Resumo em Inglês:

Abstract The Complete Memoirs of George Sherston is a key text supporting Siegfried Sassoon’s reputation as Britain’s pre-eminent Great War-writer. Critics have nevertheless reached no consensus as to whether these lightly fictionalised “memoirs” represent true accounts of Sherston’s/ Sassoon’s war or fictional constructions. They have also yet to account for the differences between the Memoirs and Sassoon’s war-poetry, and between Sherston’s stated commemorative goals and his complete account. This article dissects the Memoirs’ adaptation of Sassoon’s front-line poetics of commemoration: it reads their new application of this poetics via his compositional difficulties, his dependence upon his own wartime writings, and life-writing’s uneasy relationship to truth. As I show, Sherston has more in common with his author than Sassoon intended, but differences remain; still, his memoirshave as much right to that appellation as any other text in the language.

Resumo em Inglês:

Abstract This essay discusses Seamus Heaney’s ‘Route 110’, from Human Chain, as an example of life writing as embodied in the very specific genre of poetry. His use of Virgil’s Aeneid Book VI as a type of cultural unconscious is examined, and each of the works are viewed as tesserae, which are brought together as a type of mosaic through translation and a dual perspective. Heaney has described this poetic sequence as an attempt to translate parts of Book VI of the Aeneid. ‘Route 110’ is also read in the light of Heaney’s book-length posthumous translation of Aeneid Book VI, and all three texts cohere and combine to form the mosaic of significant aspects of his life, as seen from an older perspective. The sequence is read in terms of the connection between the two books as an attempt to explore aspects of Eros and Thanatos in his own writing

Resumo em Inglês:

Abstract 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.

Resumo em Inglês:

Abstract This article examines the deadlocks foregrounded in recreating and reconstituting memory in Virginia Woolf’s “A Sketch of the Past” from the body’s perspective. “Body” is seen here as a category to reflect upon the meanings of women’s marginality and resistance. Of particular interest are the hiatuses of memory in “Sketch,” for recovering her own body and establishing a voice from within it constituted a conflicting and contradictory process, to which Virginia Woolf responded with unique narrative strategies. General and private perspectives merge, not only because of the troubles of not being personal when writing one’s own life but because Woolf claims that leaving out “the person to whom things happen” is undesirable. Even though she may meet silence when including herself personally in her writings, silence is embraced as a constituent. I suggest that much in the same way Woolf juxtaposes temporalities and subjectivities in "Sketch," personality, impersonality, and their absence (or connectedness, which is another way of seeing it) are also juxtaposed in a kind of palimpsest that does not overlook corporeality but acknowledges it as essential.

Resumo em Português:

Resumo O presente artigo tem como objetivo discutir as relações entre memória e literatura no texto autobiográfico a partir da inserção do conceito de equívoco de memória. Assumindo o diálogo como forma de provocação, procuro responder algumas questões acerca das características do que chamo equívoco de memória, conceito forjado com base nas ideias de perspectivismo ameríndio e de equívoco controlado, ambas desenvolvidas pelo antropólogo Eduardo Viveiros de Castro. A leitura que defendo encara o texto autobiográfico como sendo constituído por um processo de intensa alteridade, de diferença e não de semelhança, e o seu autor como um tradutor do passado, cujo trabalho se torna legível somente por meio do equívoco.

Resumo em Inglês:

Abstract This article aims to discuss the relations between memory and literature in the autobiographical text based on the concept of memory equivocation. Taking dialogue as a way to provoke, I try to answer some questions about the characteristics of what I call memory equivocation, a concept based on the ideas of Amerindian perspectivism and controlled equivocation developed by the anthropologist Eduardo Viveiros de Castro. The argument that I stand for take the autobiographical text as built by an intense process of otherness and difference instead of similarity, and its author as translator of the past, whose the work becomes legible only because of the equivocation.

Resumo em Português:

Resumo Este artigo analisa o romance Save Me the Waltz (1932), de Zelda Sayre Fitzgerald, como sendo um romance autobiográfico, considerando as semelhanças entre os dados biográficos da autora e a construção da personagem principal, Alabama Beggs. A discussão aqui proposta busca analisar em que medida as trajetórias de Zelda e Alabama se cruzam considerando as opressões de gênero nas práticas sociais. As análises têm como base teórica autores como Philippe Lejeune (2014), Eurídice Figueiredo (2013) e Elaine Showalter (1986).

