example of Duras and Ionesco) directed by a thrid party in presence of the author, the third one – to the issue of active participation of the author in the process of collective staging of his autobiographical work (based on the example of Anouilh and Grumberg), the fourth one – to the issue of deconstruction of a dramatic text giving way to the theatre stage (the theatre of Różewicz, Kantor, Podehl). Thus the symbiosis of onirism and graphicality (the visual theatre of Mądzik or Znorko) becomes in a way the crowning of this form of personal statement and allows to capture the essence of autobiographical theatre the aim of which is not telling life but its reconstruction in the space. / Since the Seventies of the twentieth century literary autobiography has been arousing deep interest among the researchers and a plethora of critical works have been written on the issue. Yet to this day there is no comprehensive resarch work on the subject. In consideration of a surprising discrepancy between the existing theatre practice and the missing theory, theorisation and classification of this problematic category seems indispensable. This doctoral thesis, the title of which refers to the work of Philippe Lejeune entitled « Pro the autobiography », sees the crisis of forms (the dramatic and theatre forms) and literary genres (the autobiographical genre) a reason for the genesis of dramatic-theatrical autobiography, the story of which will be followed starting with Restif de La Bretonne’s « The life’s play ».Taking into consideration the development of the autobiographical theatre after the Second World War (the general history of which influenced formation of the intimate history of the autobiographical authors subjected to analysis), the present thesis takes on the task of analysis of the relationship between autobiography and the European theatre of the second half of twentieth century. The selected works present the profiles of dramatic authors fully dedicated to staging the story of their lives : starting with the process of writing a play, through stage design and stage direction to acting or/and stage presence. The selection criteria regarding the analysed works (the six principal playwrights being Anouilh, Duras, Grumberg, Ionesco, Kantor, Różewicz) are based on the direct relationship between the dramatic writers and a theatre performance and take up the issues of total creation, form-genre metamorphosis of works situated on the border between (auto)biography, historical memoirs and diary as well as the possibility of staging the autobiography and reconstruction of one’s self and one’s past through the medium of a performance.The aim of this treatise is not only presentation of theorisation and periodisation of the autobiographical theatre through distinction of the specifics of each of the analysed works and pointing out the common features but also presenting the elements the theatre introduces to the autobiographical genre and the way it enables its renewal. The suggested way of subject presentation allows to follow the development of the autobiographical theatre where the stage materiality plays increasingly significant role : the first part is dedicated to the analysis of the genre history, while the second one – to the issue of transcribing and transforming the autobiographical prose into a stage play (based on the example of Duras and Ionesco) directed by a thrid party in presence of the author, the third one – to the issue of active participation of the author in the process of collective staging of his autobiographical work (based on the example of Anouilh and Grumberg), the fourth one – to the issue of deconstruction of a dramatic text giving way to the theatre stage (the theatre of Różewicz, Kantor, Podehl). Thus the symbiosis of onirism and graphicality (the visual theatre of Mądzik or Znorko) becomes in a way the crowning of this form of personal statement and allows to capture the essence of autobiographical theatre the aim of which is not telling life but its reconstruction in the space.

