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This paper focuses on Vandana Mishra's autobiography I, the Salt Doll which was originally published as Mee Mithaachi Baahuli in Marathi in 2014 and translated by Jerry Pinto in 2016. It attempts to analyze the concept of protofeminism by unfolding some significant sociocultural reformations in women's lives in the colonial metropolis of Mumbai. The study explores how a section of women revolted against the rigid gender norms to assert themselves in the public realm. It also concentrates on the miserable plight of widows who adopted the nursing profession. This paper features how male stalwarts, in those days, advocated not only for the upliftment of women through education, but also championed women's involvement in theatres. The study employs narrative analysis and highlights how protofeminism can be useful to unearth Vandana Mishra's mother's strenuous challenge against regressive gender stereotypes surrounding female education and nursing profession while setting an example for women of the next generation to follow. [ABSTRACT FROM AUTHOR]

This paper explores the intricate relationship between our personal experiences of space and the autobiographical nature of our geography. Our geographical awareness is profoundly shaped by the places we have been, encompassing a rich tapestry of places such as childhood homes, educational institutions, vacation spots, and bustling city streets. These spaces become imbued with personal memories and significance, forming the backdrop of our individual narratives. While these experiences are inherently personal and unique, they are also shared in a broader sense. This duality of personal fand communal experience adds layers of complexity to our understanding of space. Furthermore, our experiences of space are deeply intertwined with the passage of time. [ABSTRACT FROM AUTHOR]

In this paper, my aim is to provide a brief characterisation of selected features of the Cavellian understanding of philosophy, especially in view of the role played by autobiographical aspects in Cavell's philosophical and literary reflections. Autobiography would appear to be one of Cavell's favourite sources of cognition, at the same time serving as an important medium for his self-promotion. The self-reflection which may be achieved thanks to autobiography is never purely passive; on the contrary, it entails an inherent element of introspection of one's subjectivity. This creative dimension offers Cavell the opportunity to embark on his reading of Emersonian perfectionism, which he understood as a never-ending upward movement, an unstoppable advance towards self-perfection. At the same time, it reveals the irreducible complexity and pervasiveness of the autobiographical aspects in Cavell's thought in their interconnections with other aspects of his thought, such as, for example, his unique approach to psychoanalysis (especially in therapeutic contexts), or to aesthetic experience. As a result, Cavell's work in philosophy turns into a deeply personal experience which defies complete translation into discursive language. [ABSTRACT FROM AUTHOR]

Copyright of Confluenze. Rivista di Studi Iberoamericani is the property of Universita di Bologna, Dipartimento di Lingue, Letterature e Culture Moderne 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.)

In recent decades, phenomenology and hermeneutical phenomenology have taken the lead in addressing the question of personal identity through the inquiry of "who are you?". However, this lead has questionable aspects in capturing the relationality between self, others, and the surrounding world, characterized by its ever-changing state. To understand personal identity in its ever-changing state of becoming, the primary focus of this paper is twofold: firstly, exploring how to reconcile these complex relations into a unified conception of personal identity by following Husserl's notion of "indeterminate determinacy" and his theory of variation, and secondly, considering the limitations of defining this unity as an "autobiography or biography" in accordance with Arendt's notion of a "life-story". In the final analyses the notion of life-story will be revised together with Waldenfels's analyses on "radical alien" and Sözer's "in-between". This will prompt a reconsideration of personal identity as a process, leading to a genetic phenomenological perspective that recognizes the "indeterminacy of the self". [ABSTRACT FROM AUTHOR]

