O presente trabalho tem por objetivo estudar e compreender a trajetória e o contexto de vida de Gustavus Vassa (que se auto denominava, também, Olaudah Equiano) (1750- 1797), um africano que atuou como marinheiro nas embarcações do Atlântico, tendo por base sua autobiografia escrita e editada em 1789. O objetivo principal é verificar a validade desse texto enquanto fonte histórica, analisar a vida desse sujeito como marinheiro durante o período e discutir sua memória em relação ao continente africano. Pretende-se a partir de tal texto reconstruir aspectos do cotidiano dos marinheiros que trabalhavam no Atlântico durante o século XVIII, e analisar a maneira pela qual o seu autor apresenta a memória de sua comunidade de origem, a comunidade Igbo, da atual República da Nigéria, na África ocidental. Esse trabalho foi baseado principalmente na autobiografia desse homem que se intitulava Olaudah Equiano, o africano, mas que possuía um nome de batismo ocidental, Gustavus Vassa. A obra desse marinheiro tem sido reeditada desde sua primeira edição em 1789 e hoje faz parte do cânone de textos conhecidos como literatura afro-americana. São diversos os estudos ligados a outras áreas de pesquisa, como Literatura, que utilizam desse relato para estudar o cotidiano dos escravos e ex-escravos no período em questão. Nossos principais objetivos nesse trabalho foram verificar a validade desse texto enquanto fonte histórica, analisar a vida desse sujeito como marinheiro durante o período e discutir sua memória em relação ao continente africano. Procuramos colocar à prova o texto de Gustavus Vassa enquanto fonte histórica acerca do cotidiano dos marinheiros e também em relação a seu passado em África. Pretendemos, a partir do texto desse africano, reconstruir um pouco do cotidiano dos marinheiros que trabalhavam no Atlântico durante o século XVIII. Além disso, podemos também observar que muitos desses marinheiros eram africanos ou afro-americanos que engajavam-se nessa lide com o objetivo de ascender socialmente, ou mesmo para sobreviver de uma forma mais digna do que os outros escravizados nas plantations do novo mundo. / The paper aims to study and understand the biography and life context of Gustavus Vassa (who also called himself Olaudah Equiano) (1750-1797), an African who worked as a sailor in the vessels of the Atlantic. Our study is based on his autobiography, written and edited in 1789. Our main objectives in this work were to verify the validity of the text as a historical source, analyze the life of this subject as a sailor during the period of his life and discuss his memory in relation to the African continent. By analyzing the text, we also seek to reconstruct aspects of the daily life of sailors that worked in the Atlantic during the 18th century and analyze the way the author presents the memory of his native community, the Igbo who currently reside in the Republic of Nigeria in West Africa. The work was based on the autobiography of this man, who called himself Olaudah Equiano, the African, but had a western forename, Gustavos Vassa. This sailor‟s work has been reedited since its first edition in 1789 and today is part of the canon of known texts of african-american literature. There are several studies connected to other research areas, such as Literature, that use this account to study the daily life of slaves and former slaves in the period in question. We tried to put to the test Gustavus Vassa‟s text as a historical source about the lives of sailors, as well as his past in Africa. Based on this African man‟s text, we sought to reconstruct a bit of the everyday life of sailors who worked in the Atlantic during the eighteenth century. In addition, we also observed that many of these sailors were African or African-Americans who commited to this activity in order to ascend socially or even seeking a better life than other slaves in the plantations of the New World.

