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Récemment entré aux Archives nationales, le fonds d’André Pézard (1893-1984) renseigne la vie et les activités professionnelles et littéraires de celui qui fut un des plus grands italianistes de son époque. Ce traducteur de Dante, professeur au Collège de France, est aussi, part moins connue de son œuvre, l’auteur d’un récit publié en 1918 et intitulé Nous autres à Vauquois, où il fait le récit de son expérience dans la Grande Guerre. Les archives de Pézard permettent tout à la fois de renseigner les conditions dans lesquelles s’élabore ce texte. Ainsi, les nombreux journaux que tient le jeune Pézard, appelé en 1914, constituent une matrice à partir de laquelle il construira, dès 1917, son récit. Mais à ces notes prises dans les carnets, au jour le jour tout au long de la guerre, s’ajoutent d’autres documents que Pézard « indexe » pour les associer de la manière la plus précise possible au cours des événements vécus : photos, lettres sont ainsi mentionnés, répertoriés dans les carnets. La vie des hommes au quotidien s’éclaire à la lumière de ce faisceau de sources d’une exhaustivité exceptionnelle. Les manuscrits de l’auteur permettent également de suivre le travail de recomposition littéraire auquel il se livre en 1917 et 1918, et tout spécialement de suivre la genèse de Nous autres à Vauquois, presque pas à pas. Pour autant, la mémoire de la guerre ne cesse, et les archives le montrent bien, d’habiter Pézard et d’exiger de lui un travail de documentation et de correction de son propre livre, à l’occasion, notamment, de ses diverses rééditions. Le succès d’estime dont il jouit, notamment auprès d’anciens combattants, lui vaut de recevoir une abondante correspondance – côté français ET allemand, le livre ayant été traduit en Allemagne en 1932. Cette correspondance, soigneusement conservée dans le fonds, témoigne d’une nécessité mémorielle vivement ressentie par toutes les générations touchées par la Grande Guerre. Elle compte aussi quelques pièces qui concernent, quant à elles, la postérité proprement historiographique de Vauquois et de tous les sédiments documentaires successifs qui constituent les archives de guerre d’André Pézard. The papers of André Pézard (1893-1984) have recently been acquired by the French national archives. They provide rich documentation about the professional and literary activities of one of the most eminent italianists of his day, translator of Dante and professor at the Collège de France. He was also the author of a memoir published in 1918 under the title Nous autres à Vauquois, in which he bears witness to his own experience during the First World War. The archives of André Pézard give us information about the conditions in which he wrote this text. The diaries he had been keeping since his youth and went on writing during the war, form the basis on which his narration was developed after1917. To these diaries, kept in notebooks day by day, he adds several other documents that are ‘indexed’ in order to associate them as precisely as possible with events he lived through during the war. These photos and letters are mentioned in the diaries. These different sources are remarkably complete and throw much light on the daily life of the soldiers at this time. Pézard’s manuscripts also allow us to understand something of the literary re-composition that he worked on between 1917 and 1918. The genesis of Nous autres à Vauquois can be followed practically step by step. Memories of the war never left Pézard, as his archives show, and he pursued the work of documenting and correcting his own book each time it was republished. It was a book which enjoyed considerable success, in particular amongst veterans of the war. Pézard received many letters about it, not only from French people, but also from Germans, since his book was translated into German in 1932. These letters, carefully preserved with Pézard’s papers, all suggest how the generations that had lived through the war needed to keep the memory of it. The papers also comprise some documents that throw light on the historiographical posterity of Vauquois and on the long-term accumulation of documents that make up Pézard's war archives.

The purpose of this paper is to explore Maya Angelou’s depiction of trauma in her autobiographical fiction as a marginalized female experience which shapes the identity of the subject and speaks about the psychological integrity of the Black female. Memory functions as the process of psychological healing through the narrative reformulation of her life during childhood and adulthood. Angelou has deliberately expanded the conventional structure of the autobiographical genre by the fragmentary approach and the rejection of the idea of alterity based on cultural differences, which she has rather attributed to the existing power relations, and by making use of self-censorship techniques such as silences, metaphors, signifiers in order to fight injustice. My paper is based on the series of seven autobiographical novels by Maya Angelou, published between 1969 and 2013.

The purpose of this paper is to focus on confession – understood as a literary genre – and propose, based on the inferred forms, how it can also be a cinematographic genre. It is divided into two parts: firstly, the paper will devise a profile of the practice of confession in connection with other writing practices, such as philosophy and poetry, which are opposing genres according to María Zambrano. Secondly, drawing on the established profile, the paper will comment on two films which represent the ambiguous and unreliable confessions of individuals that reveal their truths and doubts: Là-bas (2006), by Chantal Akerman, and Terra de Ninguém (2012), by Salomé Lamas Este artículo tiene por propósito acercarse a la confesión, entendida como género literario, y proponer, a partir de la forma mínima que pueda extraerse, en qué sentido puede ser también un género cinematográfico. Está dividida, por tanto, en dos partes: en la primera se intentará componer un perfil de la confesión en relación con otras formas de escritura, como la filosofía y la poesía, que ocupan en el pensamiento de María Zambrano lugares contrapuestos. En la segunda se comentarán, a partir de lo que se haya establecido, dos películas que presentan la confesión ambigua, errática, de sujetos que revelan sus dudas y certezas: Là-bas (2006), de Chantal Akerman, y Terra de ninguém (2012), de Salomé Lamas

Teaching about Native Americans, especially as a non-Native person, involves a number of complications. The experience and histories of Indigenous peoples have often been presented from the point of view of the Euroamerican hegemonic power and complicated by a long pattern of colonization, including education. As a result, Native peoples themselves as well as outsiders have been mostly exposed to the dominant culture’s perspectives of Native Americans, often being stereotyped and reductive. The aim of the present paper is to examine the theoretical frameworks advanced by American Indian scholars and educators who demonstrate the methods which expose colonization and show the fundamental Native concepts needed to be involved in the pedagogies concerning Indigenous people. The primary consideration is to be guided by Native peoples' own concepts in trying to avoid perpetuating the colonizing pattern. Bryan McKinley Jones Brayboy (a Lumbee scholar and educator) advanced the Tribal Critical Race Theory, which offers a comprehensive framework which can provide useful guidelines for teaching about Native Americans. The paper also offers suggestions for implementing this framework in the classroom such as using contemporary Native American autobiographical writing, involving the concept of performance or digital resources like those developed by Craig Howe, an Oglala Sioux, and the Center for American Indian Research and Native Studies. Exposing students to Native people through Indigenous people's own stories and resources may be helpful in presenting them as real people. Such an approach may help students to be able to hear and access Native peoples’ own voices sharing their lives, which can contribute to bringing their experience closer to students.

La irrupción del movimiento conceptual y del discurso autobiográfico en el terreno artístico desde finales de la década de los sesenta del siglo pasado, supuso un punto de escisión que redefinió la obra de arte en base a premisas como la información, la significación, el lenguaje y el archivo. Bajo dicho contexto esta intervención pretende analizar la maternidad como un tropo que históricamente ha articulado la realidad femenina a través de cierta facción del corpus artístico de Tracey Emin relacionada con la creación de un archivo fantasma en torno a sus embarazos, sus abortos y sus hijos no natos.Así, desde una perspectiva analítica, sociológica y de género se analizará la perversión del archivo, la memoria y la autobiografía a través de la revelación de una narrativa espectral, anclada entre la vida y la muerte que, paradójicamente, constituirá para la artista la única vía a través de la que poder tolerar su traumática realidad. The emergence of both the conceptual movement and the autobiographical discourse in the artistic sphere towards theend of the sixties of the last century, entailed a split point that redefined the art work as information, significance, language and archive. In this context, the aim of this paper is to analyse the maternity as a trope that, historically, has articulated feminine reality through one brach of Tracey Emin´s artwork related to the construction of a ghostly archive about her pregnancies, her abortions and her unborned children.Thus, from an analytical, sociological and gender critical approach, this paper ig going to analyze the perversión of the archive, memory and autobiography carried out by a ghostly narration, anchored between life and death that, paradoxically, for the artist will constitute the only way through which she can tolerate her traumatic reality.

