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Background: Visibility of the transgender community has increased, particularly in the media. Trans teachers face a challenge, as their professional roles are both public and private. In an effort to seek personal and professional support, trans teachers have turned to social media outlets. Additionally, current research does not always encompass intersectional experiences of trans BIPOC teachers. Aim: This paper presents an autohistoria-teoría, or autoethnographical case study account of the author's experience coming out in the workplace as a trans teacher in Texas. Methods: Guided by Slavin et al. multicultural model of the stress process coupled with intersectionality, this paper attempts to describe how a trans teacher of color navigates the workplace. The data for this study are a collection of all of the author's social media posts from 2005 to 2015. Results: Findings reveal that allies provided some support, and that this trans teacher used deflection as a coping strategy in posts. Conclusion: The results suggest that administrative and peer support can impact transgender workers' mental well-being. In this paper, autohistoria-teoría is used as a powerful way for a trans BIPOC teacher's narrative to be told, which contributed to cultural healing. [ABSTRACT FROM AUTHOR]

The paper considers the status of autobiographical interview data in life history and biographical research. Interviews tend to be treated, it is suggested, as 'sacred' texts--as contemplative and authoritative versions that are as free as possible from the biasses and desires that ordinarily animate (and 'contaminate') personal stories and anecdotes. It is argued here that, on the contrary, interview accounts are as mundane and pragmatic as any other kind of self-talk. People use identity for practical ends--to make sense of their conduct, to establish allegiances, to justify, moral positions and defend educational ideals. The paper ends by examining a fragment from an interview. Using concepts from discourse and conversation analysis it shows how a teacher, Karen, constructs a particular professional identity and thus engages in an act of mundane autobiography. [ABSTRACT FROM AUTHOR]

Ingmar Bergman (1918-2007) wrote his autobiography The Magic Lantern (Laterna magica, 1987) 5 years after he had finished his film career with Fanny and Alexander, his last feature made for the cinema screen. This arguably marked the second stage of his strictly literary career, the first being his plays for the stage in the 1940s. The Magic Lantern is of interest from an intermedial perspective in its forthright theatricalization or cinematization of the written text and the self-conscious performativity of its authorial voice. Of particular interest is the way the narrator turns into a kind of distanciated autobiographical witness, which in turn reminds the reader of the inherent narrative split in the autobiographical genre between the enunciating subject speaking from the present, and the described subject, the younger self in the past. In doing so the narrator seems to turn language itself into a performative venue: the medium of words becomes a theatrical stage or a cinematically charged mise-en-scène for memory as such. This is of course not only stylistically elegant, for what can be more natural than a film- and theater director who, as the very title of the autobiography announces, turns memories into cinematic and theatrical performances? But even more interesting is the extent to which Bergman in doing so seems to conjur forth his biographical legend, reminding the reader of who is in charge of text: the narrator becomes the director of the text, so to speak, lighting and setting the stage. Besides this artful approach, Bergman also clearly fictionalized his life in other ways, which is corroborated by the private note books and original manuscripts that the writer of this paper has gained access to. [ABSTRACT FROM AUTHOR]

Over his lifetime, the medical researcher and Nobel Prize winner Carleton Gajdusek 'adopted' 38 children from Papua New Guinea and Micronesia who came to live at his home in the US and were schooled at Gajdusek's expense. Drawing on interviews with ten of the now adult 'adoptees' living in PNG, other informants, and published and unpublished documentary sources, this paper reflects on the children's experience of family life in Gajdusek's home and their subsequent return to PNG. The discussion highlights and challenges assumptions implicit in common Western concepts of family. [ABSTRACT FROM AUTHOR]

A large number of artists' autobiographies and biographies were published between 1820 and 1940, satisfying public curiosity about artists' lives. Although they frequently provide only a limited amount of technical information, these works can be some of the few eyewitness accounts of artists' methods, materials and attitudes to their art, as the artist's papers were often destroyed subsequent to publication. The accuracy of these reminiscences, often written in advanced old age, should not be assumed, but in some cases it is possible to verify the information they contain against surviving correspondence, commercial evidence in artists' colourmen's archives, and technical examination and analysis of works of art. [ABSTRACT FROM AUTHOR]

The article presents information on some English stationers of the seventeenth and eighteenth centuries, based on their autobiographies. John Dunton has been treated before by historians with varying interests, such as literature, journalism, and American colonial history; but he does not seem to have attracted the attention of economic historians. Dunton was more than merely a seventeenth-century businessman. He was typical of what his period called a "projector," and his seems to be the only autobiography of a man falling into this category, hence its unusual interest. The work is utterly unreliable because the author was conceited beyond imagination, a liar and later in life possibly mentally deranged; but one could also take the opposite stand, for in tile minds of Dunton's contemporaries a strong ingredient of chicanery belonged to the personality of "projector." When one analyses Thomas Gent's life as it is presented in the autobiography, one faced with the need to decide how much was typical of the printing business eighteenth-century England. Gent's preparation for his rise from employee to employer was long-drawn out and motivated by his desire to marry. Having earned and saved enough money, he made use of an opportunity of buying cheaply a fount of type. Some time thereafter he purchased a fount of pica from a printer's widow and, as a further step towards his goal, a small press as well. This exhausted his funds, so that he could not take the desired final step but instead went on working as a journeyman.

