Search

Copyright of Annales Historiques de la Révolution Française is the property of Librairie Armand Colin and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

As both a traditionalist and an Arabist, Almamy Maliki Yattara was assigned by the Institut des Sciences Humaines in Bamako to accompany W. A. Brown during his research. In his memoirs, Yattara provided a vivid account of their efforts, one which made clear the close ties and the mutual esteem that existed between these two men from very different backgrounds. Yattara's memoirs also demonstrate the ways a researcher's interests and approaches can be influenced by the positionality of their guide. Yattara described at length their search for local Arabic manuscripts, which they tirelessly photographed, a style of research in which Brown played a pioneering role. [ABSTRACT FROM AUTHOR]

The present paper aims to explore the topic of the vocation of a courtesan in the 19th-century France, by analyzing memoirs of tree demi-mondaines of the time: Céleste Mogador, Cora Pearl and Rigolboche. Does such a vocation exist? If yes, how can we define this notion? The first part tries to show that prostitution isn't chosen by women because of the their inclination to debauchery, but is the result of the failed education and parental abandonment. The second part focuses on the importance of independence in the courtesan's life, as a part of their vocation, and the manner to gain it. [ABSTRACT FROM AUTHOR]

Étienne-Léon de Lamothe-Langon (1786-1864) was the author of numerous novels belonging to different genres. However, if he wasn't completely forgotten by the end of the 19th and the beginning of the 20th c., it was thanks to a long list of apocryphal memoirs attributed to famous people which in fact he wrote himself. At first, this paper shows reactions from the press in 1829 after the publication of Mémoires d'une femme de qualité sur Louis XVIII and Mémoires de la comtesse Du Barri. Although some journalists chose to perpetuate the fiction that the memoirs were authentic, others denounced them as false and heavily criticized this kind of literary enterprise. Thereafter, the article focuses on Lamothe-Langon's response to his critics and on his vision of apocryphal memoirs in his preface to Les Après-diners de S. A. S. Cambacérès (1837). [ABSTRACT FROM AUTHOR]

On October 17, 2017 the conference “An Alsatian Intellectual in Enlightenment Russia: L.G. Nikolay, Strasbourg President of the Russian Academy of Sciences” happened. Materials of the conference, with the addition of other essays and documents, formed the basis of the book under review (published under the editorship of Sorbonne Professor Rodolphe Baudin and Senior Researcher of IWL RAS Alexandra Veselova). The book’s authors are well-known scientists from France, Russia, Germany and Switzerland. Baron Ludwig Heinrich von Nikolay (1737–1820; in Russia he was called Andrey Lvovich) played a prominent role in Russian social and cultural life at the end of the 18th century. Nicolay came from the intellectual milieu of Strasbourg, which became a subject of research in the essays included the book by R. Baudin, D. Ryusk and V. Berelovich. From 1769 he was in Russia, where he was entrusted with the position of mentor to the heir to the throne, Pavel Petrovich. In 1798, Nikolay was appointed president of the Russian Academy of Sciences; N. Prokhorenko’s essay is devoted to his productive activity in this post. Thanks to his personal qualities, Nicholas managed to stay at court after the coup on March 12, 1801 and ingratiate himself with Alexander I; in 1803 he left the service. A number of materials of the reviewed work are devoted to the literary work of Nikolay, a prolific and versatile poet (articles by M. Arens and A. Ananyeva). For posterity, the name Nikolay is associated primarily with the famous estate of Mon Repos in Vyborg, which he acquired in 1788, to which he dedicated a poem in 1804, probably his best work (article by Yu. Moshnik and M. Efimov). The book also pays attention to Nikolay as a character in historiographical essays and fiction (articles by A. Veselova and M. Efimov). Attached are five unpublished letters from Nicolai; their addressees are the diplomat and lawyer F.A. Annenberg and the poet and scientist K. Pfeffel. The book is provided with a chronology of Nicolai’s life and work and brief annotations of articles (in French and Russian).

The article discusses various genres of writings by publishers, specifically focusing on their discourses beyond pamphlets, memoirs, investigations, and interviews. It highlights the significance of publications like "Manuel de la librairie" and "Le Livre du Bibliophile" and mentions notable figures such as Alphonse Lemerre and Édouard Pelletan.