Dès 1997, des témoins rwandais rescapés d'un des événements les plus sombres du XXème siècle ont témoigné de leur expérience au cœur du génocide Tutsi survenu trois ans auparavant. La nécessité de mettre en récit l’horreur traversée a fait naître, en langue française, une littérature d’« un genre nouveau » qui n’existait pas dans le pays. En analysant seize récits rwandais de témoins directs du génocide, la thèse discute l’obstacle présupposé de leur co-écriture et met en évidence l’émergence et la singularité de cette littérature de témoignage : sa naissance dans la déchirure ; son mode spécifique d’élaboration ; sa poéticité ; sa rhétorique de la pulvérisation inhérente au traumatisme et, spécificité remarquable dans une culture où l’expression du « moi » n’est guère encouragée, son hybridation entre témoignage et autobiographie. Au confluent de l’histoire personnelle et de l’Histoire collective, certains témoins rescapés ont en effet exploré la voie d’une narration intime afin de reconstruire ce que le génocide a fait voler en éclats : le rapport à soi-même et à une communauté qui, après les avoir niés en tant qu’êtres humains, a tardé à les reconnaître en tant que victimes. Ce projet testimonial constitue tout autant une tentative de résilience qu’une quête de justice, un acte conclusif du deuil et une difficile progression de la survie vers la vie. Cette thèse inscrit de plein droit dans la littérature des œuvres essentielles et irremplaçables pour approcher au plus près la vérité du traumatisme et des faits génocidaires endurés. / Since 1997 Rwandan witnesses who have survived the Tutsi genocide in Rwanda in 1994 have related their dreadful experience of one of the worst events of the 20th century. The urge to write about this terrible event was the starting point of a new genre of writing in French in the country. By analysing sixteen direct witnesses' accounts this thesis examines the assumption that the need to resort to another person to transcribe their oral testimonies could present an obstacle. It reveals the newness and singularity of this " witness literature " : a dramatic break from all traditional artistic forms, the specific technique with a note of poetry, the way it describes the devastation caused by the traumatic events. Moreover what is remarkable in a culture in which self- expression is not encouraged is how it combines testimony and autobiography. Indeed where personal history and collective history meet, by telling their private accounts some surviving witnesses have been able to rebuild what the genocide had destroyed, that is to say introspection and the relationship with the community which not only had not considered them as human beings but had also delayed recognising them as victims. This " testimony project" is an attempt at resilience and a demand for justice as well, a way of coming out of mourning in order to be able to go on living. This thesis intends to fully acknowledge the literary quality of these very important, essential writings and to understand the intensity of the trauma caused by the criminal acts they had to endure during the genocide.

This dissertation explores the work of specific female autobiographers or memoirists who have written about their endured emotional or physical wounds inflicted by trauma. Throughout history, women’s writings and experiences have been commonly devalued or excluded from those autobiographical texts within the traditional canon. Further, traumatized women have traditionally been regarded as pathologically divided victims who suffer holes in their psyches. Their stories about traumatized childhood and adolescence are thus treated as insignificant or dangerous and are easily silenced. As a result, life stories of traumatized women have been commonly considered as unfit texts for students to read in class (especially because of concerns about possibilities of (re)traumatizing readers), and thus are commonly omitted from the English curriculum. Considering that the literary world still is dominated by white male writers, this study examines not only traumatized women writers but also women writers who represent “difference” as well as have suffered trauma. This dissertation’s analyzed authors and texts include: Marguerite Duras’s The Lover, Rigoberta Menchú's I, Rigoberta Menchú: An Indian Woman in Guatemala, Susanna Kaysen’s Girl, Interrupted, Marjane Satrapi’s Persepolis, and Alison Bechdel’s Fun Home. These women writers variously demonstrate, through their embodied trauma writings, how easily a seemingly integrated/unitary self can be shattered, how unexpectedly the status quo can be destabilized by certain events in their life-writings, and how subversively the history