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The article was submitted on 05.05.2019. Battlefield diaries written by simple soldiers and seamen are unique, rare, and practically uncensored sources of war anthropology. The authors combine the comparative historical method of literary criticism with source analysis, which enables them to consider the Great Patriotic War from the point of view of personal history and reveal the peculiarities of wartime ego-documents. The authors refer to the battlefield diary of G. I. Sennikov, a submariner of the Northern Fleet, written between 1943 and 1946. The diary combines the genres of a diary and an ego-document. The peculiarity of the text is the fact that it combines the functions of a battlefield diary (keeping the author’s memories, having a therapeutic effect, etc.) and those of the individualisation process which helps the author to construct and preserve their own personality (self-identification, self-expression, philosophical, analytical, and vicarious functions, etc.) in the extreme conditions of war (from Murmansk between 1943 and 1944 to Crimea between 1944 and 1946). The autobiographic narrative bears the typical features of a diary, reflecting the development of a young Red Army sailor, i. e. severe selfcriticism, the “other” individuality which the author painfully becomes aware of, a frank and quite often uncomplimentary analysis of situations related to sexual relations. Additionally, the diary reflects the crucial stages in the sailor’s personal growth. The author of the diary builds a world of his own and works out his own ethical code; also, he creates a life plan and sets goals for himself. Фронтовые дневники непосредственных участников боев, особенно солдат и матросов, являются уникальными и практически неподцензурными источниками антропологии войны. Обращение автора к литературоведческому сравнительно-историческому методу в соединении с источниковедческим анализом позволяет увидеть события Великой Отечественной войны сквозь призму личной истории, выявить специфику эго-документов военных лет. Источник данной работы – дневниковые записи 1943–1946 г. матроса-подводника Северного флота Г. И. Сенникова – сочетает в себе жанр военного событийного дневника и эго-документа. Особенностью изучаемого текста является соединение функций фронтового дневника (сохранение памяти, психотерапевтический эффект и др.) со специфическими функциями процесса индивидуализации, подчиненного задаче построения и сохранения собственной личности (самоидентификацией, самовыражением, философско-аналитической и компенсаторной функциями и др.) в экстремальных условиях войны (от Мурманска 1943–1944 г. до Крыма 1944–1946 гг.). В тексте автобиографического нарратива проявляются характерные черты дневника, связанные со становлением личности молодого краснофлотца: жесткая самокритика; болезненно прочувствованная собственная «иная», «другая» индивидуальность, нетипичность; откровенный, иногда некомплиментарный анализ ситуаций, связанных с интимными отношениями; фиксация точек роста (взросления); создание собственного мира, «своего» пространства; выработка и фиксация собственного этического кодекса; построение программы жизни, задач на будущее.

As narrativas são construídas para dar sentido à experiência humana e organizá-la temporalmente. É o ato de narrar que permite ao sujeito interpretar sua vida e criar uma significação pessoal para os eventos vivenciados. Nessa pesquisa, investigamos se o discurso elaborado pela díade estagiário-terapeuta/paciente, em uma situação de psicoterapia psicanalítica, organizou-se narrativamente. Posteriormente, analisamos qual a lógica da seqüência de ações presente nas narrativas compostas pela dupla terapêutica. A análise das transcrições das sessões de psicoterapia demonstrou que esse discurso está estruturado de forma narrativa porque apresenta os dois princípios necessários a sua organização: a sucessão e a transformação. Verificou-se também que a seqüência narrativa constituída nesse processo é regida pela lógica de causalidade semântica, a qual se impõe ao narrador ao longo do tecer da intriga, e não pela lógica de cronologia linear. Narratives are constructed in order to give sense to human experience and organize it. It is the act of narration that allows the individual to interpret his/her life and to create a personal signification for the experienced events. This study investigates whether the discourse elaborated by the trainee-therapist/patient dyad, in a psychoanalytic psychotherapy situation, was organized in a narrative manner. Afterwards, the logic of the sequence of actions showed in the narratives composed by the therapeutic dyad was analyzed. The analysis of the transcriptions of the psychotherapeutic sessions evinced that this discourse is structured in narrative manner since it presents the two principles necessary for its organization: succession and transformation. It was also verified that the narrative sequence constituted in this process is governed by the logic of semantic causality, which is imposed to the narrator in the course of the emplotment, and not by the logic of linear chronology.