Despite the advent of dematerialised communication and digital civilisation, the production of political works in France has never really dried up over the last forty years. Within this unique and massive literary production, memoirs and genres that are closely or distantly related to them, whether old or more recent (autobiographies, co-authored biographies, storytelling, etc.), occupy a special place. Starting from a fairly detailed typology of ways of writing about oneself and one’s past in politics - whether in terms of the choice of genre (memoirs, autobiographies, co-authored biographies, etc.) or the media used (books, interviews, television programmes, multimedia, etc.) - this article sets out to explain the main principles involved and to offer some operational guidelines for understanding this sociopolitical phenomenon. [ABSTRACT FROM AUTHOR]

The adverb or, of temporal origin, is very present in various uses in Old and Middle French. It is still very much alive at the beginning of the 16th century in the autograph Memoirs of Philippe de Vigneulles: besides a few attestations as an enunciative adverb in direct speech and in numerous authorial interventions, it is mostly used massively instead of lors in the past tense. As it is still mostly starting the proposition, it causes the subject-verb inversion. Nevertheless, several tendencies can be identified even if they concern only few examples: the addition of temporal complements between or and the following verb, the use of other tenses than the simple past following or, as if or was not only expressing temporal succession anymore. We are perhaps witnessing the genesis of the modern coordinator in the hesitation between temporal value and logical value. [ABSTRACT FROM AUTHOR]

The article analyzes visual sources on the history of St. John the Baptist Convent in Tomsk (1865–1920s). Due to the poor knowledge of the history of the monastery and small number of left written sources, the visual sources mostly act as an instrument of preserving the memory of the urban community about the now lost monastery, which is part of the so-called urban myth – a system of stable ideas about the city’s past, its peculiar features. Visual sources also reflect the contradictory transformations that the urban myth underwent in the 19–20th centuries. St. John the Baptist Convent arose in a period of transformation of ideas about the city as a sacred center, characteristic of Russia. The city started being understood from a functional point of view – as an orderly, comfortable place to live, and not a sacred center. This transformation can be clearly seen in the description of the appearance of the monastery and its surroundings, given by the memoirs of Peter Khandorin (1905–1992). The monastery clearly does not fit the urban environment, remaining an alien element. The transformation of ideas about the city-forming function of the monastery led to the fact that at the beginning of the 20th century the myth of the city as a sacred center was being destructed. However, by the 1970s the culture was not ready for the complete destruction of historical memory: in the conditions of prohibitions on religious subjects, “legends” about the monastery arise, often having nothing to do with historical reality. This testifies to the preservation of ideas about the city as a sacred center in the mass consciousness. At the same time, this myth makes it difficult to restore the historical truth and the memory of the monastery that actually existed. В статье анализируются визуальные источники по истории Иоанно-Предтеченского женского монастыря г. Томска (1865 – 1920-е гг.). Ввиду слабой изученности истории обители, малого количества сохранившихся письменных источников, именно доступные визуальные источники во многом выступают средством сохранения памяти городского сообщества о ныне утраченной обители, которая является частью так называемого городского мифа – системы устойчивых представлений о прошлом города, его своеобразных чертах. Визуальные источники также отражают противоречивые трансформации, которые претерпевал городской миф в XIX–XXI вв. Иоанно-Предтеченский монастырь возник в период, когда происходила трансформация представлений о городе как сакральном центре, характерных для Руси. Город начинает пониматься с функциональной точки зрения – как упорядоченно обустроенное, комфортное место для жизни, а не сакральный центр. Такая трансформация ярко прослеживается в описании облика монастыря и его окружения, которое дают мемуары Петра Хандорина (1905–1992). Монастырь явно не вписывается в городскую среду, остаётся в ней чужеродным элементом. Трансформация представлений о градообразующей функции монастыря привела к тому, что в начале XX в. миф о городе как сакральном центре подвергается целенаправленному разрушению. Однако уже к 1970-м гг. выясняется, что культура оказалась не готова к полному уничтожению исторической памяти: в условиях запретов на религиозную тематику возникают «предания» о монастыре, часто не имеющие ничего общего с исторической действительностью. Это свидетельствует о сохранении в массовом сознании представлений о городе как сакральном центре. Вместе с тем этот миф затрудняет восстановление исторической правды и памяти о реально существовавшей обители.

