Este trabalho apresenta pesquisa que busca, por meio da produção de autobiografias por alunos de sexto ano, possibilitar reflexões sobre trajetórias de vida, bem como desenvolver noções do trabalho do historiador, em especial o uso de fontes históricas. Para atingir este objetivo, promoveram-se encontros com os alunos nos quais se desenvolveu a caracterização das escritas de si, principalmente as autobiografias. Posteriormente o trabalho apresentou aos alunos informações sobre fontes históricas e buscou-se instrumentalizá-los para o uso de memórias, fotografias e relatos orais para a confecção de seus escritos. Autores como Gomes, Lejeune, Ricoeur, Freud, Selligmann-Silva, entre outros, foram essenciais para orientar e analisar as produções feitas. No relato destas vidas, imaginava-se o encontro de recordações traumáticas, em um número elevado, o que não se concretizou quando se iniciou a leitura das produções. A riqueza de situações apresentadas pelos trabalhos justifica o uso das autobiografias para percepção de trajetórias de vida e para o ensino de fontes históricas. / The present work introduces research that aims, using the production of autobiographies by students of the sixth year, to enable reflections on trajectory of lives, as well as develop notions of the work of the historian, specially the usage of historical sources. To reach this objective, meetings with the students were promoted in which the characterization of the self writings were developed, mainly the autobiographies. Then the work presented to the students information about historical sources and, aimed to give them instruments to the usage of memories, photography, and oral reports to the making of their writings. Authors such as Gomes, Lejeune, Ricoeur, Freud, Selligmann-Silva and others were essential to guide and analyze the productions that were made. In the report of these lives, it was thought to find many traumatic memories, which was not confirmed once the reading of the productions began. The richness of situations presented by the works justifies the usage of autobiographies to realize the trajectory of life and to the teaching of historical sources.

Este trabalho apresenta pesquisa que busca, por meio da produção de autobiografias por alunos de sexto ano, possibilitar reflexões sobre trajetórias de vida, bem como desenvolver noções do trabalho do historiador, em especial o uso de fontes históricas. Para atingir este objetivo, promoveram-se encontros com os alunos nos quais se desenvolveu a caracterização das escritas de si, principalmente as autobiografias. Posteriormente o trabalho apresentou aos alunos informações sobre fontes históricas e buscou-se instrumentalizá-los para o uso de memórias, fotografias e relatos orais para a confecção de seus escritos. Autores como Gomes, Lejeune, Ricoeur, Freud, Selligmann-Silva, entre outros, foram essenciais para orientar e analisar as produções feitas. No relato destas vidas, imaginava-se o encontro de recordações traumáticas, em um número elevado, o que não se concretizou quando se iniciou a leitura das produções. A riqueza de situações apresentadas pelos trabalhos justifica o uso das autobiografias para percepção de trajetórias de vida e para o ensino de fontes históricas. / The present work introduces research that aims, using the production of autobiographies by students of the sixth year, to enable reflections on trajectory of lives, as well as develop notions of the work of the historian, specially the usage of historical sources. To reach this objective, meetings with the students were promoted in which the characterization of the self writings were developed, mainly the autobiographies. Then the work presented to the students information about historical sources and, aimed to give them instruments to the usage of memories, photography, and oral reports to the making of their writings. Authors such as Gomes, Lejeune, Ricoeur, Freud, Selligmann-Silva and others were essential to guide and analyze the productions that were made. In the report of these lives, it was thought to find many traumatic memories, which was not confirmed once the reading of the productions began. The richness of situations presented by the works justifies the usage of autobiographies to realize the trajectory of life and to the teaching of historical sources.