This article discusses the book "The Boy Who Loved Windows: Opening the Heart and Mind of a Child Threatened with Autism," by P. Stacey. This is a remarkable memoir of the author's battle to keep her son, Walker, from becoming autistic through the use of alternative medicine and the newest brain research. With a sensitive look at understanding autism, the book details the personal sacrifice of a family and gives a glimpse at a promising new approach for staving off autism.

This paper seeks to explore the relationship between the body, oral history and drama education. It offers some reflections on the author's experiences of reminiscence theatre and the performance of autobiography, and raises questions about the ethics of intergenerational drama projects. Drawing on the work of Jacques Derrida, it will consider how the idea of the body as an archive might inform community-based reminiscence theatre and performed local knowledge in drama education. [ABSTRACT FROM AUTHOR]

This article sets out to review the films of Chantal Akerman, mainly those that she made in the 1970s and 1980s, observing how her filmmaking formulates a journey to and from the home against the background of the historical scene post 1968. Through a selection of examples, I will argue that the singularities of her filmmaking—the exploration of suspended time, the preference for a frontal gaze at the female body, or the inclination to autobiography, being the most noteworthy traits—have their basis in her critical observation of the life of women in social spaces, and also in a commitment to their emancipation through desire. Seen in perspective, the path that Akerman takes is one of unstable—though coherent—movement through the rejection of domesticity as the place from which the oppression of women originates, the flight from this (in other words, nomadism), and a search for other interiors that function as the opposite of the family home. These other interiors are empty and anonymous rooms where time and the rules that govern society are suspended, where Akerman herself, or other characters who are her alter ego, go from one corporeal state to another, carrying out the basic activities of the body, such as eating, sleeping or having sex. [ABSTRACT FROM AUTHOR]

In this article I present a case study of the relationship between interviewer and narrator to explore the process of collaboration in the production of an auto/biography. This article outlines how the project originated and how it developed over the past six years. After introducing the narrator, Arthur Thickett—soldier, communist, pacifist, and writer—I explore our collaboration and identify those facets of the relationship that have been the most influential in shaping the interview. Michael Frisch's principle of "shared authority" influenced the working process, and collaboration was an important element of the work. This paper discusses the effect that attempting to share authority had on the project, and examines the issues raised by the collaborative process, such as who owns the material produced, who decides what material is made public, and how these decisions affect the history told. [ABSTRACT FROM AUTHOR]

In this autobiographical statement, I show how sex and sexuality have determined the education, regional specialization, co-authorships, social network, and opportunities I have had in archaeology. In particular, it is homosexuality that has coloured interactions, peer network formation, and the mentoring of students in both positive and negative ways. [ABSTRACT FROM AUTHOR]

Memoir, a genre that dates back, arguably, to Augustine’sConfessions, if not even earlier, is today enjoying enormous critical as well as popular success. In this essay, I discuss what I see as the most recent ramification of memoir, namely the development of a distinguishable new subgenre which I will call “critical autobiography.” Stemming from the long and complex tradition of literary memoirs, the critical autobiography flirts closely with fiction and literary criticism while challenging some of the structural and aesthetic features that characterize more traditional autobiographical works. In the course of this paper, I consider such challenges and their impact on the nature and classification of memoir. Grounding my analysis in genre theory (as opposed to strictly intentionalist classificatory strategies), I outline and defend three contra-standard features of the critical autobiography: critical autobiographies problematize the idea of an authentic confession, they refrain from causal narrative connections, and, lastly, they further contribute to the discussion on the nature of the self by providing a perhaps more scattered, but nonetheless compelling picture of what a contemporary autobiographical self may actually be. [ABSTRACT FROM PUBLISHER]

Reports on the link between racism, sexism and the million man march. How these issues prompted the march; Why blacks are subjected to racism; Historical overview of racism; Examination of patriarchy as a means of racial submission; Details on how blacks can reduce racism and sexism in America.

An excerpt from the book "Otto Hahn: A Scientific Autobiography" is presented.

The article presents the autobiographical notes of scientist Otto Hahn. Hahn reverts to the role of the scientist concerned only with the progress of research and discovery in his chosen field. He narrates his scientific life story with a modesty and humor which few of his peers are likely to match. Hahn, as discoverer of nuclear fission has become the outstanding example of the scientist, working out of pure scientific curiosity, in an area as remote as possible from all practical applications, initiating a technical revolution-immediately in warfare and with some delay but equally if not more importantly in the whole energy household of mankind.