This essay explores the avenues opened and limits set by the sublime when used a rhetorical and narratological strategy for figuring and describing non-human animals in the memoir, an understudied but promising genre for examining human/nonhuman relationships. Since few (if any) recent theories of the sublime provide a viable revision of the fraught aesthetic distinction between sublime and beautiful animals and/or between humans and animals outlined in foundational works on the sublime (e.g., Burke’s and Kant’s texts), this article analyzes two case studies (Steven Rinella’s American Buffalo: In Search of a Lost Icon [2008] and Meat Eater: Adventures from the Life of an American Hunter [2012]) that imaginatively deploy the rhetoric of the sublime in descriptions of living animals and dead animals. In Rinella’s memoirs, the described dead animals become still lifes which produce reflections on the ethics of hunting, on animal welfare, and on the tensions existing in the relationship between human and non-human animals.

Samuel Bamford’s Passages in the Life of a Radical, 1839-1842 is perhaps the most widely read 19th-century English autobiography. In it, Bamford (1788-1872) recounts how, on 16 August 1819, he led a procession of 3,000 inhabitants of Middleton, a village north of Manchester, to the mass radical meeting which ended in a bloodbath and which would go on to be dubbed ‘Peterloo’. Bamford’s account has stood the test of time, and has even become the very embodiment of the event. When he wrote his memoirs at the end of the 1830s however, Bamford was no longer the radical he had once been in 1819. He was a writer aspiring to literary greatness, and he had largely toned down his radical views. His memoirs were not simply an attempt to provide a written record of the past, they also formed part of an anti-Chartist narrative, critical of the latter’s supposed violence and their antipathy to the free-trading industrial middle classes. By highlighting the pacificism of his youth, in contrast to the revolutionary spirit of the Chartists, Bamford was perhaps inventing himself anew. Considering this double time frame and the issue of memory is a way of questioning the history of radicalism over the course of 1819-1820, what it was and what has been said about it.

In his numerous pieces of prose, Vasile Alecsandri reveals his profile of a writer, traveller and memoirist. Describing places, sceneries and characters, the writer actually performs an exercise of evoking his own travel memories. In his travel notes, portrayals or publicist texts, the author combines the reality of the described facts with fiction, always in different proportions. Otherwise stated, these types of texts are generic platforms on which the writer hides the fictional structures meant to captivate the reader. In the texts to which we are going to refer in the paper, Vasile Alecsandri exploits various pictures, ideas, aesthetic and ideological codes, and notes, thus recreating his travel memories. Even though it has received less attention on part of Romanian literary critics, Alecsandri’s prose deserves to be explored since it undoubtedly completes the artistic profile of the writer. Despite the fact that we are talking about marginal epic literary pieces written by Alecsandri, it can be included in the range of the greatest memoirs from Romania and at the international level.

The author aims to discuss three topics using the memory research method. The first part discusses construction of the imagined community and collective memory of 19th century Lithuanian intellectuals in a country where education in the national language, and the printing of books and papers, were banned. The second part of the article presents the impact of the Great War and the struggle for independence on collective memory as revealed in memoirs written in the 1914–1940 period by fighters on the front lines, refugees, intellectuals, and people in the occupied country. The third part discusses the extinction of the Great War and the battle for independence from collective memory as a natural and specially constructed phenomenon, caused by the Soviet regime.

The article explores biography and various aspects of public activity of the Russian refugee from Lithuania, lawyer, professor of Russian language and literature at the University of South Florida Anatole Sokolsky (1993–2006). Memoirs and articles published by him in the USA were used as the basic empirical material and the documents from the Lithuanian Central State Archive and private collection of the Sokolsky family served as auxiliary sources for the research. There is a lack of studies that analyze the history of representatives of Russian intelligentsia who were forced to escape Lithuania in the period of World War II (from 1939 to 1945) because of the danger of the Soviet regime. Publications by Sokolsky do not represent an example of professional literature, but it allows us to find out more not only about personal destiny and worldview of the author, the results of his social activities in favor of the Russian diaspora, but also about the life of Russian intelligentsia in the periods of interwar, World War II and emigration to the West.

