Biography Research Articles

Literature of Exile and Exile in Literature

The number of descendants of Bosniak migrants in Anatolia has led us to examine the issue of existence of literature of exile in this community; as well as the theme of Bosniak migration to Turkey in literary texts. This paper presents biographies of authors of Bosniak origin and indicates elements of literature of exile in their work: Mehmet Ruhi Turan (1900-1981); Ahmet Cemil Miroğlu – Asri (1907-1971); Memduh Cumhur (1947-2018); Cemil Kavukçu (1955- ); Yavuz Bubik (1940-). The corpus also includes the novels Gözüm Yaşı Tuna Selidir Şimdi by Selm Fındıklı and Cüda by Halil İbrahima Izgi – authors whose biographies include no information about their Bosniak ancestry; but their novels focus on migration of Bosniaks to Anatolia and Ottoman-governed Palestine. Stories about the circumstances that led to migration; about the trauma of leaving home; about otherness; identity; hopes for return; nostalgia – more than a century later; after the loss of even the Bosnian linguistic identity; speak through literary text in the Turkish language.

Corrigendum

OceaniaVolume 91, Issue 1 p. 136-136 CorrigendumFree Access Corrigendum This article corrects the following: COVID-19 and Fiji: A Case Study Mohseen Riaz Ud Dean, Volume 90Issue S1Oceania pages: 96-106 First Published online: December 16, 2020 First published: 13 January 2021 https://doi.org/10.1002/ocea.5287AboutSectionsPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat In Dean (2020), the Author Biography section was omitted. The text is given below: Mohseen Riaz Ud Dean is currently working with the UNDP Accelerator Lab, Pacific office based in Suva, Fiji, as Head of Community Research and Ethnographic Solutions Mapping. He holds a PhD in Anthropology from the University of Waikato in Aotearoa/New Zealand. Mohseen’s cross-disciplinary PhD thesis drew upon the agronomic, ecological, and social sciences to analyze the current crisis in the Fijian sugar industry. It focused particularly on the livelihood crisis faced by smallholder sugarcane growers and explored the potential of local and traditional farming knowledge to address this crisis. Mohseen also holds a M.Sc in Environmental Sciences from Jawaharlal Nehru University in New Delhi, India, a Post Graduate Certificate in Tertiary Teaching, and a B.Sc in Environmental Science from the University of the South Pacific. Before joining the UNDP, Mohseen worked as an academic at Fiji National University. The online version of the article has been corrected. Reference Dean, M.R.U. 2020. COVID-19 and Fiji: A Case Study. Oceania 90(S1): 96- 106. Volume91, Issue1March 2021Pages 136-136 ReferencesRelatedInformation

Paul A. Volcker & Christine Harper, Keeping At It: The Quest for Sound Money and Good Government

Abstract. The Federal Reserve chair Paul Volker led the US through its tumultuous 1970s and 1980s. His biography, Keeping at It , chronicles his thinking and actions throughout his time in public service. Keywords. Monetary policy, Government, Good Government. JEL. B21, D00, D20, D40.

Brief Biography of Professor Natale D’Alessandro Dedicated in His Memory

Brief Biography of Professor Natale D’Alessandro Dedicated in His Memory

Forbidden to print: On the issue of publishing the biography of A.N. Radishchev in 1858

Forbidden to print: On the issue of publishing the biography of A.N. Radishchev in 1858