Auteur autodidacte, Enrico Pea (1881-1958), romancier, nouvelliste, poète et auteur dramatique, est une figure atypique dans le paysage littéraire italien du XXe siècle. Une partie de l’œuvre narrative de Pea est caractérisée par sa dimension autobiographique qui n’efface cependant pas une tendance à composer ses œuvres par fragments. Nous proposons, dans cette thèse, de nous concentrer sur cinq œuvres de Enrico Pea, toutes caractérisées par leur dimension fragmentaire, qui représentent autant d’étapes dans sa construction identitaire et d’envisager ainsi, la dimension fragmentaire par le prisme du morcellement du « je » narratif. Fole (1910) est un recueil de contes et légendes de sa terre natale. Moscardino (1922), Il Volto Santo (1924) et Il servitore del Diavolo (1931) sont des œuvres autobiographiques en prose. Dans Moscardino et Il Volto Santo, le narrateur raconte l’histoire de sa famille et son enfance en Versilia auprès de son grand-père. Il servitore del Diavolo est une autobiographie en creux retraçant dans un climat fantasmagorique les années égyptiennes de l’auteur. Enrico Pea se tourne une nouvelle fois vers l’autobiographie vers la fin de sa carrière pour évoquer à nouveau le séjour égyptien dans Vita in Egitto (1949). Cette étude entend montrer que l’œuvre autobiographique de Enrico Pea, à travers la création du personnage de Pea-Moscardino, retrace les étapes de la construction identitaire de l’auteur mais également propose une autobiographie idéale reposant sur le mythe de l’écrivain autodidacte. Ce parcours s’accompagne d’une réflexion de l’auteur sur l’écriture autobiographique qui converge vers la définition d’une poétique de l’autobiographie. / Self-taught author Enrico Pea (1881-1958) was a novelist, short story writer, poet, playwright and is an unusual figure of the twentieth century Italian literary scene. Part of Pea’s narrative work is characterized by its autobiographical dimension which maintains however a tendency to be created in fragments. This thesis will focus on five pieces of work by Enrico Pea, all characterized by their fragmentary dimension and representing many steps in the construction of his identity. Therefore it considers this dimension gradually through the prism of fragmentation of the narrative "I". Fole (1910) is a collection of tales and legends from his homeland. Moscardino (1922), Il Volto Santo (1924) and Il servitore del Diavolo (1931) are autobiographical works in prose. In Moscardino and Il Volto Santo, the narrator tells the story of his family and childhood in Versilia with his grandfather. Il servitore del Diavolo is an autobiography subtly depicting the author’s Egyptian years in a dreamy climate. Enrico Pea uses the autobiography again towards the end of his career to portray once more his stay in Egypt in Vita in Egitto (1949). This study aims to show that Enrico Pea’s autobiographical work, through the creation of the character Pea-Moscardino, retraces the steps of the author’s self-identity construction, but also provides an ideal autobiography based on the myth of the self-taught writer. This work is accompanied by a reflection from the author on autobiographical writing and converges towards a definition of the poetics of autobiography.

A thesis submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Doctor of Philosophy. Johannesburg, 2015 / This research looks at home video footage and family photographs as part of the visual portrait of a curated record of the autobiographical self. The research includes a written thesis exploring the theoretical concerns and provides a reflexive analysis of the creative component of the PhD, which is a 60-minute documentary film. The research, both creative and written, assesses how autobiographical memory is informed and shaped by home video recordings, and how new digital formats have allowed home video to collapse the boundaries between the personal and the public. It also explores how personal narratives speak to the wider socio-political and cultural concerns of a particular time. These ‘collapses’ between boundaries provide a playful, pluralistic approach to a history of the self. The many paradigms that coexist within the work – the past and the present, time and space, previously accepted narratives and newly formed ones – do not exist as binary to each other, but rather exist in conversation with each other and serves to explore the ever elastic subject/object dichotomy. The autobiographical film is titled Fraternal, with the tagline ‘The future isn’t like it used to be’. It tells the emotional story of the relationships between myself and my twin, and our parents – the hellos and goodbyes, arrivals and departures, beginnings and endings that happen within family ties. The film is set against the backdrop of the political situation in southern Africa during the 1980s and 1990s. It is cut predominantly from personal home video footage: a mixture of Super 8mm, Hi8 and DV footage shot largely between 1984 and 1994 in Zimbabwe and South Africa