Copyright of XVIIe Siècle is the property of Presses Universitaires de France and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article makes an attempt to specify the actual routes of Gogol’s sea voyage in the Mediterranean Sea on his way to the Holy Land in the beginning of 1848 and to analyze the available data about his possible routes (in comparison to other Russian pilgrims). The author attempts to verify the authenticity of some data shared by Gogol whose reputation of an inventor and hoaxer among his contemporaries was not accidental. The article questions the tentative Gogol’s pilgrimage to the Corfu Island (Kerkira) to pray before the relics of St. Spyridon of Trimython and an extraordinary event that happened there: a miracle that provided an evident proof against one Englishman’s skepticism who had suggested that the relics’ incorruptibility was fabricated. Gogol’s story about the “Englishman’s disgrace” was retold by two of his contemporaries, and these reports are acknowledged by some modern researchers as truthful. However, the author of this essay believes there are some reasons to mistrust these sources as accurate. The data used for this purpose was taken from the published materials and archive sources but also bears on factual information, such as distances between different geographical points and the average speed of steamships in the middle of the 19 th century.

In an 1860 memoir, Kummer (1810-1893) discusses analytically the consequences of light rays' quadrature in a spherically symmetrical medium. This fertile approach is illustrated here by showing its graphical translation using the Young-Kattawar diagram (1998). A detailed classification of occuring phenomena is derived for the case of vision through a steep inversion layer: e.g. hillingar and hafgerdingar effects, multiple horizons. These considerations help discussing the corrections which are essential for an accurate astronomical navigation, including horizon's depression. [ABSTRACT FROM AUTHOR]

Copyright of Quetes Litteraires is the property of Katolicki Uniwersityt Lubelski Jana Pawla II, Wydzial Nauk Humanistycznych, Institut Filologii Romaj and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Quetes Litteraires is the property of Katolicki Uniwersityt Lubelski Jana Pawla II, Wydzial Nauk Humanistycznych, Institut Filologii Romaj and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Quetes Litteraires is the property of Katolicki Uniwersityt Lubelski Jana Pawla II, Wydzial Nauk Humanistycznych, Institut Filologii Romaj and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

December 23, 2022 marked the 150th commemoration of painter George Catlin's death. Two days before Christmas of 1872, this artist passed away, a humble, penniless, almost forgotten old man, after having an extraordinary life experience, travelling enormous distances in space and time, from the forms of the primitive village lost in the northern prairies of the New World, to the glittering metropolises and royal palaces of the Old World. Catlin had an adventurous life, full of satisfactions, glory, unanimous recognition, but also of hardships, of financial entanglements that even led him to the debtors' prison and to the loss of his valuable works and collections, built up with great sacrifices. Educated to become a lawyer, he gave up the bar to devote himself to painting, in which he trained as a self-taught artist. He had some success as a miniature and portrait painter in Philadelphia but his great calling was the prairies and the natives who still roamed them in the first half of the 19th century. Catlin realized the imminent absorption and disappearance of these Native Americans into the mass of European-style civilization. He realized also that, through his art, he could preserve the natural, unaltered appearance of these communities, especially those that, being far from the urban area, had not been altered by contact with the whites. In 1830 he began his great adventure through the still virgin lands of the West. With no financial backing from any institution or wealthy patron, Catlin set out, brave and determined, at his own expense, on this far-reaching venture. For eight years he travelled to remote areas and visited 48 tribes. To make it easier for him to transport his materials, he only bought canvas of a small size (29 × 24 in/74 × 61 cm), which he could wrap in cylinders of waterproof oilskin. Thus, most of his works are of the same size whatever the subject, be they bust or full-length portraits, landscapes or large compositions of buffalo hunters or ceremonies with many figures. For his uncanny ability to reproduce the features of models, the Indians gave him the name Te-ho-pe-nee Wash-ee which translated to White Medicine Man. In 1837 he began exhibiting his Indian Gallery, first in New York, then in Washington, Baltimore, Philadelphia and Boston, and in 1839 he crossed the ocean with 600 paintings and 8 tons of ethnographic pieces, including a 25 feet (7.60 m) high Crow tepee, which he exhibited with great success in London, Paris and Brussels. He was received by Queen Victoria at Windsor Castle and by King Louis Philippe at the Tuileries and St. Cloud. The latter invited him to exhibit at the Louvre and commissioned several copies of works he liked. A gifted memoirist, Catlin wrote several volumes of memoirs about his travels and the Indian chiefs and European royalty he met. George Sand, Théophile Gautier and Charles Baudelaire devoted enthusiastic lines to his works of art. George Catlin is one of the most important 19th century documentary painters of America and worldwide. A pioneer of this art form, a dilettante ethnographer, a talented memoirist of his adventures, an ingenious entrepreneur of folkloric shows, and a world celebrity of his time, George Catlin left a work of enduring value in which the faces and daily activities of Native Americans in the last days of glory of their traditional way of life were preserved before they were assimilated into the mainstream of European-style American civilization. [ABSTRACT FROM AUTHOR]

