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The aim of the research is to ground the statement that exile memoirs changed from documentary and political works to subjective ones, analyzing personal problems. The object of the work is the memoirs by exile writers. Analytical, descriptive and hermeneutical methods are used. The theory of autobiography by French theoretician Philippe Lejeune (1989) and the theoretical insights while analyzing autobiographical texts by Vytautas Kavolis (1998) were chosen as the theoretical background. In the research, the memoir books were divided into memoirs and genre transformations. Memoirs are subdivided into documentary and literary. The documentary memoirs start dominating around 1940, when Lithuanian was occupied by soviets. This fact is commented by the writers-politicians V. Krėvė, L. Dovydėnas and I. Šeinius, who closely observed the situation. Their memoirs are distinct because of relevant topics for the time, i.e. the abundance of facts, historical events and political details. Around 1950-1965, politics in the memoirs is changed by the problem of the relationship between the person and time or history. A distinctive feature of these texts is the abundance of tropes, figurative details, fictional elements and they are quite subjective (M. Vaitkus, J. Aistis, St. Yla, etc). The research emphasizes that at the end of the XX century (1965-2000) subjectivity becomes the main feature in order to describe memoirs. In the memory books, the focus is on the person and other people; the peculiarities of personal life get the most attention and change history and politics (J. Narūnė, M. Aukštaitė, E. Juodvalkė ir kt.). The transformations of the memoir genre (Pulgis Andriušis, J. Savickis, P. Orintaitė, B. Raila) are more common in the 6-7 decades of the XX century. This means the development of the usual genre, when the term memoirs is not sufficient to define the genre of the books. Fictionality and a double expression of the events, memoir and autobiography, essay or diary, are common for the texts.

During military deployment, soldiers are confronted with both negative and positive events. What is remembered and how it affects an individual is influenced by not only the perceived emotion of the event, but also the emotional state of the individual. Here we examined the most negative and most positive deployment memories from a company of 337 soldiers who were deployed together to Afghanistan. We examined how the level of emotional distress of the soldiers and the valence of the memory were related to the emotional intensity, experience of reliving, rehearsal and coherence of the memories, and how the perceived impact of these memories changed over time. We found that soldiers with higher levels of post-traumatic stress disorder (PTSD) symptoms were more affected by both their negative and positive memories, compared with soldiers with lower levels of PTSD symptoms. Emotional intensity of the most negative memory increased over time in the group with highest levels of PTSD symptoms, but dropped in the other groups. The present study adds to the literature on emotion and autobiographical memory and how this relationship interacts with an individual's present level of emotional distress and the passage of time.

How does a minority mother explain to her Canadian children the meaning of "exclusion", "religious stigmatization" and "discrimination" when she sees her children's identity being shaped by "structured silences" (Greene, 1993) in curriculum? Curriculum, in any time and place, becomes a contested site where debate occurs over whose values and beliefs will achieve legitimation through acceptance in the national discourse (Klieberd, 1995). My children live in liminality, as holders of hybrid identities, multiple languages, beliefs and cultures, juxtaposed against a social story of Canadian classroom teaching. Experiences such as theirs "challenge the conceptualization of curriculum as a prefabricated plan" (Wilson, Ehret, Lewkowich, & Kredl, 2017) and foreground the "blind impresses" (Rorty, 1989), gaps and silences of ideology, perceptions and practices (Rautins & Ibrahim, 2011). What are the implications when difference is censored or marginalized? By using autobiographical narrative inquiry and poetic representation, I interrogate my children's experiences with the Canadian curriculum from the positioning of a minority parent. I explore "encounters" (Greene, 1967) through my unique lens, and propose positioning parents integrally in curriculum conversations in order to move curriculum conceptualizations from a place of binaries defined by "us" and "them", by "dominant culture" and "minorities", to a place of shared hope and responsibility, to a just and democratic society.