Dans ma thèse, j’analyse la pratique de l’« autobiographie sérielle » et autofiction dans les mémoires et les romans d’Andrej Belyj.Andrej Belyj, qui dans ses mémoires et dans ses romans réécrit de manière constante son enfance et sa vie, peut être considéré comme auteur engagé dans la création d'une «sérielle» autobiographie. Ce processus de réinvention de soi est caractérisé par remodelage et déplacement de son ego et de ses relations avec les parents, avec ses connaissances marquantes et avec ses proches amis, aussi que par les changements des points de vue mystiques, religieux et philosophiques (philosophie néo-kantienne, anthroposophie, etc.). Des identités multiples et des récits sont articulés comme les constituants d'une séquence autobiographique toujours inachevée et qui ne peut jamais aboutir à la conclusion ou à la signification définitive. La construction par Belyj de sa propre identité apparaît sous forme de développement des «variations sur un thème» (Belyj, « Zapiski chudaka »), où chaque nouvelle variation entre en dialogue avec les précédentes en les éliminant partiellement. Les mémoires et les romans de Belyj représentent sa vie comme une série de thèses et antithèses, autrement dit comme une narration dialectique de la vie montante en spirale. / My dissertation examines the practice of serial autobiography and autofiction in Andrej Bely’s prose including his memoirs and novels. Andrej Bely who in his memoirs and fiction constantly rewrites his childhood and life may be said to be engaged in creating serial autobiography. This process is characterized by the reinvention, recreation and relocation of his self and his relationships with his parents, significant others, and close friends.A series of identities and stories are constructed as the constituents of an incomplete, or open, autobiographical sequence which never can reach a conclusion or final signification. Bely’s creation of self-identity presents itself as the development of “variations of a theme” (Bely, Zapiski chudaka) in which every consequent variation engages in a dialogue with and partially cancels the preceding ones. Bely’s memoirs and novels present his life as series of theses and antitheses, in other words as a spirally ascending dialectical life-narrative.

O presente estudo tem por objetivo analisar as reflexões sobre a prática de ensino, feitas pelo próprio pesquisador enquanto professor de francês, língua estrangeira, em contexto exolíngue de ensino-aprendizagem, por meio da análise de seus relatos de vida ou narrativas (auto)biográficas (Connelly & Clandinin, 1995; Zabalza, 2002; Souza, 2008; Holly, 2013; Nóvoa, 2013) acompanhados de seus diários de aula. Como forma discursiva, os relatos permitem ao narrador a rememoração e o resgate de experiências vividas; dessa forma, a narrativa apresenta-se, igualmente, como um retrato da situação no momento acontecido, trazendo consigo uma significação social, cheia de descrições e informações sobre um determinado contexto sociocultural e permitindo aos indivíduos, envolvidos no relato ou não, a compreensão do vivido pela perspectiva do narrador. Os relatos aqui trazidos dizem respeito à minha formação docente como um todo. Quanto aos diários de aula, eles concernem as atividades didáticas que realizei nos cursos FLE, FOS, FOU do CFIPOLI- USP. A presente pesquisa se define como uma investigação qualitativa, feita à luz da metodologia de pesquisa heurística de Clark E. Moustakas (1994). O registro de vida e das aulas constituem um espaço de expressão e de elaboração do pensamento do professor, no qual ele se expõe como profissional e pessoa; ao (se) expor, ele explica e interpreta sua ação pedagógica em aula e fora dela. Desta forma, como sujeitonarrador trago questões que influenciaram minhas ações e decisões pedagógicas e complemento os relatos com estudos específicos e analíticos, além de reflexões sobre práticas de aulas apresentadas. Todo esse processo, apenas possível pela ação reflexiva docente, contamina todos os envolvidos gerando um processo consciente e reflexivo também no(s) aluno(s). / The present study aimed to analyze the reflections about the teaching practice performed by the researcher as a French teacher, foreign language, in exolingual context of teaching and learning, by analyzing his life reports or autobiographical narratives (Connelly & Clandinin, 1995; Zabalza, 2002; Souza, 2008; Holly, 2013; Nóvoa, 2013) together with his class diary. As discursive form, the reports allows the narrator the recalling and the rescue of past experiences, thus, the narrative is presented as a picture of the situation from the that moment, bringing with it a social meaning, full of descriptions and information about a certain sociocultural context and allowing the subjects, involved in the report or not, the understanding of moment by the narrator perspective. The reports of this article are about the authors graduation being a teacher as a whole. About the class diary, they report the didactics activities performed in courses of FLE, FOS, FOU of CFI-POLI-USP. The present research is defined as a qualitative investigation, done by the methodology of heuristic research of Clark E. Moustakas (1994). The class and life records constitute a space of expression and development of teachers thought, exposing him professionally and as a person, doing it, the teacher explains and interprets his pedagogical actions inside and outside the class. Thus, as narrator subject, bringing issues that influenced the actions and pedagogical decisions and adding the reports with specific and analytics studies, besides the reflections about the practice of presented classes. All this process, only is possible by the teachers reflective action, contaminates everyone involved promoting a conscious and reflective process for students also.