Napoleon Bonaparte: The Third and the Last Biography in Russian

Napoleon Bonaparte: The Third and the Last Biography in Russian

Manuscript Notations and Cultural Memory

Manuscript Notations and Cultural Memory Michael Edson (bio) Historians using manuscript notes to reconstruct reading practices from the past have traditionally focused on single annotators with marginalia in many volumes. Think of William Sherman's work on John Dee, Lisa Jardine and Anthony Grafton's on Gabriel Harvey, or Heather Jackson's on Samuel Taylor Coleridge.1 Such studies have advanced substantially our understandings of reading, and we would not wish them away. But they point to dissonant trends. Where literary studies continues to shun single authors (at least as the subjects for new monographs) and to question the privileging of an author's biography as the key to interpretation, studies of single annotators still dominate histories of reading. Known marginaliaists, often wealthy and male, disproportionately define the field. And while undertakings such as Book Traces (University of Virginia) and The Reading Experience Database (The Open University) have enlarged awareness of marginalia by readers about whom often little is known, both projects are, at least currently, too miscellaneous to permit comparisons across many annotated copies—comparisons promising broad insights into collective reading practices at certain times.2 In response to these patterns in print and digital scholarship, I would like to propose another method of doing the history of reading: comparing [End Page 171] manuscript notations across many, if not all, surviving copies of single titles. This labor-intensive, comparative analysis has been done occasionally in the past, but largely, again, in terms of the intentions and biographies of authors and identifiable annotators.3 By contrast, I will show what possibilities emerge through the study of marginal notes by large numbers of readers without traceable lives or intentions. To illustrate, I will analyze the handwritten notations by the mainly anonymous readers of the roughly ninety extant copies of Lady Anne Hamilton's 1807 satire, The Epics of the Ton; Or, The Glories of the Great World: A Poem. Leaving behind a larger-than-usual number of annotated copies, Epics of the Ton is a perfect subject for a comparative analysis of marginalia. Part of a larger project, the analysis to follow will raise questions that our current methods and priorities are unable to answer. My suggestions here model one possible approach beyond the single-annotator study, revealing manuscript notation to be a potentially rich source for studying cultural memory, which is to say, for studying what was foremost in the minds of readers at certain times and how it got there. This approach also requires that we see satire like Hamilton's as a kind of literacy game, with the goal being above all to assign names to the satiric targets. Unable to offer individualizing accounts for the names left by the many unknown readers of Epics of the Ton, scholars must seek out larger, social explanations for patterns in notation, including partisan identities and competing information sources. Published anonymously, Hamilton's Epics of the Ton decries gambling and illicit sex in London high society. In part a defense of Caroline, Princess of Wales, for whom Hamilton (1766–1846) was for a time a lady in waiting, and in part a gossipy satire on philandering Regency elites, Epics of the Ton exploits the media-driven clamor for celebrity scandal in eighteenth- and early nineteenth-century England.4 The division into two gendered sections, titled the Male Book and the Female Book, makes Epics of the Ton unique among satires. The work ridicules seventeen men and twenty-five women, mainly aristocrat-politicians and society hostesses, who are identified in the Table of Contents and the section headers only by initials: D—of B—, V—C—, etc. (fig. 1).5 Additional blanks throughout the poem and its footnotes invite readers to put names to the textual clues, in effect doing the work Hamilton begs of her muse: "From next year's Lethe, and oblivion drear, / Come save the deeds" of the London beau monde.6 Reacting to the poem's "lust [for] personal defamation," the poet Anna Seward wrote that she wished Epics of the Ton would suffer a "total famine of readers."7 Yet feast, not famine, better describes the poem's brief, intense popularity, as it saw three editions, all...