The present paper is dedicated to the most subjective of autobiographical genres, to the genre of diary. The author deals with the definition of the term ‘diary’ and also with the main types within the genre in the literary-theoretical tradition of Slavonic and non-Slavonic countries. Among the types of diary, the author focuses on a special subgenre, the so-called writer’s diary, and defines its dominant and variable features. The writer’s diary is analyzed from different points of view (e.g. orientation, intended publication, topics), which leads to distinguishing its varieties (e.g. journalistic, business, poetic, journey diary). Although the author deals primarily with Russian literature, the paper presents the genre in a wider Slavonic context. Предлагаемая статья посвящена caмому субективному из автобиографических жанров, жанpу дневника. Автор занимается толкованием термина «дневник», основными видами этого жанра в литературоведческой традиции славянских и нeславянских стран. Сосредоточив внимание на особом виде жанра днeвника, так называемом писательском дневнике, aвтор определяет его доминантные и вариабильные черты. Ha писательский дневник aвтор cмотрит c paзных точек зрения (направление, издание, тематика), на основе которых выделяeт его типы (публицистический, деловой, поэтический, путевой дневник и др.). Xoтя внимание уделяется прежде всего русской литеpатуре, в статье присутствует общий славянский контекст.

При изучении феномена руководства блокадным Ленинградом серьезную исследовательскую проблему составляют реконструкции путей социализации и самореализации людей, не связанных кровными узами, но оказавшихся в силу исторических условий в замкнутом пространстве города. Формализованные анкетные листы и листки по учету кадров, заполнявшиеся каждым гражданином в процессе трудовой деятельности, подходят для воссоздания жизненной хроники, но мало могут помочь при анализе карьерных стратегий. В своей статье мы пытаемся определить, возможно ли почерпнуть соответствующую информацию из автобиографий, отложившихся в архивных делах по личному составу. Хотя составлялись автобиографические тексты в свободной форме, обычно в них освещались те же вопросы, что и в анкетных листах или листках по учету кадров. Это заставляет при работе с этим источником анализировать два пласта текста — личностно-субъективный и фактологический. Исследование показало, что автобиографии не могут служить источником полных сведений о карьерных практиках управленцев. Представители ленинградского руководства, очевидно, как и все советские граждане, создавали свои тексты сообразно образцу, существующему как де-факто (в виде обязательного перечня вопросов), так и в общественном сознании (в виде социально одобряемых норм), что позволяет говорить о наличии делопроизводственного автобиографического канона., Reconstruction of ways of socialization and self-realization of the people who are not connected by vital bonds, but appeared owing to historical conditions in the closed city space, is a serious research problem when we study a phenomenon of the management of besieged Leningrad. The formalized paper-and-pencil tests and leaves on registration of personnel filled with each citizen in the course of work are suitable for reconstruction of the vital chronicle, but can help in the analysis of career strategy a little. In the article we try to define whether it is possible to gather the relevant information from the autobiographies postponed in archives on staff. Though autobiographical texts were formed in a free form, usually in them the same questions, as in paper-and-pencil tests or leaves on registration of personnel were taken up. It forces to analyze during the work with this source two layers of the text — personal and subjective and factual. The research showed that autobiographies cannot be a source of full information about career practicians of managers. Representatives of the Leningrad administration, obviously, as well as all Soviet citizens, created the texts in compliance with the sample existing as de facto (in the form of the obligatory list of questions), and in public consciousness (in the form of the social approved norms) that allows to speak about existence of a certain office-practice canon.

Cet article explore la manière dont la culture industrielle a façonné l’imaginaire et la poésie des victoriennes. Nous oublions souvent que les auteures de la classe moyenne et supérieure engagées dans les réformes sociales ne sont pas les seules à avoir écrit des poèmes sur le monde industriel. Les femmes des classes laborieuses ont également écrit un certain nombre de poèmes à coloration autobiographique sur ce sujet. Le premier objectif de cet article est de présenter les voix des femmes appartenant aux classes privilégiées : en faisant preuve de compassion pour les ouvriers, elles cherchent aussi à faire avancer la cause des femmes. Elles dénoncent dans leurs poèmes les terribles conditions de travail ainsi que la déshumanisation des ouvriers causée par les machines. Dans un deuxième temps, il s’agit de montrer que la poésie des femmes de la classe ouvrière présente une vision très différente de la factory girl : cette dernière peut être utilisée pour véhiculer les valeurs conservatrices de la famille, malgré sa condition sociale. Alors qu’elles ne décrivent pas le travail et l’usine dans leurs poèmes, les femmes des classes populaires insistent sur le potentiel de production et de reproduction de la factory girl – que ce soit à travers l’union matrimoniale ou à travers la passion patriotique. Pour finir, les factory girls qui s’appuient sur leur expérience de l’usine écrivent des poèmes autobiographiques qui valorisent le travail manuel et exaltent leur fierté, leur conscience de classe et le sens de la solidarité et de la collectivité. Alors qu’elles s’inspirent des poèmes bourgeois en adoptant la subjectivité et le sentimentalisme de la classe moyenne, elles cherchent aussi à résister à ses codes poétiques en écrivant leur propre poésie industrielle. La rencontre de toutes ces voix témoigne de la variété des réponses proposées face à l’industrialisation et la mécanisation. This paper aims to explore how industrial culture shaped the poetical imaginary of Victorian women. We often fail to consider that not all factory poems spring from the minds of middle and upper-class reform-minded authors. The working-class poets produced a limited but significant number of industrial and largely autobiographical poems too. The first objective of this paper is to present the voices of the upper and middle-class women poets, who show sympathy for the labourers as they try to advance the cause of the female workers. In their poems, they denounce the horrendous working conditions in factories and the mechanistic dehumanization of workers. I wish then to confront these voices with the ones of the working-class women poets who depict a different image of the factory girls: they were concerned with the conservative values of the family and the nation that factory girls could convey, in spite of their degraded condition. The absence of work and factories in their poems is compensated for by the representations of the productive and reproductive potential of these factory girls and by those of matrimonial and patriotic desire. Finally, ‘factory girls’, who write autobiographical poems and construct their subjectivity as real insiders, produce factory poems that give prestige and dignity to manual work and that develop their pride, their working-class consciousness and their sense of communal solidarity. If they often copy bourgeois poems by adopting middle-class subjectivity and sentimentalism useful to gain respectability and visibility, they also try to resist the bourgeois poetical codes by writing their own kind of factory poems. The confrontation of these poetic voices shows that there is no clear-cut and unique response to industrialization and mechanization among Victorian women poets.

Cet article porte sur les pratiques contemporaines d’écriture qui mêlent récit de soi et théorie. Je m’emploie à montrer qu’une intelligence du monde social (des rapports de classe, de genre, de race et d’autres formes de domination) s’exerce à l’étage des vécus singuliers. Ce n’est pas seulement que les gens sont différents les unes des autres – encore que j’insiste sur la vérité et la force d’une affirmation à première vue si banale –, mais aussi qu’un sens renouvelé de l’objectivité s’obtient lorsque la production d’un savoir est réfléchie depuis la position particulière de celui qui l’énonce. Sans doute est-ce l’une des leçons fondamentales des épistémologies féministes. This paper focuses on contemporary writing practices that intertwine self-narrative and theory. I try to show that an intelligence of the social world (of class, race gender relations and other forms of domination) is exercised at the level of singular experiences. It is not only that people are different from each other—although I insist on the truth and force of such a banal statement—but also that a renewed sense of objectivity is obtained when theoretical output is reflected from the particular position of the one who enunciates knowledge. This is undoubtedly one of the fundamental lessons of feminist and standpoint epistemologies.

Resumen El presente trabajo pretende realizar un análisis de la novela Efectos del amor propio (c. 1810) empleando un marco teórico más amplio que el utilizado hasta ahora al estudiarla. Así, pues, consideramos que puede ser tipificada como “autoficción”, un tipo de novela en la que se confunden la identidad del personaje principal y la del autor; de igual manera, también está condicionada por una nueva forma de entender la creación artística surgida a principios del XIX, la “teoría expresiva del arte”, aplicable a las obras cuya finalidad principal era el desahogo íntimo del autor. Abstract This paper aims to carry out an analysis of the novel Efectos del amor propio (c. 1810) using a broader theoretical framework than the one that has been used so far to study it. Thus, we consider that it can be typified as “autofiction”, a type of novel in which the identity of the main character and that of the author are mixed up, and which is conditioned by a new way of understanding artistic creation that emerged in the early nineteenth century: the “expressive theory of art”, applicable to works whose main purpose was the intimate venting of the author.

Autobiographies are traditionally understood as means of selfredemption or self-validation of the respective autobiographers, but they seem to have become tools of self-assertion in the recent times. The writers of this paper noticed that the underlying patterns in major autobiographies of the respective centuries such as those of Augustine, Rousseau, Virginia Woolf, Han Suyin and other male or female autobiographers commonly evolve around one’s ethical choices in response to the vices caused by one’s natural will and when facing ethical dilemmas caused by life challenges. This paper examines the abovementioned autobiographies via the Ethical Literary Criticism (ELC). Developed by Professor Nie Zhenzhao since 2004, ELC is one of the most insightful critiques in expounding the relationship of the self with oneself, self with others, and self with the divine or higher moral order in the context of the literary world.

