Zugl.: Freiburg (Breisgau), Univ., Habil.-Schr., 2000

Thesis (D.A.)--Illinois State University, 1991. / Title from title page screen, viewed December 14, 2005. Dissertation Committee: Irene Brosnahan (chair), Janice Neuleib, Glenn Grever, Richard Dammers, Sandra Metts. Includes bibliographical references (leaves 145-164) and abstract. Also available in print.

Submitted by CLAUDIA SENEME DO CANTO null (claudia.scanto@gmail.com) on 2016-11-07T23:29:32Z No. of bitstreams: 1 DISSERTAÇÃO PUBLICAÇÃO.pdf: 22780291 bytes, checksum: 8482235f5ba088b40761d849702daae3 (MD5) / Rejected by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br), reason: Solicitamos que realize uma nova submissão seguindo a orientação abaixo: O arquivo submetido está sem a ficha catalográfica e a folha de aprovação. Corrija estas informações e realize uma nova submissão com o arquivo correto. Agradecemos a compreensão. on 2016-11-10T17:00:46Z (GMT) / Submitted by CLAUDIA SENEME DO CANTO null (claudia.scanto@gmail.com) on 2016-11-10T23:57:53Z No. of bitstreams: 1 DISSERTAÇÃO_FINAL_PUBLICAÇAO.pdf: 23280724 bytes, checksum: 5f39fb316161c782f27784b2dce309d3 (MD5) / Rejected by LUIZA DE MENEZES ROMANETTO null (luizaromanetto@hotmail.com), reason: Solicitamos que realize uma nova submissão seguindo as orientações abaixo: A data de defesa informada na folha de rosto (agosto/2016) está diferente da data que consta na folha de aprovação (09 de setembro de 2016). A data na folha de rosto deve ser a mesma da data de defesa. Corrija estas informações e realize uma nova submissão contendo o arquivo correto. Agradecemos a compreensão. on 2016-11-11T16:55:14Z (GMT) / Submitted by CLAUDIA SENEME DO CANTO null (claudia.scanto@gmail.com) on 2016-11-13T20:33:25Z No. of bitstreams: 1 DISSERTAÇÃO_FINAL_PUBLICAÇAO.pdf: 23283846 bytes, checksum: 28e01caff511e87a04d6e44ca7b857c4 (MD5) / Approved for entry into archive by LUIZA DE MENEZES ROMANETTO null (luizaromanetto@hotmail.com) on 2016-11-17T11:50:46Z (GMT) No. of bitstreams: 1 canto_cs_me_rcla.pdf: 23283846 bytes, checksum: 28e01caff511e87a04d6e44ca7b857c4 (MD5) / Made available in DSpace on 2016-11-17T11:50:46Z (GMT). No. of bitstreams: 1 canto_cs_me_rcla.pdf: 23283846 bytes, checksum: 28e01caff511e87a04d6e44ca7b857c4 (MD5) Previous issue date: 2016-09-09 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A seguinte pesquisa aborda o processo de construção de filmes-ensaio pelo Grupo de Pesquisa e Prática Cinematográfica Kino-Olho, de Rio Claro, interior de São Paulo que tem como objetivo ensinar cinema a jovens e adultos criando um espaço de aprendizado diferenciado capaz de trazer novas formas de pensar a educação e a educação e o cinema. Conforme explica MACHADO (2003), a produção de um filme-ensaio não tem como objetivo final atingir uma perfeição artística, mas sim o processo de produção; como se estes fossem rascunhos de uma obra, visando o pensamento e a construção por trás do filme. Assim, a pesquisa traz uma reflexão sobre os modos de afetação e de criação que possibilitam estas imagens e como elas escapam às modulações já existentes. A pesquisa se propõe a lidar com a incerteza e com o estar fora dos lugares fixos e estabelecidos. Aberta a mostrar quais pensamentos e que modos de produção de pensamentos as imagens do Grupo Kino-Olho criam, possibilitam, produzem e qual experiência é possível aos integrantes do grupo nesta produção. Como metodologia a pesquisa utilizará do registro e da leitura de dados em vídeo, abrangendo as discussões do grupo, o material dos filmes-ensaio e filmagem dos bastidores na realização dos mesmos. Tais filmagens (filme-ensaio e filmagem dos bastidores) resultarão num texto narrativo. / The following research approaches the essay-films construction process within the Kino-Olho Research Group from Rio Claro, the Rural section of São Paulo’ state. This group aims teaching youngs and adults how to make movies through the creating a space of learning capable of bringing new ways of thinking about education, and education and cinema, in general. According to MACHADO (2003), the production of essay-films does not aim artistic perfection. Instead, the focus is on the production process as if the masterpiece were being sketched through the thoughts and the construction behind the film. The research brings out new ways of deliberate on the modes of affection and creation that allow these images being created and how they escape the existent modulations. The present work, proposes to deal with the uncertainty of being out of the stablished places. Shows how and which thoughts and modes of production the pictures, from Kino-Olho create, allow, produce and what experience is possible for the people involved on this production. Concerning the methodology, the research is going to use the reading of the video data containing the group debates, the essay-films materials and the shootings making of the movies. Such shootings (essay-film and making of) are going to result in a narrative writing.