of the female body can be rewritten. The life-writings by these women, who are non-heterosexual, non-white, and from the lower class, and/or who have lived with disabilities/illnesses, are far from that typical autobiographical writing that emphasizes tests of manhood, or beautifies the linear development of the masculine subject. In other words, they never emphasize their triumph over trauma, do not celebrate selfsufficiency or self-reliance, and are not interested in claiming any authority of their own personal experiences. Rather, they highlight the understanding of their own incompleteness, fragmentation, and self-contradiction, which serves to uncover the fictiveness or myths of self-control or self-mastery typically found in narratives by male and often white-only writers. In their life writings, the traumatized adolescent selves are continuously reshaped and discursively constructed, not as helpless victims of terrifying events, as is frequently assumed, but as those with rebellious, transgressive, and uncanny power, who can disturb patriarchal social norms or regulations in their life writing and come to terms with trauma in their own ways: Duras’s eroticizing trauma in The Lover, Menchú politicizing trauma in I, Rigoberta Menchú: An Indian Woman in Guatemala, Kaysen’s depathologizing trauma in Girl, Interrupted, Satrapi’s and Bechdel’s visualizing unrepresentable trauma in The Complete Persepolis and Fun Home. This study employs poststructural theories that “challenge the unity and coherence of the intact and fully conscious ‘self’ of Western autobiographical practices and the limits of its representations” (J. Miller, 49) to examine traumatized girlhood. In particular, based on feminist poststructural critiques of modernist, Enlightenment assumptions about autobiographical perspectives and voices, the following questions are examined in this dissertation: What words or images do this study’s examined authors utilize as a way to (re- )construct a self out of trauma? What understandings or insights do these authors achieve — or not achieve — while working to come terms with their traumas? In what ways might — or might not — these authors’ memoirs or life writings serve or disrupt a palliative/therapeutic role in what often is termed the healing process? What places, if any, might such autobiographical works focused on women’s experiences of trauma have in the English curriculum within the secondary classroom? And lastly, what and who constitutes the English literature canon, and what debates continue to characterize efforts to expand this canon to include voices of the marginalized?

Neste trabalho, refletimos sobre o trabalho com a leitura de uma obra integral em sala de aula de língua estrangeira. Descrevemos como se deu a leitura de LOdeur du café, uma autobiografia de infância de Dany Laferrière, escritor de língua francesa associado à dita literatura migrante, por um grupo de alunos que já possuíam cerca de 130h de aprendizado da língua francesa. Primeiramente, discorremos sobre o uso histórico do texto literário em FLE e sobre as especificidades do texto literário, assim como discutimos os processos de leitura e especialmente a leitura literária em língua estrangeira (capítulo1). Em seguida, abordamos as especificidades da autobiografia, da autobiografia de infância, contextualizamos o autor Dany Laferrière e LOdeur du café (capítulo 2), e apresentamos contribuições teórico-metodológicas que embasaram nosso trabalho em sala de aula (capítulo 3). Por fim, descrevemos e analisamos a recepção literária dos alunos a partir de suas verbalizações escritas e a forma com que estes conseguiram apropriar-se da leitura literária de uma obra integral em língua estrangeira (capítulo 4). / This paper is a reflection about reading a whole piece in a foreign language classroom. I describe the reading of LOdeur du café, a childhood autobiography of Dany Laferrière, French language writer joined to the called migrant literature, by a group of students with 130h of French language learning. First, I discuss the historical use of the literary text in FLE and specifities of the literary text as well as processes of reading and especially literary reading in foreign language (chapter 1). After that, I discuss specifities of autobiography, childhood autobiography, I contextualize the author Dany Laferrière and LOdeur du café (chapter 2), and I present some theoretical-methodologic contributions which are in the bases of our work in classroom (chapter 3). Finally, I describe and I analyze literary reception students from their written verbalizations and the way they have incorporated to themselves a literary reading of a whole piece in foreign language (chapter 4).