Philip Caputo's brilliant and influential 1977 memoir of his experience fighting in the Vietnam War, A Rumor of War is not merely an act of witnessing about the brutality and trauma of war, it is also a moving account of the author's life as a young Lieutenant in the US Marine Corps in 1965. This paper deals especially with Caputo's second chapter, which relates his hexperience as the "Officer in Charge of the Dead;" that is, as the official in charge of the gruesome task of cataloging and counting the dead and tallying up the Marines' "kill ratio" during the early stages of the conflict in Vietnam. This is also the section of the book that focuses on Caputo's private reflections on the war, its traumatic effects on him, and his irrational desire to return to the jungle to rejoin the fighting. My analysis of this section of the work relies chiefly on Leigh Gilmore's (2001) work on traumatic autobiographical writing-i.e., those works which "explore representations of personhood that are skeptical of dominant constructions of the individual and the nation [and are] concerned with the interpenetration of the private and the public, and how its impact is registered in personal, aesthetic, and legal terms." Much recent trauma theory focuses on the role of witnessing (Laub 2009) and the psychic importance of claiming one's role as a survivor (Caruth 1996); however, Gilmore's approach allows us to situate the work of the traumatic memoir within the scope of literary and juridical history, and to understand traumatic identity as a form of aesthetic self-reinvention. In Caputo's case this self-reinvention relies on a modernist narrative style that undermines official military discourse by resorting to ironic self-distancing-i.e., by giving himself the moniker "officer in charge of the dead" he is able to see himself differently and re-write a self capable of accepting his role as survivor. ; 卡普托(Philip Caputo)1977年深具影響力的回憶錄《越南戰火》(A Rumor ofWar )不只是對戰爭殘忍創傷的體現,也是作者身為一個美國年輕軍官在1965年親身經歷的感人故事。本論文聚焦於《越南戰火》的第二章,也就是卡普托描述他在越戰初期時擔任「掌管傷亡的軍官」時的任務:計算、編錄死者和總結美軍陸戰隊「傷亡率」的恐怖工作。此片段是作家個人對戰爭的反射、創傷影響和他再進叢林重返戰場慾望的描述。分析本章是根據Leigh Gilmore對創傷自傳的研究, 那些作品「探索個人特質的展現:懷疑的個人和國家的優勢建構、憂心的私人與公眾相互影響,試圖瞭解此影響如何衝擊個人、美學和法律上的意義」(Gilmore 2001)。最近的創傷理論則是重視證人角色和認同生還者心理上的重要性。無論如何,Gilmore的觀點讓我們將創傷的自傳放在文學和審判歷史的視野裡, 理解創傷本體是一種美學的自我再造。卡普托自我重塑的實例是依賴現代主義的敘事手法,採用反諷自我疏離來削弱官方的軍事論述,藉由掌管傷亡的軍官名號,給自己不同的看法並且改寫肯定他作為倖存者的自我。

Flashbulb memories are vivid, confidently held, long-lasting memories for the personal circumstances of learning about an important event. Importance is determined, in part, by social group membership. Events that are relevant to one's social group, and furthermore, are congruent with the prior beliefs of that group, should be more likely to be retained as flashbulb memories. The Fukushima nuclear disaster was relevant to ongoing political conversations in both Germany and the Netherlands, but, while the disaster was congruent with German beliefs about the dangers of nuclear energy, it was incongruent with Dutch support for nuclear power. Danish participants would not have found the disaster to be particularly relevant. Partially consistent with this prediction, across two samples (N = 265 and N = 518), German participants were most likely to have flashbulb memories for the Fukushima disaster. Furthermore, event features thought to be related to flashbulb memory formation (e.g. ratings of importance and consequentiality) also differed as a function of nationality. Spontaneously generated flashbulb memories for events other than Fukushima also suggested that participants reported events that were relevant to national identity (e.g. the Munich attacks for Germans, the Utøya massacre for Danes, and Malaysian Airlines flight MH-17 for Dutch participants). (PsycINFO Database Record (c) 2019 APA, all rights reserved)