Made available in DSpace on 2016-04-28T19:34:30Z (GMT). No. of bitstreams: 1 Paula Pinho Dias.pdf: 11546571 bytes, checksum: e18b46a30af32323b3f47e212d50b314 (MD5) Previous issue date: 2008-10-10 / Secretaria da Educação do Estado de São Paulo / This thesis was developed in accordance with the socio-cognitive line of Critical Discourse Analysis and deals with the forms of biographical representation of poet Cora Coralina constructed by she herself and by other authors. The general objective of this thesis is to contribute to analytical studies of texts written by Brazilian regional authors. The specific objectives are: 1) to examine the poet's biography based on a base text and selected intertexts of her poetic works; 2) to analyze the linguistic expressions of intertexts selected from studies of other authors; and 3) to clip other intertexts of authors whose evaluative representations aid in historically reconstructing the context of Cora Coralina's production of her poetry. Based on the assumption of dialectics between the social and the individual, one recognizes that Cora Coralina's poetry is guided by cultural values of the social memory of the groups with which she lived in Glose proximity, in or out of the city of Goiás, and the theoretic-analytical procedure adopted was the interrelation among the society, cognition, and discourse categories. Findings of the analysis indicated that: 1) although the social guides her individual, there is opposition between traditional cultural values and those represented by Cora Coralina; 2) two social groups stand out in Goiás - the conservative and the innovative - which proves the dynamics of the culture in each contemporaneity; 3) the poet's lexical choices are guided by what she experienced within her social group; 4) the evaluative representations' of her autobiography confront the past and the contemporaneity of her poetic produefion and focus personal experiences of privations which, by means of passionate modalizations, ramify into lack and neediness / Esta dissertação se desenvolve segundo a vertente sócio-cognitiva da Análise Crítica do Discurso e trata das formas de representação biográfica da poetisa Cora Coralina, construídas por ela mesma e por outros autores. O objetivo geral é contribuir com estudos analíticos de textos de autores regionais brasileiros e os específicos são: 1) examinar a biografia da poetisa a partir de um texto-base e de intertextos selecionados de sua obra poética; 2) analisar as expressões lingüísticas de intertextos selecionados de estudos e registros de outros autores; 3) recortar outros intertextos de autores cujas representações avaliativas auxiliem a reconstruir historicamente o contexto da produção de sua obra poética. Tendo por pressuposto a dialética entre o social e o individual, entende-se que a poesia de Cora Coralina é guiada por valores culturais da memória social dos grupos com os quais conviveu, fora ou dentro da cidade de Goiás, e toma-se como procedimento teórico-analítico a inter-relação das categorias: sociedade, cognição e discurso. Os resultados da análise indicam que: 1. há oposição entre os valores culturais tradicionais e os representados por Cora Coralina, ainda que o social guie seu individual; 2. destacam-se em Goiás, dois grupos sociais, o conservador e o inovador, comprovando a dinâmica da cultura em cada contemporaneidade; 3. as escolhas lexicais da poetisa são guiadas pelo vivido em seu grupo social; 4 as representações avaliativas de sua autobiografia confrontam o passado e a contemporaneidade, de sua produção poética e centram-se em experiências pessoais de privaçõe que se desdobram, por meio de modalizações passionais, em falta e carência

Made available in DSpace on 2016-04-28T19:59:10Z (GMT). No. of bitstreams: 1 Katia Regina Pessoa.pdf: 275974 bytes, checksum: 09d36c65ac111ce29083ebec42e5cbc1 (MD5) Previous issue date: 2008-05-28 / Secretaria da Educação do Estado de São Paulo / This study has for objective to investigate the invention of the I in Angústia, by Graciliano Ramos, to the light of the autobiographical gender in your unfolding: the autobiographical fiction, tends in view that who writes is not the real author, but your other fictional. Such unfolding is correlated with two groups of images that repeat continually inside the report, be in the memory that registered them, be in the plan of the own deed. The first of them corresponds to the element snake, that symbolizes coalition, seduction and asphyxia. The second refers to the mouse and it represents dissolution and contamination - elements these that, inserted in the discursive field, starting