Though feminist scholars criticize Helen Fielding’s Bridget Jones series as they feel that Bridget’s diary minimizes her work, close analysis reveals that Bridget’s work is equally important to her as her relationships. The novels charts Bridget’s linear progression toward autonomy and creative freedom, and her work mistakes function as ironic commentary on the creative industries. Though she critiques the entertainment industry, she validates its accessibility to a variety of audiences, particularly through adaptations. Throughout the series, Bridget documents her own life into her diary, and, in the final two novels, adapts her past diaries for a new purpose. The diary form departs from Austen’s more distanced narrator as well as from the traditional scholarship on the diary, which dictates the diary as a way to work through trauma. Fielding alters the diary form, and through her use of interiority, creates a complex protagonist whose success does not make her inaccessible.

Whereas the relationship between real autobiography and its fictional forms has been studied at length, the equivalent relationship for diaries has barely been acknowledged, let alone explored. This thesis follows the history of diary-writing – as a field that includes real and fictional diaries and the complex relations between them – in twentieth-century French writing. I take as my starting point the moment in the 1880s when, following a series of successful posthumous diary publications, a new generation of writers became aware that their own journaux intimes would probably come to be published, with considerable consequences for the way their literary œuvre and their very persona as an author (or their textual author-figure) would appear to readers. Of this generation, André Gide exerted by far the greatest influence over the course of diary-writing, and four works in particular experiment, in extremely diverse forms, with the literary possibilities of the diary: Les Cahiers d'André Walter (1891), Paludes (1895), Le Journal des faux-monnayeurs (1926), and his Journal 1889–1939 (1939). After the Second World War, diary-writing continued to draw on forms established by Gide, but now inflected by radical changes in attitudes towards the writing subject: Raymond Queneau's works published under the pseudonym of Sally Mara (1947–62) cast light on attitudes towards the diary at the time of a theoretical exclusion of the writing subject; Roland Barthes experimented with diaries at the point of a return of the writing subject (1977–79); and Annie Ernaux's published diaries between 1993 and 2011 demonstrate the role of diary-writing within the modern field of life-writing. Rather than making a gradual progress towards literary recognition, this history of diary-writing shows that, in a great variety of ways, diaries have consistently been used for their marginal or supplementary role, which simultaneously constructs and qualifies a literary œuvre and author-figure.

The study deals with analysis of perception and description of ethnographic entities by Marie Červinková-Riegrová, as reflected in her Notes. The basic source is completed by other sources, mainly Memorial book of Maleč and family correspondence. The first part is paid to the study of biography of Marie Červinková-Riegrová, which is a necessary framework for exploring her relation to ethnographic issues. In another part are analyzed the Notes and their potential use for the Ethnography. The next chapter deals with the concept of patriotism as the author of Notes understood. Patriotism is introduced as one of the starting points of Marie's interest of ethnographic entities. The next chapter deals with specific manifestations of folk culture, folk customs, etc., and their reflections by Marie Červinková-Riegrová. The main emphasis is placed on the folk costume description. The following part is relating to religious pilgrimages and sacred places. The last chapter analyzes folk customs and traditions followed in the Rieger family and on the farm of Maleč.