This paper presents an autobiographical and biographical historical account of the genesis, evolution and resolution of the Elder Problem. It begins with John W. Elder and his autobiographical story leading to his groundbreaking work on natural convection at Cambridge in the 1960’s. His seminal work published in the Journal of Fluid Mechanics in 1967 became the basis for the modern benchmark of variable density flow simulators that we know today as “The Elder Problem”. There have been well known and major challenges with the Elder Problem model benchmark—notably the multiple solutions that were ultimately uncovered using different numerical models. Most recently, it has been shown that the multiple solutions are indeed physically realistic bifurcation solutions to the Elder Problem and not numerically spurious artefacts. The quandary of the Elder Problem has now been solved—a major scientific breakthrough for fluid mechanics and for numerical modelling. This paper—records, reflections, reminiscences, stories and anecdotes—is an historical autobiographical and biographical memoir. It is the personal story of the Elder Problem told by some of the key scientists who established and solved the Elder Problem. 2017 marks the 50 year anniversary of the classical work by John W. Elder published in Journal of Fluid Mechanics in 1967. This set the stage for this scientific story over some five decades. This paper is a celebration and commemoration of the life and times of John W. Elder, the problem named in his honour, and some of the key scientists who worked on, and ultimately solved, it.

Alice Munro published in 2012 her last collection of short stories, Dear Life, which includes “Finale”, a quartet of stories introduced by the author in semiautobiographical terms. The relevance of the themes addressed is, as may be inferred, significant in relation to her life and previous work. In fact, they echo her first two collections of short stories —Dance of the Happy Shades (1968) and Lives of Girls and Women (1971)— not only in motifs and events, but also in style. This paper analyses and compares this last section —Munro’s conclusive contribution to the literary world— with her early work to establish joint features and similarities in order to support and extend the often-claimed autobiographical dimension of Munro’s fiction from this unexplored perspective. In addition, this process of analogy has recognised the author’s literary and emotional closure in relation to her mother, a hitherto elusive endeavour in her work. Alice Munro publicó en 2012 su última colección de relatos, Dear Life , que incluye “Finale”, un cuarteto de relatos introducidos por la autora en términos semiautobiográficos. La relevancia de los temas abordados es, como se puede inferir, significativa en relación con su vida y obra anterior. De hecho, se hacen eco de sus dos primeras colecciones de cuentos- Dance of the Happy Shades (1968) y Lives of Girls and Women (1971), no solo en motivos y eventos, sino también en estilo. Este artículo analiza y compara este último apartado —la contribución contundente de Munro al mundo literario— con su trabajo inicial para establecer rasgos conjuntos y similitudes con el fin de apoyar y ampliar la dimensión autobiográfica de la ficción de Munro, a menudo reivindicada, desde esta perspectiva inexplorada. Además, este proceso de analogía ha reconocido el cierre literario y emocional de la autora en relación con su madre, un esfuerzo hasta ahora esquivo en su obra.

This paper deals with the use of photography in Doris Lessing’s auto/biographical writings, particularly, Under My Skin: Volume One of My Autobiography, to 1949 (1994), and more recently, Alfred and Emily (2008). Both works deal with Lessing’s personal and collective trauma: her strained relationship with her mother, and her struggle for recognition, as well as the pernicious influence the Great War had upon Lessing’s parents, and by extension, upon Lessing herself. Trauma studies, as seen in the winter-spring 2008 special double issue of Doris Lessing Studies entirely devoted to trauma in Lessing’s work, have provided nuanced readings into Lessing’s take on trauma in her production. Although the (im)possibility of recovery from trauma has become a recent focus of interest in Lessing studies, as in the double issue, there has been no specific reference to the relevance of photography and/in trauma. The aim of this paper is to examine personal photographs as relevant cultural documents in Lessing’s auto/biographical texts, and her engagement with personal and collective trauma, by paying attention to a neglected aspect: the use of family photography. Universidad de Málaga. Campus de Excelencia Internacional Andalucía Tech.

This paper focuses on the examination of ambiguity in autobiographical writings in Nigeria. It underscores the architectonic discourse, cultural alienation and ‘self-elevation’ in some selected autobiographies. Ambiguity in this instance visualizes that these male narratives hinge on something, which is what we now wish to excavate as an area of serious academic endeavour. And it also hinges on how Saro Wiwa’s autobiographies who happen to be male is inevitably sexist in orientation, this will, however, be shown when examining in particular the structuring (narratological devices) of the texts. This work valorizes the cardinal representations of self and male gender in enhancing identity for people of diverse perspectives without appreciating female voices which constitute an integral part of the literary history and ideologue. ‘Negating women in art is negating history because history is the main discipline through which we can understand gender’ (Brereton, 1998, p. 17). This paper encapsulates the motif of dominance and oppression of women because women were only made to be seen and not heard or even represented in such art. However, this situation is disheartening because while the ‘African feminist accommodates men and make them its central assurance, love and care’ (Chukwuma, 1990, p. 15), men who are fickle minded literary ideologues delight in over projecting self using the instrument of ‘I’ in autobiographies without recourse to women who hold some basis to their existence. This research work entails a close analysis of the question of gender and displacement originating from these autobiographical writings originating from Nigeria and the configuration of the motif of metaphor in male dominated gender in five autobiographical writings in line with narratology and Butler’s Theory of performativity. Keywords: autobiography, ambiguity, narratives, saro wiwa, butler, narratology

Teacherly aesthetics: Literature and literacy in Binyavanga Wainaina’s works In this paper I use the concept of teacherliness to explore the connections between literature and education in Binyavanga Wainaina’s memoir One Day I Will Write About This Place and his opinion pieces on education. I read Wainaina’s texts against the way the literature/literacy duality has been envisioned in historical discourses, arguing that deeper pedagogical questions were largely overlooked in the intersections between the two theoretical fields. To address this lacuna, I use Paulo Freire’s theory of Critical Pedagogy to analyze historical debates of curriculum and canonization, as well as Wainaina’s more recent engagement with the Kenyan educational system, in which questions on how to write are intertwined with thoughts on how to teach. After detailing this history of literature and literacy in East Africa, I explore the themes and aesthetic devices that Wainaina develops in One Day to reflect on his own role as an educator in the context of his troubled relationship with his own schooling. By focusing on the theme of failure and Wainaina’s embedding of oral structures into his text, I suggest Wainaina’s work offers insights and concrete narrative patterns that might become fruitful tools through which educational theory and literary analysis might illuminate each other’s blind spots, specifically in regard to oral skills in education. Keywords: African literature, autobiography, critical pedagogy, self-writing, orality, teacherliness, Binyavanga Wainaina.

The paper focuses on the pre-text of Vittorio Alfieri’s Rime and analyzes the rubrics, journal-type notes and meta-notes (aimed at contextualize or comment the poems) in order to explore the role given by the author to his draft manuscripts. While Alfieri’s collection of poems has usually been considered as a sort of personal diary in which he made a literary transfiguration of event-based contents, we will show how Alfieri tends to use his manuscripts to seal his literary self-portrait to his biographical self., Il contributo si concentra sull’avantesto delle Rime di Vittorio Alfieri e analizza le didascalie, le note di carattere diaristico, e le metapostille (di contestualizzazione o di commento) per esplorare la funzione attribuita dall’autore ai suoi manoscritti di lavoro. Se la raccolta poetica alfieriana è stata solitamente considerata una sorta di diario intimo in cui l’autore ha operato una trasfigurazione letteraria di dati evenemenziali, mostreremo come Alfieri tenda ad usare i propri manoscritti per saldare il proprio autoritratto letterario all’io biografico.

Despite Bourdieu’s warning that autobiography is a form of narcissism and a decline into navel gazing, as it were, the genre of autobiography is a well-recognized medium in contemporary scholarship. In particular, there has been recognition of the autobiographies of subaltern populations as representations of their lived experience, which was hitherto unknown to broader audiences. Such autobiographical texts are increasingly popular ways of understanding the lives of marginalized, excluded “others” that are obfuscated by the veils of difference, entitlement and privilege. This paper seeks to examine this trend through the lens of some Dalit autobiographies and to examine how autobiographical narratives bring out, with rich insight, poignancy and great detail, the everyday lives of Dalit men and women. At the same time, such autobiographical writings unwittingly push the Dalit subaltern into a narrative form that emphasizes the experience of wretchedness, isolation and exclusion. By bringing in the struggle, individual and collective acts of agency against caste dominance, the autobiographies simultaneously constitute “subaltern counter publics,” to use Nancy Fraser’s persuasive term. This confirms that autobiographies are a formidable medium for not only the representation of Dalit experience of subalternity but also of the possibilities for transformation as these emerge through the experience of Dalit writers. The conundrum is whether autobiography is an enabling genre for understanding lived experience or more worryingly poses the problem of reproducing subaltern subjectivity. I conclude that Dalit autobiographies indeed mark a movement towards change through the fierce struggle and independence that they also represent.