The study aims to explore the specific features of the modern reception of J.-J. Rousseau’s “Confessions”. The theoretical framework of the research is grounded on the ideas advanced by T. Avtuxovych, M.Czermińska, M.Głowiński, W.Iser, R. Jakobson, H.R.Jauss, P.Lejeune, Yu. Lotman, V.Tjupa, Zh. Starobinskiy and other scholars. The researchers describe the semiotic model of literary communication and the theory of the text by Yuri Lotman. The research was conducted using historic-functional, hermeneutic, receptive, and theoretical analysis methods. An attempt is made in this paper to show how the process of “decoding” the meanings intended by the author in the text takes place. In particular, the authors study how Rousseau’s “Confessions” functions in the structure of modern literary communication. The specific objectives of the present study are the meanings of “Confessions” are read by the contemporary recipient and which ones are relegated to the background compared to the literary communication of the eighteenth century. The common discourse code of the author and the reader is the key to successful communication and understanding of the specifics of the project of Rousseau’s life writing. At the same time, the success and specificity of artistic communication are influenced by the difference in discourse code meanings related to the time distance between the author and the recipient and the layering of new historical and cultural patterns in the reader’s consciousness. At the thematic level, three main themes are considered, including: a) the social origin of the autobiographical subject, b) his conflict with society, and c) the protagonist’s intimate self-disclosure. Thus, the article provides a detailed examination of the motif of the social origin of the autobiographical character. On the topic of the social origin of the character, instead of the plebeian’s right to public attention for the contemporary reader, the value of education and knowledge, freedom of speech and individual liberty are being actualised. Of particular note is the theme of the conflict between a character and society, the idea of the human right to otherness, the right to personal liberty and the right to choose the concept of one’s own life comes to the forefront. Thus, a literary text realises the social function of literature. The reading of the character’s self-disclosure by an attentive reader (from Rousseau’s contemporary to modern readers) has a twofold purpose: first, to encourage everyone to live the experience of the character and thus to think about themselves, and second, to reflect on society as a whole. It testifies to the fact that in the aspect of self-disclosure of the meaning of “Confessions”, the transformation of confession as an external form of a religious rite of repentance addressed to God into the narrative genre of confessional autobiography addressed to a human reader of the story is actualized. The study demonstrated a need for continuation of the study in the aspect of reader reception to contribute to the perception of its place in the contemporary literary and cultural space. [ABSTRACT FROM AUTHOR]

Blending literary and cultural studies, the essay discusses the manners in which Jhumpa Lahiri's literary universe constructs a gradual unfolding of a layered transcultural vision. The paper argues that in the shift from fictions of migration to autobiographical narratives of self-redefinition, the Bengali-American author advances cultural scenarios of transformation that enable the reshaping of cultural identities through the transcendence of fixed cultural loyalties. Invoking perceived lacks in their native cultural traditions and intuiting the incompleteness of cultures, her characters are haunted by the urge to cross cultural boundaries in order to gain a sense of personal fulfilment. Ultimately, Lahiri herself replicates this pattern as she relocates to Italy and writes in a new language (Italian). The last stage in Lahiri's transcultural scenario is represented by an attempt to dissociate cultural specificity from the notion of identity, as she takes refuge in the realm of abstraction through minimalist aesthetics. Relying on a close reading of her texts, the essay will scrutinise the author's peculiar outlook on transculturality, which appears to embrace various cultural spaces while seemingly avoiding specific attachments. The analysis aims to establish whether Lahiri succeeds in transgressing the very idea of cultural belonging in her quest for a freeing path. [ABSTRACT FROM AUTHOR]

Copyright of Trabalhos em Lingüística Aplicada is the property of Universidade Estadual de Campinas - Portal de Periodicos Eletronicos Cientificos 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 document is a short autobiography by Rien van Genuchten, who received the 2023 Wolf Prize in agriculture for his work on water flow and contaminant transport in soils. Van Genuchten discusses his upbringing on a family farm in the Netherlands, his education in mathematics and tropical agriculture, and his research in soil physics and vadose zone hydrology at New Mexico State University and Princeton University. He describes his contributions to the field, including the development of mathematical models and analytical functions to describe unsaturated soil hydraulic properties. The text also covers the author's collaborations, international research experiences, and concerns about environmental issues and climate change. [Extracted from the article]

The paper deals with memory, identity, and belonging issues in the autobiographical novel Warm Arctic Nights by a distinguished Ukrainian American writer, Yuriy Tarnawsky. The novel shares the story of a youth whose life was disrupted by the turmoil of World War II in the Polish-Ukrainian borderlands. The analysis aims to establish a connection between identity formation through narration and changing functions of the borders, from reliable and well-protected toward violated and porous ones. Thus, the novel is re-read through the analytical lenses of identity and border poetics. The analysis stems from the concepts of “biographical me” and “identity set” suggested by Neil MacKinnon and David Heise (2010). The paper revises the personal and collective identities of the protagonist, images of Others, and topographical, symbolic, and epistemological borders inside and outside the text. The author of the paper places Ukrainian migrants’ experience of trauma, loss, and displacement into a broader context of border crossings in times of war.