Orientador: Roberto Nardi / Resumo: Este estudo se insere dentre as investigações que vêm sendo conduzidas no âmbito do Grupo de Pesquisa em Ensino de Ciências (GPEC), UNESP, Campus de Bauru, São Paulo, Brasil, que têm se preocupado em reduzir o distanciamento entre a produção acadêmica da área e os saberes e práticas de licenciandos e professores em exercício da Educação Básica. Esta pesquisa busca avaliar as possíveis contribuições oferecidas por um curso de formação docente em Astronomia introdutória na prática de ensino de um grupo de professores do Ensino Fundamental da Educação Básica, da rede pública de ensino de Bauru (SP), bem como investigar sobre as dificuldades e os desafios dos professores durante a implementação do material didático, no formato de um diário escolar - O Diário do Céu -, originalmente elaborado para a realidade do Hemisfério Norte (Il Diario del Cielo), particularmente para a localidade de Roma, Itália, e adaptado para a faixa tropical do Hemisfério Sul, em especial para a localidade de Bauru, São Paulo, Brasil, para o trabalho com conceitos de fenômenos astronômicos, a partir do referido curso de formação dos professores envolvidos na pesquisa. O percurso metodológico de constituição e análise dos dados obtidos é descrito, discutido e analisado. A análise dos dados constituídos nesta pesquisa foi empregada segundo concepção de linguagem e leitura consolidada a partir da teoria e procedimentos da Análise de Discurso. Dentre os resultados alcançados, destacaram-se dados que mostram a... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This present study is inserted among the investigations that have been conducted in the area of “Grupo de Pesquisa em Ensino de Ciências”, GPEC ( Research Group in Science Teaching), Unesp, Bauru Campus of Bauru, São Paulo, Brazil, with the main goal of reducing the distance between the academic production and the knowledge and practice of graduates and teachers of “Educação Básica” (Elementary and High School Education). This research aims at evaluating the possible contributions offered by a Teachers’Training group in Introductory Astronomy in the Elementary and High Schools from the Public Network in Bauru, as well as to investigate about the difficulties and challenges during the implementation of the didactical material in the format of a school diary – The Diary of the Sky – originally elaborated for the North Hemisphere reality (Il Diario del Ciclo II), particularly for the city of Rome, Italy, and adapted for the tropical layer of the South Hemisphere, specially for the city of Bauru, São Paulo, Brazil, for the work with concepts of Astronomy Phenomena, from the referred course of Teacher”s Training involved in the research. The methodology is based on constitution and analysis of the data obtained , described, discussed and analysed. Data collection was performed through focus groups (and later transcription for Discourse Analysis), semi-structured questionnaires and the completion of each teacher's diary.It was used according to the conception of Language and Readin... (Complete abstract click electronic access below) / Mestre

Liev Nikoláevitch Tolstói, escritor russo célebre em todo o mundo por seus romances, escreveu além de uma volumosa obra artística, um diário que foi redigido durante 63 anos. O conjunto das anotações pessoais de Tolstói ocupa 13 dos 90 volumes das obras completas do autor. O presente trabalho, propõe uma análise do primeiro volume desse diário, do período 1847 1854, que consideramos como etapa de formação filosófica e estética do grande escritor. A partir da análise dos conceitos de literatura não ficcional e do gênero de diário, examinamos a singularidade do diário de Tolstói dentro da variedade de diário de escritores. Mostramos que o diário de Tolstói além de servir de laboratório artístico para seu autor, evidencia a organicidade existente entre pensamento e realização artística em diversas etapas da criação tolstoiana. Para tanto, apresentamos uma aproximação às novelas Os cossacos e Khadji-Murát, estabelecendo vínculos entre essas obras e o diário do autor russo. / Leo Tolstoy, famous Russian writer known worldwide for his novels, also kept a diary for 63 years. The whole set of his personal notes occupies 13 out of the 90 volumes of his complete work. The present work, proposes an analysis of the first volume of his diary, written during the period 1847-1854, which is considered as the philosophical and aesthetical formation stage of the great writer. Taking the concepts of non-fiction and diary genre, we examine the singularity of Tolstoy\'s Diary amongst the variety of writers\' diaries. We sustain as well, that Tolstoy\'s diary has served not only as an artistic laboratory for him, but it also makes evident the seamlessness between thought and artistic realization in different phases of Tolstoy\'s creation. In order to do so, we present a study of the novels The Cossacks and Jadji Murat, in which we establish links between those works and the Diary of the Russian author.