Dans ce travail, nous avons traité du genre « roman autobiographique » illustré par trois œuvres algériennes d'expression française: Jacinthe noire de Taos Amrouche, Le Fils du pauvre de Mouloud Feraoun et de L'amour la fantasia de Assia Djebar.Nouvellement défini par la poétique moderne, le roman autobiographique se démarque avanttout avec sa stratégie d'ambiguïté générique. Nous avons repéré cela systématiquement dans nos œuvres, notamment du point de vue structurel, il s'agit des éléments textuels qui fonctionnent comme des opérateurs génériques, tels que le paratexte, l'intertexte, mais aussi les mécanismes d'énonciations sur les axes référentiel et fictionnel.Partant du point de vue du contexte, ce sont d'autres ambiguïtés qui viennent alimenter la nature du genre que nous avons souhaité traiter sous le concept de dualité que le contexte social et individuelle fait apparaître. Ce concept nous l'avons par la suite décliné en concept du double qui affecte essentiellement la figure de l'auteur ainsi que ses personnages.Dépassées cette figure du double, c'est l'unité du Moi et de l'identité personnelle qui se trouvent remises en question. Avant de statuer sur différentes théories qui avaient tentées de mettreen œuvre des pistes de réception qui puissent valider herméneutiquement le genre dans ses divergentes acceptations.Mots clés : Roman autobiographique, fiction, réalité, ambiguïté, dualité, double, identité du Moi, amalgame, réception. / In this piece of work, we have discussed on the ‘autobiographical novel’ as a literary genre exemplified by three Algerian works written in French – namelyTaos Amrouche’s Jacinthe noire de, Mouloud Feraoun’s Le Fils du pauvre and Assia Djebar’s L'amour la fantasia.First and foremost, the autobiographical novel – recently defined by modern poetic – marks itself off from the other genres with its strategy of generic ambiguity. This has been systematically noticed in these works, especially from a structural point of view where text components play the part of generic operators such as paratext, intertext, but also enunciating mechanisms on fictional and referential axes.Starting from the contextual standpoint, other ambiguities nurture the nature of the genre we have wished to tackle through the concept of duality that is unveiled by the social and individual context. This very concept has then been developed into the concept of the double. It affects mostly the figure of the author as well as their characters.Moving beyond the figure of the double amounts to questioning the very unity of the Self and personal identity before rendering a final verdict on various theories that tried to implement reception that may hermeneutically validate the genre in all its diverging acceptations.Keywords: autobiographical novel, fiction, reality, ambiguity, duality, double, self identity, amalgam, reception.

[pt] O Magrebe é uma região localizada entre diversos mundos - africano, ocidental, oriental, pan-árabe, islâmico, para citar alguns – e, portanto, permeada por uma série de representações e narrativas que tentam capturar e conferir sentido à essa diversidade e os tipos de encontros que suscita. O presente trabalho é uma investigação sobre a política das narrativas no âmbito da chamada Literatura Pós-Colonial Francófona do Magrebe – mais precisamente nos escritos de Abdelkebir Khatibi, Fatema Mernissi, Kateb Yacine e Jacques Derrida. Dentre outros pontos de interseção, tais escritores explicitamente abraçaram em suas produções textuais a tarefa de (re)imaginar suas respectivas sociedades e, principalmente, suas subjetividades (posição de sujeitos) enquanto intelectuais franco-magrebinos no contexto pós-colonial e subsequentes processos de construção da nação pelos Estados pós-coloniais da região. Dessa forma, a tese se centra na política da imaginação, desencantamento, mas também na esperança que une esses escritos, e chama atenção para o mundanismo dos textos (worldliness of texts) – conceito cunhado por Edward Said –, num esforço tanto de situar textos em seus contextos como de discutir o potencial e os limites das estratégias narrativas (e da imaginação crítica) em promover a mudança política. Busca-se então avançar a noção de narrativas como atos políticos à medida em que se lança luz sobre o contexto turbulento em que surge a literatura pós-colonial francófona do Maghreb, bem como sobre sua constante reinvenção enquanto espaço de resistência e contestação. Argumenta-se ainda que existem paralelos relevantes entre a política de (re)imaginação que se desprende desses textos e as reflexões que têm sido avançadas por um conjunto de intelectuais de RI acerca do lugar das narrativas enquanto metodologias alternativas para compreender o internacional e o global. Quais as implicações dessa renovada atenção aos tropos da narrativa, voz e reflexividade enquanto problemas teóricos legítimos no estudo das relações internacionais e globais? Que tipos de ansiedades e esperanças tal movimento em direção às estratégias narrativas – seja como modo de comunicação do conhecimento seja como modo de conhecer, (re)imaginar e, assim, (re)contar o mundo – suscita no campo das RI? Ao fornecer possíveis respostas a esses e outros questionamentos, esta tese de doutorado busca ainda promover/imaginar um encontro entre narrativas sobre/ a partir do Magrebe e narrativas sobre / a partir da teoria de RI em suas semelhantes tentativas de representar e compreender o internacional e o global. / [en] Maghreb is a region located between many worlds – African, Occidental, Oriental, pan-Arab, Islamic, to name a few. Thus, not surprisingly, it is permeated by a number of depictions and narratives trying to capture and make sense of such diversity and the types of encounters it generates. The thesis is