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 paper analyses the relationship between masturbation and literary creation, taking as a reference the memoirs and some poems by Carlos Barral. For this purpose, it also considers texts by other authors, who lived through Franco's repression just like Barral or simply gave their own meaning to the search for intimate pleasure implied by autoeroticism. The essay aims to study the ways in which literary and sexual subjectivity feed back into each other, in an era marked by censorship and silence.

The study aims to explore the specific features of the modern reception of J.-J. Rousseau’s “Confessions”. The theoretical framework of the research is grounded on the ideas advanced by T. Avtuxovych, M.Czermińska, M.Głowiński, W.Iser, R. Jakobson, H.R.Jauss, P.Lejeune, Yu. Lotman, V.Tjupa, Zh. Starobinskiy and other scholars. The researchers describe the semiotic model of literary communication and the theory of the text by Yuri Lotman. The research was conducted using historic-functional, hermeneutic, receptive, and theoretical analysis methods. An attempt is made in this paper to show how the process of “decoding” the meanings intended by the author in the text takes place. In particular, the authors study how Rousseau’s “Confessions” functions in the structure of modern literary communication. The specific objectives of the present study are the meanings of “Confessions” are read by the contemporary recipient and which ones are relegated to the background compared to the literary communication of the eighteenth century. The common discourse code of the author and the reader is the key to successful communication and understanding of the specifics of the project of Rousseau’s life writing. At the same time, the success and specificity of artistic communication are influenced by the difference in discourse code meanings related to the time distance between the author and the recipient and the layering of new historical and cultural patterns in the reader’s consciousness. At the thematic level, three main themes are considered, including: a) the social origin of the autobiographical subject, b) his conflict with society, and c) the protagonist’s intimate self-disclosure. Thus, the article provides a detailed examination of the motif of the social origin of the autobiographical character. On the topic of the social origin of the character, instead of the plebeian’s right to public attention for the contemporary reader, the value of education and knowledge, freedom of speech and individual liberty are being actualised. Of particular note is the theme of the conflict between a character and society, the idea of the human right to otherness, the right to personal liberty and the right to choose the concept of one’s own life comes to the forefront. Thus, a literary text realises the social function of literature. The reading of the character’s self-disclosure by an attentive reader (from Rousseau’s contemporary to modern readers) has a twofold purpose: first, to encourage everyone to live the experience of the character and thus to think about themselves, and second, to reflect on society as a whole. It testifies to the fact that in the aspect of self-disclosure of the meaning of “Confessions”, the transformation of confession as an external form of a religious rite of repentance addressed to God into the narrative genre of confessional autobiography addressed to a human reader of the story is actualized. The study demonstrated a need for continuation of the study in the aspect of reader reception to contribute to the perception of its place in the contemporary literary and cultural space.

This paper sets forth to investigate biographical data in the Gheorghe Grigurcu written confessions. Considering elements of his most revealing interviews conducted by the writers such as Flori Bălănescu and Dora Pavel, the profile of a contemporary writer engaged in the negotiation of his own identity is outlined. The autobiographical references drawn from the writer’s confessions will help us understand his individuality and creative spirit. Gheorghe Grigurcu’s hypersensitive personality projects empathy towards the oppressed and the helpless. He feels an acute but repressed nostalgia for his homeland. The “Bessarabianness” was also revealed in his attitude towards the work of B.P. Hasdeu and Paul Goma. Disappointments resulting from friendship and love relationships amplify the feeling of inadaptability. The feeling of marginalisation is balanced by agape love, which creates the compensatory universe indispensable to the writer. Trained in the process of negotiating his own identity, Gheorghe Grigurcu finds that human harmony can all be easily disturbed by the temptation to compare himself with those around him, by the obsessive Other.

Copyright of Ankara Üniversitesi Dil ve Tarih-Cografya Fakültesi Dergisi DTCF Dergisi is the property of Ankara Universitesi Dil ve Tarih-Cografya Fakultesi (DTCF Dergisi) 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.)

