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The sixteenth century Ottoman architect Sinan is today universally recognized as the defining figure in the development of the classical Ottoman style. In addition to his vast oeuvre, he left five remarkable autobiographical accounts, the so-called \"Adsiz Risale\", the \"Risaletu'l-Mi'mariyye\", \"Tuhfetu'l-Mi'marin\", \"Tezkiretu'l-Mi'mariyye\" and \"Tezkiretu'l-Bunyan\" that provide details of his life and works. Based on information dictated by Sinan to his poet friend Mustafa Sa'i Celebi shortly before his death, they exist in multiple manuscript versions in libraries in Istanbul, Ankara, and Cairo. The present volume contains critical editions of all five texts, along with transcriptions, annotated translations, facsimiles of the most important variant versions, and an introductory essay that analyzes the various surviving manuscripts, reconstructs their histories, and establishes the relationships between them.

Autoethnography is an approach to research and writing that seeks to describe and systematically analyze personal experience in order to understand cultural experience. This approach challenges canonical ways of doing research and representing others and treats research as a political, socially-just and socially-conscious act. A researcher uses tenets of autobiography and ethnography to do and write autoethnography. Thus, as a method, autoethnography is both process and product. [PUBLICATION ABSTRACT] URN: http://nbn-resolving.de/urn:nbn:de:0114-fqs1101108

Burn-out – das ist die Diagnose, mit der Renate Weber in eine psychosomatische Klinik aufgenommen wird. Zu diesem Zeitpunkt liegen schon aufreibende Jahre der Auseinandersetzung hinter der Lehrerin: mit ihrer Familie, Freunden, Kollegen und Schülern. Und so wird schnell klar, dass es nicht nur Überlastung ist, die ihren Zusammenbruch verursacht hat, sondern tieferliegende Traumata. Mit ihren Therapeuten macht Renate sich auf die Suche nach den Ursachen ihrer seelischen Erschütterungen. Und sie finden einen Ausweg aus ihrer Verzweiflung: Renates überbordende Fantasie. Mit Heilungsmärchen, die das Rehmädchen Anuschka, den Kraken Kai und die Drachin Fulna auf eine packende Reise schicken, verarbeitet Renate ihre Traumata. Renate Weber verknüpft in diesem schonungslos offenen Heilungsroman autobiographische Erzählungen und amüsant-ergreifende Berichte aus dem Klinikalltag mit ihren persönlichen Heilungsmärchen. Sie gibt so einmalige Einblicke in den Heilungsprozess. Das Buch richtet sich an alle an Psychotherapie Interessierten und auch an von Traumatisierungen Betroffene, die Anregungen finden wollen, ihren eigenen Leidensweg zu verkürzen.

Memoirs have enjoyed great popularity in recent years, experiencing significant sales, prominent reviews, and diverse readerships. Signifying Bodies shows that at the heart of the memoir phenomenon is our fascination with writing that focuses on what it means to live in, or be, an anomalous body—in other words, what it means to be disabled. Previous literary accounts of the disabled body have often portrayed it as a stable entity possibly signifying moral deviance or divine disfavor, but contemporary writers with disabilities are defining themselves and depicting their bodies in new ways. Using the insights of disability studies and source material ranging from the Old and New Testaments to the works of authors like Lucy Grealy and Simi Linton and including contemporary films such as Million Dollar Baby, G. Thomas Couser sheds light on a broader cultural phenomenon, exploring topics such as the ethical issues involved in disability memoirs, the rhetorical patterns they frequently employ, and the complex relationship between disability narrative and disability law.

It sounds like a paradox: How do you engage in autoethnography collaboratively? Heewon Chang, Faith Ngunjiri, and Kathy-Ann Hernandez break new ground on this blossoming new array of research models, collectively labeled Collaborative Autoethnography. Their book serves as a practical guide by providing you with a variety of data collection, analytic, and writing techniques to conduct collaborative projects. It also answers your questions about the bigger picture: What advantages does a collaborative approach offer to autoethnography? What are some of the methodological, ethical, and interpersonal challenges you'll encounter along the way? Model collaborative autoethnographies and writing prompts are included in the appendixes. This exceptional, in-depth resource will help you explore this exciting new frontier in qualitative methods.

