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Maryse Condé no ha podido escapar de la tendencia de nuestra sociedad a categorizar y etiquetar. Condé no estaba de acuerdo con muchos de los adjetivos que se le atribuían, sin embargo, renegaba sobre todo del colectivo feminista en el que se la suele incluir. Muchos investigadores han intentado identificar por qué ocurre este fenómeno, es decir, ¿por qué quien lee sus obras ve en su autora una clara intención feminista, pero ella misma dice no serlo? Aquí, encontramos nuestro intento de responder a esta pregunta. A través de un análisis de los textos Le Cœur à rire et à pleurer (1999) y La Vie sans fards (2012), bajo el prisma de los roles de género, encontramos como la autora expone eventos de su infancia y juventud en los que se enfrenta a los prejuicios hacia las mujeres y las expectativas que se tiene de ellas. Por tanto, no podemos negar que se puede hacer una lectura feminista de estas obras, aunque Condé insiste en distanciarse del feminismo occidental, por lo que proponemos si inclusión dentro del feminismo postcolonial.

By exploring the complexities of enslavement in the autobiography of Cuban slave-poet Juan Francisco Manzano (1797-1854), Gerard Aching complicates the universally recognized assumption that a slave's foremost desire is to be freed from bondage. As the only slave narrative in Spanish that has surfaced to date, Manzano's autobiography details the daily grind of the vast majority of slaves who sought relief from the burden of living under slavery. Aching combines historical narrative and literary criticism to take the reader beyond Manzano's text to examine the motivations behind anticolonial and antislavery activism in pre-revolution Cuba, when Cuba's Creole bourgeoisie sought their own form of freedom from the colonial arm of Spain.

This refreshing re-evaluation of the so-called autobiography of Ignatius Loyola (c. 1491-1556) situates Ignatius's Acts against the backgrounds of the spiritual geography of Luke's New Testament writings and the culture of Renaissance humanism. Ignatius Loyola's So-Called Autobiography builds upon recent scholarly consensus, examines the language of the text that Ignatius Loyola dictated as his legacy to fellow Jesuits late in life, and discusses relevant elements of the social, historical, and religious contexts in which the text came to birth. Recent monographs by Marjorie O'Rourke Boyle and John W. O'Malley have characterized Ignatius's Acts as a mirror of vainglory and of apostolic religious life, respectively. In this study, John M. McManamon, S.J., persuasively argues that an appreciation of the two Lukan New Testament writings likewise helps interpret the theological perspectives of Ignatius. The geography of Luke's two writings and the theology that undergirds Luke's redactional innovation assisted Ignatius in remembering and understanding the crucial acts of God in his own life. This eloquent, lucidly written new book is essential reading for anyone interested in Ignatius, the early Jesuits, sixteenth-century religious life, and the history of early modern Europe.

La primera traducción al español de la obra de Mary Daly fue realizada en México en 1970, cuando la entonces Coordinación de Iniciativas para el Desarrollo de América Latina (CIDAL) publicó el artículo: “El antifeminismo en la iglesia” en el segundo número de su Boletín documental sobre la mujer (1970-1976), una publicación feminista que la CIDAL editaba trimestralmente en la ciudad de Cuernavaca, Morelos. Entre 1989 y 1996, la activista argentina Ilse Fusková tradujo siete entradas del Wickedary de Daly en sus Cuadernos de existencia lesbiana (1987-1996), una revista artesanal que difundía las ideas del feminismo lésbico en Buenos Aires, Argentina. Finalmente, en 1994 se tradujeron dos capítulos de libro y un ensayo, los tres de Mary Daly, en el libro Del cielo a la tierra: una antología de teología feminista editado por las teólogas Mary Ress, Ute Seibert y Lene Sjorup.

In 1995, Jennifer A. González coined the concept of “autotopography” to refer to those collections of objects which contain autobiographical information and may therefore become “museums of the self.” This paper analyzes Patti Smith’s M Train as an autotopographical narrative in which the author displays (through text and photography) the many objects that connect her to the past, acting as triggers for her memories and as repositories of identity. This article stresses that looking into the nature of autobiographical objects, and their links to the different ways of remembering, will allow us to further understand how lives are constituted on the page.