Este trabalho apresenta pesquisa que busca, por meio da produção de autobiografias por alunos de sexto ano, possibilitar reflexões sobre trajetórias de vida, bem como desenvolver noções do trabalho do historiador, em especial o uso de fontes históricas. Para atingir este objetivo, promoveram-se encontros com os alunos nos quais se desenvolveu a caracterização das escritas de si, principalmente as autobiografias. Posteriormente o trabalho apresentou aos alunos informações sobre fontes históricas e buscou-se instrumentalizá-los para o uso de memórias, fotografias e relatos orais para a confecção de seus escritos. Autores como Gomes, Lejeune, Ricoeur, Freud, Selligmann-Silva, entre outros, foram essenciais para orientar e analisar as produções feitas. No relato destas vidas, imaginava-se o encontro de recordações traumáticas, em um número elevado, o que não se concretizou quando se iniciou a leitura das produções. A riqueza de situações apresentadas pelos trabalhos justifica o uso das autobiografias para percepção de trajetórias de vida e para o ensino de fontes históricas. / The present work introduces research that aims, using the production of autobiographies by students of the sixth year, to enable reflections on trajectory of lives, as well as develop notions of the work of the historian, specially the usage of historical sources. To reach this objective, meetings with the students were promoted in which the characterization of the self writings were developed, mainly the autobiographies. Then the work presented to the students information about historical sources and, aimed to give them instruments to the usage of memories, photography, and oral reports to the making of their writings. Authors such as Gomes, Lejeune, Ricoeur, Freud, Selligmann-Silva and others were essential to guide and analyze the productions that were made. In the report of these lives, it was thought to find many traumatic memories, which was not confirmed once the reading of the productions began. The richness of situations presented by the works justifies the usage of autobiographies to realize the trajectory of life and to the teaching of historical sources.

LIVE BED SHOW is an autoethnographic practice as research thesis exploring the apparent theoretical impossibility of reconciling the "unbridgeable gaps" of traumatic memory within autobiographical performance. Embracing an embodied poetics of failure, LIVE BED SHOW considers the possibility of employing the "ghosts" and "echoes" inherent to vinyl turntablism as a tool to represent traumatic memory in autobiographical performance. In doing so, it tests Karen Jürs-Munby's hypothesis that post-traumatic experience might share an affinity with the fragmented, non-linear, and repetitive structure of postdramatic performance.

A comparative analysis of Leslie Marmon Silko’s Ceremony and Toni Morrison’s Song of Solomon, with a focus on individual as well as collective memory work in historically marginalized indigenous and African-American communities, respectively. This represents a critical study of how the novels invoke progressive and redemptive models of remembering, as well as foreground the role of spiritual guides in the transformative process from trauma towards healing.

Collective memory emerges within our physical realm through material and spatial manifestations that link personal and collective conceptions of the past and present. The role of the memorial, as the primary urban element of collective memory, aims to encourage selective remembrance and reconciliation as part of a cultural healing process held over time. This thesis is situated in the city of Sofia, at a site of collective traumatic memory: the site of the former G. Dimitrov Mausoleum. Once considered the icon of Bulgarian communism, this building was symbolically demolished in 1999, following the collapse of the regime, leaving a scar in the heart of the city’s fabric and consciousness. This site, along with its abandoned adjacent public square, has become a significant representation of the urge found across all of the former Eastern Bloc countries, to suppress and erase the memory of the recent traumatic past, as a means to heal. However, without any efforts to commemorate, reconcile or face the past, the restrictive environment of oppression during the regime has in turn been replaced by an environment of repression, where mourning has become an impossible task. The modern tradition of public commemoration has been founded upon the notion that permanent monuments as physical objects can become representations of collective memory, preserved through time. Throughout the various attempts to create memorials, this assumption has remained for the most part unquestioned. However, the memorial as such has recently faced a major debate, as the issues of memory and forgetting have emerged as dominant concerns in dealing with the trauma that continues to haunt modern Western culture. Consciously discrediting the reality of the events and the victims associated, the Bulgarian culture has created a form of disconnect between its identity and its collective memory. Challenging the static forms and detached imagery, this proposal will reexamine the traditional definition of the monument as object on pedestal. By revisiting the site where the void left by the demolished mausoleum still haunts those trying to forget, and allowing the memory to emerge back into the collective consciousness, this proposition will allow the trace of the past to be transformed and connected to a new city narrative of remembrance. An engaged and dynamic ritual, beginning and ending at the memorial site, will draw a connection between space, time and memory through a series of new public spaces. Through the recovery of collective memory, it will offer an alternative to the healing process. The memorial is dedicated to the countless victims of censorship and control during the Iron Curtain regime.