Resumo em Inglês:

Abstract This article aims to analyze Zelda Sayre Fitzgerald’s novel Save Me the Waltz (1932) as an autobiographical novel, considering the similarities between the author’s biographical data and de main character’s construction, Alabama Beggs. The discussion presented proposes to analyze to what extend the paths of both Zelda and Alabama intertwine considering gender oppression in social practices. The analyses have as theoretical basis authors such as Philippe Lejeune (2014), Eurídice Figueiredo (2013) and Elaine Showalter (1986).

Resumo em Português:

Resumo Os romances analisados têm como elo o personagem Arturo Bandini, considerado alter ego do escritor John Fante, cujo contexto é o da Grande Depressão americana: Wait Until Spring, Bandini (1938), The Road to Los Angeles (cronologicamente este é o primeiro romance da saga, mas foi publicado apenas postumamente, em 1985), Ask the Dust (1939) e Dreams from Bunker Hill (1982). Considerando as temáticas e o estilo de escrita de John Fante nos romances aqui discutidos, podemos relacioná-los à experiência do escritor marginal em um panorama nada favorável: um futuro pouco promissor em um país que amarga um cenário econômico recessivo. Forjado para a escrita, Bandini configura-se como uma espécie de espelhamento do autor, um personagem no qual Fante se insere através do tempo e da narrativa no âmbito da escrita de cunho autobiográfico.

Resumo em Inglês:

Abstract The analyzed novels are linked to the character Arturo Bandini, considered an alter ego of the writer John Fante whose context is that of the Great Depression: Wait Until Spring, Bandini (1938), The Road to Los Angeles (chronologically this is the first novel in the saga, but it was published only posthumously in 1985), Ask the Dust (1939) and Dreams from Bunker Hill (1982). Considering the themes and writing style of John Fante in the novels discussed here, we can relate them to the experience of the marginal writer in an unfavorable situation: a not very promising future in a country that is experiencing a recessionary economic scenario. Forged for the writing, Bandini is configured as a kind of author´s mirroring, a character in which Fante inserts himself through time and narrative within the scope of autobiographical writing.

Resumo em Inglês:

Abstract Anaïs Nin’s semi-autobiographical novel, A Spy in the House of Love (1954), subjectivizes the physical experience of a wife’s infidelities while personifying the mental terrors of her guilt by means of a male figure: The Lie Detector. Embarked on a tournée of self-discovery, Sabina is an offstage actress who aestheticizes her adulterous affairs in a sophisticated art of self-division, whereby she intermittently plays the roles of a Byronic Doña Juana and a melodramatic Emma Bovary to continue to cherish her sexual freedom with many lovers, without losing the protection of her fatherly husband. Although guilt is part of Sabina’s artifice, the real risk inherent in her self-divisions and self-contradictions as a result of her infidelities, is to lose herself in her own lies and to fail to find her true identity beyond the Cubist canvas of her fragmented selves.

Resumo em Português:

Resumo Este artigo1 tenciona analisar o manuscrito não finalizado de Lady Maria Callcott, intitulado Escorço biográfico de Dom Pedro I e a exposição da violência sofrida por Maria Leopoldina no palácio. Comparando o manuscrito com o Journal of a Voyage to Brazil, publicado pela mesma autora em 1824, argumenta-se que o diário de 1824 representa Dom Pedro como um político e estadista, enquanto seu esboço biográfico, publicado postumamente, revela a crueldade, possessividade e perversidade de Dom Pedro a partir da descrição minuciosa de seu casamento com dona Leopoldina, que se tornou amiga de Callcott. Disputando o argumento da biógrafa de Callcott, Regina Akel, de que o retrato construído pela viajante seria uma forma de autopromoção e, comparando o relato de 1834-1835 com as respectivas biografias sobre Dom Pedro I e Maria Leopoldina, conclui-se que o manuscrito sobre o imperador é um documento histórico que denuncia os maus tratos vivenciados pela austríaca.

Resumo em Inglês:

Abstract This article aims to analyze Lady Maria Callcott’s unfinished manuscript intitled Life of Dom Pedro and its representation of the violence suffered by Empress Maria Leopoldina in the palace. By comparing Journal of a Voyage to Brazil, published in 1824 by the same author, I argue that the Graham’s travel narrative in 1824 represents Dom Pedro as a politician and statist, while her unfinished manuscript, posthumously published, reveals the emperor’s cruelty, possessiveness and perversity through her description of his marriage with empress Leopoldina, who became a close friend of Lady Callcott’s. Disputing Regina Akel’s argument, in which she contends that the traveler’s memoir of Dom Pedro is a means of self-promotion, and comparing the 1834-1835 narrative to biographies of Dom Pedro I and Maria Leopoldina, I conclude that Callcott’s manuscript is a historical document that denounces the emperor’s ill treatment of his Austrian wife.