Copyright of Topiques, Études Satoriennes is the property of Topiques, Études Satoriennes, Journal of the SATOR (Société d'Analyse la Topique Romanesque) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay examines an episode of Nikolay Gogol’s biography described in four memoir texts — by I.I. Panayev, A.YA. Panaeva, P.V. Annenkov, and N.A. Nekrasov. All the four texts tell the story of Gogol meeting “young writers” in St. Petersburg in the late 1840s. As it often happens in memoirs, the authors describe the same event differently. The author of this article thoroughly examines the sources of this particular episode and comes to the following conclusion. The memoirs of Gogol`s meeting with the “young writers” in the late 1840s tells us a lot about how Gogol’s personality was perceived by his younger and less famous contemporaries. It also sheds light on the typology and evolution of memoir genres in the second half of the 19th century. Yet the reliability of biographical data about Gogol is insufficient. The total amount of information indicates the probability that the meeting took place but gives a reason to doubt almost all the details of this event. The participants named by the authors of the memoirs (Goncharov, Grigorovich, Druzhinin, etc.) kept silent about this important meeting while the data available to modern Gogol scholars points at the hypothetical character of the mentioned episode.

Aleksei Goldenweiser (1890–1979), a successful lawyer and an active participant of the Russian émigré community, left a rich legacy containing, in particular, memories of the revolutionary upheavals in his hometown Kiev. His memoirs are interesting not only as a testimony from a participant in these historical events, but also for what they reveal about the author’s complex identity. Being a Russian Jew and at the same time a native inhabitant of Kiev, Goldenweiser did not identify himself with either the Reds, the Whites, or the Ukrainian movement. His relationship with the Jewish environment was also ambiguous. Goldenweiser’s texts, despite their relative impartiality, reflect the position of a person trying to defend his professional and moral values in the hard conditions of the Russian Civil War. The memoirs reflect the specifics of the author’s worldview and at the same time give an interesting, Kiev-centred, perspective of the events of 1917–1921.

The article discusses the early period of memoir-writing in Russia (1730-1770). The Russian situation in this period was radically different from Europe. Very few memoirs were written: of those, only 12 texts were selected for the present article. Memoir literature had no context and fiction was also still poorly developed. Therefore, the study of the pragmatics of these works is of particular interest, as it reveals the origin of the memoir genre in Russia. The article also raises the question of what could have been used as a model by authors. The author suggests noble genealogies and track records (sluzhebnaia skazka) could have served as a model. The article concludes that early Russian memoirs reflect a difficult stage for a new Russian class, who simultaneously sought to represent their personal achievements with eschatological themes.

The article discusses a range of issues related to the technological side of memoir writing. A comparative analysis of Andrei Bolotov’s Life and Adventures, various manuscripts (especially autobiographical texts) and archival documents allows us to clarify and adjust the traditional view on Bolotov’s memoirs as being created on the basis of diary entries; to reveal how some of the plots of his memoirs are primarily based on memories and to characterize them as manifestations of a communicative memory; and to evaluate which memory tools are most relevant for Bolotov (books, drawings, things), and how they occupy an intermediate position between personal remembering and documentary evidence.

