This study primarily investigates the autobiographical code in Antjie Krog's poetical oeuvre, spanning from 1970 to the present. Krog's poetry collections may be read as offering life writing through poetry, while the prose works mostly present the reader with a mixture of autobiographical fact plus creative reworkings of fact and fiction. Even though her 10 volumes of poetry follow her biological development from young girl to grandmother, uncertainty still exists about about where truth ends and fiction begins in this poet and autobiographer's interwoven tapestry of multiple and varied perspectives. Furthermore, autobiographical (as utilised and adapted in Krog's oeuvre, in combination with the conventioans from other genres), offers a variety of creatively innovative, experimental strategies and possibilities exploited adroitly by Krog. Reading her poetry with the focus on autobiographical markers leads to another, mostly untapped, dimension of interpretation. This literary approach is in stark contrast to the approach prescibed by N.P. van Wyk Louw in "Die 'mens' agter die boek" ["The 'Person' behind the Book] (1956), in which he states clearly that a text should be interpreted as not "about the human behind the text". To a large extent Krog as poet is inviting the reader to consciously break the taboo that Louw placed on the reader intent on "searching the actual person behind the text". My hypothesis is that in Krog's poetry there is a distinct interrelationship between the perceptions, experiences and sensual impressions of the lyrical "I" in the poems and that of the authobiographical "I" writing. It would be irresponsible to declare the poet and the speaker as one and the same, but in instances where the poet purposefully integrates autobiographical elements into her poems, she is implicitly requesting the reader to interpret her work in this way. This fictive and implicit request is referred to by Philippe Lejeune as the autobiographical poet. Krog's poetry can be divided into four categories: "direct autobiographical", "indirect autobiographical", "universal" and "general" poems. The first category involves criteria that are linked to the poet, such as the use of the names, initials and dates. Indirect autobiographical poems can be read against the background of knowledge (previously published information) about the poet. Poetry with no apparent autobiographical element, but with universal themes such as love, loss and transience, fall into the third category of "universal" poetry. If poems do not fit into the mentioned categories, they are deemed "general".

The thesis was designed to gain insight into how Alzheimer’s disease influences selfhood from first-personal accounts of illness. The focus of the study was narrowed further by concentrating on the autobiographies of individuals diagnosed with Early-Onset Alzheimer’s disease (EOAD). The purpose of this thesis was to analyze the autobiographies of individuals with EOAD with the aim of understanding their selfhood. In this thesis I argue that, Alzheimer’s disease may influence a change in self, however, the self is not lost entirely. This thesis draws on the philosophical conception of narrated self as it allows for one perpetually constructed self, whereby a change in self does not necessarily mean the self is lost entirely. Through an interpretive analysis of six autobiographical accounts of Alzheimer’s, this thesis demonstrates that Alzheimer’s disease influences a loss of sense of self but that autobiography enables individuals with Alzheimer’s to (re)construct self.

Notre recherche « L'exil dans l’œuvre de Fulvio Tomizza » analyse l’œuvre tomizienne au prisme de l'exil, cause et principal sujet de son écriture. L’œuvre tomizzienne fait de l'écriture fictionnelle le terrain d'investigation à travers lequel l'auteur s'interroge sur les composantes conflictuelles de son identité multiple que l'exode istrien a mises au jour et accentuées : italianité/slavité, urbanité/ruralité, traditions familiales conservatrices/convictions personnelles progressistes.La recomposition de l'identité narrative de l'auteur suit le cheminement d'une écriture multiforme qui prend trois directions. La première consiste en l'anamnèse de la dimension collective de l'identité de l'auteur, représentée par la configuration romanesque du « piccolo mondo » istrien avant, pendant et après l'exode. Elle se poursuit par des romans et des récits d'inspiration ouvertement autobiographique, caractérisés par une autoanalyse exprimant le drame individuel et psychologique de l'exil, notamment à travers l'écriture onirique. Enfin, les romans historico-documentaires approfondissent l'analyse de l'exil par la décentration partielle de l'objet d'investigation qui transforme l'auteur en enquêteur et juge de drames similaires au sien ayant affecté la vie d'autres individus. / Our research « Exile in Tomizza's work » analyses the author's production through the concept of exile which, as the main cause and subject of his writing, provides a coherent framework for reading it.Tomizza's work uses fiction as a means of investigating the conflicting components of the author's multiple identity that the Istrian exodus revealed and emphasized: Italianness vs Slavness, urbanism vs rurality, conservative family traditions vs progressive personal convictions.The recomposing of the author's narrative identity follows the course of a multiform writing that moves in three directions. The first one consists of the anamnesis of the collective dimension of the author's identity, represented by the fictional setting of the Istrian "piccolo mondo" before, during and after the exodus. From there, it moves on to novels and short stories of openly autobiographical inspiration. These are characterized by a self-analysis that expresses the individual and psychological tragedy of exile, particularly through oneiric writing. Lastly, the historical-documentary novels deepen the analysis of exile through the partial decentering from the object of investigation by which the author is transformed into investigator and judge of dramas similar to his own that affected the lives of other individuals.