This article uses as a case study the historical-biographical drama film Hamsun (1996) in order to discuss the complications that arise when considering biographical films as adaptations of biographical and/or autobiographical works of literature. Hamsun by the Swedish director Jan Troell is an adaptation of the Danish author Thorkild Hansen's documentary novel Processen mod Hamsun (The Trial of Hamsun, 1978), which in turn draws most extensively on the Norwegian novelist Knut Hamsun's own writings, primarily his autobiographical novel Paa gjengrodde Stier (On Overgrown Paths, 1949). Hansen, in telling the story of Hamsun's life, concentrates on the events surrounding the Second World War and its aftermath in Norway. The focus is set on the court trial of 1945–1948 when Hamsun was accused of being a quisling and his mental state was seriously questioned not only by the court, but also the general public. Hansen in his novel interprets his extensive source material with a very clear intention of rehabilitating Hamsun as a great writer with a brilliant mind instead of considering him a traitor. It is Hamsun's own perspective in Paa gjengrodde Stier that clearly lays the groundwork for Hansen's portrait of the writer. However, Hamsun's account of events is most selective: his often sharp and ironic descriptions of the present are combined with lyrical and philosophical reminiscences of the past, hardly providing the reader with any answers or explanations. The character Hamsun in Paa gjengrodde Stier seems to be a rather carefully constructed figure whose primary intent is to evoke the reader's sympathy and to remind us of his status as a writer, an artist. The director Troell has said in several interviews that it was very important for him to use Hansen's book as source material, but that he and his screenwriter Per Olov Enquist have included many other sources, among them Hamsun's own Paa gjengrodde Stier. Viewing the film as an adaptation of Hansen's book, one easily recognizes the connections to Hamsun's own writings. An interesting question is whether or how the main character differs in each above-mentioned text. Naturally, the longer the period of time that separates the source material from the film adaptation, the more significant a role the changes that have occurred over time in social, political and ethical values play in our interpretation of depicted events. Hansen's portrayal of Hamsun was very original and controversial in its time. However, the release of the film Hamsun to an international audience in 1996 reopened the debate of "Hamsun's guilt". Troell chose to focus on the drama of Hamsun's personal life through the war and its after-effects. The image of an artist instead of a collaborator – similar to what Hamsun created of himself on the pages of Paa gjengrodde Stier – prevails in both the novel and its film adaptation.

In fighting for justice and equality in the face of American institutional racism, Muhammed Ali became an internationally known and respected figure. His 1976 auto-biography, The Greatest, with Richard Dunham and edited by Toni Morrison is a fast paced and well written book. It showcases the intellect, humanity, and determination behind the globally recognized icon. The auto-biography is interesting in the sense that it places boxing on the periphery and instead focuses on Ali's struggles and disappointments, to be recognized as a man in the American South, which would later morph into the greater struggle for civil rights for American minorities. In fighting against what this research terms 'structural racism, what emerged was a battle against the very fabric of core norms and culture, which establishes white American hegemony. In taking on established structures, Ali faced the wrath of 'the Establishment.' The idea of this term becomes vivid via comparative analysis of other case studies, which reveal that those who question American structural racism are met with similar reactions and consequences for their criticism. This study is thus relevant because it exposes how Ali's own fight for justice and racial equality 60 years ago is essentially no different than it is today.

In fighting for justice and equality in the face of American institutional racism, Muhammed Ali became an internationally known and respected figure. His 1976 auto-biography, The Greatest, with Richard Dunham and edited by Toni Morrison is a fast paced and well written book. It showcases the intellect, humanity, and determination behind the globally recognized icon. The auto-biography is interesting in the sense that it places boxing on the periphery and instead focuses on Ali's struggles and disappointments, to be recognized as a man in the American South, which would later morph into the greater struggle for civil rights for American minorities. In fighting against what this research terms 'structural racism, what emerged was a battle against the very fabric of core norms and culture, which establishes white American hegemony. In taking on established structures, Ali faced the wrath of 'the Establishment.' The idea of this term becomes vivid via comparative analysis of other case studies, which reveal that those who question American structural racism are met with similar reactions and consequences for their criticism. This study is thus relevant because it exposes how Ali's own fight for justice and racial equality 60 years ago is essentially no different than it is today.