Pour camoufler son passé, dissimuler ses relations adultères, un inceste consenti avec son père et des mensonges peu avouables, les « morceaux choisis » qu’Anaïs Nin livre au lecteur comme son Journal, à partir de 1966, s’affranchissent de toute fidélité aux manuscrits. Le journal posthume, dit « non expurgé » et basé sur les transcriptions dactylographiées que la diariste réalisait de ses journaux, n’est pas non plus exempt de réécritures et d’amendements conséquents. Parmi les quelque cent dix volumes d’un journal manuscrit protéiforme, cette étude tente de mettre au jour ce qui reste, mais surtout ce qui s’ajoute et remet en cause l’appellation de « journal ». Tentant de saisir un moi sans cesse en fuite, la diariste compose sa vie dont l’imaginaire, même dans les manuscrits, fait pleinement partie. Au sein d’un corpus imposant consulté à UCLA et à l’université de Northwestern, cette étude se concentre sur la période du début du Journal (par opposition au Journal de Jeunesse) jusqu’à la publication par Nin de The Winter of Artifice (1939 et 1942), fictionnalisation de sa vie à une époque où publier le journal est inenvisageable. Ce recueil est aussi une tentative de maîtrise d’une œuvre achevée afin de vaincre l’éternel conflit du journal avec le temps et celui de la femme avec son père. Comparer les manuscrits de ces fictions, lues et corrigées par Henry Miller, les journaux manuscrits, les journaux publiés de façon anthume et posthume permet de saisir l’enjeu des réécritures, de l’autocensure ainsi que la démarche créative de Nin qui relève de mises en scène que la diariste légitime plus tard en s’appropriant les principes psychanalytiques d’Otto Rank. / To camouflage her past, dissemble about her adulterous affairs, and conceal consensual incest with her father and a lifetime of brazen lies, the « selected pieces » that Anaïs Nin offers to readers as her Diary, as of 1966, bear only a tangential relationship to the manuscripts. Even the so-called unexpurgated diary, published posthumously and based on the typescripts that Nin made of her diaries, contains significant revisions and emendations. Among the hundred and ten-odd volumes of a protean, handwritten diary, this study brings to the fore what remains, but also what was added, leading us to question whether the resulting document can truly be called a « diary ». In attempting to capture her ever-elusive self, Nin composed her life, and even in the manuscripts, the imaginary played a great part in that process. From a vast corpus examined at UCLA and Northwestern university, this study focuses on the period from the beginning of The Diary (as distinct from The Early Diary), till Nin publishes The Winter of Artifice (1939, and 1942), a fictionalization of her life at a time when publishing the diary was impossible. This piece is also an attempt to deal with—and, Nin hoped, vanquish—the lingering conflict of the diary with time and that of the woman with her father. Comparing the drafts of this work, revised by Henry Miller, with the handwritten diaries and the anthumously and posthumously published versions enables us to fully seize the extent of Nin’s rewriting and self-censorship, as well as the scope of a creative approach which amounts to many stagings of the self that the diarist would later legitimatize by making Otto Rank’s psychoanalytical principles her own.

Il est d'usage de parler d’un « Pasolini frioulan », jouant, à notre avis, sur l'ambiguïté de cette expression selon le sens que l’on veut attribuer au terme «frioulan» : substantif, entendu comme langue, ou bien adjectif. Ou encore, les deux à la fois, puisque l'opération recherchée par Pasolini était justement de fusionner en quelque sorte ces deux valeurs en une seule réalité culturelle.En essayant de se plonger avec prudence dans l’intimité de l’auteur nous avons organisé notre travail autour de trois axes qui correspondent respectivement au frioulan, à la poétique et au théâtre. Nous avons suivi un chemin qui trace une ligne directrice de l'expérience frioulane qui commence avec Poesie a Casarsa, en passant par ledit « journal inédit » et s’achève avec le drame théâtral « I turcs tal Friul ».L'approche analytique des trois phénomènes explique comment le timp furlan de Pasolini n’est pas une exclusivité biographique ou poétique (La meglio gioventù), mais une réalité riche et complexe dans laquelle les concepts de