Collective memory emerges within our physical realm through material and spatial manifestations that link personal and collective conceptions of the past and present. The role of the memorial, as the primary urban element of collective memory, aims to encourage selective remembrance and reconciliation as part of a cultural healing process held over time. This thesis is situated in the city of Sofia, at a site of collective traumatic memory: the site of the former G. Dimitrov Mausoleum. Once considered the icon of Bulgarian communism, this building was symbolically demolished in 1999, following the collapse of the regime, leaving a scar in the heart of the city’s fabric and consciousness. This site, along with its abandoned adjacent public square, has become a significant representation of the urge found across all of the former Eastern Bloc countries, to suppress and erase the memory of the recent traumatic past, as a means to heal. However, without any efforts to commemorate, reconcile or face the past, the restrictive environment of oppression during the regime has in turn been replaced by an environment of repression, where mourning has become an impossible task. The modern tradition of public commemoration has been founded upon the notion that permanent monuments as physical objects can become representations of collective memory, preserved through time. Throughout the various attempts to create memorials, this assumption has remained for the most part unquestioned. However, the memorial as such has recently faced a major debate, as the issues of memory and forgetting have emerged as dominant concerns in dealing with the trauma that continues to haunt modern Western culture. Consciously discrediting the reality of the events and the victims associated, the Bulgarian culture has created a form of disconnect between its identity and its collective memory. Challenging the static forms and detached imagery, this proposal will reexamine the traditional definition of the monument as object on pedestal. By revisiting the site where the void left by the demolished mausoleum still haunts those trying to forget, and allowing the memory to emerge back into the collective consciousness, this proposition will allow the trace of the past to be transformed and connected to a new city narrative of remembrance. An engaged and dynamic ritual, beginning and ending at the memorial site, will draw a connection between space, time and memory through a series of new public spaces. Through the recovery of collective memory, it will offer an alternative to the healing process. The memorial is dedicated to the countless victims of censorship and control during the Iron Curtain regime.

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Depuis la deuxième moitié du XXe siècle et le tournant du millénaire, pourquoi se multiplient des figures de la folie et du féminin dans le paysage littéraire haïtien ? En remarquant les grandes tendances qui font coïncider l’expression de la catastrophe, de la défaite du sens et l’apparition de personnages et de figures féminins majeurs dans des œuvres de tous genres, mon interrogation porte sur la folie, la marge et le féminin dans la littérature haïtienne contemporaine en tant qu’expressions concourantes de la dissemblance. Je me penche ainsi, dans des œuvres marquantes, sur le jeu rhétorique des postures de la dissemblance et la manière dont elles pointent depuis le texte vers un au-delà de l’œuvre, soit ce qui en elle indique l’ «espace ménagé» de sa propre faillite ainsi que le travail de la lecture et de la création. Pour cela, il a fallu, à partir des limites (de l’œuvre, de la norme), construire une réflexion capable d’aménager aussi l’espace de sa propre contestation. Dans le premier chapitre, à partir du récit fondateur « Folie », de Marie Chauvet, je pose le problème de la folie en me penchant sur les configurations inaugurales qui me semblent mettre la scène du littéraire contemporain haïtien. J’en profite pour préciser l’approche rhétorique qui me permettra d’aborder les textes littéraires, tout en réfléchissant sur les enjeux théoriques posés par une lecture de la folie comme absence d’œuvre. En m’appuyant sur Chauvet et sur les travaux de Felman, je définis les modalités d’une lecture impliquée. Dans le second