Yang Bang Ean is a second-generation Korean resident in Japan and a renowned composer of piano and orchestral style using musical elements from Korea. His background has provided us the opportunity to understand one side of the life of the next generation forming a part of today's diasporization. The Korean diaspora in Japan, particularly the second generation, allows for the exploration of various postcolonial issues. These diasporic Koreans living in Japan have been pushed to the margins of their residential society. On the boundary, they have ardently tackled with how to live self-reliantly. This is through the bodily reconstruction of their Korean diasporic identity. The bodies of Korean residents in Japan are the first windows through which they suffered and can carry on again, often conducting new cultural practices. An example of this is Yang Bang Ean. Therefore, this article aims to explore how Yang has bodily constructed his Korean diasporic identity. To this end, the current study intends to apply the approach of construction of sensory nostalgia to his autobiography and his musical composition, Prince of Cheju. This study finds that, based on olfactory and ocular hearings, which were pushed to the margins of Japanese society within the old sensory hierarchy, Yang constructed a futuristic nostalgia for his own homeland--ancient Jeju Island. [ABSTRACT FROM AUTHOR]

Reactions to the Wright brothers' achievement of the first sustained, controlled powered flight in December 1903 ranged from complete indifference to voluble celebration and evolved into convictions that ranged from a belief that war would be rendered impossible to confident predictions of invasion and widespread destruction. The policies and perceptions of institutions, governments and individuals were subject to constant revision and often abrupt reversal. When war came, the aeroplane, which began as an instrument of reconnaissance, rapidly became one more hazard among many for those at the front and a further point of division between combatants and civilians, for whom airships and air raids tended to loom larger. The first dynamic phase in the story of the aeroplane overlaps with the major early modernist period. This essay seeks to map, within that wider context, the experiences and responses of Ford Madox Ford. He began, like many others, with images of beauty and the natural world in that early stage when a functioning range of descriptive or comparative terms had yet to emerge. He encountered them next in the theatre of war during his service in France. His ambivalence towards aeroplanes was both similar to and different from his earlier responses to trains, cars and telephones. Their relative rarity, as well as their both physical and metaphorical distance, and Ford's own apparent immunity to the glamour and dynamism of aviation enabled him to view them retrospectively and employ them in anecdote, autobiography and fiction as both threat and saviour. [ABSTRACT FROM AUTHOR]

"Kalam-e-Natammam: An autobiography by Prof. Tariq Saeed Mufti" is a book that shares the life experiences of Prof. Tariq Saeed Mufti, a noted surgeon and former Principal and CEO of various medical institutions. The autobiography is filled with revelations and admissions, offering valuable lessons to readers, particularly younger healthcare professionals. It covers various aspects of Mufti's life, including his childhood, education, professional career, and personal challenges. The book also discusses ethical practices in the medical field and highlights the importance of learning from personal and professional mistakes. Overall, this autobiography provides a unique perspective and valuable insights for those interested in the healthcare profession. [Extracted from the article]

This article examines the metalinguistic commentary on address practices in a Finnish autobiographical novel series, the 26-volume Iijoki-sarja 'Iijoki Series' (1971–1998) by Kalle Päätalo. Our aim is to show how the forms of address affect the protagonist and other characters. The study is anchored in previous sociopragmatic research on address and in folk linguistics. The analysis is based on searches in the digital corpus of the whole series by means of keywords related to forms of address. The analysis proceeds chronologically, from Kalle's childhood and adolescence to his marriage and working life, including his social rise from a poor country boy to a full-time novel writer. Our results show that Kalle, the fictional protagonist of the series, mirrors his own and others' choices in address practices throughout his life against the norms he has learned in his childhood. These choices are explained by the (relative) age, sex, status and regional background of the interlocutors. Metalinguistic comments reflect the characters' social relations and changes in them during the protagonist's linguistic biography. We argue that fiction can open up perceptions and contexts related to address practices that are not easily accessible by other methods or datasets. [ABSTRACT FROM AUTHOR]

Copyright of Perspectives on Culture / Perspektywy Kultury is the property of Jesuit University Ignatianum in Krakow 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.)

"Listing the Body: Embodied Experience and Identity in Autobiographical Graphic Illness Narratives" examines the popular use of lists in autobiographical graphic illness narratives to determine how they are used to address the subject's embodied experience of illness. After a brief discussion of what lists are and how they have been said to function in literary texts, attention is given to examining how the verbal and visual lists included in several autobiographical graphic illness narratives narrate identity as understood across the body, in the mind of the self, and in the mind of others. Asking how lists function within autobiographical graphic illness narratives to address the ill subject's fluctuating understanding of self as an embodied being, the article concludes that lists narrate the subject's lived experience of illness. [ABSTRACT FROM AUTHOR]