Dans l’abondante production de Georges Simenon, on peut aisément repérer une période dite américaine, de 1945 à 1955, qui correspond aux dix années passées en Amérique durant lesquelles l’écrivain belge écrira une quarantaine de romans. Après la guerre, Simenon cherchera en effet l’oubli et la construction d’Une vie comme neuve : changement de cadre et changement radical de mode de vie, mais la méthode demeure inchangée. Au fil des déplacements, la mémoire enregistre de multiples sensations qui se sédimentent pour constituer le fonds dans lequel puise le romancier et c’est le cadre fictionnel de trois romans de cette période américaine qui sont au cœur de cette étude : Trois chambres à Manhattan, (1946), Feux rouges (1953) et Maigret à New York (1946). Dans ces trois ouvrages, au caractère autobiographique marqué, l’analyse porte sur les spécificités et les enjeux des changements de décor, puis sur les interactions entre les personnages et les « espaces-temps » qu’ils habitent. De manière paradoxale, il ressort que « mobilité » et « immobilités » sont les deux paramètres d’une « immuabilité fondamentale » celle du destin tragique de « l’homme nu ». Within Georges Simenon’s abundant production, a so-called American period is readily identifiable. It corresponds to the years 1945 to 1955, which the Belgian writer spent in America and during which he wrote approximately forty novels. After the war, Simenon sought to forget, aspiring to A New Lease of Life: a change of surroundings and a radical change of lifestyle. His method, however, remained unchanged. From one journey to another, Simenon’s memory recorded feelings and impressions, forming sediment on which the novelist subsequently drew. The fictional framework of three novels of this American period, Trois Chambres à Manhattan, (1946), Feux rouges (1953) and Maigret à New York, is the object of the present study. The analysis of these three markedly autobiographical works focuses on the specificities and of the changes of scenery and their mechanism, then on the interactions between the characters and the « space-times » in which they live. Paradoxically, « mobility » and « immobilities » are the two parameters of a « fundamental immutability », that of the tragic destiny of « the naked man ».

As narrativas são construídas para dar sentido à experiência humana e organizá-la temporalmente. É o ato de narrar que permite ao sujeito interpretar sua vida e criar uma significação pessoal para os eventos vivenciados. Nessa pesquisa, investigamos se o discurso elaborado pela díade estagiário-terapeuta/paciente, em uma situação de psicoterapia psicanalítica, organizou-se narrativamente. Posteriormente, analisamos qual a lógica da seqüência de ações presente nas narrativas compostas pela dupla terapêutica. A análise das transcrições das sessões de psicoterapia demonstrou que esse discurso está estruturado de forma narrativa porque apresenta os dois princípios necessários a sua organização: a sucessão e a transformação. Verificou-se também que a seqüência narrativa constituída nesse processo é regida pela lógica de causalidade semântica, a qual se impõe ao narrador ao longo do tecer da intriga, e não pela lógica de cronologia linear. Narratives are constructed in order to give sense to human experience and organize it. It is the act of narration that allows the individual to interpret his/her life and to create a personal signification for the experienced events. This study investigates whether the discourse elaborated by the trainee-therapist/patient dyad, in a psychoanalytic psychotherapy situation, was organized in a narrative manner. Afterwards, the logic of the sequence of actions showed in the narratives composed by the therapeutic dyad was analyzed. The analysis of the transcriptions of the psychotherapeutic sessions evinced that this discourse is structured in narrative manner since it presents the two principles necessary for its organization: succession and transformation. It was also verified that the narrative sequence constituted in this process is governed by the logic of semantic causality, which is imposed to the narrator in the course of the emplotment, and not by the logic of linear chronology.

Se propone la relación entre el mito, las narraciones y el contexto social, como un sistema complejo en transformación. En el presente, se verifica el auge del género autobiográfico, canalizado en un tipo de programación televisiva. Se extraen ejemplos de la televisión española para identificar: 1) un tipo de mito referido al ordenamiento de la intimidad; 2) estilos narrativos asimilables a diversas estructuras dramáticas; 3) un debilitamiento de la función social y personal de la responsabilidad biográfica. The text that follows suggests conceiving the relation between myth, narration and social context, as a complex system in transformation. At present, the thrive of the autobiographic genre has been proved, mainly channelled through certain television programmes. Some examples taken from Spanish television have been used to identify: 1) a type of myth refered to the arranging of privacy; 2) narrative styles readily assimilated to different dramatic structures; 3) a weakening of the social and personal function related to biographic responsability.