from the writing strategy used by the author-narrator Luís da Silva, they configure the act scriptural. The analysis methodology consisted of picking the reverberations of those two nuclei of images through the selection of fragments of the romance, in way to build the personal micro-narratives: sub-groups that pick up the game ideas, seduction, asphyxia, death and fracture disseminated by the deed and capable, also, of providing the possible association of last memories to the narrative of the present, through the projection by image. In conclusion, was possible to detect the degree of density of the textual plot that, starting from the spiraled unfolding of the two groups of images, it reconstructed a deed seductive, suffocating and lacerated, propitiated by the snake/rope, as underground and cut into pieces, suggested by the image of the mice, creatures that travel and populate the dark and hidden songs of the undergrounds of Angústia freely. Before that, the ficcional author want, through the imagination and of the conjunction of fragments, your own invention / Este estudo tem por objetivo investigar a invenção do eu em Angústia, de Graciliano Ramos, à luz do gênero autobiográfico em seu desdobramento: a ficção autobiográfica, tendo em vista que aquele que escreve não é o autor real, mas seu outro ficcional. Tal desdobramento correlaciona-se com dois grupos de imagens que se repetem continuamente no interior do relato, seja na memória que as registrou, seja no plano da própria escritura. O primeiro deles corresponde ao elemento cobra, que simboliza fusão, sedução e asfixia. O segundo faz alusão ao rato e representa dissolução e contaminação elementos estes que, inseridos no campo discursivo, a partir da estratégia de escrita utilizada pelo autor-narrador Luís da Silva, configuram o ato escritural. A metodologia de análise consistiu em colher as reverberações desses dois núcleos de imagens por meio da seleção de fragmentos do romance, de forma a construir as micro-narrativas: sub-conjuntos que recolhem as idéias de jogo, sedução, asfixia, morte e despedaçamento disseminadas pela escritura e capazes, também, de proporcionar a possível associação de lembranças passadas à narrativa do presente, por intermédio da projeção imagética. Como conclusão, foi possível detectar o grau de densidade da trama textual que, a partir do desdobramento espiralado dos dois conjuntos de imagens, reconstruiu tanto uma escritura sedutora, asfixiante e dilacerada, propiciada pela cobra/corda, quanto subterrânea e despedaçada, sugerida pela imagem dos ratos, seres que percorrem e povoam livremente os cantos escuros e recônditos dos subterrâneos de Angústia. Diante disso, o autor ficcional enseja, por intermédio da imaginação e da conjunção de fragmentos, sua própria invenção

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-10-06T12:50:13Z No. of bitstreams: 1 Eliane Vasconcelos Diógenes.pdf: 3108183 bytes, checksum: 799042cd1b7a2f61cc07232723b962e8 (MD5) / Made available in DSpace on 2017-10-06T12:50:13Z (GMT). No. of bitstreams: 1 Eliane Vasconcelos Diógenes.pdf: 3108183 bytes, checksum: 799042cd1b7a2f61cc07232723b962e8 (MD5) Previous issue date: 2017-09-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research analyzes significance and singularity of the current communication phenomenon in which documentary filmmakers, under the influence either of death trauma or the absence of a person from their family group, aim to recover their stories and their memories through moviemaking. We scrutinize how such intimate, tragic and personal family narratives turn into attractive documentaries that are becoming increasingly prestigious in the audiovisual scene. The first stage of the research consisted in investigating designations and concepts of the documentary with autobiographical narrative. Then, we ascertained about some family stories in the history of documentary cinema, exploring traditions and changes and, subsequently, we examined (auto)biographical narratives in media culture. After that, we analyzed the searching experience for the other through documentary (the interlace between memory and fantasy, mourning preparation and the ethical question between public and private tensions), and at last we explored the aesthetic experiences (creation and reception) implied in this type of documentary. For the dissertation corpus, we selected only the Brazilian feature documentaries exhibited in film festivals that had an impact in specialized criticism. The documentaries are: Diário de uma busca (Flávia Castro, 2010), Elena (Petra Costa, 2012), Mataram meu irmão (Cristiano