En el presente artículo quisiéramos mostrar como la memoria, en cualquiera de sus variedades, forma una parte imprescindible de los discursos y la práctica artística actual. Para ello, nos centraremos en la importancia de la narración autobiográfica y su manifestación a partir de las obras de artistas que trabajan en torno al álbum familiar. Analizaremos como este tipo de archivo fotográfico se ha utilizado y reconfigurado por artistas que han querido manifestar sus propias experiencias desde una perspectiva de género. La memoria personal interactúa con narrativas que atañen a la memoria colectiva, donde los relatos hegemónicos que nos han llegado han tratado de silenciar estas historias. Sin embargo, el arte ha dado voz a temáticas como el cuerpo y la sexualidad femenina, experiencias derivadas de enfermedades como el cáncer o traumas sufridos por familiares de dictaduras de ciertas sociedades contemporáneas y que han dado lugar a la aplicación de conceptos como el de postmemoria On this paper we would like to show how memory, in any of its varieties, forms an essential part of current artistic discourse and practice. For this, we will focus on the importance of autobiographical narration and its manifestation from the works of artists who work around the family album. We will analyze how this type of photographic archive has been used and reconfigured by artists who have wanted to express their own experiences from a gender perspective. Personal memory interacts with narratives that concern collective memory, where the hegemonic stories that have come down to us have tried to silence these stories. However, art has given voice to themes such as the body and female sexuality, experiences derived from diseases such as cancer or trauma suffered by relatives of dictatorships in certain contemporary societies and which have led to the application of concepts such as postmemory.

Ippolito Nievo’s long autobiographical novel, Confessions of an Italian (Confessioni di un italiano), also known as ‘Confessions of an Octogenarian’ (Confessioni di un ottuagenario), in reference to its 80-year-old narrator, was actually written when the writer was…twenty-nine. The narrator takes on the role of an old man reflecting on his own life – from childhood, through youth until middle and old age – making the reader believe that he is dealing with the memories of a life already lived. Indeed, Nievo must have taken inspiration from his grandfather’s life at the turn of the nineteenth century to which he added his own experience. The irony of fate is well-known: The author died at the age of 29 and the unfinished novel was published in 1867, six years after his death. Since then, it has remained an outstanding literary specimen in both Italian and European literature. In this paper, we will dwell in particular on the clever outline of the narrator. The distance between the real and the fake narrator certainly belongs to the purest autobiographical tradition, and yet it offers here a further challenge to the writer, constantly trying to share his lifelong experience with the reader and the character himself. All things considered, Nievo foresaw both his own life and how he would have written it, as if he had already lived it and was about to die.

El diario personal ha experimentado en las últimas décadas un auge tanto en el contexto editorial como en el académico. El presente artículo, fruto de la colaboración entre instituciones de Francia y España, plantea un acercamiento al desarrollo de esta forma textual en el sistema literario de tales países. Para ello, analiza la recepción de la publicación del diario personal en la crítica literaria desde el siglo XIX hasta la actualidad, así como su paso de práctica privada a texto público. El objetivo principal es definir el texto que surge de tal evolución, el diario literario, y analizar la aparición de un nuevo tipo de diarista. La perspectiva, desde un enfoque histórico y teórico-literario, se centra en el modo en que el nuevo género se ha desarrollado en estas dos tradiciones literarias., The personal diary has experienced a boom in the editorial and academic context. This paper, fruit of collaboration between institutions of France and Spain, raises an approach to the development of this textual form in the literary system of such countries. For this, it analyzes the reception of the personal diary in the literary critic from the 19th century to the present, as well as its passage from private practice to public text. The main objective is to define the new text that emerges from such evolution, the literary diary, and analyze the appearance of a new type of diarist. The perspective focuses on the way in which this new genre has developed independently in these two literary traditions, from a historical and theoretical-literary approach.

The issue of specific form of Self-knowledge by N. Berdyaev is the main focus of interest in the paper. According to the Russian philosopher his book should be regarded as a spiritual autobiography, differing form classical epitomes of the genre as well as from all sorts of confessional literature. The purposes of gaining the self-knowledge and comprehension of his spiritual life are among the main differences between the particular book and other forms of ego-documents. In order to reach the expected result the principle of conscious material selection is needed as far the information concerning the past is taken into account. Despite the fact the book by Berdyaev contains all the features of autobiographical contract, articulated by Ph. Lejeune (prose narration, the fate of personality as the topic, identity of author and narrator, identity of narrator and the hero) it could be regarded as well as an intentionally subjective attempt at reconstruction of the cultural consciousness of the Russian thinker's contemporaries. Memory, according to Berdyaev, occurs as a creative power, giving meaning to the past and enabling its interpretation due to the possibility to look at it from the present point of view and from the perspective of eternity. В тексте затрагивается вопрос особой формы духовной автобиографии, какой по намерению Н. Бердяева является его книга Самопознание (Опыт философской автобиографии). Философ считает, что его произведение в жанровом плане отличается как от классической автобиографии, так и от всех других разновидностей исповедальной литературы. Главная разница заключается в назначенной цели самопознания и осмысления собственной духовной жизни. Этот процесс проводится с учетом принципа сознательной подборки информационного материала о прошлом. В книге Бердяева осуществляются все 4 принципа автобиографического пакта, представленные Филиппом Леженом (повествование прозой, тема судьбы личности, идентичность автора и повествователя, идентичность повествователя и главного героя). Тем самым оказывается она преднамеренно субъективной попыткой воспроизведения культурного сознания современников русского философа. По мнению Бердяева, память — это активная, творческая стихия, которая осмысляет прошлое, позволяя интерпретировать его с точки зрения настоящего и с учетом перспективы вечности.

Sylvia Plath’s "Ariel" collection of poems placed her among the United States’ most important confessional poets of the twentieth century. Almost all the poems in Ariel, which were written during the last few months of Plath’s life and published after her death, are “personal, confessional, felt” (Lowell, 1996, p. xiii). Several events that are mentioned in these poems make reference to the poet’s own life experience. Plath, indeed, “transformed her own life into writing” (Bassnett, 2005, p. 5). Analyses such as these have led some critics to consider much of Plath’s poetry to be an eloquent expression of her own factual experience. “Daddy”, one of the best-known poems in the Ariel volume, incorporates several autobiographical details worthy of note. The first part of this research paper is an investigation into the diverse autobiographical elements present in “Daddy”; the second part is an analysis of Plath’s faithfulness in transforming details about her private life into art.

The paper describes short films made by Wojciech Has, for example Harmonia (1947), Moje Miasto (1950), and searches for traces of (auto)biography in them. The purpose was to show their semantic potential and to draw attention to the richness of possible interpretations. Only an attitude of scientific openness enables the avoidance of the burden of all fundamentalisms, certainties, and holistic approaches. The educational perspective was revealed in the update of research tools related to hermeneutics and thematic perspective. Tematem tekstu są krótkie filmy Wojciecha Hasa, przede wszystkim, takie jak Harmonia (1947), Moje miasto (1950) i poszukiwanie w nich śladów (auto)biografizmu. Celem było pokazanie ich potencjału semantycznego, zwrócenie uwagi na bogactwo możliwych interpretacji. Tylko postawa badawczej otwartości pozwala uniknąć ciężaru wszelkich fundamentalizmów, pewników, całościowych ujęć. Perspektywa edukacyjna ujawniała się w aktualizacji narzędzi badawczych z zakresu tematologii i hermeneutyki.

Olusegun Obasanjo’s Not My Will (NMW) is an autobiographical representation of Nigeria’s socio-political history, and it has generated serious national political arguments. Despite the controversies, studies on NMW, particularly in Nigeria, are very scanty. The present study confronts the situation with a rhetorical examination of Olusegun Obasanjo’s NMW building its analysis on selected narrativized arguments in which the former Nigerian President deresponsibilises (takes reduced responsibility) or responsibilises (takes high responsibility) for national political decisions taken during his regime as Nigeria’s military Head of State. Deploying insights from argumentative and discourse analytic theories/models, the paper enwraps Olusegun Obasanjo’s de/responsibilisation of security, education, socio-economic, and ethnopolitical issues in two self-representational constructs: Obasanjo as a nationalist and as a reformer. The two self-constructs coalesced with four socio-political issues that characterised Olusegun Obasanjo’s military administration. These issues are the proscription of NEWBREED Magazine in 1978, the Land Use Act, Ali Must Go saga and the controversial 1979 Presidential election. Obasanjo’s responsibilisation and deresponsibilisation of events depict not only his priorities, strengths, and weaknesses but also his reasoning and justification on issues. His establishment of common grounds is in form of shared warrants or beliefs in arguments that can stand up to criticism.