Résumé: Ṭāhar Bāšā Ḫayr al-Dīn, né à Istanbul, officier ottoman, occupe le poste de ministre de la justice de la province de Tunis alors sous protectorat français de 1921 à 1934. Il a laissé un témoignage historique précieux : des mémoires, compilés sous forme de notes par des universitaires tunisiens et publiés dans leur langue originale, en arabe, en 1989. Cet article propose une traduction de quelques extraits et l'analyse d'une source historique de premier ordre, ignorée de l'historiographie française, utile à l'histoire des dynasties ottomane et tunisienne. À travers la trajectoire singulière du fils de Ḫayr al-Dīn Bāšā, qui prend le chemin inverse de son père d'Istanbul à Tunis, et l'analyse des portraits de trois beys de Tunisie, nous voudrions souligner l'importance de cette source à trois égards. Par les portraits de la cour, ce document jette une nouvelle lumière sur une dynastie victime d'une damnatio memoriae en Tunisie après l'indépendance, en soulignant ses résistances et sa capacité d'adaptation à la période coloniale. Les mémoires de Ṭāhar Bāšā invitent ensuite à réfléchir à l'originalité et au statut d'une source « locale » en contexte colonial, depuis le regard d'un allié (critique) des Français. Enfin, cette source permet de réfléchir à l'émergence du genre des mémoires d'homme d'État et l'originalité d'un regard fondé sur un profond pessimisme. Ṭāhar Bāšā Ḫayr al-Dīn, born in Istanbul, was an Ottoman officer and then served as minister of justice in the province of Tunis under the French protectorate from 1921 to 1934. He left a remarkable historical testimony through his memoirs. In 1989, Tunisian scholars compiled and published his notes written in Arabic. This article edits and translates some extracts in order to analyze a significant historical source that was ignored by French historiography but valuable for the history of the Ottoman and ḥusaynite dynasties of Tunisia. Ḫayr al-Dīn Bāšā took the opposite path of his father from Istanbul to Tunis. This article highlights his singular trajectory and the portraits of three beys of Tunis to emphasize the relevance of this source in three ways. Through the court portraits, this document highlights the resistance and dynamism of a dynasty that was the victim of a damnatio memoriae in Tunisia after independence. The memoirs of Ṭāhar Bāšā, then invite reflection on the originality and status of a "local" source in a colonial context, from the perspective of a (critical) ally of the French. Finally, this source shows the emergence of the genre of statesman's memoirs and the originality of a personal style based on a deep pessimism. [ABSTRACT FROM AUTHOR]

Copyright of XVIIe Siècle is the property of Presses Universitaires de France and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article is dedicated to the 130th anniversary of the symbolist author Vasily Eroshenko and the 85th anniversary of the Turkmen School for Blind Children, founded by him. It is the first attempt to bring together and publish three groups of documents regarding Eroshenko’s work in the first Orphanage for Blind Children in Turkmen SSR created at TSSR People’s Commissariat for Education in April, 1935. Firstly, the article includes copies of TSSR People’s Commissariat for Education’s references and acts. Secondly, the memoirs of a nurse Raisa Kisileva, teacher Zinaida Shamina, and children Musa Amansakhatov, Viktor (Vaclav) Brodo, Petr Maloletenko, Valentina Maloletenko, Nurum Momyev, Bainazar Niyazmengliev, and Zoya Tokaeva. Thirdly, we introduce the articles from Turkmen press and the Moscow magazine “Life of the Blind” (1935–38) that tell about the Turkman Orphanage for Blind Children; as well as later articles of 1973–74 containing teachers and students’ memoirs. Those materials were collected in the 1970–90s by blind and sighted enthusiasts of Eroshkin Studies: Anatoly Masenko, Nikolay Osipenko, Alexander Pankov, Albert Polyakovsky and by the members of the “Poisk (Search)” club at the Ashkhabad School for the blind and partially sighted children. The article also presents new names of the orphanage children, discovered by the researchers for Eroshenko’s 100th anniversary. It is for the first time, that Eroshenko’s role of a blind mentor for blind children has been so fully disclosed. We believe that he designed that orphanage school after elementary missionary indigenous schools for the blind built in the British Burma, where he taught in 1917–18. A big difference, however, was the subordination of the school to People’s Commissariat for Education. The main reason why Eroshenko didn’t work long there was a discrepancy between the educational principles borrowed from Protestant missionary schools and the Soviet system of managing orphanages and special schools.

Gaston d’Orléans’s daughter, ‘la Grande Mademoiselle’, wrote memoirs in which Monsieur, Louis XIII’s brother, occupies a prominent place. The study of this figure — father, member of the Fronde and among the first men of the kingdom — highlights the construction of an ambiguous figure, where the private and the public, the expression of filial affection and the portrait of a great man intersect. This article examines the ancient paradigms – in particular the Roman virtue of pietas – on which the crossed portraits of the daughter and the father are based, and their relevance in the definition of the memoir as a literary practice.