an exploration on the politics of narrating postcolonial Maghreb in the writings of Francophone Maghrebian writers such as Abdelkebir Khatibi, Fatema Mernissi, Kateb Yacine and Jacques Derrida, who explicitly embraced the task of (re)imagining their respective societies and, importantly, their subject-positions as Franco-Maghrebian intellectuals after independence from the colonial yoke and subsequent nation-building processes by postcolonial states in the region. The main line of inquiry throughout the dissertation focuses on the politics of imagination, disenchantment but also hope bridging these texts together and draws attention to the worldliness of texts (a terminology coined by Edward Said) in order to both situate texts in their contexts and discuss the potential of narrative strategies (and of critical imagination) to promote political change. I therefore consider narratives as political acts and draw attention to the turbulent contexts in which postcolonial Francophone Maghrebian literature emerges and constantly reinvents itself as a site of resistance and contestation. In addition, I argue that there are important parallels between the politics of (re)imagination in these texts and the reflections some IR scholars have been putting forward in their turn to narratives as alternative methodologies in IR. What does this attention to the tropes of narrative, voice and reflexivity as theoretical problems entail to the study of international and global affairs? What sorts of anxieties and hopes does the turn to narratives both as modes of communicating knowledge to the world and as modes of knowing, (re)imagining and thus (re)telling the world bring about in the field of IR? In providing an answer to these questions, I promote an encounter between narratives about/from the Maghreb and narratives about/from IR and IR theory in their attempts at making sense of the world of international and global affairs.

This study deals with some of the recent theory of autobiography. Methodologically, it is based on literary narratology but, as part of interdisciplinary research, it also draws on insights provided by philosophy, psychology, and cognitive science. It shows that an autobiography does not reflect an author's identity but helps construct it by narrative means. As far as the truthfulness of an autobiography is concerned, the study takes into account the issues of autobiographical memory and its reliability; it also deals with collective memory in the context of genre norms. Drawing on positioning theory, the study offers a conception of autobiography as a formally and narratively complete work that, however, reflects the current situation and position of the author who is writing it. This master's thesis demonstrates its suggestions using autobiographical texts from Czech as well as world literatures. Keywords autobiography, memory, narrative identity, referentiality, positioning theory

Julien Green (1900-1998) was the famous novelist of the 20th century. He was dealing with spiritual and moral dilemmas in his novels, which were among others due to his life experience with several faiths. He was also the author of an extensive diary and autobiographical works. He was keeping diary from young age and covers almost the entire 20th century. His aim was not to describe events, rather to let his thoughts, observations and dilemmas took shape. This work aims to explore that angle of Green's work and reveal its character. It will thematically examine specific centers of interest through this work, focusing on the relationship that exists between the diaries and autobiographical prose, whether by consensus or differences in the content, but also in the form of works. The final goal is to transcribe a specific form of statements about himself, which Julien Green created. Keywords autobiography, introspection, christianity, history, intimacy

A fim de observar o impacto de uma ideologia sobre a conduta e a realidade material de um artista, a pesquisa analisou o livro publicado em 1892 pelo americano James McNeill Whistler, The Gentle Art of Making Enemies. Posicionando-se diante dos paradoxos impostos pela autonomia da Arte, o pintor elaborou uma série de estratégias que visavam garantir uma imagem pública definida dentro dos parâmetros esperados para um artista livre, baseando-se principalmente no uso da imprensa para divulgação de suas ideias. Partidário da chamada arte pela arte, Whistler procurou provar ser a preeminência dos artistas no domínio de sua produção a fonte de sua liberdade. A partir dos debates entre os críticos de arte da imprensa britânica e o artista, foi possível observar as particularidades das disputas internas do campo artístico inglês e das soluções encontradas por Whistler para se manter dentro da fronteira que delimitava a autenticidade de um artista / In order to observe the impact of an ideology on an artists demeanor and material reality, this research analyzed a book published in 1892 by the American James McNeill Whistler, The Gentle Art of Making Enemies. By taking a position in face of the imposed paradoxes of the Art autonomy ideology, the painter elaborated a series of strategies that aimed at ensuring a public image defined within the parameters expected for a free artist, based chiefly on using the press use for divulge his ideas. Follower of the art for art sake premises, Whistler sought to prove that the freedom of artists relied on their preeminence over the domain of their production. Based on the debates between art critics of the British press and the artist, it was possible to observe the particularities of intern disputes of the British art field and the solutions found by Whistler to stay within the boundaries demarcating the authenticity of an artist.