This paper examines the role of fictionality and literary form in three vibrantly distinct narratives of gender transition: John Radclyffe Hall’s 1928 novel The Well of Loneliness, Christine Jorgensen’s 1967 autobiography (titled Christine Jorgensen: A Personal Autobiography), and Kai Cheng Thom’s genre-defying 2016 book Fierce Femmes and Notorious Liars: A Dangerous Trans Girl’s Confabulous Memoir. Each narrative engages with these elements in ways unique to their moments and to their authors’ visions as they navigate the complex realities of publishing trans stories in English across the past century.

El text que presentem està relacionat amb l’experiència educativa i d’aprendre que anem desenvolupant en una assignatura obligatòria de quart curs del Grau de Treball Social anomenada Rol i identitat del Treball Social. Des del punt de vista pedagògic convidem a l’estudiant a reflexionar sobre el seu propi procés d’aprenentatge a partir de la deconstrucció de la seva autobiografia. Com a professors procurem acostar-nos a l’ensenyança amb metodologies educatives fomentin un aprenentatge heteràrquic entre estudiants i docents basat en el respecte dels sabers acadèmics i de la vida quotidiana. Pensem, que en l’actual context social i educatiu, els docents tenim el repte d’obrir les possibilitats pedagògiques a través d’altres formats de transmissió del coneixement en l’ensenyament del Treball Social, i així fomentar i estimular en els estudiants la participació (com a subjectes proactius), el pensament complex, l’acció transformadora i la transdisciplinarietat dels sabers.Aquesta proposta també s’emmarca en un projecte d’innovació docent que pretén reorientar la transmissió del coneixement a partir d’estratègies narratives. La incorporació d’aquesta experiència en el projecte comporta un aprenentatge col·lectiu i co-construït amb altres assignatures i professors que permeten ampliar les perspectives epistemològiques i les expectatives d’aprenentatge sobre les que partim.En aquest sentit, aquest article té l’objectiu de fonamentar, explicar i reflexionar al voltant del context de l’experiència, i alhora valorar la metodologia aplicada i les accions que s’han portat a terme a partir dels resultats obtinguts., In the following paper we present the teaching-learning experience developed in the fourth year of the degree in Social Work in the compulsory course Role and Identity in Social Work. From the pedagogical point of view, we invite our students to reflect on their own learning process through the deconstruction of their autobiography. We focus on methodologies that promote and encourage a heterarchical learning process between students and teachers based on the respect for academic knowledge and everyday life. We believe that in the current social and educational context, teachers have the challenge to open pedagogical possibilities to other formats of transmission of knowledge in the teaching of Social Work, thus encouraging and stimulating student participation (as proactive subjects), complex thinking, transformative action and the transdisciplinarity of knowledge.This proposal is also part of a teaching innovation project that aims to reorient the transmission of knowledge based on narrative strategies. The incorporation of this reflective approach into the project translates into a collective and co-built learning experience which involves other subjects and teachers, thus allowing us to expand the epistemological perspectives and learning expectations.In this sense, this article aims to explain and reflect on this teaching-learning experience, and, at the same time, assess the methodology that has been used and the actions that have been carried out based on the results., El texto que presentamos está relacionado con la experiencia educativa y de aprendizaje que venimos desarrollando en la asignatura obligatoria de cuarto curso del Grado de Trabajo Social llamada Rol e identidad del Trabajo Social. Desde el punto de vista pedagógico invitamos al estudiante a reflexionar sobre su propio proceso de aprendizaje a partir de la deconstrucción de su autobiografía. Como profesores procuramos acercarnos a la enseñanza con metodologías educativas que fomenten un aprendizaje heterárquico entre estudiantes y docentes basándonos en el respeto de los saberes académicos y de la vida cotidiana. Pensamos, que en el actual contexto social y educativo, los docentes tenemos el reto de abrir las posibilidades pedagógicas a través de otros formatos de transmisión del conocimiento en la enseñanza del Trabajo Social, para así fomentar y estimular en los estudiantes la participación (como sujetos proactivas), el pensamiento complejo, la acción transformadora y la transdisciplinariedad de los saberes.Esta propuesta también forma parte de un proyecto de innovación docente que pretende reorientar la transmisión del conocimiento a partir de estrategias narrativas. La incorporación de esta experiencia en el proyecto conlleva un aprendizaje colectivo y co-construido con otras asignaturas y profesores que permiten ampliar las perspectivas epistemológicas y las expectativas de aprendizaje de las que partimos.En este sentido, este artículo tiene el objetivo de fomentar, explicar y reflexionar en torno al contexto de la experiencia, y al mismo tiempo valorar la metodología aplicada y las acciones que se han llevado a cabo a partir de los resultados obtenidos.

The article is devoted to the principles of textual research of F.M. Dostoevsky’s manuscripts on the material of the writer’s artistic ideas of the 1860s – 1870s (The Idiot, “The Eternal Husband”, The Adolescent, The Demons). The paper substantiates the idea of the connection between the study of the language and graphic characteristics of the source and the finding of new facts about the history of texts and the creative history of the writer’s works. An analysis of the manuscripts allows correcting errors in publications of handwritten text. This analysis clarifies the content of the text, such as the circumstances of its creation, unknown biographical parallels, prototypes of characters, and the history of the author’s artistic ideas. In addition, textual research allows us to collect information about the creative process, to determine some specific features in the author’s work.

In this paper I take an autobiographical stance on knowledge production in the field of Mathematics Education, acknowledging forms of academic and racial privilege. I use my experiences as a backdrop by which to project a more empathetic approach to scholarship in mathematics education. Using the framework of rough draft thinking (JANSEN et al., 2015), I expose the contradictions in what we believe to be true about the acquisition and generation of mathematical and pedagogical knowledge, and the structures of scholarship in mathematics education. I make three recommendations: 1. address the need for rough draft spaces within the existing structure of academia; 2. we should reimagine our roles within the peer-review system; and 3. we need to adopt more empathetic methodologies that allow human voices to be centered in our scholarship without reduction or interpretation. It is no longer acceptable to believe that the gaze and interpretation of an objective researcher is as valid as the first-hand perspective of participants.

este artículo analiza aspectos autobiográficos de la escritora Rachel de Queiroz en la novela Caminho de Pedras (1937), en el que ubico a la protagonista y su obra al contexto histórico, político y social de Brasil en la época de la Dictadura de Getúlio Vargas. Para lograr los objetivos, analicé el corpus bajo las referencias teóricas, di énfasis en las discusiones sobre la relación entre literatura y autobiografía neste artigo, são analisados aspectos autobiográficos da escritora Rachel de Queiroz no romance Caminho de Pedras (1937), situando a protagonista e a obra no contexto histórico, político e social do Brasil à época da Ditadura de Getúlio Vargas. Para estes objetivos, o corpus de análise foi examinado à luz de referencial teórico, com ênfase nas discussões sobre a relação entre literatura e autobiografia the present paper analyzes aspects of the author’s – Rachel de Queiroz – autobiographical accounts displayed in the novel called Stone Path published in 1937 by setting the protagonist, and the novel as a whole, against the Brazilian historical, political and social context of Getúlio Vargas dictatorship. Emphasis is given to the discussions about the relationship between literature and autobiographical accounts

Drawing on research conducted within the ERC Consolidator Project FACETS, this presentation aims at describing the state of art of solutions currently offered by AI for coping with loss of memory and identity in the pandemic scenario and at discussing advantages and disadvantages of these digital tools. On the one side, the presentation will focus on how the interpersonal physical distance imposed because of the risk of contagion might be dealt with by applications based on Artificial Intelligence purposed to mitigate the loss of memory in elderly people by building new bridges between them and the generation of digital natives. On the other side, the paper will concentrate on obstacles that hamper the adoption of Artificial Intelligence across the generations. Lack in digital literacy as well as inappropriate interaction design as obstacles to effective cooperation between humans and artificial intelligence will be particularly stressed.Finally, the presentation aims at presenting a concept study for a mobile and web application for autobiographical memory recovering, digitalization, preservation, recreation and transmission. The app is intended to bear on the visage as a memory and identity catalyst so as to enhance the neurophysiological functions of users, training their memory, and improving their ability to communicate. In seno alla ricerca condotta nell’ambito del progetto ERC Consolidator FACETS (Face Aesthetics in Contemporary E-Technological Societies) dell’Università di Torino, questo articolo mira a descrivere una serie di soluzioni attualmente offerte dall’Intelligenza Artificiale per mitigare il problema della perdita della memoria e dell’identità negli anziani acuito dalla pandemia globale. Da un lato, lo studio si concentrerà su come la distanza fisica interpersonale imposta del rischio di contagio da Covid 19 potrebbe essere colmata da applicazioni basate sull’Intelligenza Artificiale volte a creare nuove forme di comunicazione tra gli anziani e la generazione dei nativi digitali. Dall’altro lato, l’articolo prenderà in esame alcuni ostacoli al successo delle soluzioni basate sull’Intelligenza Artificiale rispetto al ripristino della comunicazione intergenerazionale.In questo senso, si metterà in luce la mancanza di alfabetizzazione digitale negli anziani e il frequente uso di design inappropriati come ostacoli alla cooperazione efficace tra esseri umani e intelligenza artificiale.Infine, l’articolo presenterà uno studio concettuale per una nuova applicazione mobile e web volta al recupero, alla digitalizzazione, alla conservazione e alla trasmissione della memoria autobiografica. L’app verrà concettualizzata come un’ “applicazione facciale” (face app), partendo dal presupposto che il volto possa funzionare come un catalizzatore della memoria e dell’identità ; in questo senso lavorare sul volto permetterebbe di potenziare le funzioni neurofisiologiche degli utenti, allenare la loro memoria e, in ultima analisi, migliorare la loro capacità di comunicare