Les femmes de lettres de la fin du XIXème siècle ont illuminé cette période de transition culturelle et sociale, mais, dans une époque de «mondialisation» de la littérature et de la culture, elles ne présentent plus d’intérêt. Cette thèse se propose d’interroger les enjeux sociaux et poétiques d’une oeuvre qui est restée dans un coin d’ombre. Vu que personne ne lit plus l’oeuvre d’Anna de Noailles, on s’est demandé si, de nos jours, sa poésie n’est plutôt démodée. La réponse est en «demi-teinte» : Anna de Noailles avait été tellement glorifiée de son vivant, ses contemporains lui avaient fait la preuve d’une admiration excessive ; elle avait été également très caricaturée, phénomène qui s’avère être injuste, mais le souvenir d’un être qui s’apparentait aux plus grands de son époque, le pincement durable d’un esprit cosmopolite comme le sien mérite à être éclairé et revécu. Il semble que la malédiction qui couvre l’oeuvre d’Anna de Noailles ne soit pas de rester dans l’oubli, mais d’avoir joui de tant de gloire. Les différentes étapes de notre recherche seront traversées par un souci permanent de retrouver les particularités poétiques au niveau textuel en tant que traits qui définissent l’esprit cosmopolite d’Anna de Noailles.Après avoir défini la position que la poétesse occupait au sein de sa famille culturelle et littéraire, nous proposons une analyse comparative aux différents textes de ses contemporains. L’analyse des poèmes et de son autobiographie nous permet, par la suite, de nuancer de différents traits de son écriture, le sanglot et les émotions qu’elle transmet au lecteur. Les deux derniers chapitres tenteront de définir la poéticité au niveau d’un texte en prose par une analyse comparative qu’on déploie entre des écrivains qui sont, à la fois, poètes et autobiographes. / The women writers of the late nineteenth century illuminated this period of cultural and social transition but because of the globalization of literature and culture, they present no interest anymore. The aim of our study is to analyse the social and poetic issues of a literary work that remained yet unknown to many. Considering the fact that nobody reads Anna de Noailles’ work, we wondered if today her poetry is rather old-fashioned. The answer has a double meaning since Anna de Noailles used to be so glorified in her lifetime and her contemporaries admired her excessively, but she was also caricatured, phenomenon that appears to be unfair. The memory of one who ressembled the greatest figures of her times deserves to be cherished and presented to those who are yet unaware of it. It seems that the curse that covers the work of Anna de Noailles is not to remain in oblivion, but having enjoyed so much glory. The different stages of our research are concerned to find the poetic features at a textual level as features that define the cosmopolitan spirit of Anna de Noailles. After setting the position that the poet held within its cultural and literary family, we offer a comparative analysis of the various texts of his contemporaries. The analysis of her poems and her autobiography allows us subsequently to qualify the different traits of her writing, the sob and emotions it conveys to the reader. The last two chapters attempt to define the poeticity in her poetical prose by a comparative analysis that unfolds between writers who are both poets and autobiographers.