Unlike earlier studies that approach academic vocabulary learning cognitively, this case study situates vocabulary learning in the classroom context. It features the teaching and learning of academic writing in an EMI program in a Thai university, focusing on five EFL students' use of academic, technical, and translingual lexicons to construct their textual identities in their literacy autobiographies (LAs). Data were collected from a semester-long and autoethnographic-researchoriented academic writing course that focused on a multi-draft LA writing project. They included teaching documents, field notes, students' LAs, weekly reading journals, and course reflections. These data were examined both quantitatively, i.e., by using AntWordProfiler, and qualitatively, i.e., by adopting a classroom-writing-ecology-and-translanguaging perspective. Both the core Academic Word List (AWL)-570 and a word list specifically for social sciences were referenced. All students were found to have grown in their understanding and use of the academic vocabulary and other resources in their later LA drafts and that they used these resources in an orchestrated manner. This study challenges ESP and EAP professionals to adopt a more holistic and dynamic view of their students' meaning-making repertoires in academic writing. [ABSTRACT FROM AUTHOR]

This text discusses the artwork and performances of Agnes Questionmark, focusing on two specific pieces: Sirenomelia and TRANSGENESIS. Sirenomelia explores the concept of anomaly through the fusion of human and fish characteristics, challenging traditional notions of gender and celebrating bodily deformities. TRANSGENESIS imagines a new form of evolutionism, where humans hybridize with animals to create a new species, questioning the taxonomic order and emphasizing interconnectedness with other beings. The performances aim to provoke thought and open minds, encouraging a reevaluation of societal norms and relationships with nature. The text also references English Aestheticist art from the 1870s, which explored queer ecologies and plant-human entanglements. [Extracted from the article]

Modernist propositions long have been understood as atemporal—somehow outside of time—or insistently hailing the future. This temporal framework suppresses the contributions of those excluded from modernist canons, particularly Black women. In this article, visual and material analysis of sculptural works produced in the 1970s and 1980s by U.S. Black women artists Beverly Buchanan, Senga Nengudi, and Betye Saar reveal how Black feminists have engaged with modernist protocols in order to redress cultural erasures of Black women. These practices exemplify Black feminist modernisms, or creative practices that unsettle the racist and sexist logics of dominant cultural institutions. Each of these artists utilizes haptic surfaces as a method for defying institutional modernism's obfuscation of the past. The analysis focuses on Buchanan's defiance of memorial erasures, Nengudi's reenactment of labor, including in its historical forms, and Saar's adaptation of generational memory-making processes. Ultimately, these artists' rejection of a "timeless" modernism demands that viewers understand the present moment in relationship to a still-evolving past. In this way, Buchanan, Nengudi, and Saar position the present as an accumulation, rather than transcendence, of historical occurrences. [ABSTRACT FROM AUTHOR]

This article places the question of the presence of the Averroist philosopher Siger of Brabant in Dante's Paradiso within the debate concerning Dante's relationship with Averroistic philosophy throughout his works, particularly in the Commedia. The purpose of this research is to initially query the issue of Dante's potential retraction of previously adopted Averroistic positions in the Commedia, and then to examine in greater detail the relationship between the Florentine poet and the Brabantian philosopher. United by the thematic and autobiographical thread of knowledge persecuted by power, embodied in the history of both figures, the proposed viewpoint is that Dante finds a model of intellectual honesty and freedom in Siger's thought, ready to question even the authority of Aristotle, a model that Dante admires, places in Paradise, and upon which he structures his poema sacro. In conclusion, this work suggests a reading of some paradigmatic and antithetical pairs in the Commedia, linked by common principles yet opposite destinies, including Dante himself. [ABSTRACT FROM AUTHOR]

Introduction: People with poststroke acquired brain injury (ABI) face a complex and often troubled identity reconstruction journey. The literature is rich with studies related to the psychological and neuropsychological components involved in rehabilitation, but it is lacking with respect to the investigation of the existential dimensions and the challenges associated with finding new senses and meanings for one's identity and future perspectives, body and interpersonal relationships. Methods: The aim of this study is to investigate the narrative processes of identity reconstruction after brain damage. Through a qualitative approach, 30 autobiographical narratives about self, body and the relationships with others were collected and analyzed. Semistructured interviews were used for the data collection. Narrative and positioning analysis were applied. Results: Four main positionings emerged: sanctioning a radical break with one's previous life; assuming a sense of salvation and compulsory as well as irreversible adaptation to the limitations associated with one's condition; feeling different and disabled; and considering new possibilities and active constructions of self‐being in relationship with others. These results underline the narrative processes of construction of the injury and the identity and delineate possible resources and instruments to improve the clinical practice for health practitioners. They are also valuable for other professionals who deal with neurological services and rehabilitation, such as psychological counselling and support for persons who have experienced ABI and their families. Patient or Public Contribution: This work resulted from a close collaboration between two universities and a hospital neurological rehabilitation department in the Veneto Region (Northern Italy). Three associations of people with stroke and their families living in the same area contributed to designing the research on the basis of the needs expressed by their members with the aim to identify strategies and devices to be implemented in the public service to improve the care pathway. They also participated in the interpretation of the data. [ABSTRACT FROM AUTHOR]