Written in first person, NOTHING NORMAL HAPPENS TO ME is a memoir in essays that traces the narrator’s journey from self-destruction to creation. Part one encompasses the narrator’s lost years, after she breaks free from the tyranny of her mentally ill mother and goes to live on her own at 17. Part two provides context for those bad girl years, exploring her childhood when she identified with her histrionic mother. Part three comprises stories about the narrator’s years of awakening when she seeks out transcendence, faith, and a family of her own. The pieces vary tonally and stylistically as they attempt to trace the maturing voice of the narrator. Like SEEKING RAPTURE: SCENES FROM A WOMAN’S LIFE by Kathryn Harrison, this collection centers on a young girl, who without her mother’s love, struggles to love herself. It is both a cautionary tale and a story of redemption.

In 2014, as the number of survivors dwindles, the representation of their memory and testimony after they have gone becomes increasingly important. Although it is critical to discuss the historical facts of the atrocities of World War II, those facts often do not reach the personal experiences of many survivors, who can only express many of the details of their experiences through an expression of their memories through testimony. One such testimony is that of Wanda Bielecka, a survivor of Auschwitz-Birkenau concentration camp. This practice-based research (consisting of a film and accompanying thesis) explores her memories as they are expressed through her own testimony, and the testimony of her testimony of eleven members of her family. The practice element of the PhD consists of a 73-minute film called Wanda. Wanda is a found footage narrative, a new form of film developed to answer the following research question: how is survivor experience represented in the collective memory of a survivor’s family, and how can the form of the found footage narrative be used as a way of understanding the construction of that memory? This research will explore the collective memory of the Bielecka family around the events of Wanda’s life during World War II from her incarceration in Auschwitz to her eventual liberation and journey to Paris. This collective memory will be explored as a mythology around Wanda’s experience. The film itself will then reflexively reveal its’ own place in the construction of that mythology. A formal conception of the dialectical image is fundamental to the film’s form. This form has been developed through research into essayistic modes in literature and film. It will be shown that the found footage narrative is a form of film that can be used to research, not just the collective memory around Wanda’s experience, but also other instances of collective memory.

The Inevitable: Withdrawn is a critical preface and collection of non-fiction writing: personal essay, lyric essay, fragments, and experimental forms. The work’s cohesive subject matter is the author’s European vacation directly following her divorce. Within the pieces, the author attempts to reconcile who she is when starting over and she begins to ask questions regarding the human condition: How do I learn to exhibit intimacy again, not just with romantic partners, but with also in a familial way with my father, and how does absence in these relationships affect my journey and how I write about it? How do I view, and remake myself, when finding my identity that was tied to another individual compromised? How does a body, both physical and belonging to me, and physical as text, take certain shapes to reflect my understanding? How do I define truth, and how do I interpret truth and authenticity in both experience and writing? How do I define and know the difference between belief and truth? And finally, how does narrative and language protect, or expose me? The Inevitable: Withdrawn considers debates regarding the definition of narrative in order to address a spectrum of non-fiction writing. The collection takes into consideration non-fiction conventions, form as functionality, philosophy, linguistics, cognitive psychology, prose and poetic theory, and the works of other notable writers.