chapitre, je brosse un portrait complexe du contemporain haïtien, tel qu’il est médié et rendu à travers les « anthologies » essentielles de Davertige et de Frankétienne. Ces deux œuvres sont l’occasion de poursuivre une interrogation sur les limites en remarquant les formes et les enjeux mobilisés dans le littéraire par les élaborations de la marge, de la mémoire traumatique et de la folie. Une telle approche est aussi l’occasion d’une réflexion de fond sur le contemporain haïtien, abordé d’emblée comme panorama et comme problème façonné et façonnant des sujets d’écriture. Enfin, dans le troisième chapitre, je me penche sur les filiations larvées qui permettent aux configurations précédemment décrites de persister, alors que le féminin, comme dissemblance, négocie sa place du côté de la marge ou de la folie, dans les textes plus récents de Jan Dominique et de Lyonel Trouillot. Les réflexions que je propose sur les destinations, sur l’œuvre impossible ou absente (Foucault) me permettent de distinguer les processus de différenciation spécifiques de la marge et de la folie, mais surtout d’apercevoir, au cœur du texte littéraire, la folie comme l’absence essentielle où se risque et se joue la création. Le dissemblable devient alors cet objet fuyant d’une lecture impliquée dans laquelle, le regard critique s’adossant à une écriture littéraire chargée d’en interrompre systématiquement le flux, constitue en effet ce « moment insolite de la théorie» (Felman), qui, dévoilant son propre jeu rhétorique, maintient la théorie en échec tout en la faisant parler. / Since the second half of the twentieth century and the turn of the millennium, why have representations of madness and the feminine proliferated in the Haitian literary landscape? Whilst reflecting on the broad tendencies that brought together the expression of catastrophe, the unravelling of meaning and the emergence of important feminine characters and figures in works of all genres, I will question madness, margins and the feminine in contemporary Haitian literature as concurring expressions of dissimilarity. Examining Haitian literary works, I want to propose a reading on the rhetoric postures and performances of dissimilarity and the manner in which they point towards an outsideness of literature: the unspeakable “thing” that signals – from within – the (im)possibility of the text, the (im)possibility of reading and creation. To achieve this purpose, I have chosen to construct a reading on limits (of the text, of the norm) that also considers its own contestation. Chapter one is built around the novel « Folie » by Marie Chauvet. It addresses the topic and rhetoric of madness while taking note of important aesthetic configurations that I suggest set the stage for contemporary Haitian literature. I also address methodological problems arising when “reading” madness as “absence d’œuvre” (Foucault). Intersecting Chauvet’s writing with the theoretical contributions of Felman, I specify my approach as a compromised or involved reading. In the second chapter, I paint the portrait of the contemporary Haitian general context using the essential anthologies of Davertige and Frankétienne. These two works allow me to address the notion of “limits” while considering the forms and issues created by the fabrications of margins, traumatic memory and madness. I therefore approach the contemporary Haitian context as a complex panorama and as a problem, both shaped by and shaping literary subjectivities. Finally, in the third chapter, analysing the more recent texts of Jan Dominique and Lyonel Trouillot, I reflect on hidden genealogies that perpetuate previously identified configurations when the feminine, as dissimilarity, negotiate a place on the side of margins or madness. The reflection I propose on destinations, the absent or impossible oeuvre allows me to differentiate the specificities of margins and madness, and most importantly, to glimpse, while reading the literary text, at the essential absence where creation risks itself. Thus, dissimilarity becomes the fleeting object of my compromised reading. A critical reading, which compromises itself with creative writing, in a decisive attempt to subvert theory, forcing it to unveil its own rhetorical play, to reveal its possible failure while making it eloquent.