Bakgrund: I Sverige drabbas över 7000 kvinnor av bröstcancer varje år. Kvinnor med bröstcancer kan uppleva ångest och oro inför framtiden. Att vara optimistisk och fokusera på överlevnad behövs för att ta sig igenom behandlingarna. Kvinnor behöver stöd från sin omgivning för att må bra och hålla hoppet uppe. Kvinnornas partner drabbas också hårt av cancerdiagnosen. Vad som ger kvinnor livskraft från diagnos till avslutad behandling är oklart. Syfte: Att belysa vad bröstcancerdrabbade kvinnor upplever ger livskraft under behandlingsperioden Metod: En litteraturstudie baserad på fem självbiografier skrivna av kvinnor som drabbats av bröstcancer har använts. Vid analysen av självbiografierna har en kvalitativ manifest innehållsanalys använts. Resultat: Resultatet visade att stöd behövdes för att ge livskraft att orka ta sig igenom behandlingsperioden. Genom positivt tänkande och hopp blev det lättare för kvinnorna att kämpa mot bröstcancern. Strävan efter ett normalt vardagsliv med intressen och familj var också betydelsefullt för att hitta livskraft. Slutsats: Det som kvinnorna upplevde gav livskraft var bland annat stöd från familj och vänner och en vilja att överleva. Livskraften utgår från positivt tänkande och en stöttande familj, vänner och sjukvårdspersonal.

Orientador: André Leonardo Chevitarese / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-24T06:57:00Z (GMT). No. of bitstreams: 1 Guerra_LolitaGuimaraes_D.pdf: 3272234 bytes, checksum: bc2f37f5088831937e035ad9b21cb6f3 (MD5) Previous issue date: 2014 / Resumo: Os Hieroì Lógoi de Élio Aristides, compostos ca. 170 da Era Comum, constituem uma narrativa autobiográfica dedicada a Asclépio, cujo santuário, em Pérgamo, foi frequentado pelo autor ao longo de sua vida. Este, ao voltar-se em direção ao deus em busca de suas famosas curas praticadas por meio de sonhos, é transformado em meio a uma relação de favorecimento e intimidade com Asclépio que, em última instância, identifica-o a ele. Essa identificação, dada a ver no corpo de Aristides e por ele sentida é atravessada por valores paradoxais e inapreensíveis do ponto de vista de uma elaboração sistemática. Ela é entendida, assim, como uma iniciação mistérica, a qual dialoga com a cultura material de Asclepeia como os santuários de Pérgamo e o de Epidauro. Nesses espaços circulam sentidos e práticas cuja dinâmica resulta, não apenas, na produção da própria materialidade, como dos indivíduos que, no ocupar-se dela, são também constituídos. Esta relação circular com o mundo material ultrapassa o contexto dos santuários e deve ser também observada no próprio texto dos Hieroì Lógoi como produto humano e, ao mesmo tempo, produtor do humano. A escrita autobiográfica oferece-se, assim, como locus privilegiado para a reflexão sobre os modos de produção e existência do Eu enquanto ser no mundo. Ao mesmo tempo, na medida em que esta autobiografia é composta por meio de discursos nos quais se combinam elementos sobrenaturais e de transformação do si mesmo em algo para além do humano, ela deve ser pensada como parte de um antigo ocupar-se do Eu em ambiente greco-romano. Esta forma de tratar o Eu, tomá-lo e ocupar-se dele, prescinde da elaboração sistemática de um saber teórico e, simultaneamente, fundamenta toda reflexão desenvolvida em torno do problema do si mesmo a partir da perspectiva da primeira pessoa. A identificação de Aristides a Asclépio dialoga com temas caros a esses questionamentos: a unidade, a continuidade e a impermeabilidade do Eu, muitas vezes contestadas por ideias de multiplicidade, fragmentação e abertura. Essas reflexões frequentemente lançam hipóteses sobre a autonomia do indivíduo e sua vulnerabilidade perante os imortais. Na medida em que a identificação de Aristides a Asclépio se dá, em grande parte, por meio da visualidade e dos encontros face a face, sinaliza-se a necessidade de questionar a mortalidade e a imortalidade como pares antitéticos tributários de noções de alteridade próprias da dicotomia sujeito / objeto. Assim, a partir do discurso paradoxal de Aristides sobre suas experiências, o qual reatualiza antigas perspectivas sobre os limites entre deuses e homens como flexíveis, contestáveis e, até mesmo, apenas virtualmente existentes, defendemos uma abordagem da mortalidade e da imortalidade como pares incomensuráveis os quais, nos Hieroì Lógoi, constituem o Eu. Essa abordagem nos permite pensar mortalidade imortalidade como expressão particular de