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Autobiography of Samuel Miles describing his exploits in the French and Indian War (Seven Years' War) service in central and western Pennsylvania following Braddock's defeat, the American Revolution, particularly the chaos experienced by the American forces during the Battle of Long Island in 1776, and in Philadelphia politics during the last two decades of the eighteenth century. ; 7 leaves and marbled covers. Incomplete. Printed (according to Appleton): American Historical Record; 1873. ; American Philosophical Society

The article focuses on two different versions of the childhood and life history of a female child of a Russian who grew up in the Soviet occupation zone and the later German Democratic Republic (GDR). Besides a biographical-narrative interview, there is also a published text on the author's childhood memories. The article concentrates on the childhood of the author/interviewee, since the published version does not provide any information on her later life, and picks out two so-called key scenes that appear in both the published version and the interview, comparing the different versions with each other and examining them for ruptures, inconsistencies and changes. For the purpose of better understanding the analysis of these scenes, a third scene is added, which, however, only comes up in the interview. The analysis pursues the question of whether different presentations of a scene have something to do with the methodological particularities of an oral autobiographical narration as opposed to a written one, and what kind of knowledge is gained from contrasting two different self- testimonies.

Anderson's notion of imagined communities has helped to focus attention on the complex connection between language and membership of social groupings. This article explores the sense of membership of an imagined transnational community of 'Europe' through a selection of autobiographical narrative interviews in a multi-nation study of identity formation. Data drawn from a sample of European Union citizens reveals how people narrate their experiences of transnational mobility and how languages feature in their storytelling. We present evidence of key linguistic situations and encounters, including childhood experiences of other languages, experiences of education, as well as language choices in mature relationships and careers. We engage with the question of what it means to identify oneself as a learner, user or non-user of languages in the context of cross-border mobility. To the extent that language acquisition is advantageous for expanding cultural horizons, increasing mobility, extending networks and enhancing careers, the data is consistent with concepts of imagined community and language learning motivation. However, we also see evidence that linguistic diversity is a source of inequality and that languages can exclude as well as include. This prompts a conceptual discussion designed to articulate the problem that what is imagined is less than a collective identity or community, and more a mental frame of reference. In this context, we consider the applicability in the European context of the metaphor of linguistic capital, investment, markets and the right to speak developed by Bourdieu and others. Extempore narratives provide particularly valuable data for showing how social relations of language are configured and how they are experienced as constraint as well as opportunity.

Reductionist discourses in various academic disciplines have tended to treat the Native authors of collaboratively written autobiographies as objects of Euro-American study rather than subjects of knowledge production. To develop a decolonial practice of reading as-told-to Indian autobiographies, this dissertation engages with scholarship in the fields of Native American Studies and Gender and Sexuality Studies to offer queer readings of the autobiographies of Helen Sekaquaptewa, Polingaysi Qoyawayma, and Don Talayesva, Hopi people who were born during the 1890s amid the federal Indian policy era of assimilation. This study focuses on the primary texts' narrations of discipline in Indian boarding schools and highlights Hopi perspectives on the role of gender and sexual normalization in the colonial assimilation project. Chapter One, "`I am talking. She is writing.': Autobiographical Indiscipline in Me and Mine: The Life Story of Helen Sekaquaptewa ," develops the term autobiographical indiscipline to name the mode of collaborative self-authorship that these Hopi authors employed to represent the continuation of their Hopi identities. Chapter two, "Remembering Polingaysi: A Queer Recovery of No Turning Back as a Decolonial Text," examines the gendered facets of the trope of living "between two worlds" and the imbrication of sexual, racial, and nationalist politics underlying Indian boarding schools' policing of students' genders. Chapter three, "Twins, Whips, Tricks, and Clowns: Sovereign Erotics in Sun Chief: The Autobiography of a Hopi Indian ," explores the history of sexuality in America and its inherent ties to race making in the context of state-sponsored ethnologic projects. Chapter four, "Decolonizing Voth's Archive: Re-narrating Ethnographic Photographs in Hopi and Settler Colonial Contexts," re-narrates images from the archive of Mennonite missionary H. R. Voth through the voices of Hopi autobiographical subjects. Despite its particular Hopi context, this dissertation belongs to a broader intellectual context regarding the delimitation of literary and national boundaries and the politics of canon formation, which forms the core of American Studies. My theory of autobiographical indiscipline has implications for a range of Indian autobiographies as well as other forms of literature that blur the definitions of the autobiographical genre, such as ex-slave narratives, autobiographical fiction, and fictional autobiography.