langue, d'identité et d'autonomie sont liés au Frioul. En ce qui concerne Pasolini et son séjour au Frioul nous ne pouvons parler d’une immersion totale dans l’ « Eden » frioulan, mais plutôt d’un jeu culturel très intéressant entre italianité et « frioulanité », qui nous permet de placer où bon nous semble les frontières pasoliniennes dans l'identité frioulane. / When approaching the so called “Pasolini friulano” [Friulian Pasolini], the specialists usually play on the ambiguity of the italian term “friulano”: Friulian as a noun, i.e. the language, or as an adjective, i.e. relating to the region? In our opinion the term covers both of them, because the intended purpose of Pasolini was precisely to merge somehow these two values into an unique cultural reality.Exploring carefully the author’s personal word more through the analysis of his literary works than his biographical data, this research focuses mainly on the Friulian language, the poetry, and the theatre. Having Poesie a Casarsa as starting point, it discusses also the so called Diario Inedito and the drama I Turcs tal Friul, with the aim to establish useful guidelines for a better understanding of the Friulian experience of Pasolini. The analytical approach of these three literary works proves that the timp furlan [friulian time] is not just a poetic or biographical fact (La meglio gioventù): it covers actually a very rich and complex reality, in which the idea of Friuli is strictly connected to the concepts of language, identity and political autonomy. During his stay in Friuli, Pasolini has not experienced a full-immersion in a Friulian Eden. Rather, he played a very interesting cultural game with the ideas of being Italian and/or Friulian. In this context, it is not possible to mark out clearly the Friulian identity of Pasolini and for this reason its boundaries can be shifted at leisure.

Temos à mão um diário, que constrói pelo discurso as províncias do Rio de Janeiro e Minas Gerais, sob o olhar de um cientista. É o diário de Georg Heinrich von Langsdorff, diplomata, médico, naturalista e chefe da expedição russa, que esteve no Brasil na primeira metade do século XIX. Para entender não apenas o que é dito no diário, mas o porquê e o como do ato de dizer, esta dissertação analisa o éthos do enunciador, o Barão Langsdorff, depreensível da totalidade de discursos, como um efeito de sentido de individualidade. As questões relativas à biografia de Langsdorff, ao longo de sua participação na expedição que chefiou no Brasil, emerge então como efeito de sentido dos próprios textos analisados. Tais procedimentos se tornam possíveis, já que a base teórica que nos dá respaldo é a teoria do texto e do discurso, tomando como ponto de partida a semiótica de linha francesa. Sob tais parâmetros teóricos, herdamos ainda o conceito de gênero do discurso, de Bakhtin, o que permite que a análise identifique as regras do gênero diário, tendo como foco o diário de campo de Langsdorff. Com base nesse suporte teórico, foram descritos os elementos temáticos, estruturais e estilísticos do diário do naturalista alemão, em relação a outros diários, de modo a se depreender o ator da enunciação, Langsdorff, da totalidade de páginas que registram o dia-a-dia da expedição: um ator da enunciação dado na relação de diferença diante de outros atores, pressupostos a outros diários. Respeitando a relação entre plano da expressão e plano do conteúdo dos textos, a leitura do plano do conteúdo do diário de Langsdorff beneficiou-se da operacionalização analítica viabilizada pelo percurso gerativo do sentido, principalmente, no que diz respeito ao nível discursivo, para que se pudesse descrever e explicar o ator da enunciação, que se consolida por um modo recorrente de temporalizar, espacializar e actorializar o mundo construído: no caso, um Brasil da primeira metade do século XIX, tal como construído pelo olhar meticuloso e estrangeiro. Com atenção a um modo próprio de relatar o encadeamento dos fatos, na efemeridade de cada dia, depreende-se a imagem ou o éthos do enunciador, por meio da análise, descrição e explicação de um modo próprio de relatar. Esse sujeito dado pelo modo de dizer apresenta-se ao analista com um corpo ereto, uma voz sem hesitações, um tom de voz e um caráter firmemente postos no mundo. Sob esse olhar se constrói o espaço das terras brasileiras, espaço este articulado aos atores e vinculados