Burlan, 2013) and Os dias com ele (Maria Clara Escobar, 2013). This research is theoretically based in the interdisciplinary perspective originated from the interface between communication and psychoanalysis. From the studies of documentary film in the communication area, we highlight the following themes: the documentary concept, the history of documentary, the family film, the use of archive image, alterity, ethics and aesthetics. From the psychoanalitic theory, concerning Sigmund Freud and Jacques Lacan’s paradigm, we approach the following concepts: subject, memory, fantasy, family romance, mourning, ethics, sublimation and relation between the subject and the image. In terms of methodology, the research is characterized as bibliographic research and as film analysis, presenting an investigation about narration, image, connections between image and sound and montage. In these Brazilian (auto)biographical documentaries, we watch a performing mode to narrate the story of the other who had gone. The documentary filmmaker’s subjectivity interferes decisively in this narrative which memory and fantasy interlace, resulting in an engaging narrative that has its own hybrid language. Therefore, these stories are no longer intimate and particular, they also become public and universal in a public-private-shared-collective metamorphic state of flux. The complexity of life is contemplated, when the borders of documentary advance on the limits of art and its creative possibilities / Esta pesquisa analisa a significação e a singularidade do fenômeno comunicacional atual, no qual o documentarista, sob efeito do trauma da morte ou da ausência de uma pessoa do seu complexo familiar, busca recuperar suas histórias e suas memórias por meio da realização do filme. Examinamos como essas narrativas familiares tão íntimas, trágicas e particulares se transformam em documentários atraentes e cada vez mais prestigiados no cenário audiovisual. A primeira etapa da pesquisa consistiu em investigar nomeações e conceitos de documentário com narrativa autobiográfica. Em seguida, averiguamos histórias de família na história do cinema documental, explorando tradições e transformações e, posteriormente, examinamos narrativas (auto)biográficas na cultura midiática. Após isso, analisamos a experiência de busca do outro por meio do documentário (entrelaçamento entre memória e fantasia, elaboração do luto e questão da ética nas tensões entre o privado e o público) e, por fim, exploramos as experiências estéticas (criação e recepção) implicadas nesse tipo de documentário. Para o corpus deste trabalho, selecionamos apenas os documentários brasileiros de longa-metragem exibidos em festivais de cinema e que tiveram repercussão na crítica especializada. São eles: Diário de uma busca (Flávia Castro, 2010), Elena (Petra Costa, 2012), Mataram meu irmão (Cristiano Burlan, 2013) e Os dias com ele (Maria Clara Escobar, 2013). Esta pesquisa fundamenta-se teoricamente na perspectiva interdisciplinar a partir da interface entre comunicação e psicanálise. Dos estudos provenientes da área da comunicação sobre cinema documentário, destacamos os seguintes temas: conceito de documentário, história do documentário, filme de família, uso de imagem de arquivo, alteridade, ética e estética. A partir da teoria psicanalítica, por meio do paradigma de Sigmund Freud e de Jacques Lacan, abordamos os seguintes conceitos: sujeito, memória, fantasia, romance familiar, luto, ética, sublimação e relação entre sujeito e imagem. Quanto à metodologia, a pesquisa se caracteriza como pesquisa bibliográfica e como análise fílmica, apresentando a investigação sobre narração, imagem, relações entre imagem e som e montagem. Nos documentários (auto)biográficos brasileiros, assistimos ao modo performático de narrar a história do outro, que partiu. A subjetividade do documentarista interfere decisivamente nessa narrativa, em que memória e fantasia se entrelaçam, resultando numa narrativa envolvente, com linguagem própria e híbrida. Desse modo, essas histórias deixam de ser apenas íntimas e particulares, passando também a ser públicas e universais, no fluxo das metamorfoses público-privado-compartilhado-coletivo. A complexidade da vida está contemplada, quando as fronteiras do documentário avançam os limites da arte e suas possibilidades criativas