The analysis of Julia's (b. 1984) case, empirically grounded in the autobiographical narrative interview method, will discuss the mutual influence of the individual experiences and the collective processes that result in a precarious life situation being a stage of the trajectory of suffering process. It will be argued that the generation born between 1980-1990 that entered their adolescence period (and, at the same time, labor market) in a very specific socio-cultural context, framed by the dynamics of interrelated processes of political transformation, vibrant modernization, globalization, and, last but not least, development of neoliberal ideology, has been the first one in Poland to be exposed to the deep and overwhelming biographical changes. They have been oftentimes connected with the feeling of biographical trap and the experience of precarious balance of everyday life that—to a large extent—is a consequence of belonging to intensively multiplying social words with their divergent stocks of knowledge at hand, clashing ideologies, conflicting moral standards, dissonant rules of conducts, and expectations. Additionally, in the discussed case, I will deal with a biographical irony: Julia is both—a zealous propagator of allegedly universal attitudes of neoliberalism and a victim of this subtle mode of power. All these contradictions and tensions are clearly seen in the formal features of her (as well as many other people born in the 80's last century) renderings, which are nonlinear, incoherent, emotionally overloaded, and full of fading-out phenomena.

The analysis of Julia's (b. 1984) case, empirically grounded in the autobiographical narrative interview method, will discuss the mutual influence of the individual experiences and the collective processes that result in a precarious life situation being a stage of the trajectory of suffering process. It will be argued that the generation born between 1980-1990 that entered their adolescence period (and, at the same time, labor market) in a very specific socio-cultural context, framed by the dynamics of interrelated processes of political transformation, vibrant modernization, globalization, and, last but not least, development of neoliberal ideology, has been the first one in Poland to be exposed to the deep and overwhelming biographical changes. They have been oftentimes connected with the feeling of biographical trap and the experience of precarious balance of everyday life that—to a large extent—is a consequence of belonging to intensively multiplying social words with their divergent stocks of knowledge at hand, clashing ideologies, conflicting moral standards, dissonant rules of conducts, and expectations. Additionally, in the discussed case, I will deal with a biographical irony: Julia is both—a zealous propagator of allegedly universal attitudes of neoliberalism and a victim of this subtle mode of power. All these contradictions and tensions are clearly seen in the formal features of her (as well as many other people born in the 80's last century) renderings, which are nonlinear, incoherent, emotionally overloaded, and full of fading-out phenomena. ; The project "Experience of the Process of Transformation in Poland. Sociological Comparative Analysis Based on Biographical Perspective," financed by the NCN program OPUS V UMO- 2013/09 / B / HS6 / 03100), was implemented in 2014-2017 by the Department of Sociology of Culture at the University of Lodz.

This dissertation (,,Responsibility through Memory: Luise Rinser's Autobiographical Writing as a Medium for Connecting with Readers") examines how Luise Rinser used her autobiographical work to communicate with her readers and to inform and educate them. Analyzing the autobiographies and diaries as a form to connect with the readers provides new insights into Rinser's autobiographical works. Rinser demonstrated with these autobiographical works that she had the goal to inform, educate, and maybe even manipulate her readers through a very personal medium. She also acquired the role of a contemporary witness, especially as a credible contemporary witness. This brought to light Rinser's position as a Christian and Socialist, an apparent contradiction which Rinser, however, united within herself her entire life. In view of Rinser's focus on a personal genre, such as the diary and the autobiography, and her strong connection with the audience, such an analysis is long overdue. The study focuses on Rinser's autobiographical works between 1946 and 1997, encompassing nine diaries and two parts of an autobiography (1981 and 1994). The dissertation shows how Rinser informs her readers regarding different topics and which methods she uses to reach her goal. An initial analysis of Rinser's first diary Gefängnistagebuch (1946) sheds light on the author's writing process and the meaning of writing for her as well as its role as a model for the later diaries (1970 until 1997). The following chapter demonstrates how Rinser uses her autobiographical work to educate and inform her readers about certain topics. Given Rinser's position as a Socialist and a Christian, this study focuses on a selection of political topics as well as topics related to religion, Catholicism, and faith. Subsequently this dissertation shows how Rinser influenced her readers' perception of current events and situations by making these more personal and showing them from a different angle than the media. The readers' connection with the author is shown in ...