Intersectionality and Identity: Four Recent Women's Memoirs

Intersectionality and Identity:Four Recent Women's Memoirs Lisa Katz (bio) Memorial Drive: A Daughter's Memoir by Natasha Trethewey. Ecco Press, 2020, 224 pp., $16.99 (paper). Terroir: Love, Out of Place by Natasha Sajé. Trinity University Press, 2020, 207 pp., $18.95 (paper). Mouth Full of Seeds by Marcela Sulak. Black Lawrence Press, 2020, 113 pp., $17.95 (paper) Recollections of My Non-Existence by Rebecca Solnit, Granta, 2020, 244 pp., £16.99 (hardcover). However solitary, memoir reading, like memoir writing, participates in an important form of collective memorialization, providing building blocks to a more fully shared national narrative. —Nancy K. Miller In her iconic essay on the memoir genre, "But Enough about Me," scholar Nancy K. Miller makes an optimistic claim: that the form, often derided as belletristic, has an active social, even political function. It enables readers to enlarge the national picture in which their own story takes place. And so, she writes, memoir "may well be the most important narrative mode of our contemporary culture." In the books under consideration, the American narrative expands to include women writing from biracial, bisexual, and binational points of view. The authors come from the segregated South; from a combination of East Coast locations and theocratic Salt Lake City; from a winding [End Page 177] route that starts in rural Texas and ends in Israel; and from San Francisco as it gentrifies. Their stories reveal a highly variegated way to live as an American woman. Each writer has in common with the others a desire to understand her own provenance and development and, to a degree, to decipher the meaning of her narrative within the larger picture. Race figures in three of these works and religion in a fourth; gender inequality emerges in all of them. I have begun to consider just how many people live by crossing stereotyped boundaries. We do not exist wholly within single identities, and many of us have hyphens, not to mention contradictions, in our very genes. At one extreme, you could even be the grandchild of a German Jewish publisher as well as the child of a German soldier in World War II and somehow end up a privileged, "birthright" American, as Alexander Wolff discovered in writing his family history, Endpapers. It's a wonder that anyone thinks that they are pure anything. Beginning to notice memoirs in many places, I feel like a victim of the frequency-illusion phenomenon, where we suddenly feel that the object of a new interest appears everywhere. But in fact the memoir genre is huge. A recent search in Amazon books resulted in a list of sixty thousand titles ranked according to sales, with each book assigned to three themes. As of the writing of this review, in the spring of 2021, sixteen of the top-selling twenty memoirs were by women, including US poet laureate Natasha Trethewey's Memorial Drive. While Amazon's classification system represents an effort to place books in recognizable niches that will be attractive to buyers, its categories show the need for Miller's "more fully shared national narrative." With respect to the real lives in these books, Amazon's pigeonholes are too broad or too narrow for border-crossing human lives. For instance, English professor Trethewey, fifty-five, is the daughter of a Black woman and her first, white husband. The poet's memoir depicts her childhood in palpable, meticulous detail and revisits the murder of her mother when the author was nineteen. The effects of day-to-day racism and how she and other family members dealt with it are foregrounded. Nonetheless, the book is grouped by Amazon under three categories, none of which has anything to do with race: "Murder & Mayhem True Accounts," "Law Enforcement Biographies," and "Author Biographies." Natasha Sajé, sixty-six, is an American poet and English professor who was born to displaced central Europeans in Munich and brought to the United States at the age of two. She was happily married for thirty [End Page 178] years to a Jamaican man, a chef and caterer, until his death from cancer, and is now married to a woman. A nonpracticing Catholic from Maryland, she has lived in...