Introduction: Osteopathy was originally introduced in rural America in 1874 as a comprehensive therapeutic approach aimed at promoting health. This approach was distinct and often conflicting with conventional/allopathic therapeutic methods available at that time to fight disease. We argue that, in struggling to achieve recognition within the American healthcare system and within the educational academic field that was about to be structured, the American osteopathic profession tried to protect itself from the charges of sectarism by starting to embrace principles of the biomedical paradigm. Methods: A comparative and historiographic review of the second version of the autobiography of AT Still (1908), the founder of osteopathy, against the first (1897) was chosen as an example of the adaptation of the American osteopathic profession to its evolving academic environment. Results: Although there were only a few substantial variations, we argue that they aimed to dampen the non-biological components of osteopathy, namely, its philosophical, spiritual, religious, emotional, and Native American roots, in an effort to gain respect and recognition within the emerging gold standard of the Western medical system. The shift towards a distinct, fully integrated profession within regulated Western healthcare systems was perceived by many professionals as a threat to AT Still's original ideas, and the trend started when he was alive. Conclusion: Our findings suggest that a crucial conversation regarding the future of the professional identity must take place within the osteopathic community. [ABSTRACT FROM AUTHOR]

The article provides a close reading of the novel Το βιβλίο της Κατερίνας [The Book of Katerina] by Auguste Corteau, highlighting its connections and divergences from τρίτο Στεφάνι [The Third Wedding Wreath] by Kostas Taktsis. It explores issues of social gender, family, and autobiography through the lens of camp discourse. From a theoretical perspective, the analysis builds on Fabio Cleto's considerations of queer readings of camp discourse. [ABSTRACT FROM AUTHOR]

Emancipation narratives in the U.S. feminist literature of the late 1960s and 1970s constructed the female identity in line with the feminist slogan "the personal is political." The heroine, constrained by gender roles in the private sphere, realizes that her personal problems have broader social causes, so she changes her life to create a new self that conflicts with traditional female roles. The emancipation of the protagonist Mira of The Women's Room written by Marilyn French, follows the genre conventions of the feminist Bildungsroman which shows Mira's journey from a mad housewife to a Harvard graduate. Even though the novel shows that the personal becomes political in the emancipation of the heroine from the constraints of the female private sphere, the novel fails to convey the optimism of broader change in the depiction of Mira's friends whose lives show that emancipation is a long and difficult journey indeed. [ABSTRACT FROM AUTHOR]

Attosecond science requires a substantial rethinking of how to make measurements on very short timescales; how to acquire the necessary equipment, technology, and personnel; and how to build a set of laboratories for such experiments. This entails a rejuvenation of the author in many respects, in the laboratory itself, with regard to students and postdocs, and in generating funding for research. It also brings up questions of what it means to do attosecond science, and the discovery of the power of X-ray spectroscopy itself, which complements the short timescales addressed. The lessons learned, expressed in the meanderings of this autobiographical article, may be of benefit to others who try to reinvent themselves. [ABSTRACT FROM AUTHOR]

Copyright of EMPIRIA: Revista de Metodología de Ciencias Sociales is the property of Editorial UNED 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.)

In this article, we discuss an autobiographical writing assignment that we call an "automathography" which can be used in different types of mathematics and mathematics education courses, and by extension, in other disciplines as well. This assignment can enhance student-instructor interactions, develop student communication skills, and provide outlets for student creativity by leveraging the lived experiences of students. We have deployed the assignment in different kinds of classes (general education [service] courses and major-only seminars) at different kinds of institutions (a private, open-admission, large university on the East Coast and a private, highly selective, small liberal arts college on the West Coast). We argue that the automathography can be used in both lower- and upper-level courses as a way of encouraging others to develop similar assignments and gain the benefits to instructors and their students associated with the use of a powerful pedagogical tool. [ABSTRACT FROM AUTHOR]