The article discusses Assata Shakur, a Black woman revolutionary, who escaped with the help of an armed group from the Clinton Correctional Facility for Women in New Jersey and sought political asylum in Cuba. Topics include her 1987 autobiography "Assata: An Autobiography" which the author taught to university students in a course called "Memoir and Autobiography," the autobiography's use of poetry as narrative and techniques for teaching the text, and the political tone of the book in which Shakur discusses the meaning of revolution, colonialism, and Black nationalism.

The autobiographical writings of the sometime Canadian resident Ilona Duczynska (1897-1978), born near Vienna of a Polish father and Hungarian mother (both of the lower nobility), were designed to show how experiences within the family during childhood and youth led to her becoming a revolutionary. Duczynska claimed to have experienced a species of class struggle—involving the families of her idealized father and her much criticized mother—that brought about the death of the former and marked her personally with the sign of inferiority. It followed, then, that education was powerless to amend what Duczynska decided she had already 'learned' within the family, including her malcontent father's characteristic spirit of negation. Consequently, Duczynska describes the various stages of her distinctly privileged education in Austria, Germany, Switzerland and Hungary—almost entirely in terms of how she availed herself of opportunities to take a 'stand' against existing institutions. Inevitably, in 1922 even the 'party school' of the Hungarian Communist Party forfeited her confidence. Further research, drawing on psychological insights, may show why Duczynska's family experiences should have led to a mistrust of the family as an institution, fascination with 'revolutionary violence', and life-long hatred of liberal democratic (and capitalist) institutions. [ABSTRACT FROM AUTHOR]

The article explores the popular reception of Surname Law by examining family name narratives elicited in interviews, official documents from the Turkish state archives and visual and written material from popular media. Accordingly, the Surname Law enforced the adoption and registration of hereditary surnames in Turkish. In addition, the law was one of the last of a series of modernizing and secularizing measures that loosened the new republic's ties to its imperial past and a broader Islamic geography. Further, the narratives about surnames are utilized to explore how narrators situate themselves in perceived social orders to groups.

The article describes the views of the author about the war memoirs of Churchill and negotiations between Churchill and Stalin regarding Collective Farm Policy. According to the author, Churchill's war memoirs cannot be treated as a reliable source of information about Stalin, his views and actions especially with regards collectivisation and his response to the 'percentages deal.'

Drawing, in particular, on three memoirs written by French veterans of the Revolutionary and Napoleonic Wars, this article demonstrates how authors integrated fairytale motifs into their autobiographies. Their example raises questions about the role of storytelling among migrant male work-communities. Fairytales were more than compensatory fantasies for soldiers and sailors: they provided schemas by which they could understand novel experiences in strange surroundings and, through identification with the hero, they became inspirations to action. Storytelling permitted soldiers and sailors to present themselves to their peers from behind the mask of fiction, and to broach subjects too dangerous to be discussed openly, such as desertion. The dialectic between self-assertion in the tales (even if fashioned from the collective, ubiquitous matter of oral culture) and the communal expectations of the audience, helps historians understand the limits placed on the expression of individuality in traditional societies. [ABSTRACT FROM AUTHOR]

Focuses on the works of U.S. artist Man Ray. Background on his "Object to Be Destroyed" assemblage; Influence of surrealism on his art; Information on his autobiography "Self Portrait"; Effect of the childhood abuse experienced by the artist on his sexuality.

Of the more than three hundred critical works on Mphahlele's monumental literary work, none to the best of my knowledge gives insights into the (socio) linguistic aspects of his writings in their context of production, that is life at home and in exile. This article, which adds to the mainly thematic and aesthetic critical reviews of his &oeliguvre, is a linguistic (forms) and sociolinguistic (functions) analysis of two of his autobiographical novels, Down Second Avenue and The Wanderers, written respectively almost entirely at home and altogether in exile. Like many of his African contemporaries, Mphahlele uses 'hybrid' forms of English in both novels, to introduce or maintain an authentic flavour of, or keep his work closer to, its surroundings. He, however, introduces significant differences between the two novels in the use of sociolinguistic and pragmatic devices, such as code-mixing, styleswitching, and the nativization of speech functions, to underscore the richness of the multi-setting world in which his autobiography evolves, and, thus, reflect the 'local' and 'global' characters of the socio-political settings of each novel. Arguing that the understanding of Mphahlele's outstanding literary mountain is incomplete without an in-depth critical sociolinguistic analysis of the whole of his literary work, I suggest that my analysis, tentative though it may be, may set an agenda for future and more comprehensive studies. [ABSTRACT FROM AUTHOR]

Part one. Presents an autobiography of the author. Family; Decision of the author's mother to make her a dancer; Death of the author's father; Exposure to classical ballet; Teaching experience; Dancing career; Experiences as a ballet dancer.