El trabajo analiza los diarios de Silvio Mattoni y la autobiografía de Alejandro Rubio, dos poetas argentinos de los años noventa, en relación con sus visiones poéticas. Desde el marco de las teorizaciones recientes en torno a las escrituras del yo, el texto muestra de qué modo estos autores traman su relación con el género, e inscriben en él una impronta personal, que da su propia versión a la aparente aporía existente entre literatura y vida. Ce travail analyse les journaux intimes de Silvio Mattoni et l'autobiographie d'Alejandro Rubio, deux poètes argentins des années 1990, par rapport à leurs visions poétiques. Dans le cadre des théories récentes sur les écrits du moi, le texte montre comment ces auteurs tissent leur rapport au genre, et y inscrivent une empreinte personnelle, qui donne sa propre version à l'apparente aporie entre la littérature et la vie. This paper analyses the diaries of Silvio Mattoni and the autobiography of Alejandro Rubio, two Argentinean poets of the 1990s, in relation to their poetic visions. Within the framework of recent theorizations about the writings of the self, the text shows how these authors weave their relationship with the genre, and inscribe a personal stamp on it, which gives its own version to the apparent aporia between literature and life.

En el presente escrito investigo modos de producción de subjetividad en un hospital de día para trastornos psiquiátricos severos según los relatos que despliegan sus usuario/as en torno a la historia de su enfermedad y tratamiento. Esta institución es considerada como parte de una nueva modalidad de administrar el sistema de salud mental en Chile, asociada a un cambio en la lógica de gestión de las subjetividades. Realicé cuatro entrevistas autobiográficas a usuario/as egresado/as y en tratamiento. estos textos fueron analizados en función de los temas y los ordenamientos lógicos de las acciones, así como también en términos de las posiciones subjetivas en los mismos. Sostengo que el hospital de día queda situado como un mediador en la mejoría, que permite la aparición de una posición en los relatos que ubica a los hablantes como persona madura que supera la enfermedad a partir de su propia voluntad. In this paper I investigate the means of production of subjectivity at a day hospital for severe psychiatric disorders accord to the stories that the users deployed around the story of their illness and treatment. This institution is considered as part of a new way of managing the mental health system in Chile, associated with a change in the management of subjectivities. I made four autobiographical interviews to graduate and still in treatment users. These texts were analysed according to the themes and logical orders of actions, as well as in terms of subject positions in them. I argue that the Day Hospital is located as a mediator in the improvement, enabling the production of speaker's positions as a mature person who has overcome the disease from its own decision.

The role of place names in Dostoevsky’s literary texts is never reduced to a nominative function, which consists in the designation of the place of action of the work. The peculiarity of toponymic vocabulary in fiction is explained by its ability to act as an indicator (and in the Dostoevsky’s texts – as a generator) of the chronotope, which is due to the connection of place names with a certain historical era. Dostoevsky’s literary texts demonstrate the relationship between toponymic and anthroponymic space: the name of a geographical object determines the proper names of those who inhabit it. In this paper we study the toponymic space of the little-studied Dostoevsky’s novel «Uncle’s dream». Place names Mordasov, Duhanovo, Igishevo are regarded as text- and plot-units. The onomastic space of the story, organized by place names, reflects the writer’s desire for topographical accuracy, but at the same time the toponymic system of the story «Uncle’s dream» adjusts the reader to the perception of the world of sleep, where everything is possible: the distortion of the concepts of good and evil, the transformation of life into a farce, mutually beneficial coexistence of dolls and people. Place names and anthroponyms introduced into the text of the story represent an important feature of the Dostoevsky’s creative laboratory all periods – the attraction to semantically marked onomastic units. The proper names of the works of art by Dostoevsky are a system conditioned by both the ideological content and the chronotope, in the formation of which toponyms actively participate, which can be observed already in the story «Uncle’s dream». Many place names of the novel under study, like the place names of other works of the writer, are autobiographical, and therefore each proper name in the Dostoevsky’s literary texts should be considered in the context of the unity of his creative and life path.

Through the Lens of Time: The Partition in Krishna Sobti’s Autobiography, "From Gujrat, Pakistan, to Gujrat, India" In her latest book, Gujrāt Pakistān se Gujrāt Hindustān tak (2017), Krishna Sobti (b. 1925), one of the best-known writers active on the Hindi literary scene, presents the reader with an autobiographical account focused on the events of 1947, where her personal experience of the Partition is reworked and presented in the guise of a novel. This paper proposes to analyse the stylistic devises (double frame approach, switching between the third-person and the first-person narratives, use of the dialogue, etc.) employed by the author to achieve her aim by drawing on the vast body of academic work on partition, violence, trauma and memory both in the local as well the global context.

This paper examines the main narrative strategies and textual conventions of nineteenth-century Protestant autobiographical narratives of conversion to argue that by using a new mode of self-expression such as the prose autobiography, nineteenth-century Protestant converts were deploying individual memory to construct multi-layered narratives of reform and progress in a politically shifting terrain. Focusing on two book-length autobiographies, I will show how nineteenth-century autobiographical accounts of conversions to Christianity strategically negotiated with the past in a manner that allowed both an articulation of belonging and a disavowal of continuities. I place my investigation of these autobiographies in widening debates on religious difference and conversion in the public sphere, which were increasingly taking place within the framework of ‘modernity’ from the eighteenth century onwards. I draw attention to the power of narrative constructions and how moments of crisis, including potentially the crisis generated by the conversion experience, can be rhetorically resolved through narrative. This is narrative both as performative act and object: that is, one can speak one’s experience and life into existence (I narrate, therefore I am) and one’s life becomes the object of the self’s gaze—an object that acquires a life of its own and which can be probed and investigated for ‘truth,’ ‘genuineness’ and ‘usefulness’. Personal and social reforms are brought together within the context of conversion and whether the autobiography offered a means by which such emergent, ‘reformed’ selves could be conceptualised or ‘translated’ into the modern, rational individual. Writing an autobiography is thus a constitutive act. Investigating such textual displays of self-directed, and often self-conscious, programme of self-reform and the rhetorical resolution of spiritual and social crises through the autobiography I argue that re-formation of the Protestant individual was conceived of as part of a larger project of ‘reforming’ India to a state of progressive, rational modernity.

Drawing on scholarship on transnationalism, this paper resorts to concepts such as “trans-ethnic identity” and “multiple social identities” for making sense of two autobiographical writings authored by scholars who articulated a leftist counter-memory in telling their life stories spanning before, during, and after Romanian socialism. The study compares and contrasts the memoirs of Andrei Roth and Ion Ianoși, arguing that their retrospective writings document the articulation of a different strand of memorialistic literature that challenges the hegemonic anticommunist politics of memory. By never recanting their leftist beliefs, their writings give voice to a Marxian counter-memorialistic account of the past that enriches the post-communist memoryscape shaped by what we suggest calling the carceral paradigm of Romanian communism.

El diario personal ha experimentado en las últimas décadas un auge tanto en el contexto editorial como en el académico. El presente artículo, fruto de la colaboración entre instituciones de Francia y España, plantea un acercamiento al desarrollo de esta forma textual en el sistema literario de tales países. Para ello, analiza la recepción de la publicación del diario personal en la crítica literaria desde el siglo XIX hasta la actualidad, así como su paso de práctica privada a texto público. El objetivo principal es definir el texto que surge de tal evolución, el diario literario, y analizar la aparición de un nuevo tipo de diarista. La perspectiva, desde un enfoque histórico y teórico-literario, se centra en el modo en que el nuevo género se ha desarrollado en estas dos tradiciones literarias. The personal diary has experienced a boom in the editorial and academic context. This paper, fruit of collaboration between institutions of France and Spain, raises an approach to the development of this textual form in the literary system of such countries. For this, it analyzes the reception of the personal diary in the literary critic from the 19th century to the present, as well as its passage from private practice to public text. The main objective is to define the new text that emerges from such evolution, the literary diary, and analyze the appearance of a new type of diarist. The perspective focuses on the way in which this new genre has developed independently in these two literary traditions, from a historical and theoretical-literary approach.