nÃo hà / Esta tese buscou compreender mediante a perspectiva da heterotopia e da educaÃÃo corretiva, como foi configurada a prÃtica educativa, realizada atravÃs de correÃÃo e moralizaÃÃo apreendidas pelas moÃas-mÃes solteiras, na cidade de Fortaleza, quando recolhidas à instituiÃÃo criada para este fim denominada Instituto Bom Pastor. Essa entidade realizava trabalhos filantrÃpicos e era dirigida pelas religiosas da CongregaÃÃo de Nossa Senhora da Caridade do Bom Pastor. Tinha como missÃo abrigar jovens solteiras que incorriam no ato de engravidar sem o casamento. Pela carÃncia de fontes escritas, recorremos Ãs narrativas de Francisca Maria dos Santos (Dona Chiquinha) sobre o perÃodo que fora interna e cozinheira na referida instituiÃÃo. A sua histÃria de vida à considerada nesta pesquisa a principal fonte de investigaÃÃo sobre o Instituto Bom Pastor. Os termos âcorreÃÃo e moralizaÃÃoâ sÃo entendidos neste estudo como o aprendido que visa a ser praticado, e que à inculcado no comportamento das pessoas. A ideia do poder sobre si exercido a partir do interior à importante para a compreensÃo das prÃticas educativas, iniciadas em Fortaleza, a partir da segunda metade do sÃculo XIX e que, de certa forma, em muitas dessas instituiÃÃes, perduraria apÃs a II Guerra Mundial. à por isso que considero o Instituto Bom Pastor como lugar onde se desenvolve uma Heterotopia (aglutinaÃÃo de hetero = outro + topia = espaÃo). Foucault usa o termo heterotopia para descrever espaÃos que tÃm mÃltiplas camadas de significaÃÃo ou de relaÃÃes a outros lugares e cuja complexidade nÃo pode ser vista imediatamente. Neste caso, utilizo o conceito de heterotopia de desvio e de purificaÃÃo, entendida como espaÃo que estÃo isolados e impenetrÃveis ao pÃblico sem permissÃo, usados para a purificaÃÃo, seja por motivos religiosos, corretivos ou higiÃnicos. / This thesis seeks to understand through the perspective of heterotopia and remedial education, as set educational practice, performed by correcting and moralizing seized by single women-mothers, in Fortaleza, collected when the institution created for this purpose called Good Institute pastor. This entity performed charity work and was directed by the religious of the Congregation of Our Lady of Charity of the Good Shepherd. Mission was to house single young people that bore the act of getting pregnant without marriage. By the lack of written sources, resort to narratives of Maria Francisca Santos (Dona Chiquinha) over the period out internal and cook in that institution. His life story is considered in this research the main source of research on the Good Shepherd Institute. The terms "correction and moralization" are understood as learned in this study that aims to be practiced, and that is instilled in people's behavior. The idea of power exercised over themselves from the inside is important for the understanding of educational practices, initiated in Fortaleza, from the second half of the nineteenth century and, in some ways, in many of these institutions would endure after World War II . That is why I consider the Good Shepherd Institute as a place where one develops a heterotopia (agglutination hetero = other + topia = space). Foucault uses the term heterotopia to describe spaces that have multiple layers of meaning or relationships to other places and whose complexity can not be seen immediately. In this case, I use the concept of heterotopia of deviance and purification, understood as a space that is isolated and impenetrable to the public without permission, used for purification, whether for religious, remedial or hygienic reasons.