Les altérations mnésiques associées au trouble de stress post-traumatique (TSPT) constituent un aspect fondamental de la symptomatologie de cette pathologie. Cette altération qualitative de la mémoire inclut à la fois une hypermnésie, c’est-à-dire une intensification de la mémoire vis-à-vis du coeur de l’événement traumatique, et une amnésie de type déclaratif pour les éléments contextuels péri-traumatiques. Les données chez l’Homme suggèrent que ces altérations mnésiques pourraient être sous-tendues par une hyper-activation amygdalienne et un dysfonctionnement hippocampique, respectivement. Cependant, les bases neurobiologiques, et en particulier moléculaires, du TSPT restent largement méconnues. Un modèle comportemental développé chez la souris au laboratoire et basé sur un conditionnement aversif permet précisément de comparer une mémoire de peur normale, c’est-à-dire « contextualisée » et adaptée, à une mémoire pathologique de type TSPT, c’est-à-dire « décontextualisée » et focalisée sur un élément saillant du trauma. Dans la mesure où il a été montré que le développement d’une mémoire de peur contextuelle implique certaines modifications épigénétiques spécifiques, nos travaux ont eu pour objectif de déterminer les altérations des modifications post-traductionnelles d’histones qui sous-tendent le développement d’une mémoire traumatique au lieu d’une mémoire de peur normale. Nos résultats révèlent (1) que des profils spécifiques différents des états d’acétylation/méthylation de l’histone H3 dans le réseau hippocampo-amygdalien sont associés à une mémoire de peur normale et à une mémoire traumatique de type TSPT. Spécifiquement, une mémoire de peur normale est associée à une forte acétylation de H3K9 hippocampique, tandis qu’une mémoire traumatique de type TSPT s’accompagne d’une hyperméthylation de H3K9 dans l’hippocampe, traduisant une répression transcriptionnelle, ainsi que d’une diminution de la tri-méthylation de H3K27 dans l’amygdale latérale, caractéristique d’une activation transcriptionnelle. De plus, nos travaux montrent (2) qu’une modulation pharmacologique de la balance des états d’acétylation/méthylation de H3K9 dans l’hippocampe permet de promouvoir ou de prévenir le développement d’une mémoire traumatique. Enfin, (3) une dernière série d’expériences révèle (i) qu’un stress prénatal est un facteur de risque au développement d’une mémoire traumatique, (ii) que cette dernière est associée à des profils épigénétiques spécifiques, et (iii) qu’une telle vulnérabilité peut se transmettre de manière intergénérationnelle. / Memory alterations associated with post-traumatic stress disorder (PTSD) are a fundamental feature of this pathology. PTSD is characterized both by hypermnesia for simple salient trauma-related stimuli and amnesia for peri-traumatic contextual cues. In humans, this disorder is associated with hippocampal hypofunction and amygdalar hyperfunction, which may underlie such paradoxical memory pattern. However, neurobiological bases of PTSD, particularly at the molecular level, remain largely unknown. A behavioral model based on aversive conditioning was developed in mice by our team. This model allows the comparison between a normal, i.e. “contextualized” and adaptive, fear memory, and a PTSD-like pathological fear memory, i.e. “decontextualized” and focused on a salient cue of the trauma. Since specific epigenetic alterations have been involved in the development of contextual fear memory, our aim was the identification of the alterations in post-translational histone modifications underlying the development of traumatic memory instead of normal fear memory. Our results first reveal that normal and PTSD-like fear memory are associated with distinct acetylation/methylation profiles of histone H3 in the hippocampal-amygdalar network. Specifically, we show that, compared to normal fear memory, PTSD-like memory is associated with a switch from H3K9 hyperacetylation (marker of transcriptional activation) to H3K9 hypermethylation (marker of transcriptional repression) in hippocampal CA1, as well as a significant reduction of H3K27 trimethylation, which results in an increased transcription, in the lateral amygdala. Second, we show that the pharmacological manipulation of the acetylation/methylation balance of H3K9 in the hippocampus can prevent or promote the development of PTSD-like memory. Finally, a last series of experiments shows that (i) prenatal stress is a risk factor for the development of PTSD-like memory, (ii) which is associated with specific epigenetic alterations and (iii) that such vulnerability to stress can be transmitted to subsequent generations.