This thesis explores the notion of the ethnotext, which is, in Chantal Zabus' terms, composed of: '[…] discursive elements ranging from rules of address, riddles, praise names and dirges to the use of proverbs". (Zabus, The African Palimpsest) as a way of resistance to linguistic domination. This notion will be studied in relation to three forms of linguistic domination: French colonialism in Algeria and Morocco; postcolonial linguistic policies applied by these two new nation states; European settlement in Canada and the United States of America and the neocolonial linguistic policies affecting Amerindian languages such as Mi'kmaq and Choctaw. The study will be illustrated with a corpus of four autobiographies: Mouloud Feraoun's The Poor Man's Son (1954) [Kabyle in Algeria]; Mohamed Choukri's For Bread Alone (1982) [Rifian from Morocco]; Rilla Askew's The Mercy Seat (1997), [Choctaw from the U.S.A] and Rita Joe's Song of Rita Joe: Autobiography of a Mi'kmaq Poet (1996) [in Canada]. This comparison aims at contrasting these four cases of linguistic resistance to seek their common points, resistance strategies and cultural resemblance in order to establish the ethnotext's transatlantic dimension. Transatlanticism will in turn be contextualised against a broader canvas that of the possible extinction of endangered languages faced with globalised societies. ; Cette thèse explore la notion de l'ethnotext comme stratégie de résistance à la domination linguistique. Cette notion sera étudiée en relation avec trois formes de domination linguistique: la colonisation française en Algérie (1830-1962) et le protectorat français et espagnole au Maroc (1912-1956) ; les politiques linguistiques post-indépendances appliquées par ces deux Etats nation ; l'installation européenne au Canada et aux Etats Unis D'Amérique et les conséquences de ses politiques linguistiques néocoloniales sur les langues amérindiennes telles que le M'ikmaq (au Canada) et le Choctaw (USA). L'étude sera menée en s'appuyant sur un corpus de quatre romans autobiographiques, représentatifs des cultures berbères (kabyle et rifain) ainsi qu'amérindiennes (M'ikmaq et Choctaw). L'ethnotext kabyle sera étudié dans le roman de Mouloud Feraoun Le fils du pauvre (1950) ; le Rifian sera étudié dans le roman de Mohamed Choukri Le pain nu (1973) ; le M'ikmaq sera étudié dans le roman de Rita Joe : Song of Rita Joe : Autobiography of a M'ikmaq Poet (1996) et leChoctaw sera étudié dans le roman de Rilla Askew The Mercy Seat (1997). Cette étude comparative a pour objectif de comparer ces quatre cas de résistance linguistique pour chercher leurs points communs, leur ressemblances stratégiques et culturelles afin d'établir la dimension transatlantique de l'ethnotext.

This thesis explores the notion of the ethnotext, which is, in Chantal Zabus' terms, composed of: '[…] discursive elements ranging from rules of address, riddles, praise names and dirges to the use of proverbs". (Zabus, The African Palimpsest) as a way of resistance to linguistic domination. This notion will be studied in relation to three forms of linguistic domination: French colonialism in Algeria and Morocco; postcolonial linguistic policies applied by these two new nation states; European settlement in Canada and the United States of America and the neocolonial linguistic policies affecting Amerindian languages such as Mi'kmaq and Choctaw. The study will be illustrated with a corpus of four autobiographies: Mouloud Feraoun's The Poor Man's Son (1954) [Kabyle in Algeria]; Mohamed Choukri's For Bread Alone (1982) [Rifian from Morocco]; Rilla Askew's The Mercy Seat (1997), [Choctaw from the U.S.A] and Rita Joe's Song of Rita Joe: Autobiography of a Mi'kmaq Poet (1996) [in Canada]. This comparison aims at contrasting these four cases of linguistic resistance to seek their common points, resistance strategies and cultural resemblance in order to establish the ethnotext's transatlantic dimension. Transatlanticism will in turn be contextualised against a broader canvas that of the possible extinction of endangered languages faced with globalised societies. ; Cette thèse explore la notion de l'ethnotext comme stratégie de résistance à la domination linguistique. Cette notion sera étudiée en relation avec trois formes de domination linguistique: la colonisation française en Algérie (1830-1962) et le protectorat français et espagnole au Maroc (1912-1956) ; les politiques linguistiques post-indépendances appliquées par ces deux Etats nation ; l'installation européenne au Canada et aux Etats Unis D'Amérique et les conséquences de ses politiques linguistiques néocoloniales sur les langues amérindiennes telles que le M'ikmaq (au Canada) et le Choctaw (USA). L'étude sera menée en s'appuyant sur un corpus de quatre romans ...