En este artículo nos interesa abordar cómo opera la articulación narrador- protagonista textual- autor, en los relatos de viajes del intelectual argentino Alcides Greca (San Javier 1889- Rosario, 1956). De alguna manera, esta cuestión nos conduce a plantearnos algunas aristas del funcionamiento de lo autobiográfico en su literatura.Teniendo en cuenta esos resortes del género relato de viajes, que ocupan un lugar de relevancia, como la descripción, la intertextualidad, la mirada performativa, por citar solo algunos, entendemos que el entramado narrador- protagonista textual- autor pivotea esta y otra serie de rasgos vinculados y que resulta, a las claras, necesario cartografiar: el pacto autobiográfico, el contrato de lectura, el despliegue del yo en el texto, el efecto de realidad. El estatuto ficcional del género (y de estos relatos de viajes particularmente) es peculiar: abonamos la tesitura de que tanto los recuerdos como los medios de locomoción vehiculizan la construcción de la cuestión autobiográfica. In this paper we are interested in showing how the interaction between NarratorTextual Protagonist-Author operates in the travel writing of the argentine intellectual Alcides Greca (San Javier, 1889- Rosario, 1956). In certain way, this matter leads us to set out some aspects of the performance of the autobiographical topic in his literature. Considering that the resources for genre travel writing occupy a relevant place, like the description, the intertextuality and the performative glance, among others, we understand that the interaction between Narrator-Textual Protagonist-Author relies on this and other series of related features that, evidently, are necessary to map: the autobiographical pact, the reading contract, the unfolding of the self in the text, the reality effect. The own fictional character of the genre –and, particularly, of these travel writing– is peculiar: we hold on to the position that the memories as well as the means of locomotion enable the construction of the autobiographical issue. Neste artigo interessa-nos como se constrói o narrador- autor- protagonista textual, nos relatos de viagem do intelectual argentino Alcides Greca (San Javier 1889- Rosário, 1956). De certa forma, essa questão nos leva a considerar algumas arestas do funcionamento do autobiográfico em sua literatura. Levando em conta a descrição, a intertextualidade, o olhar performativo, para citar apenas alguns, entendemos que a construção narrador - autorprotagonista textual articula essa e outra série de traços interligados e que é, claramente, necessário mapear: o pacto autobiográfico, o contrato de leitura, o desdobramento do eu no texto, o efeito da realidade. O status fictício de género (e esses relatos de viagem em particular) é peculiar: acreditamos que tanto as memórias quanto os meios de locomoção manifestam a construção da questão autobiográfica. Fil: Antequera, María Florencia. Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Saavedra 15. Instituto de Estudios Históricos, Económicos, Sociales e Internacionales. Instituto de Historia; Argentina. Universidad Nacional de Rosario; Argentina

Les écrits de Brancusi, soigneusement conservés dans son atelier, ont toujours attiré la curiosité de ses admirateurs et aussi de ses compatriotes qui pensaient y découvrir des aspects extraordinaires de la vie de cet homme taciturne et secret. Parmi les centaines de feuillets classés sous l’intitulé de « notes d’atelier » – pensées, aphorismes, historiettes –, on trouve des essais d’autobiographie que l’artiste ambitionnait d’écrire. Mêlant constamment le roumain et le français, il reprend le même texte pour l’améliorer et lui donner la forme d’un conte populaire, plus agréable à lire. Les contes populaires ont bercé l’enfance de ce fils de paysans des pieds de Carpates, qui les a conservés dans une mémoire passive, éveillée vers la fin de sa vie quand ils deviennent des références pour son autobiographie. L’analyse de ces fragments nous permet d’apporter de nouveaux éléments sur l’interprétation de la « légende Brancusi » qu’il s’est construite lui-même. Brancusi’s writings, carefully kept in his studio (and now belonging to the Bibliothèque Kandinsky, Center Pompidou, Paris) attracted the attention of his admirers and also of his compatriots who hoped to discover unprecedented aspects of the life of this taciturn and discreet man. Among the hundreds of papers classified as “studio notes”—reflections, aphorisms, little stories,—we can discover drafts of the autobiography the artist planned to write. Blending constantly Romanian and French, he rewrites the same text again and again in order to improve it and give it the form of a popular tale, more pleasant to read. Folk tales that accompanied the childhood of this son of peasants from the foothills of the Carpathian Mountains were kept in a passive memory, awakening at the end of his life, when they became references for his autobiography. The analysis of these fragments enables us to bring in new elements towards the interpretation of the “Brancusi legend” he himself elaborated.

Dans La España vacía, Sergio del Molino reconnaît que « l’Espagne vide » est une carte imaginaire ou un territoire littéraire d’un pays qui n’a pas su voir la réalité en face ou trouver sa propre histoire. Ce travail considère que l’autobiographie politique de María Martínez Sierra (María de la O Lejárraga), Una mujer por caminos de España, publiée à Buenos Aires en 1952, bien qu’écrite depuis son exil en France, offre le récit précieux d’une Espagne qui n’est point imaginaire et qui ose affronter la réalité à un moment de son histoire, en se souvenant de son étape de propagandiste en tant que candidate du PSOE (Parti Socialiste Ouvrier Espagnol) pour Grenade, entre 1931 et 1936, sous la Seconde République. Au cours de son parcours sur les terres de la Manche et de l’Andalousie, la politicienne donne la vision d’une conscience critique et réaliste, engagée dans l’histoire qu’elle a vécue, depuis la perspective d’une femme qui va à la rencontre d’un pays qui a bel et bien existé, ou qui voulait être, avec pour uniques armes sa parole et son écriture. In La España vacía, Sergio del Molino recognises that the “empty Spain” is an imaginary map or a literary territory of a country that hasn’t been able to look at itself or find its own account. This paper considers that the political autobiography of María Martínez Sierra (María de la O Lejárra), Una mujer por caminos de España, published in Buenos Aires 1952, although written from her exile in France, offers the valuable account of a Spain that is not imaginary and that it dares to look at itself in a moment of History on remembering her propagandistic stage as a candidate of the PSOE (Socialist Party) in Granada from 1931 to 1936 during the Spanish Second Republic. Through her trips across the plains of La Mancha and Andalusia, the politician offers a perspective of a critical and realistic awareness, committed to the history she had to live, from the point of view of a woman meeting a country that really existed or wanted to be, with the only weapons of her word and her writing.

La Ilustración y el Romanticismo fueron períodos de exaltación de la identidad y de la diferencia, concretamente, de los espacios propios de la mujer. Dicha circunstancia, puede ser relacionada con la construcción de una identidad propia, un sujeto femenino que, en el caso de Gertrudis Gómez de Avellaneda se hace evidente en su Autobiografía. En este trabajo analizaremos la emergencia de la subjetividad propia de la autora desde la escritura de su yo para otro, pero, también, para sí misma. Como veremos, esta circunstancia será indesligable de la tríada conceptual formada por la vida pública, la vida privada y la elaboración personal de un yo que se hace eco de los modelos literarios románticos., The Enlightenment and Romanticism were periods of exaltation of identity and difference, specifically, of women's own spaces. This circumstance can be related to the construction of an identity of its own, a female subject that, in the case of Gertrudis Gómez de Avellaneda, becomes evident in her Autobiography. In this paper, we will analyze the emergence of the author's own subjectivity from the writing of herself to another, but also to herself. As we will see, this circumstance will be unbreakable of the conceptual triad formed by public life, private life and the personal elaboration of a self that echoes the romantic literary models.

This article analyzes the usage of quotations from ephemeral primary texts in autobiographical narrative. By ephemeral primary texts I mean firstly diary entries and regular correspondence, but also newspaper articles, memoranda, receipts, and other forms of daily writing. By contrast, (auto-)biographical narrative is composed from a holistic perspective that attempts a monumental written representation of a person’s life. This paper takes as object of analysis an unpublished manuscript from the Bakhmeteff Archive at Columbia University: The Silver Ring (1951) by Iraida Barry. It is part of a larger collection of autobiographical writings by Barry called Mirror Shards (Zerkal’nye oskolki). Drawing on Bakhtin’s conceptual apparatus, I differentiate the ephemeral chronotope from the monumental one. I demonstrate the discursive effects of abrupt shifts in chronotope. I argue that the co-presence of the two chronotopes produces a polyphonic autobiography.