Focuses on Herman Mann's appropriation of the military experiences and exploits of Deborah Sampson in a continental army during the American revolution. Factors that led to the appropriation of women's narratives by mediums of cultural authority; Issues surrounding the authorship of Sampson's speech "Addres, Delivered with Applause"; Motives of Sampson for undertaking the public speaking tour.

The author reflects on the relationship between literature and exile in Paraguay. He presents a fragment of an autobiography by a Paraguayan who experienced exile in his country during the war periods of the 21st century. He explains the political and social aspects implicated by exile and relates this topic with Paraguay's exile history.

The article focuses on the autobiographies of people belonging in the working-class family during the nineteenth century Great Britain. Most studies of the history of the working-class family are still based on quantifiable data. Although the functions of the family cannot be understood without a knowledge of its structure, the analysis of structure itself is not enough to know what happens inside the family. What historians really want to know is how the reproductive functions, marriage and child rearing affect the productive functions of the working-class family. Autobiographies as source material contains personal testimony of the working person and offers insights into the continuity and coherence of an individual's life.

The article offers a look at the connections between campus life and student protest activities in Shanghai, China during the 1919-1949 era. One of the most striking features of all five of the movements in the period was the speed and ease with which students were able, in each case, to translate anger over specific events into coherent, sustained and organized collective action. A Jiaotong University alumnus wrote a memoir concerning the roles pre-existing student associations played in political mobilization at his school throughout the mid-1940s. It is said that workers generally lacked the kind of extensive network of pre-existing club ties and organizational structures which played a vital role in the development of student movements.

Analyzes the diary of diarist Arthur Inman. Family and educational background; Ailments he suffered; Conduct of life; Reason for writing a diary.

Presents information which examines the continuities and variations in four autobiographies representing different eras in the development of worker organizations in South Africa. Names of the autobiographies; Self images of the autobiographers; Autobiographers' positions in trade unions; Views about Clement Kadalie's `My Life and the ICU.'

Holocaust is now almost a half century past; soon its survivors will be gone. Yet they, and others, have created a permanent archive -- texts which cross an ocean of time and pain to tell the story of Auschwitz. We examine three texts of the Holocaust -- U.S. newspapers, survivors' memoirs and oral testimony. We compare unique voices within and between texts. Newspapers reported the Holocaust early and often, yet minimized its importance. Memoirs, though all from survivors of Auschwitz, varied widely in content as well as form; female voices often told different stories than their male counterparts; earlier works were distinct from later ones. Like memoirs, videotaped testimonies ranged widely; some were literary, coherent and articulate; others were contradictory non-narratives -- fragments of confusion and fear. We conclude with a reflexive note, pondering the dilemmas posed by a scholarly study of the Holocaust. [ABSTRACT FROM AUTHOR]

The article focuses on the British industrialist and sociologist Robert Owen. It is clear from Owen's autobiography and subsequent biographies that the period from 1810 to 1813 was a particularly testing phase in Owen's business career. Owen had formed a new partnership to run New Lanark in 1810 and was in difficulties with his partners almost from the beginning. Relations steadily worsened, until in 1813 the partnership was dissolved. There is reason to believe that Owen's difficulties between 1810 and 1813 were, in fact, a great deal more serious than he himself would admit. Documents in the Campbell of Jura Muniments, held by H.M. Register House in Edinburgh, indicate that Owen's business career was almost brought to an abrupt and none too savoury end early in 1813. Before considering the Campbell of Jura documents, Owen's personal account of the events of 1809 to 1813 deserves to be examined in greater detail. According to this, the New Lanark Twist Co, which had taken over New Lanark from David Dale in 1799 and of which Owen was the managing partner, was dissolved in 1809.

The article presents information on the book "Private Domain," by Paul Taylor. It soon becomes apparent that Paul Taylor has written no ordinary autobiography. By the fifth page alone one has already learned that among the quirks of Taylor's father was his disturbingly excessive fondness for his eldest stepson. "Private Domain" involves more than confessions, scandals, and epigrams. It is a commentary on the complexity of life -- both life itself and the specific kind of life a dancer may lead -- and a statement of affirmation about art.

The article focuses on the memoirs of Danish choreographer August Bournonville. In the first volume of his memoirs, Bournonville bemoaned the ephemerality of the choreographic art. When he completed this work, Bournonville was on the verge of retiring as a dancer, and his future in the theater was uncertain. Today, a century after his death, Bournonville's name is more widely known than it was during his lifetime. His inspiration came from many things and many places. Used in conjunction with correspondence, production records, and rehearsal scores, the libretti also help to piece together a more comprehensive picture of the Danish ballet master as an artist of national and international caliber.