ambos ao tempo que flui em sistemas temporais próprios: enuncivos e enunciativos, para erigir a imagem de quem diz, expressa pelo modo científico de dizer. / We have in hand a diary that creates the provinces of Rio de Janeiro and Minas Gerais by the discourse and from a scientist\'s look. It is Georg Heinrich Langsdorff\'s diary, diplomat, doctor, naturalist and leader of the Russian expedition which was in Brazil in the early 19th century. To understand not only what is told in the diary, but also why and how, this dissertation analyses the ethos of the enunciator, Baron Langsdorff, built from a totality of discourses as an individuality meaning effect. The topics related to Langsdorff\' biography, during his participation in the expedition which he headed in Brazil, arise as a meaning effect from the analyzed texts. Such procedures are possible because the theoretical basis that gives us support comes from the text and discourse theory, having as a starting-point the French semiotics. Yet, we make use of the concept of Bakhtin\'s discourse genre, what permits that the analysis identifies the rules of the genre diary, having as focus on the Langsdorff\'s diary. Based on this theoretical support, we described the thematic, structural and stylistic elements from the diary of the German naturalist, in relation to other diaries so that we could make emerge the actor of the enunciation, Langsdorff, from the totality of pages which registered day by day the expedition: an actor of the enunciation established in the relation of difference to other actors, belonging to other diaries. Concerning to the relation between the expression plan and the content plan of texts, the content plan reading of Langsdorff\'s diary benefited from the analytical operationalization made possible by the generative process, mainly, in what refers to the discursive level so that we could describe and explain the actor of the enunciation consolidated by a recurrent way of using the temporalization, spatialization and actorialization to construct a world: as Brazil in the early 19th century, such as constructed by a meticulous and foreign look. Giving attention to a particular way of narrating the connection of facts, in the ephemerality of each day, we depict the image or ethos of the enunciator by the analysis, description and explanation of a particular way of narrating. This subject is shown to the analyst as an erected body, a voice with no hesitations, a voice tone and a character set firmly in the world. From this look, the space of the Brazilian lands is built, space organized with the actors and both linked to the time that flows in peculiar temporal systems: enuncives and enunciatives, to create an image of who says, expressed by the scientific way of telling.

Durante pouco mais de oito anos, o alemão Friedrich Reck-Malleczewen escreveu um diário, no qual registrou suas impressões a respeito do regime nazista, ao qual radicalmente se opunha. A redação do diário só foi interrompida quando o autor foi preso pela Gestapo, pela segunda vez, e enviado ao campo de Dachau, onde perderia a vida poucas semanas antes da chegada das tropas aliadas. O relato de Reck-Malleczewen, além do drama pessoal que cerrega, é especialmente interessante pelo fato de que representa uma voz de oposição conservadora, de alguém que não era, originalmente, alvo de perseguição por parte do regime nazista. No presente trabalho, traduzimos, pela primeira vez para o português, o Diário de Reck-Malleczewen, procurando contextualizar a obra, criticamente, no contexto em que foi escrita. / For a little more than eight years, the German writer Friedrich Reck-Malleczewen kept a diary, where he registered his impressions related to the Nazi government, to which he was radically opposed. The journal was interrupted only when the Gestapo arrested Reck for the second time, sending him to Dachau, where he died a few weeks before the arrival of the allied troops. Reck-Malleczewens testimony, along with the personal drama it carries, is especially relevant because it represents the voice of a conservative opposition to the Nazi government, a voice from someone who was not, at least not initially, a target to the Nazis. Here we translate, for the first time to the Portuguese language, the Reck-Malleczewns journal, trying to put it, through comments and footnotes, in the context in which has been written.