A Forecast is a manuscript of poems that explores themes of longing, loss, uncertainty, time, place, and love. The poems also attempt to explore and adorn these themes through inventiveness and imagination. While inhabiting this imaginative landscape, the poems play with notions of perception, acting as objective witnesses to very subjective persons, places, and things. These poems are held together by their movement through stasis, fascination with weather, seasons, and the future, and the fragmented yet illuminated spaces they occupy, where the extraordinary seems ordinary and the ordinary seems extraordinary. What results is a series of explorations through a dreamlike world, led by a voice who wonders, hesitates, and hides, all the while trying to say something, to shape the world and tug you into it. / Master of Fine Arts

As is typical to the way I write essays, I did not understand the goal of this collection until I wrote the last essay, “Blue Heron Goodbye.” Up until that point I was calling the collection “Why We Need Bloodhounds.” This title felt sufficiently representative to me of the goal of the collection because in this essay, I use discussions canvassing the Bloodhounds' strong sense of smell to focus my discussion about the world of the heart. However, when I wrote “Blue Heron Goodbye,” I realized I wasn't only interested in the struggles of the human heart (a broad topic too heavy for any collection) but finding a place for my heart to live. What I mean by that, is that everyone has struggles and joys but what makes living feel worthwhile, to me, is that I can examine those emotions in a place of calm, away from the jarring pace of the whizzing world. In the essay, “Blue Heron Goodbye”, the heron is surrounded by man's technology of speed—a concrete freeway and zipping cars—yet the heron finds solitude by her churning river. I find solitude in my essays. This collection's goal is the heron's goal: to find the hidden hope of self-examination in solitude amid chaos.

Inspired by the work of writers Hunter S. Thompson and Tom Wolfe and motivated by celebrity prevaricator James Frey, Journey to the Scars: A White Trash Epic is a memoir that attempts to redefine the genre by applying the ideals and themes of gonzo and new journalism. The opening chapter, "The Diary of John Doe Frankenstein" tells the story of a pivotal event in the author's life. Immediately following this narrative of a near fatal motorcycle accident, the author/narrator's reliability is called into question and the remainder of the memoir is the story of the author's efforts to uncover the truth about himself, and more importantly, the events and motivating forces that led to the author's almost Near Death Experience. Starting with a nonjudgmental look at the life of his parents before he was born, our unreliable narrator/author hopes to improve the reader's opinion of himself while also uncovering the true stories behind all the fictional ones he's been telling himself and others his entire life. As he learns more about where he came from, he begins to try to understand why he has made some of the decisions in his own life. Life is one long party for James Patrick Makowski and he shares his experiences not as a victim of his choices, but as a lonely man who just doesn't want to be left off of any of Life's guest lists. In a final attempt to improve his credibility with the reader, the author retells the story of his accident with as much focus on factual detail and verifiable events as possible. His select poems reveal his attempts at emotional honesty while appending documentation is included for the purposes of veracity. Treating himself as a hostile witness, the narrator/author goes on to share the development of his literary integrity when he meets the most honest person he has ever met--the drug dealing Dog. "Tales of the Dog" summarizes the author/narrator's attempts to improve his credibility and why this quest has been so important to him. Journey to the Scars: A White Trash Epic is the gonzo story of one man's efforts to be his own messiah. The author/narrator, after realizing that his life to date has been in large part the result of his efforts to forget his past, J Patrick Rader begins his efforts to remember his.

Un informe presentado al Profesorado de The Graduate School University of the Pacific Como Requisito Parcial para el Grado de Master of Arts in Inter-American Studies