The paper addresses the question of attachment to places and the modes of its reflection in the “periautobiographical” (James Olney’s term) texts of Sylvia Plath and Halina Poświatowska. For these two women writers the change of the place of living (from America to England in the case of Plath, and from Poland to America in the case of Halina Poświatowska) was a significant event which can be read as a history in which the topographical change becomes crucial for the construction of autobiographical memory. This memory, partly constituted by the play of attachments and detachments, is also crucial for the understanding of the role of the ideas of home and homeland seen as a refigured space of attachment in which the idea friendship and its various bonds are links with what is close to oneself, even if this closeness is felt as unwelcome and troublesome.

L’autobiographie d’Asaka Yûho est le premier témoignage publié au Japon relatant la vie sexuelle d’une femme en situation de handicap. L’ouvrage, écrit dans une perspective militante, vise à la fois à dénoncer un certain nombre de barrières pesant sur la sexualité des personnes handicapées au Japon et à raconter le combat individuel de l’auteure pour conquérir son épanouissement sentimental et sexuel. Asaka Yûho fait de la sexualité un élément clé de l’affirmation de soi et de la lutte pour la reconnaissance des personnes en situation de handicap. Cet article vise à analyser l’articulation entre sexualité et identité proposée par l’auteure. On montre, d’une part, comment l’environnement social japonais structure et contraint la construction de l’identité sexuelle des femmes handicapées. D’autre part, l’étude du cas particulier d’Asaka Yûho permet de comprendre comment un individu peut, au fil du temps, jouer des marges de manœuvres à sa disposition pour négocier et recomposer son identité, la sexualité pouvant jouer un rôle majeur dans la reconstruction d’une identité blessée. Asaka Yûho’s autobiography was the first account of a disabled woman’s sex life published in Japan. The text, written from an activist’s perspective, intends both to condemn social barriers weighing upon disabled people’s sexuality in Japan, and to narrate the author’s individual struggle for romantic and sexual fulfillment. For Asaka Yûho, sexuality is one key for disabled people’s self-assertion and fight for recognition. This paper is aimed at analyzing the interconnections between sexuality and identity suggested in her work. On the one hand, it highlights how the Japanese social environment gives structure (and limitations) to the construction of disabled women’s sexual identity. On the other hand, by studying Asaka Yûho’s personal case, it shows how an individual can, over time, make use of some room for maneuver to negotiate and rebuild his/her identity, sexuality potentially playing a key role in the reconstruction of a wounded identity.

Tirer les fils d’une histoire – individuelle – vécue, démêler les nœuds de l’histoire – nationale – subie ; tel pourrait être résumé le vaste projet littéraire de Serge Doubrovsky, universitaire français exilé aux États-Unis. Qu’est-ce à dire ? Que l’écriture doubrovskienne est la compréhension générique littéraire des stigmates que la Seconde Guerre mondiale a laissés sur l’écrivain et son écriture. Communément réduite au très controversé genre d’« autofiction », son œuvre, comme l’histoire qu’a définie Michel de Certeau (1975 : 118), « ouvre ainsi au présent un espace propre : “marquer” un passé, c’est [pour Serge Doubrovsky] faire une place au mort, mais aussi redistribuer l’espace des possibles ». Ce sont précisément ces « espace[s] des possibles » que permet l’autofiction doubrovskienne. Mise en parallèle avec les travaux de de Certeau sur la relation de l’écriture du « je » et de l’écriture de l’histoire, l’œuvre de Serge Doubrovsky présente l’écriture autofictionnelle à un espace d’expérimentation et d’expansion de la langue, qui s’ancre dans une expérience personnelle et commune de l’histoire de France. Michel de Certeau (1975 : 120) a affirmé que « dans la mesure où notre rapport au langage est toujours un rapport à la mort, le discours historique est la représentation privilégiée d’une “science du sujet” et du sujet “pris dans une division constituante” – mais avec une mise en scène des relations qu’un corps social entretient avec son langage ». Que conclure de l’expérience scripturale doubrovskienne ? L’œuvre autofictionnelle peut-elle se réclamer du récit historique ? De l’histoire ou de l’autofiction, quel récit nourrit l’autre ? Cet article s’emploie à étudier la possibilité d’une co-existence de l’histoire, « la grande, avec sa grande hache » comme la nommait Perec (1993 : 17), et de l’homme qui tient cette hache. Telling an individual lived story; unravelling the knots of national History: this is how the vast literary project of Serge Doubrovsky (a Parisian academic living in the USA) might be summarised. Doubrovsky’s writing is a literary attempt to translate the wounds that WWII left on him and on his writing. Usually reduced to the controversial genre of autofiction, his œuvre, just like the definition of history proposed by Michel de Certeau, “opens up a specific space within the present: “to mark” the past means making room to the dead one, but also redistributing the space of possibilities.” This paper deals with the “space[s] of possibilities” that Serge Doubrovsky’s autofiction makes possible. When analysed in parallel with de Certeau’s understanding of writing, Serge Doubrovsky’s autofiction appears to offer a space for an experimentation and expansion of language, which is grounded in personal and shared experiences of French history. De Certeau affirms that “to the extent that our relationship to language always is a relation to death, the historical discourse is the privileged representation of a ‘science of the subject’ and of the subject ‘caught into a constitutive division’ – but through the staging of relations that a social body has with a language.” What to conclude about the Doubrovskian experience of writing? Could an autofictional work claim to be a historical narration? Between history and autofiction, which narration precedes the other? This article studies the possibility of the co-existence between History and the man who makes the story.

The paper discusses the use of enthymeme and epiphomeme as means of stylistic emphasis in the novel Itinerary Through Biography by Momo Kapor. These figures of thought occur very commonly in this novel as focus markers. The emphasis of some significant motifs is conveyed by analysed figures. The results of the analysis show that epiphomeme is more frequent than enthymeme in Itinerary Through Biography. Differentia specifica of Kapor's epiphomemes is the appearance of self-unconscious narrator in conclusion.

This paper will examine Ayaan Hirsi Ali's memoir, Infidel which illustrates her journey from a child growing up in Somalia, Saudi Arabia, Ethiopia and Kenya. Throughout, the text, the author lives in a society where customs such as female genital mutilation, the wearing of Hijab and Burqas and the concept of Baarri are observed in terms of honour and the protection of women from being stigmatised as immoral, before her intellectual awakening in the Netherlands. She reveals how the Islamic religion gives men institutional power to construct laws that create an asymmetrical relationship between men and women which oppresses and dehumanises women. Based on a concept by Lewis and Mills (2003), concerning the Harem and the Veil, this study will adopt a feminist-postcolonial approach to the discussion of two key issues in the memoir: (i) power and control; (ii) substantial freedom. This study will propose that freedom is never free, whereas power is nothing but an act of negotiation in which women learn to achieve a certain degree of autonomy whilst in confinement.

This paper outlines a project centered on the teaching of Autobiography and Personal Narrative at the University of Lisbon. The course was an effort to ignite personal/collective empowerment through writing in a country where such writing has long been repressed by a variety of cultural imperatives. Students read autobiographical articles and book excerpts by well-known English language writers, read practically-oriented theoretical pieces, and wrote stories of their own lives prompted by their readings and discussions as they experienced and gained authority through authorship. Their growing self-advocacy registered as the course progressed, evidenced by the detail and reflection, authenticity and complexity of their written work. This article was submitted to the European Journal of Life Writing on 2 April 2013 and published on 20 March 2015.

The paper is an attempt to verify the assumptions of the motivation-hygiene theory by Frederick Herzberg in the context of the values and practices of leading managers of the U.S. economy. The two-factor theory is a part of every synthesis of management science, although its assumptions raise serious controversies. The subject matter of the analysis is the biographies of the most prominent managers, such as Henry Ford, Lee Iacocca, Walter P. Chrysler and Jordan Belfort (known as the ‘Wolf of Wall Street’). The basic aim of the analysis is to check their biographical story in the context of their motivation issues. The selection of characters has been imposed by the feature of being self-made men. It seems that their descriptions of how to motivate employees may be interpreted as a specific manifestation of values important to them in the perception of economic life and the interpersonal relations in structures of corporations functioning in different market circumstances. The choice of source materials from different historical moments and different economic spheres shows a conversion of values and goals in the American economy. One of the results of the analysis is the observation that Herzberg’s theory does not reflect the multiplicity of factors that may have a significant impact on the motivation of employees to perform their duties as well as possible. One of the aims of the discussion is to indicate the unusual source material, considered by many researchers as anecdotal, as potentially attractive for analyses in the field of the management sciences.