"List of the principal writings of Sir John Bowring": p. [403] ; Mode of access: Internet.

This essay examines Washington Irving's short story "Rip Van Winkle" from an autobiographical perspective by focusing on the commonality and resemblance between the author and his fictional hero. It suggests that Rip and Irving have many similar traits which underline the deeply personal and subjective dimension of the tale. It begins by considering some of these traits such as idleness, generosity and kind-heartedness. It claims that both Rip and Irving are characterized by their benevolence and altruism which account for their belovedness. After discussing these attributes, the essay focuses on other common characteristics such as the tendency to pull away from matrimony. In this matter, both Irving and Rip's possible homosexuality are considered. Although there is no clear evidence that they are homosexuals, this essay suggests that they both seem to have a repulsive attitude towards heterosexuality. The essay then concludes by examining some of the shared views and perspectives between the writer and his character. It suggests that both Irving and Rip are characterized by their aversion to politics and by their deep love of nature. Due to the numerous and striking resemblances between the fictional hero and his creator, this essay argues that Rip is a reflection of Irving's character and personality.

The Seventies witnessed a renewed scientific interest in the literary genre of autobiography, even by researchers in disciplinary areas not strictly philological or literary. But, if often autobiographical narrative is used as a legitimation of a personal choice – especially in ethical and political realm – in the most recent works, the resurgence of "women's pages" and the concomitant successful researches by scholars in different fields (history, education, and literature) have made their way to a reformulation of the value of the autobiography itself, not only as a meta-historical issue led to the formation of a national identity, but increasingly as a powerful key to introspection. Once women have become masters in this literary genre, autobiographies have become instruments to capture the inner self and categories have largely diverted to a more intimate life, in a space apart to better hear themselves. Interest in the autobiographies was born under this gender difference: descending into the abyss of the female autobiographical writings can illuminate parts of real life, guess censorship, look closely at the passing of everyday experience. The writer's life is moving in this complex space, a place where desires for personal fulfillment usually fight against family responsibilities and social engagements, with traditional educational models and new projects for the future. Acting in this context is not simple, nor easy, because sometimes the strategies that women still represent are defined as coercive, more as resignations than options. The autobiographies analyzed in the essays that follow, give us examples of rebellion and revolt – more or less openly – put into action not to resign to inequality, especially when not only social rules refer to ways and times exclusively male, but when this injustice is seen in its full tragic sense. Then, rebellion in deeds and words is unavoidable and necessary. Received: 27/05/2013 / Accepted: 20/06/2013 How to reference this article Cagnolati, A. (2014). Vidas en el espejo. La educacion en la escritura autobiografica de las mujeres. Presentacion . Espacio, Tiempo y Educacion , 1(1), pp. 15-30. doi: http://dx.doi.org/10.14516/ete.2014.001.001.001

Includes bibliographical references. ; This thesis is a literary critical investigation into the strategies of self-definition at work in the autobiographical fiction of J.M. Coetzee. My focus falls on those of his novels that have a more-or less explicit autobiographical resonance (Boyhood, Youth, Elizabeth Costello, Diary of a Bad Year, Summertime), with supplementary forays into two additional books (Age of Iron and The Childhood of Jesus). My argument centres on the observation that Coetzee's work derives its affective force from the conflict he stages, time and again, between the desire for a transcendent sense of being, Romantic in origin, and the realization that being derives its co-ordinates from the discursive formations - ideological, socio-historical, philosophical, linguistic - that provide the structure of meaning for self-expression in writing. I introduce my argument by situating Coetzee's work according to a post-structuralist critical framework that emphasizes his strategies of subjective displacement. Our reading of his work, I then suggest, might benefit from a more considered evaluation of the persistent influence of a Romantic ideal concerning the primacy of subjective experience. In the first chapter I explore the conceptual tension that derives from these contrasting points of view by considering Coetzee's engagement with the tradition of confessional writing, arguing that he foregrounds the textual subject as the locus in which the truth of the self is to be sought. The second chapter examines the central role of the Karoo farm in the formation of the autobiographical subject in Coetzee's writing, and links it to a Romantic model of identification between the self and nature. In the third chapter I argue that Coetzee's awareness of socio-political realities inhibits the Romantic yearning for an authentic sense of self, even while he reformulates the idea of authentic voice as the expression of a politically and historically compromised subjectivity. Finally, in the last chapter I turn my attention to the authorial imprint that derives from the consistency of Coetzee's depiction of conflict between transcendent and contextual realities, and conclude by tracing the afterlife of this dynamic in his most recent novel, The Childhood of Jesus.