uma dimensão de trato, tomada e ocupação do Eu anterior, não-tributária e não-fundadora de um saber sistematizado das relações de alteridade. Os Hieroì Lógoi apresentam-se, portanto, como materialidade narrativa das possibilidades-Eu emergidas no sonho e na devoção de um homem do segundo século de nossa Era / Abstract: The Hieroì Lógoi of Aelius Aristides, composed ca. 170 C.E., constitute an autobiographical narrative dedicated to Asclepius, whose sanctuary, in Pergamon, the author visited many times throughout his life. As he turns to the god in search of his famous dream cures, Aristides is transformed through a favoritism and intimacy relationship with Asclepius which ultimately identifies them. This identification, bodily seen and felt by Aristides, is permeated by paradoxical and inapprehensible values from the perspective of systematic elaboration. Therefore, it is understood as an initiation into a mystery which is in close relation to the Asclepieia¿s material culture, as in Pergamon and Epidauros. In these spaces there are available meanings and practices in circulation whose dynamics result not only in the production of materiality but, also, in the fashioning of individuals who, as they deal with it, are constituted by it. This circular relation with the material world trespasses the sanctuaries¿ context and may be also observed in the Hieroì Lógoi text itself as a human product and, at the same time, it's producer. Autobiography is offered, therefore, as a privileged locus for the reflection on the modes of existence and fashioning of the Self as being in the world. At the same time, as this autobiography is composed by discourses which combine supernatural features and elements which transform the Self into something beyond human, it must be approached as part of the ancient self-occupation in the Greco-Roman world. This taking and occupation of the Self dispenses the systematic elaboration of a theoretical knowledge and simultaneously grounds all reflection on the problem of the Self from the first-person perspective. Aristides¿ identification with Asclepius engages in important themes to these inquiries: unity, continuity and the Self¿s impermeability, often contested by ideas of plurality, fragmentation and openness. These reflections frequently construct hypothesis regarding individual agency and autonomy, on the one hand, and vulnerability towards the gods, on the other. As Aristides¿ identification with Asclepius occurs, mostly, trough face-to-face visuality, comes to light the necessity to question mortality and immortality as antithetical pairs dependent on notions about otherness peculiar to the subject / object dichotomy. Therefore, from Aristides¿ paradoxical discourse on his experiences, which reactualizes ancient perspectives on the limits between gods and men as flexible, contested and even virtually absent, we assert an approach towards mortality and immortality as incommensurable pairs which constitute the Self in the Hieroì Lógoi. This approach allows us to consider mortality immortality as a particular expression of treatment, taking and occupancy of the Self which is prior, independent and non-constituent of systematized and discursively built alterity. The Hieroì Lógoi present themselves, therefore, as the narrative materiality of Self-possibilities arisen in this second-century man's dream and devotion / Doutorado / Historia Cultural / Doutora em História

Orientador: Fabio Akcelrud Durão / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-24T07:22:30Z (GMT). No. of bitstreams: 1 Curi_FabianoAndrade_D.pdf: 17480636 bytes, checksum: df3fbbe639917efacc3b30f816ed320e (MD5) Previous issue date: 2013 / Resumo: Este trabalho tem como finalidade observar as possibilidades de representação autobiográfica nas narrativas das histórias em quadrinhos, mais especificamente de lembranças traumáticas. Nos últimos anos, foram vários os novos títulos tendo como tema as experiências de vida de seus autores que se utilizaram de diversas estruturas e técnicas para refletirem sobre as lembranças de episódios que vivenciaram. A proliferação dessas obras levanta a questão sobre a criação de espaços autobiográficos nas histórias em quadrinhos. Espaços autobiográficos que alimentam a discussão entre os limites do real e do ficcional, do concreto e do abstrato e da relação entre autor e leitor. Diferentemente do texto literário ou da imagem fílmica, muito comuns nos relatos