The paper concentrates on Claude McKay’s Soviet contacts, editions and his image in the Soviet literary criticism of the 1920s. Claude McKay arrived in Petrograd in 1922 as a delegate to the Fourth Congress of the Communist International and spent about 6 months in the USSR. His visit aroused interest in his poetry; two of his books – a collection of short stories Trial by Lynching (1924) and Negroes in America (1923) – were published for the first time in the USSR in Russian, their American editions haven’t appeared before 1970s. Claude McKay had vast contacts with Soviet leaders, writers, poets, artists, theater managers. His poems, essays and memoirs about his “Russian pilgrimage” help to understand both his interest in communism and his disappointment in the leftist movement and stalinism. McKay’s literary reputation in the Soviet Union underwent a change during the 1920s due to his evolution as a writer and his contacts with Leon Trotsky and Max Eastman. First he was introduced as a revolutionary American Negro author writing about Black proletariat, and a “friend of the Soviet Union”; however in late 1920s when his novels Home to Harlem and Banjo were published in Russia, critics stigmatized McKay as a “Bohemian lumpen-intellectual” and a petty bourgeois Black nationalist. McKay failed to become a symbol of the oppressed American Black proletariat; in the 1930s his poems are published very rarely, his name practically disappears off the Soviet literary criticism. The paper uses publications of American and Soviet press of the 1920s and archived documents.

India was still famous for all kinds of precious and semi-precious stones, which has had the greatest impact in the lives of the Indian community classes since ancient times, and this is evidenced by the remains of us the material effects and artifacts of the world's museums, as evidenced in the writings of emperors during the era (932-1274 AH / 1526-1858 CE), in particular the writings of the Mughal Emperor Jhangir (1014-1037 AH / 1605-1627), who was fond of these stones and mentioned them, referring to their role in the life of the Mughal court in particular and the life of the kings And Indian princes in general. Some of the Indian regions were characterized by the presence of their lands, rivers or mountains on certain types of precious stones and gems such as the kingdom of Karnataka in southern India, which was rich in diamonds, onyx, crystal and emerald rubies, while the ambassador was extracted from Punjab and Kashmir. Although the Indian subcontinent is considered the world's most precious gemstone and gemstone, these memoirs notes proved that they imported some precious stones from other countries, especially the jade, which came from Kashgar, East Turkistan, and turquoise from Iran, emeralds and a Coptic stone from Upper Egypt. Egypt and the good garnet from Yemen. Some of the Mughal emperors mastered this craft and produced many artifacts in their own hands, including the son of the Mughal emperor, Jahangir Shah Jahan. Thus, the study of this art during this historical period is a new addition in the field of arts and archeology Islamic in general and Indian in particular.

В исследовании идет речь о практиках праздника среди солдат российской императорской армии в фронтовых условиях во время Первой мировой войны. Методы исследования. В статье исполь- зованы методы анализа и синтеза. Также среди специальных методов используется метод визуальной антропологии. Нау- чная новизна. Впервые в украинской исторической науке рассмотрено один из аспектов фронтовой повседневности (в данном случае – праздник) в милитарно-антропологическом измерении на конкретном примере. При помощи источни- ков, которые происходят непосредственно от участников событий, сделана попытка реконструкции праздника на фронте и сформированы основные черты данного события. Выводы. Подчеркнуто важность исследования солдатской повседне- вной жизни, в частности времен Великой войны, на микроуровне, которым, в свою очередь, может выступать такое явле- ние, как праздник, с его соответственными трансформациями согласно окружающих условий.

Copyright of Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article focuses on Dumur wrote several short stories, stories and poems, the manuscripts of which are fortunately arrived and which are currently kept at the Carnegie Library. It mentions writer limits himself, in this short story, to paint "types", to sketch profiles or to draw simple caricatures on think of Cadichon from the Memoirs of a donkey. It also mentions baron was only thinking of avoid paying tax on the dogs.

The article reports that critics have been trying to find Blaise Cendrars in Cendrars' work, wondering if this name is a simple veil supposed to conceal Sauser or if he is a character in his own right whose auto fiction can be read as if it is a question of telling Cendrars and not Sauser, the self-narrative practiced by "Cendrars" seems to us a strategy of ambiguity capable of motivating reflection.

Based on Simone de Beauvoir’s Memoirs, this article studies the way chapters organize the “partial totalization” of experience, which functions both as a recapitulation and reconfiguration of the significance of life. The distribution in chapters varies according to the specific issue of each volume: it underlines the novelistic dimension of Memoirs of a Dutiful Daughter, emphasizes the dialectical issues of The Prime of Life—which dramatizes the turning points of her existence while chronicling an era—and Force of Circumstances—where the rhetoric structure balances the narrative proliferation—, and shows the challenges of synthesis in All said and done. As a structure, the chapter shows the evolution of an intimate and political relationship with time, and with the form of a life which is at first characterized by a dynamic freedom, until it reaches its melancholic conclusion.