Existential violence is that form of violence in which the 'essence' or 'being' of anyone is decided according to the pre-established norms, rules, ideas, traditions and rituals with a view to suppress the intrinsic nature of the subject. Fixation of 'being' has been a matter of controversy across disciplines since centuries; therefore, a great effort is made from every power center to decide the beings of others. They are taught how they need to behave if they want to prove their potential in various spheres of human life. Karukku is an autobiographical work of Fausthina Mary Fathima Rani alias Bama who records various events of her life as the testimonials of Dalits' lives in general and Dalit women's lives in particular in rural Tamil Nadu. She describes here how dalits become the victims of many layered violence in caste-based societies. This work also records how the identities of dalits are manufactured and their beings are decided and readymade meanings are imposed upon them with the sole purpose of their exploitation. She states that higher castes Christians in India misbehave with Dalit Christians in the same way in which Hindus have misbehaved with them. There, according to her, is no respite for Dalits in merely changing the religion because higher castes Christians have lent caste-system together with its prejudices from their ancestors who usually had been Hindus. Bama has strongly opposed many traditional notions about dalits with her hard work and proved that a person's worth must not be judged on the basis of mere birth. The present research paper would be a sincere effort to analyze the politics of controlling and deciding 'being' or 'essence' of dalits and forcing them to fall prey to 'bad faith' of Jean Paul Sartre.

Abstract:- Existential violence is that form of violence in which the 'essence' or 'being' of anyone is decided according to the pre-established norms, rules, ideas, traditions and rituals with a view to suppress the intrinsic nature of the subject. Fixation of 'being' has been a matter of controversy across disciplines since centuries. But a great effort is made from every power center to decide the beings of others. They are taught how they need to behave if they want to prove their potential in various spheres of human life. Karukku is an autobiographical work of Fausthina Mary Fathima Rani alias Bama who records various events of her life as the testimonials of Dalits' lives in general and Dalit women's lives in particular. She describes here how dalits become the victims of many layered violence in caste-based societies. This work also records how the identities of dalits are manufactured and their beings are decided and readymade meanings are imposed upon them with the sole purpose of their exploitation. She states that higher castes Christians in India misbehave with Dalit Christians in the same way in which Hindus have behaved with them. There, according to her, is no respite for Dalits in merely changing the religion because higher castes Christians have lent caste-system together with its prejudices from their ancestors who usually were Hindus. Bama has strongly opposed many traditional notions about dalits with her hard work and proved that a person's worth must not be judged on the basis mere birth. The present research paper would be a sincere effort to analyze the politics of controlling and deciding 'being' or 'essence' of dalits and forcing them to fall prey to 'bad faith' of Jean Paul Sartre.

This article takes the genre of autobiography and a case of one woman's autobiographical texts as its starting point in examining the possibilities of combining theoretical feminist discussions with empirical analysis, or, the personal with the political. The article focuses on the autobiographical fragments of an "amateur autobiographer†Outi, an actor and a feminist, and studies the ways Outi reworks her identity over years. The analysis shows that the quest for the 'truth' about oneself is futile, and the 'real me' is only a cherished illusion. However, the lack of stable identity categories opens up a space for feminist politics. Distinguishing the various levels of autobiographical I is used as a method in order to present a subtle reading of autobiographies that would emphasize the many layers of the autobiographical subject and the constant process of becoming. The relations between the 'real' I, the narrating and the narrated I, as well as the ideological I in Outi's autobiographical writings are identified and analyzed in order to demonstrate how the separation of the I's can help in combining the discussions about the subject in feminist theory and the concrete empirical analysis of gendered lived experiences. Additionally, distinguishing the I's is a tool for feminist politics, and a tool for ethical reading of the autobiographies of unknown women.