de si, as narrativas em quadrinhos trabalham com o equilíbrio entre texto e ilustrações compondo uma forma singular para lidar com essas histórias, ainda que tenham limitações semelhantes às outras, pois estas são características da memória e não da narrativa. Para levantar as virtudes e problemas dessas histórias, há na pesquisa uma leitura mais aprofundada das obras Cicatrizes, de David Small, Retalhos, de Craig Thompson, e Fun Home, de Alison Bechdel, que auxilia no entendimento da argumentação teórica sobre memória, autobiografia e trauma nas histórias em quadrinhos. / Abstract: This work aims to observe the possibilities of representation in autobiographical narratives of comics, specially the traumatic memories. In recent years, a great number of new titles having as theme the life experiences of the authors who used various structures and techniques to reflect on the memories of episodes they experienced. The proliferation of these works raises the question about creating autobiographical spaces in comics. Autobiographical spaces that nurture the discussion about the boundaries of the real and the fictional, the concrete and the abstract, and the relationship between author and reader. Unlike the literary text or film image, very common in other reports of the self, narratives comic work with the balance between text and illustrations composing a unique way to deal with these stories, even if they have similar limitations like the others, because these are characteristics memory and not the narrative. To raise the virtues and problems of these stories, there is in this research a close reading of the works Stiches, from David Small, Blankets, from Craig Thompson, and Fun Home, from Alison Bechdel , which helps in understanding the theoretical argument about memory, autobiography and trauma in the comics. / Doutorado / Teoria e Critica Literaria / Doutor em Teoria e História Literária

[pt] Esta tese propõe-se a desenvolver o conceito de memória do desconforto como um articulador de sentido em obras literárias contemporâneas em contraposição à noção de memória apaziguada, buscando apontar que o primeiro conceito enfatiza o caráter disruptivo da memória, demonstrando que muitas lembranças numa narrativa de uma história de vida servem justamente à incompreensão, insatisfação e desconforto, enquanto a outra enfoca uma postura de apaziguar as lacunas da memória forjando um conceito ilusório de segurança e paz. Para tanto, foram analisadas e comparadas obras literárias de José Saramago (As pequenas memórias), Pedro Nava (em especial Baú de Ossos e Beira-Mar), Amadou Hampâté Bâ (Amkoullel: o menino fula) e Antônio Lobo Antunes (A morte de Carlos Gardel e O manual dos inquisidores), tendo como pano de fundo proposições teóricas da Sociologia do Conhecimento, dos Estudos Culturais e dos Estudos de Memória. / [en] This thesis proposes to develop the concept of memory of discomfort as an articulatory tool of meaning in contemporary literary works as opposed to the notion of pacified memory, pointing that the first concept emphasizes the disruptive nature of memory, showing that many memories in a narrative of a life story serve better to misunderstanding, dissatisfaction and discomfort, while the other focuses on an attitude of pacifying the gaps of memory forging an elusive concept of security and peace. Thus, this thesis analyzes and compares some literary works namely José Saramago (As pequenas memórias), Pedro Nava (especially Baú de ossos and Beira-Mar), Amadou Hampâté Bâ (Amkoullel: o menino fula) and António Lobo Antunes (A morte de Carlos Gardel and O manual dos inquisidores), with the backdrop of theoretical propositions of Sociology of Knowledge, Cultural Studies and Memory Studies.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2015-12-15T10:34:15Z No. of bitstreams: 1 danielledemacedoleite.pdf: 1371333 bytes, checksum: 45e61c159067157d80a719dca2c175bc (MD5) / Rejected by Adriana Oliveira (adriana.oliveira@ufjf.edu.br), reason: Renata, o Junior do autor realmente não tem acento? Silveira Junior, Potiguara Mendes da on 2015-12-15T11:18:26Z (GMT) / Submitted by Renata Lopes (renatasil82@gmail.com) on 2015-12-15T11:31:31Z No. of bitstreams: 1 danielledemacedoleite.pdf: 1371333 bytes, checksum: 45e61c159067157d80a719dca2c175bc (MD5) / Rejected by Adriana Oliveira (adriana.oliveira@ufjf.edu.br), reason: Renata, favor verificar se o Júnior tem acento: Silveira Junior, Potiguara