Resumo em Inglês:

Summary After historicizing the politics of racial representation in the slave narrative, this article considers how race, gender, and class intersect historically in the autobiographical production of Black men in the United States. At the dawn of the Jim Crow era, Black autobiography conformed to a cultural politics of racial synecdoche, which avowed that racial progress depended on the respectability of esteemed individuals. Dominated by aspirational figures who presented themselves as racial emblems, Black autobiography became closely aligned with the imperatives of Black middle-class formation, actuating a discrete form of racial publicity that erected disciplinary boundaries around Black self-presentation and silenced disreputable figures. With the emergence of criminal and sexual self-reference, whether subtle or striking, in the narratives of Black men, autobiographers like boxer Jack Johnson, scholar J. Saunders Redding, and writer Claude Brown, disrupted the class-bound constraints that had determined Black autobiographical production, staging an internecine class struggle over the terms of racial representation—that is, between contending discourses of racial respectability and racial authenticity.

Resumo em Inglês:

Abstract The aim of this paper is to analyze the life narratives “Where have All the Songs and Rituals Gone?” (2019) by Mozinha Fernandes and “A Velip Writes Back” (2019) by Priyanka Velip, members of the Adivasi community of Goa, who consider themselves as the first inhabitants of this Indian state. These narratives have been published in the blog “Hanv Konn. Who am I? Researching the Self” organized by the late professor from the University of Goa, Alito Siqueira, whose aim is to give voice to this marginalized and silenced community. The analysis will be done in terms of the concepts of Postmemory (Hirsch, 1996, 1997, 2008), Trauma (Ginzburg, 2008; Balaev, 2008), Narrative (Bruner, 2002; Coracini, 2007), and Life-narratives (Smith & Watson, 2010).

Resumo em Português:

Resumo1 Partindo de três obras primárias: A queda do céu: palavras de um xamã yanomami, de Davi Kopenawa e Bruce Albert, Meu nome é Rigoberta Menchú e assim nasceu minha consciência, de Rigoberta Menchú e Elizabeth Burgos, e Bobbi Lee: Indian Rebel Struggles of a Native Canadian Woman, de Lee Maracle e Don Barnett, busco apontar e reforçar algumas das características desses relatos de vida indígena (SALLES, 2020) a partir de uma análise comparativa com outros gêneros (a saber, narrativas de vida étnica, narrativas de exílio, autoetnografia e ecobiografia). Para tal, a “virada etnográfica” ocorrida no campo das ciências sociais, que trouxe maior fluidez para a classificação de trabalhos como relatos de vida indígena, assim como a discussão sobre gêneros literários nos são bastante caras nesse artigo.

Resumo em Inglês:

Abstract Taking three narratives as a starting point: The Falling Sky: Words of a Yanomami Shaman, by Davi Kopenawa and Bruce Albert, I, Rigoberta Menchú: an Indian Woman in Guatemala, by Rigoberta Menchú and Elizabeth Burgos, and Bobbi Lee: Indian Rebel Struggles of a Native Canadian Woman, by Lee Maracle and Don Barnett, I aim at investigating, from a comparative perspective, the specificities of the indigenous life narrative (SALLES, 2020) in contrast with other genres and subgenres (such as: ethnic life narratives, exile narratives, autoethnography and ecobiography). To reach my goal, I have used the “ethnographic turn”, that took place in the field of social sciences and has brought greater fluidity to the classification of works like the indigenous life narratives, along with the issue of literary genres as starting points to the development of my article.

Resumo em Português:

Resumo Este artigo explora o diálogo entre Lost Lost Lost (1976), filme do cineasta lituano Jonas Mekas, e seu diário escrito, I Had Nowhere to Go. Diary of a Displaced Person (1991), a partir do problema do exílio de um sobrevivente dos DP camps, da Segunda Guerra Mundial, tendo em vista discussões que perpassam uma epistemologia do ensaio enquanto gesto político a legitimar um novo regime de visibilidade no cinema tanto quanto problematizar a experiência da subjetividade do ser deslocado. Sob esse ponto de vista, Lost Lost Lost, filme mais autobiográfico de Mekas, oferece um singular registro de reconstrução da memória e do processo de aculturação na América. O diário de Mekas, escrito entre 1944 e 1955, constitui-se como matéria fundacional na compreensão de um projeto estético fundado na urgência da primeira pessoa escritural.