Temos à mão um diário, que constrói pelo discurso as províncias do Rio de Janeiro e Minas Gerais, sob o olhar de um cientista. É o diário de Georg Heinrich von Langsdorff, diplomata, médico, naturalista e chefe da expedição russa, que esteve no Brasil na primeira metade do século XIX. Para entender não apenas o que é dito no diário, mas o porquê e o como do ato de dizer, esta dissertação analisa o éthos do enunciador, o Barão Langsdorff, depreensível da totalidade de discursos, como um efeito de sentido de individualidade. As questões relativas à biografia de Langsdorff, ao longo de sua participação na expedição que chefiou no Brasil, emerge então como efeito de sentido dos próprios textos analisados. Tais procedimentos se tornam possíveis, já que a base teórica que nos dá respaldo é a teoria do texto e do discurso, tomando como ponto de partida a semiótica de linha francesa. Sob tais parâmetros teóricos, herdamos ainda o conceito de gênero do discurso, de Bakhtin, o que permite que a análise identifique as regras do gênero diário, tendo como foco o diário de campo de Langsdorff. Com base nesse suporte teórico, foram descritos os elementos temáticos, estruturais e estilísticos do diário do naturalista alemão, em relação a outros diários, de modo a se depreender o ator da enunciação, Langsdorff, da totalidade de páginas que registram o dia-a-dia da expedição: um ator da enunciação dado na relação de diferença diante de outros atores, pressupostos a outros diários. Respeitando a relação entre plano da expressão e plano do conteúdo dos textos, a leitura do plano do conteúdo do diário de Langsdorff beneficiou-se da operacionalização analítica viabilizada pelo percurso gerativo do sentido, principalmente, no que diz respeito ao nível discursivo, para que se pudesse descrever e explicar o ator da enunciação, que se consolida por um modo recorrente de temporalizar, espacializar e actorializar o mundo construído: no caso, um Brasil da primeira metade do século XIX, tal como construído pelo olhar meticuloso e estrangeiro. Com atenção a um modo próprio de relatar o encadeamento dos fatos, na efemeridade de cada dia, depreende-se a imagem ou o éthos do enunciador, por meio da análise, descrição e explicação de um modo próprio de relatar. Esse sujeito dado pelo modo de dizer apresenta-se ao analista com um corpo ereto, uma voz sem hesitações, um tom de voz e um caráter firmemente postos no mundo. Sob esse olhar se constrói o espaço das terras brasileiras, espaço este articulado aos atores e vinculados ambos ao tempo que flui em sistemas temporais próprios: enuncivos e enunciativos, para erigir a imagem de quem diz, expressa pelo modo científico de dizer. / We have in hand a diary that creates the provinces of Rio de Janeiro and Minas Gerais by the discourse and from a scientist\'s look. It is Georg Heinrich Langsdorff\'s diary, diplomat, doctor, naturalist and leader of the Russian expedition which was in Brazil in the early 19th century. To understand not only what is told in the diary, but also why and how, this dissertation analyses the ethos of the enunciator, Baron Langsdorff, built from a totality of discourses as an individuality meaning effect. The topics related to Langsdorff\' biography, during his participation in the expedition which he headed in Brazil, arise as a meaning effect from the analyzed texts. Such procedures are possible because the theoretical basis that gives us support comes from the text and discourse theory, having as a starting-point the French semiotics. Yet, we make use of the concept of Bakhtin\'s discourse genre, what permits that the analysis identifies the rules of the genre diary, having as focus on the Langsdorff\'s diary. Based on this theoretical support, we described the thematic, structural and stylistic elements from the diary of the German naturalist, in relation to other diaries so that we could make emerge the actor of the enunciation, Langsdorff, from the totality of pages which registered day by day the expedition: an actor of the enunciation established in the relation of difference to other actors, belonging to other diaries. Concerning to the relation between the expression plan and the content plan of texts, the content plan reading of Langsdorff\'s diary benefited from the analytical operationalization made possible by the generative process, mainly, in what refers to the discursive level so that we could describe and explain the actor of the enunciation consolidated by a recurrent way of using the temporalization, spatialization and actorialization to construct a world: as Brazil in the early 19th century, such as constructed by a meticulous and foreign look. Giving attention to a particular way of narrating the connection of facts, in the ephemerality of each day, we depict the image or ethos of the enunciator by the analysis, description and explanation of a particular way of narrating. This subject is shown to the analyst as an erected body, a voice with no hesitations, a voice tone and a character set firmly in the world. From this look, the space of the Brazilian lands is built, space organized with the actors and both linked to the time that flows in peculiar temporal systems: enuncives and enunciatives, to create an image of who says, expressed by the scientific way of telling.