Mendes da on 2015-12-15T13:03:31Z (GMT) / Submitted by Renata Lopes (renatasil82@gmail.com) on 2015-12-15T13:11:40Z No. of bitstreams: 1 danielledemacedoleite.pdf: 1371333 bytes, checksum: 45e61c159067157d80a719dca2c175bc (MD5) / Rejected by Adriana Oliveira (adriana.oliveira@ufjf.edu.br), reason: on 2015-12-15T13:41:23Z (GMT) / Submitted by Renata Lopes (renatasil82@gmail.com) on 2015-12-15T13:47:28Z No. of bitstreams: 1 danielledemacedoleite.pdf: 1371333 bytes, checksum: 45e61c159067157d80a719dca2c175bc (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2015-12-15T15:45:46Z (GMT) No. of bitstreams: 1 danielledemacedoleite.pdf: 1371333 bytes, checksum: 45e61c159067157d80a719dca2c175bc (MD5) / Made available in DSpace on 2015-12-15T15:45:46Z (GMT). No. of bitstreams: 1 danielledemacedoleite.pdf: 1371333 bytes, checksum: 45e61c159067157d80a719dca2c175bc (MD5) Previous issue date: 2015-03-25 / Este trabalho conceitua o processo narrativo autobiográfico dentro dos jogos digitais. Atualmente, os jogos têm apresentado histórias nas quais cada vez mais os jogadores têm a possibilidade de alterar a sequência e o desfecho. Essa característica permite ao jogador construir a sua identidade ao longo do jogo, sentindo-se imerso neste espaço e atraído pelas diversas possibilidades de saciar desejos e prazeres. Com base nisso, o objetivo é buscar os elementos e ferramentas que permitem essa “imersão identitária” do jogador no jogo, analisando a formação dos avatares e as histórias criadas pelos personagens a partir do gênero autobiográfico. O jogo The Sims 3 foi escolhido por ser um jogo digital de simulação da vida cotidiana com um variado leque de opções de interação com outros avatares e personificações. A hipótese é: todas as histórias e avatares criados no The Sims 3 apresentam elementos autobiográficos, mesmo se passando em ambientes não reais e não cotidianos dos jogadores. Para analisar as histórias e os avatares a partir do gênero autobiográfico, escolhemos as ferramentas do jogo como opção de carreira, aspiração ou desejos. A verificação de como se dá a interação com essas opções no jogo será feita em vídeos que os jogadores postam no Youtube. Foram selecionados dez jogadores e cinco vídeos de cada um deles, com cerca de 30 minutos de duração, totalizando 50 vídeos. Concluindo, percebe-se que o gênero autobiográfico veio se modificando com o passar dos anos e a evolução tecnológica. Os primeiros conceitos sobre a autobiografia o relacionavam com o simples contar de histórias pessoais através da escrita. Hoje, observa-se, que a autobiografia passou a ser criada através da representação de si, através de avatares, sem necessidade de ter que escrever sobre si para que os outros identifiquem a sua personalidade. / This work defines the autobiographical narrative process within digital games. Currently, the games have presented stories in which more and more players have the ability to change the sequence and the outcome. This feature allows the player to build their identity throughout the game, feeling immersed in this space and attracted by the various possibilities of satisfying desires and pleasures. Based on this, the goal is to seek the elements and tools that allow this "identity immersion" player in the game, analyzing the formation of the avatars and stories created by the characters from the autobiographical genre. The game The Sims 3 was chosen because it is a digital simulation game of everyday life with a wide range of interaction options with other avatars and impersonations. The hypothesis is: the whole history and avatar created in The Sims 3 have autobiographical elements, even if not passing in real environments and not everyday players. To analyze the stories and avatars from the autobiographical genre, choose set tools as a career option, aspiration or desire. The check how is the interaction with these options in the game will be videos that players post on Youtube. We selected ten players and five videos of each of them, about 30 minutes long, totaling 50 videos. In conclusion, one can see that the autobiographical genre came to changing over the years, and technological developments. The first concepts of the autobiography related with the simple tell personal stories through writing. Today, it is observed that the autobiography has become created by representing themselves through avatars, without having to write about yourself for others identify your personality.