Resumo em Inglês:

Abstract This article explores the dialogue between Lost Lost Lost (1976), a film by the Lithuanian filmmaker Jonas Mekas, and his written diary, I Had Nowhere to Go. Diary of a Displaced Person (1991), which documents a dire exile of a survivor from World War II DP camps. Thus, I try to correlate some epistemological discussions of the essay, while a political gesture to legitimize a new regime of visibility in cinema as well as to problematize the experience of the displaced persons' subjectivity. By assuming this viewpoint, Lost Lost Lost, Mekas' most autobiographical film, offers a unique record on the reconstruction of memory and the process of acculturation in America. Mekas's diary, written around 1944 and 1955, constitutes a foundational matter in the comprehension of an aesthetic project focused on the urgency of the first-person writing.

Resumo em Inglês:

Abstract This paper analyzes two parallel and opposed testimonies of mass annihilation in World War II: Primo Levi’s report of his gruesome experiences in Auschwitz, in The Drowned and the Saved; the testimony of the fire-bombing of Dresden, that killed 130,000 civilians in 1945, recorded by a young American POW, private Kurt Vonnegut Jr, in his novel Slaughterhouse-five. It is basically structured along the phases of the historiographic operation proposed by Paul Ricoeur – testimony and recording of testimonies; questioning of the records and written historical representation of the past – with the objective of drawing conclusions about the role of literature in keeping alive memories that might prevent further atrocities. Steppingstones include the urge to bear witness, the paradoxical links between victims and perpetrators and the choice of literary genders to convey messages. References are made to René Girard’s concept of the scapegoat mechanism as an explanation for the eruption of violence in social groups.

Resumo em Português:

Resumo Busca-se, com este artigo, engendrar reflexões acerca da narrativa epistolar como uma categoria de escrita de vida, na qual hibridez e fluidez são características importantes para o que se pretende discutir aqui - possibilidades de escritas de vida agirem como potência de escritas coletivas e a amplitude da narrativa epistolar no campo das narrativas literárias. Assim, o objetivo central aqui é discutir escritas de vida que se deslocam da intimidade para a coletividade e se oferecem como uma política de resistência, de modo especial, para se pensar o feminismo interseccional e Letter to my daughter (2008), de Maya Angelou, configura-se como um significativo exemplo desse tipo de narrativa, conforme se demonstrará ao longo deste artigo.

Resumo em Inglês:

Abstract The aim of this paper is to produce reflections about the epistolary narrative as a category of life writing, in which hybridity and fluidity are important characteristics for what we intend to discuss here - the possibilities of life writings acting as a power of collective writings and the breadth of the epistolary narrative in the area of literary narratives. Thus, the main objective of this article is to discuss life writings that move from intimacy to collectivity and offer themselves as a policy of resistance, in particular, to think about intersectional feminism, and Maya Angelou's Letter to my daughter (2008) appears as an important example of this type of narrative, as will be demonstrated throughout this article

Resumo em Português:

Resumo Abordamos, neste trabalho, a epistolografia amorosa do escritor irlandês James Joyce endereçada a sua mulher Nora Barnacle a partir das personas que o missivista desenvolve em suas cartas. Estas “personas epistolares” constituem figurações do artista moderno, tal como engendrado pelas estéticas romântico-simbolista, máscaras assumidas por Joyce no espaço cenográfico da carta. Assim, em um primeiro momento, privilegiamos uma perspectiva teórica da carta enquanto processo de performance, encenação e mascaramento do eu. A seguir, apresentamos a correspondência amorosa joyceana e o contexto em que foi produzida, para, por fim, analisar as personas que se expressam nessas cartas, em particular as figuras sociais e literárias do outsider e do dândi, com que Joyce reveste sua enunciação epistolar.

Resumo em Inglês:

Abstract In this paper, we approach Irish writer James Joyce’s love epistolography addressed to his wife Nora Barnacle departing from the personas the writer develops in his letters. These “epistolary personas”, themselves representations of the modern artist as produced by Romantic-Symbolist aesthetics, manifest themselves as masks adopted by Joyce in the letter’s scenographic stage. We first prioritize a theoretical perspective of the letter as a performatic process marked by the staging and masquerading of the self. Hereinafter, we present the Joycean love correspondence and its context of production, aiming to analyze the personas that are expressed in these letters, in particular the social and literary figures of the outsider and the dandy, and with which Joyce covers his epistolary enunciation.