In this article, I examine, from a theoretical perspective, the access of subaltern subjects to a place of  enunciation (Ribeiro) through contemporary  autobiographical narration. This enables a partial  overcoming of their condition of being spoken for, while simultaneously serving as a representation of the  collective to which they belong. Both dimensions of representation (Darstellung and Vertretung, in Spivak’s  terms) function as both tools and limits of the sayable:  on the one hand, they challenge testimonial injustice by granting access to the literary field as authors; on the  other, they expose tensions with hermeneutical injustice (Fricker), as legibility—even when resisting normative discourses— is never guaranteed. Subaltern  autobiography, understood as a practice of identity, thus emerges as a form of self-affirmation and collective mediation, even when it inevitably involves substituting  for the integral witness (Agamben) who remains absent  in any act of representation. En este artículo examino, desde una perspectiva teórica, el acceso de los sujetos subalternos a un lugar de enunciación (Ribeiro) mediante la narración autobiográfica contemporánea, lo que proporciona una superación del ser hablados por otros, al tiempo que sirve como representación del colectivo del que forman parte. Ambas dimensiones de la representación (Darstellung y Vertretung, en términos de Spivak) operan como herramientas y como límites de lo decible: por un lado, socavan la injusticia testimonial al proporcionar acceso al campo literario (como autores) y, por otro, tensionan la injusticia hermenéutica (Fricker), ya que su legibilidad, aun desconfiando de los discursos normativos, nunca está garantizada. La autobiografía subalterna, entendida como práctica de identidad, emerge así como una forma de autoafirmación y de mediación colectiva, incluso cuando implica sustituir al testigo integral (Agamben) que falta en toda representación.

Este artículo desarrolla y analiza dos tópicos centrales de “Filial”, relato en clave autobiográfica de Elvio Gandolfo incluido en Cuando Lidia vivía se quería morir (1998): el vínculo literario-filial y el trabajo manual realizado en la imprenta La Familia, taller situado en el domicilio de la propia vivienda. En relación con estos núcleos narrativos, sostenemos que la actividad artesanal de impresión, aprehendida como un oficio, proporciona en este contexto un modo de leer y de entender la literatura que pone el acento en su materialidad. This article analyzes two major topics of “Filial”, autobiographical story written by Elvio Gandolfo included in Cuando Lidia vivía se quería morir (1998): the filial bound and the handmade work that takes place in the printing La Familia, located at Gandolfo’s home. In relation with these central topics, our hypothesis is that the printing work, learned as a craft, provides in this context a way of reading and understanding literature that emphasizes its material nature.

Autobiography is a resource used in clinical practice of Logotherapy and existential analysis with the purpose of clarifying meanings in life through histories of life. Therefore, based on Viktor Frankl's anthropological foundations, this research aims to apprehend existential values as well as to identify nuclei of meanings that are latent in the narratives of life of university students. For this purpose, this study had the participation of four undergraduate students, of both genders, with a 23 year old average age. The autobiographies were submitted to an individual analysis of similitude that counted with the help of software named Iramuteq, which allowed the identification of the so called nuclei of meanings. The results were discussed through the light of logotherapy and existential analysis. Palavras-chave : Autobiography; Logotherapy; Meaning.

This article examines Annie Ernaux’s Les Années at the intersection of identity as ipse and as idem . On the one hand, identity is attached to the notion of self ( ipse ): objectifiable and changing, it emerges via the cultural phenomena inscribed into the text. On the other, identity is conceived as permanence over time ( idem ) and is found in the descriptions of photographs, corporeal sensations, and metaphors of identity Ernaux employs (Dorothea Tanning’s Birthday , the Matryoshka doll set). Depicting these two views simultaneously, Ernaux crafts an autobiographical subject as bound to the collective body while also remaining uniquely singular.