This article discusses the connections between gender, politics of participation and of truth through the lens of life stories. They take as an example the contests of autobiographical writing which took place in Poland between the two World Wars. Poland after the First World War can be a good example to analyze the social and political meanings of participation, because it was a newly founded state with a huge tradition in autobiographical writing.

Frederick Byrn Køhlert's monograph on autobiographical comics argues that 'the form's self-reflective engagement with autobiographical representations […] might matter politically, especially for people on the social and cultural margins'. He thus places his work explicitly in a tradition of scholarship that frames comics autobiography as a vehicle through which marginalised voices can be given a platform, developing works such as Hilary Chute's Graphic Women and standing alongside more recent scholarship such as Elisabeth El Refaie's Visual Metaphor and Embodiment in Graphic Illness Narratives. To this end, his opening description of the history of comics autobiography emphasises its origins in independent publishing, and its historical position as a counterweight to the types of heteronormative power fantasies narratives constitutive of its most popular genres.

In this paper, I highlight four distinct but interconnected areas of my life history that I refer to as autobiographic poetic waves. These waves are layered with the complex underpinning of racial, linguistic, gendered, classed, and professional identity politics that continue to not only liberate but also subjugate me at times. These autobiographic poetic waves highlight my experiences as a hyphenated Korean-American woman living in the midst of discourses that continue to privilege dominant ideologies that contradict my lived experiences, yet permeate through every fiber of my being as a member of the academic community. Hence, I focus on two questions: In what ways, do I perceive and understand my lived experiences as a Korean-American, second language writer, English teacher, teacher-scholar, and Mama PhD? And, how can my understanding of these lived experiences further influence the work I do as a teacher-educator? Learning from and moved by the work of Hanauer (2012a, 2012b, 2013), my autobiographical-poetic rendition is an epistemological and ontological revolution that involves understanding my life history as four distinct but interconnected waves: (1) Immigration and Emergence of Hyphenated Identities; (2) Legitimization of the Hyphenated Identities in Higher Education; (3) Epistemological and Ontological Revolution; (4) Perception of Mama PhDs. These waves are interspersed with an extended version of the poem, Untitled, I wrote in 1984. I focus on the loss, divide, privileges, disenfranchisement, and identity that have permeated my life history since my family's immigration. I conclude with implications for the field of TESOL teacher education.

The paper at hand investigates forms and interpretations of author personae in autobiographical videogames. While, previously, autobiographical modes of expression have only been discussed in a few game-based artworks (Poremba 2007), the availability of free, easy-to-use tools like Twine and Ren'Py gradually affords autobiographical writing as a cultural technique outside of deliberately artistic endeavors. Therefore, the paper considers the creation and distribution of autobiographical games as a playful form of identity politics. For that purpose, a comparative content analysis (cf. e.g. Rössler 2012) of selected autobiographical games will be conducted, taking into account rhetorical and audiovisual elements but focusing on procedural design strategies and "bias" (Bogost 2008, 128). The corpus includes explicitly autobiographical sketches like Gravitation (2008) and Dys4ia (2012), but also cases in which the autobiographical characteristics are only implied like The Average Everyday Adventures of Samantha Browne (2016) as well as less polished, sometimes unfinished vignettes. This approach will be selectively complemented by a rhetorical analysis of paratextual elements such as developer statements and user comments. Play and games are increasingly recognized as modes of conceptualizing and expressing individual identity (Frissen et al. 2015, 35–36) that are particularly compatible with postmodern sensibilities. Consequently, the focus of the analysis will lie on how the implementation of the author personae as playable characters enable the developers to curate their identity online, both in terms of Moreno's psychodrama (Moreno 1987) and Foucault's technologies of the self (Aycock 1995).