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

This article presents the methodologies of conversations, research with everyday life and writing that were developed in the doctoral research, along with ethical issues that we face when narrating about the curricular creations with daily life of a public school in the periphery of Baixada Fluminense/RJ, awarded by the FAPERJ Notice of “Support for the improvement of public schools based in the State of Rio de Janeiro — 2021” for the development of the project “Plural languages: sounds, knowledge and flavors”. Education, democracy, intersectionality are woven into narratives such as confronting capitalism, colonialism and patriarchy, becoming a practice of research, training and curriculum writing. The text brings the debate on maintaining the anonymity of the school, students, education professionals and the community, a methodological issue that crossed the research, the debate with the bank in the qualification and with the guidance on protection in times of hate. We reflect on the school’s “right to appear”, in the face of public policies to control curricula, such as the National Common Curriculum Base, for example, and we continue to present research methodologies with everyday life, conversations and literary creation. The researched school, in this way, is all that and is none of that. [ABSTRACT FROM AUTHOR]

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

Copyright of Límite: Revista de Estudios Portugueses y de la Lusofonía is the property of Servicio de Publicaciones de la Universidad de Extremadura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Biography, as one of the first forms of writing in history, has, over time, gained space among historians who have taken the responsibility of writing the narrative of a life. However, when we are faced with the task of analyzing the writing of life, we are still surrounded by the intricacies and uncertainties that such an object presents. In this article, we expect to contribute in the historiographic field that is gradually consolidating itself, that of thinking biography as the writing of history and that is using biographies as a historical source, by delimiting theoretical and methodological possibilities for investigating this narrative. [ABSTRACT FROM AUTHOR]

This essay examines life writing by English author Virginia Woolf (1882-1941) and Yankton Dakota writer Zitkala-Ša (1876-1938), specifically Woolf’s memoir, “A Sketch of the Past,” written in 1939-40 and first published in Moments of Being in 1976, and Zitkala-Ša’s autobiographical essays, published in the Atlantic Monthly in 1900. This comparative study explores how both women establish selfhood amid competing pressures vying for their minds and bodies; how mothers and maternal loss shape their autobiographies; how physical and psychological place and displacement influence their life writing; and how matters of audience affect their literary self-portraits. Reading Woolf and Zitkala-Ša together yields fresh insights into the intersections of race, class, gender, and feminism in women’s writing.

Copyright of Ilha do Desterro: A Journal of English Language, Literatures in English & Cultural Studies is the property of Universidade Federal de Santa Catarina, CCE Departamento de Pos-Graduacao em Lingua Englesa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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

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

This article proposes a reading of Manual del distraído (1978) by Alejandro Rossi and Diarios de la edad del pavo (2017) by Fabián Casas, focusing on the ways that subjects are inscribed in writing practices that, appealing to different autobiographical registers, expand the limits of the literary to areas of discursive indeterminacy that erase the distinctions between writing and life. Although they are not removed from the idea of modern literature, these expansions seem to take on other inflections today. With the aim to make them visible, this article seeks not only to point out the inevitable disparity between books published 40 years apart, but also to reveal, within the autobiographical gesture of its writings, prefigurations of the present and/or the persistence of a literary modernity in crisis. [ABSTRACT FROM AUTHOR]

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

To remember and to forget are actions that involve selection of information, which means that it is impossible to remember without forgetting. Being the collective memory a social construct and a factor of identity for any community, how are we supposed to live with forgetfulness? How are we to live upon the deletion of the past (de-memorizing)? To counteract the silences and the unsaid it is possible to think of underground memories that express the spoken word of the excluded and the neglected from the official memory. Shaping a new writing and a new literature, innumerous authors consecrated thus their experiences of pain and trauma caused by Shoah. It is their examples of life and writing that we bring forward into confrontation, resorting to a conceptual frame that will also be supported by such thinkers as Michael Pollack, Theodor Adorno, Giorgio Agamben, Hannah Arendt or Walter Benjamin. [ABSTRACT FROM AUTHOR]

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

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

The article discusses the concept of "autofiction" via analysis of three recent German literary books. Suggesting that fiction should be defined, at first place, by imaginary (invented) elements, it challenges the use of the term in its wide definition and its extension to remote periods of history which tend to substitute "autobiography" by "autofiction". It is proposed to reserve "autofiction" in the strict sense exclusively for literature that offers an intentional ambiguous pact which plays with the empirical author's image by means of fictitious (or ambiguous) elements. Autobiographical texts, however, that use narrative strategies of fictional writing without abdicating from the referentiality of the content, constitute a new class of life writing that might be called autonarration in accordance with A. Schmitt. [ABSTRACT FROM AUTHOR]