La formation par alternance considère la multiplicité des expériences comme vecteur d’apprentissages tandis que notre vieillissement dans cet enseignement nous conduit à avoir recours à l’expérience, celle qu’un âge avancé validerait. A partir d'un questionnement autoréférencé qui fait référence aux approches autobiographiques nous interrogeons respectivement la dichotomie des concepts d’événements et d’expérience en reprenant leur traduction allemande ; « Begebenheit / Ereignis » et « Erfahrung / Erlebnis » Dans le discours retranscrit d'une personne en fin de carrière (entretien non-directif) nous avons cherché les doubles distinctions « Evénementiel-Begebenheit » / « Evénemential-Ereignis » et « Expérience-Erfahrung » / « Expérience-Erlebnis » en utilisant une analyse qualitative du contenu, ainsi qu’une grille de lecture construite à partir du système pératologique de G. Liicéanu (Poros , Péran, Péras, Peira). L’événementialisation de l'expérience consisterait à identifier les éléments qui la constituent, en s’autorisant un retour réflexif sur son parcours de vie. Son incarnation serait le fruit d'un enchevêtrement des deux dimensions propres à l'événement et à l'expérience. Dans le quotidien événementiel-Begebenheit se vivent des expériences-Erfahrung diverses. L’observation personnelle lors d’un temps suspendu repère chaque virage déterminant qu’est l’événemential-Ereignis et qui s’est incarné en expérience-Erlebnis. Ce travail de retour sur soi est présenté comme une forme d'auto-accompagnement où peuvent être convoqués les membres d’un panthéon personnel. Enfin, sur le terrain de la praxis, nous abordons d’abord l’accompagnement pluridisciplinaire de la mobilisation des acquis de l’expérience dans le champ du handicap cognitif. Et ensuite, un second versant propose un accompagnement réflexif qui s’autoriserait à identifier les personnages intimes qui nous agissent. Notre recherche est une invitation à être vigilant aux dynamiques à l’œuvre dans nos métamorphoses qui sont aussi secrètes que discrètes. / Alternate training considers multiple experiences as a mean of learning, while our aging in teaching leads us to use our experiences, which maturity would validate. Starting from a self-reflective questioning that refers to autobiographical approaches we interrogate respectively the dichotomy of the concepts of events and experience in full French context but also German translation; «Begebenheit/ Ereignis and “Erfahrung / Erlebnis”. In the transcribed speech of a person at the end of their career (non-direct interview), we searched for the double distinctions "Eventsmentiel-Begebenheit" / "Eventsmential-Ereignis" and "Experience-Erfahrung" / "Experience-Erlebnis" using a qualitative analysis of the content, as well as a reading grid constructed from the peratological system of G. Liicéanu (Poros , Péran, Péras, Peira). The event of the experience would consist in identifying the elements that constitute it, allowing a reflexive return on its life course. Its incarnation would be the fruit of an entanglement of the two dimensions proper to the event and experience. In daily events-Begebenheit various experiences-Erfahrung are applied. The personal observation during a suspended time points out each crucial turning point that is the event-Ereignis and that has incarnated in experience-Erlebnis. This work of self-esteem is presented as a form of self-accompaniment where members of a personal pantheon can be summoned.Finally, in terms of praxis, we first address multidisciplinary support for the mobilization of experience acquired in the field of cognitive handicap. Eventually a second version proposes a reflexive coaching that would allow itself to identify the intimate characters who act on us. Our research is an invitation to be vigilant to the dynamics at work in our metamorphoses which are as secret as they are discreet.