Esta tese teve como objetivo compreender impactos e processos de mudança relacionados com o aconselhamento de carreira a estudantes universitários. Desenvolveu-se um modelo de atendimento construtivista narrativo, fundamentado no Paradigma Life-Design, com duração média de dez sessões individuais em periodicidade semanal. O primeiro estudo investigou se a intervenção seria capaz de promover impactos em adaptabilidade de carreira, sentido de vida e nas narrativas autobiográficas dos clientes (em reflexão autobiográfica e em valência afetiva das narrativas), valendo-se de um delineamento quase-experimental. O segundo e o terceiro estudos buscaram compreender a relação entre os impactos do atendimento com os processos de mudança narrativa, avaliados com o Modelo dos Momentos de Inovação nas sessões, em dois estudos de caso com características diferenciadas. Os resultados do primeiro estudo indicaram que a intervenção foi efetiva na promoção de recursos de adaptabilidade de preocupação, controle, curiosidade e confiança, bem como em dimensões de desenvolvimento de carreira com aproximação conceitual à adaptabilidade, como identidade profissional, decisão de carreira, planejamento de carreira e autoeficácia profissional. Ainda, os participantes da intervenção demonstraram aumento significativo na dimensão de presença de sentido de vida e diminuição na saliência afetiva negativa na forma como narravam as suas histórias de vida. Nenhuma mudança significativa foi constatada em relação ao grupo de comparação, formado por estudantes que não participaram de qualquer atendimento no mesmo período. Os estudos de caso possibilitaram compreender os impactos de forma integrada aos processos de mudança, evidenciando que desfechos positivos do aconselhamento de carreira estiveram associados a padrões de momentos de inovação de complexificação crescente ao longo do processo, e pela presença de momentos de inovação de reflexão sobre a mudança e de reconceitualização. Esses dois tipos de inovação se apresentaram de forma diferenciada em cada um dos casos, que também se diferenciaram quanto aos impactos do processo em reflexão autobiográfica. Abordam-se as conexões entre o processo de reflexão autobiográfica e esses tipos de momentos de inovação. Além disso, estabelecem-se relações entre as diferentes características dos clientes quanto às suas demandas e etapas de desenvolvimento psicossocial com os impactos e processos de mudança no atendimento. Por fim, são traçadas implicações para a teoria, a pesquisa e a prática do aconselhamento de carreira. / This dissertation aimed to understand outcomes and change processes associated with a career counseling intervention targeted at university students. A constructivist narrative model of career counseling, based on Life-Design Paradigm, was developed and delivered individually, in approximately 10 sessions, once a week. The first study investigated the outcomes of the intervention in career adaptability, meaning in life and clients’ autobiographical narratives (in autobiographical reasoning and emotional valence), using a quasi-experimental design. The second and the third studies aimed to understand the relation between the outcomes of the intervention and narrative change processes, assessed through the innovative moments model in the sessions. These studies were conducted with two clients with different characteristics. Results from the first study showed that the intervention was effective in promoting career adaptability resources of concern, control, curiosity and confidence, as well as career development dimensions that have conceptual proximity to adaptability, as professional identity, career decision, career planning and professional self-efficacy. Participants also demonstrated a significant increase in the dimension of presence of meaning in life, and a significant decrease in negative emotional salience used to narrate their life stories. No significant change was observed in the comparison group, constituted by students that were not participating in interventions at the same period. The case studies contributed to an integrated understanding of outcomes and processes of change, showing that positive outcomes in career counseling are associated with a pattern of progressive complexification of innovative moments during the process, and with the presence of reflection about change and reconceptualization innovative moments. These types of innovation differed from one case to the other, and different outcomes related to autobiographical reasoning were also observed. Connections between the process of autobiographical reasoning and these types of innovative moments are addressed. In addition, relations between client’s demands and psychosocial developmental characteristics with the outcomes and processes of change during career counseling are delineated. Finally, implications for theory, research and intervention are outlined.