While it documents a remarkable career, Participant Observer is also a personal chronicle in which William Foote Whyte reflects on his childhood, his education, his courageous struggles with polio and with the crises of family and academic life. Beginning with the study of gangs in Boston's North End recorded inStreet Corner Society, Whyte listened to what working people had to say, becoming a powerful voice for worker participation and workplace democracy. His career is a model for the social sciences, and his story should be read by any serious student of them.

Ever since I left the land that was my home, wherever I have traveled and lived, I have been asked the same question: How could a Hitler happen, in the land of poets and scientists and thinkers, the land of music and arts, the land of plenty, the land of orderliness and efficiency, of cleanliness and dependability, the very land of humaneness?.

In the 1980s, a sea change occurred in comics. Fueled by Art Spiegel- man and Françoise Mouly's avant-garde anthologyRawand the launch of theLove & Rocketsseries by Gilbert, Jaime, and Mario Hernandez, the decade saw a deluge of comics that were more autobiographical, emotionally realistic, and experimental than anything seen before. These alternative comics were not the scatological satires of the 1960s underground, nor were they brightly colored newspaper strips or superhero comic books. InAlternative Comics: An Emerging Literature, Charles Hatfield establishes the parameters of alternative comics by closely examining long-form comics, in particular the graphic novel. He argues that these are fundamentally a literary form and offers an extensive critical study of them both as a literary genre and as a cultural phenomenon. Combining sharp-eyed readings and illustrations from particular texts with a larger understanding of the comics as an art form, this book discusses the development of specific genres, such as autobiography and history. Alternative Comicsanalyzes such seminal works as Spiegelman'sMaus, Gilbert Hernandez'sPalomar: The Heartbreak Soup Stories, and Justin Green'sBinky Brown Meets the Holy Virgin Mary. Hatfield explores how issues outside of cartooning-the marketplace, production demands, work schedules-can affect the final work. Using Hernandez's Palomar as an example, he shows how serialization may determine the way a cartoonist structures a narrative. In a close look atMaus, Binky Brown, and Harvey Pekar's American Splendor, Hatfield teases out the complications of creating biography and autobiography in a substantially visual medium, and shows how creators approach these issues in radically different ways. Charles Hatfield, Canyon Country, California, is an assistant professor of English at California State University, Northridge. His work has been published inImageTexT,Inks: Cartoon and Comic Art Studies,Children's Literature Association Quarterly, theComics Journal, and other periodicals. See the author's Web site atwww.csun.edu/~ch76854/.

A troubled childhood in Iran. Living with a disability. Grieving for a dead child. Over the last forty years the comic book has become an increasingly popular way of telling personal stories of considerable complexity and depth. InAutobiographical Comics: Life Writing in Pictures, Elisabeth El Refaie offers a long overdue assessment of the key conventions, formal properties, and narrative patterns of this fascinating genre. The book considers eighty-five works of North American and European provenance, works that cover a broad range of subject matters and employ many different artistic styles. Drawing on concepts from several disciplinary fields--including semiotics, literary and narrative theory, art history, and psychology--El Refaie shows that the traditions and formal features of comics provide new possibilities for autobiographical storytelling. For example, the requirement to produce multiple drawn versions of one's self necessarily involves an intense engagement with physical aspects of identity, as well as with the cultural models that underpin body image. The comics medium also offers memoirists unique ways of representing their experience of time, their memories of past events, and their hopes and dreams for the future. Furthermore, autobiographical comics creators are able to draw on the close association in contemporary Western culture between seeing and believing in order to persuade readers of the authentic nature of their stories.