This article analyses the anti-colonialist leader’s unpublished memoirs that make heard the various voices of the native society facing the French domination. It attempts particularly to decipher the writing context of this rich and valuable document elaborated in the early years of independent Algeria marked by the crackdown on opponents of the National Liberation Front. This paper also highlights the training of this example of colonial meritocracy who was one of the rare intellectuals of Messali Hadj’s movement. Finally, this text underlines the stages of the first public commitments of Moulay Merbah, strained between Islamic reformism, radical nationalism and professional constraints.

The Fighter against the myth, or the memoirist who considers himself a Hercules (Anton Pavlovich Chekhov: an attempt at a characterization by N.M. Ezhov). The article is devoted to the scandalous memoirs of Nikolai Ezhov about Chekhov, in which the author was considered an average writer and a greedy and petty man. The memoirs are analyzed in the context of the history of the formation of the literary reputation of Chekhov. The article is based on archival resources, newspapers and journals of the early twentieth century. The aim is to show that these kinds of memoirs try to resist the idealization of the writer by the public. However, this strategy often brings to reduction and simplification.

‘Imaginary biographies’ of Soviet Children’s Writers This article focuses on the process of establishing the genre of the biography of Soviet children’s writer from the official autobiographies of the 1930s to the biographical essays of the 1950s-1970s based on the study of auto/biographical texts targeted to a specific circle of experts, i.e. critics, editors and pedagogues. The article aims also to identify the functions of the auto/biographical narratives of children’s writers in the Soviet literary system of the period 1930-1970.

The similarity of the memoirs of the Decembrists originates not only from the common social, cultural and ideological background of the authors, but also from the fact that they all discussed their prison term in Siberia. This way, their individual memory melted into a collective one. However, the memoirs allow us to see some specific features of the protagonists of the Decembrist generation.

Copyright of Acta Universitatis Lodziensis: Folia Litteraria Romanica is the property of Wydawnictwo Uniwersytetu Lodzkiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Anastasia Tsvetayeva’s literary work can be largely defined as autobiographical. Her first pen probe, “Royal reflections,” is a philosophical essay where the author represents herself as a “theomachist” and the debunker of all moral values. Later, Tsvetaeva ventured into the genre of autobiographical novel, yet her novel may be called “autobiographical” only with some reservations. On the one hand, this work reflects real facts of the author’s life. On the other, the narrator, at some points, deliberately departs from truth, obscures and alters the facts, pursuing specific aims. The elements of autobiographical mythmak- ing may be found in the Memoirs of Anastasia Tsvetayeva that would be worthwhile to compare with the autobiographical prose of her elder sister Marina.

The paper examines the influence of heroic feminism on the construction of the autobio- The paper examines the influence of heroic feminism on the construction of the autobiographical subject in the Memoirs by Mademoiselle de Montpensier (1627–1693), specifically in its Orleans episode. This episode is important as takes place in the central city of the author’s hereditary estate. During the Fronde des Nobles, haven confirmed her power over the city of Orleans, Mademoiselle tried to demonstrate that the nobles were the King’s true support and that she was in opposition to Cardinal Mazarin. The article analyzes the way the narrator’s actions in the city are described in the Memoirs in the light of the concept of Jeanne d’Arc as the greatest champion of French national interest, promoted in historiography, drama (Vernulz, d’Aubignac etc.), and fiction (Beroalde de Verville). Two aspects of Jeanne’s image, established by the mid-17th century, become most important in the Orleans episode of the Memoirs: her heroic service to France and God’s miracle manifested in her deeds. Jeanne d’Arc thus becomes part of a wider cultural context related to the tradition of heroic feminism that may be traced back to the Ancient Greek goddess Athena and manifests itself most fully in the image of “femmes fortes,” both historical and fictional (cf.: amazons in Ariosto, Tasso or Corneille’s female characters). The comparison of the narrator of the Memoirs with these images demonstrates that a peculiar ambience of the court and salon culture of the period that was apt to glorify exceptional heroic women enabled the memoirist to describe her entry to Orleans as triumphant episode of her life and in accordance with sublime understanding of her higher mission. Mademoiselle pictures herself as a courageous Princess worthy of Bourbon’s fame guided by Providence and loved by the people.