O cantor e compositor canadense Leonard Cohen (1934-2016) foi poeta e romancista antes de se tornar mundialmente famoso e parte da contracultura dos anos 1960 e 1970. Seus dois romances, The Favorite Game (1963) e Beautiful Losers (1966), são contribuições significativas para a literatura canadense e para a ficção pós-moderna em geral. O próprio Cohen e alguns comentaristas contemporâneos reivindicaram para esses romances afinidades com a obra de James Joyce, e o presente relato reflete acerca dessa afirmação. O que no progresso do protagonista de Cohen, Lawrence Breavman, de The Favorite Game, ecoa a educação na consciência de Stephen Dedalus de Joyce? Religião, política e sexualidade são presenças enfáticas em ambas as narrativas; arte também, claramente. Mas, seria Um retrato do artista quando jovem de Joyce (1916) simplesmente um modelo para um Künstlerromane autobiográfico posterior, ou seria mais pertinente aqui o exemplo de Joyce como um mestre original da forma? Onde estão os principais pontos de convergência e divergência entre esses dois artistas e suas ficções? Uma tentativa de elucidar algumas respostas pode contribuir para a construção de um consenso inicial sobre o status literário de Cohen – e para a questão da importância contínua de Joyce para as gerações e fases posteriores da produção artística e cultural. ; Canadian singer-songwriter Leonard Cohen (1934-2016) was a poet and novelist before becoming world-famous as part of the 1960s and '70s counterculture. His two novels, The Favourite Game (1963) and Beautiful Losers (1966), are significant contributions to Canadian literature and to postmodern fiction in general. Cohen himself, and more than one contemporary commentator, claimed for them certain affinities with the work of James Joyce, and the present account reflects on this claim. What in the progress of Cohen's protagonist Lawrence Breavman, of The Favourite Game, echoes the education in consciousness of Joyce's Stephen Dedalus? Religion, politics, and sexuality are emphatic presences in both narratives; art too, clearly. But, is Joyce's A Portrait of the Artist as a Young Man (1916) simply a template for later autobiographical Künstlerromane, or is it Joyce's example as an original master of the form that may be more pertinent here? Where are the main points of convergence and divergence between these two artists and their fictions? An attempt to elucidate some answers may contribute to the construction of an early consensus regarding Cohen's literary status – and to the question of Joyce's ongoing importance to later generations and later phases of artistic and cultural production.

This essay is inspired by a close reading of the recently published volume Żołnierze ludowego Wojska Polskiego. Historie mówione (Soldiers of the Polish people's Army. Oral histories) by Jarosław Pałka and Kaja Kaźmierska (Łódź, 2018) and continuously refers to it. Rather than a standard book review, it is a critical essay which positions this publication, and the documentation project standing behind it, in the context of Polish oral history research field. The latter has been expanding dynamically in recent years, gaining more and more recognition also among academic historians. One of its essential characteristics, to which this volume attests, is its methodological anchoring in biographical sociology. This field of research has a long academic tradition in Poland (though its current versions tend to adopt 'Western' ideas and research patterns) and offers scientific credibility to, still often insecure, oral history research. The text claims that scientific legitimisation of this kind does not necessarily lead to a convincing interpretation. The method, no matter how neutrally it may be presented, is not free from the authors' value judgements and non-source-based historical knowledge (and imagination). The text, therefore, suggests a reading of the book – which is vastly a selection of edited, historically footnoted and narratively ordered oral history sources (biographical narrative interviews with the title soldiers) – that partly goes against the authors' interpretations. Altogether, it makes up an exercise in (oral) historical hermeneutics.