Author Biographies

Author Biographies

Truth and Reconciliation and Narrative Ethics, Form, and Politics

Truth and Reconciliation and Narrative Ethics, Form, and Politics Sarah Copland (bio) I am the Canadian daughter of British immigrants and a settler who now gratefully teaches and learns on land known as Treaty 6 territory, an area encompassing central parts of the present-day provinces of Alberta and Saskatchewan, where a treaty between “Her Majesty the Queen” and “the Plain and Wood Cree Indians and other tribes of Indians” was signed in 1876 (Treaty Relations Commission of Manitoba).1 I have benefitted tangibly and intangibly in my life from colonial structures of power that privilege white, native English-speaking settlers and in my work from a colonial academia that privileges Western theories and methodologies for literary criticism and education in general. I begin with this self-positioning because this essay is about the narrative ethics, form, and politics in and of artistic works purporting to contribute to reconciliation for groups that face historical and present-day injustice. Acknowledging my situatedness is a critical first step in formally framing literary criticism about such artistic works in a way that reinforces—rather than undermines—that criticism’s politics and ethics. As I address questions that are as pressing for theorizations of narrative ethics and politics generally as they are for specific cases hitting the media, including the peoples and communities affected by these cases, I participate in a conversation led by Indigenous scholars, writers, and activists. In this conversation, which focuses on the politics and ethics of representation, I draw on my expertise in narrative theory and narrative ethics to add a complementary engagement with the [End Page 229] politics and ethics of form. In doing so, I address two hitherto unaddressed questions. First, what bearing do the ethics of an author’s conduct in writing, publishing, and promoting a work as an act of reconciliation have on the ethics of the work itself, that is, the ethics of the dramatized and narrated events and relationships in the text’s action, and the narration itself? Second, how does the interaction between what we might call text-external ethics and text-internal ethics affect the political work a text is ostensibly undertaking to support and contribute to reconciliation for groups facing ongoing inequities?2 By bringing this conversation to an international context, I also model for scholars working with artistic responses to other Truth Commissions, Truth and Reconciliation Commissions, or their equivalents, one version of what form-specific ethical political criticism might look like.3 In what follows, I address these questions and model this form-specific ethical political criticism through an engagement with controversial, award-winning Canadian writer Joseph Boyden’s novella, Wenjack. Published in the fall of 2016, Wenjack was part of a multi-artist, multi-media response to two coinciding events: the fifty-year anniversary of the death of Chanie Wenjack, an Indigenous (Ojibwe) boy who died while running away from a so-called Indian residential school, and the conclusion of the work of the Truth and Reconciliation Commission of Canada, whose report on the residential school system and its legacy was published in 2015. Shortly after Wenjack was published, a controversy surrounding Boyden’s Indigenous identity claims broke in national news, beginning with Robert Jago’s tweets from the IndigenousXca Twitter account and Jorge Barrera’s online piece “Author Joseph Boyden’s Shape-Shifting Indigenous Identity” in the Aboriginal Peoples Television Network News.4 By that time, Boyden had spent more than fifteen years publishing novels, short stories, and non-fiction exclusively about fictional and real-world Indigenous peoples and stories. He represented himself in text-internal and text-external venues (such as author biographies and media interviews) as Indigenous or Métis, received many literary awards (some of which targeted Indigenous writers), and served as the voice and face of Indigenous literature and of cultural commentary on Indigenous issues in the Canadian media. As the controversy unfolded through articles in a vast range of periodicals both before and after Boyden’s official published response, “My Name Is Joseph Boyden” (Maclean’s, August 2017), scholars, writers, and activists, [End Page 230] mostly Indigenous, addressed Boyden’s numerous, unsubstantiated ancestry claims from political angles, attuned to the intersecting dynamics...

Author Biographies

Author Biographies

Author biographies

Author biographies

PARIZ U BEOGRADU

This paper represents an image of the writer’s interweaving biography and bibliography. Explaining such an aspect required analytic and comparative ap- proaches to the material. This paper covers writer’s interviews, auto-poetic notes, letters, translations, insight into the bibliography and official biography, and also his literary work. As part of translation, scientific and literary work, Paris and French culture are a kind of prism through which the life of Milorad Pavić should be perceived. The writer felt close to the French language from his childhood, which affected the shaping of his creative sensibility – writing his first literary works and translating. Later on, knowing French language and culture well marked the start of his academic career.

FLORAL COMPONENT AS THE ENTRY OF VIRA VOVK’S SPIRITUALITY: SELF-IDENTIFICATION WITHIN THE CONTEXT OF HER CREATIVE WORK

The article analyzes the life path of Vira Vovk and key images of her work with a special emphasis on the role of plant symbols, and the influence of sacred ideas on the artist and her faith in God. Attention in the article focuses on the self-identification of Vira Vovk as a purely Ukrainian poetess with her own life position. At the same time, the course of analysis of the author's biography and bibliography circles around her sincere love and devotion to Ukraine, in particular – the admiration of the beauty of her native land, the granting of special significance and symbolic meaning to floral dimension, which is clearly illustrated by examples of donna Vira's lyrical lines. The sacred level and divine beliefs are covered, on the one hand, on the examples of the artist's poetry, on the other – taken from the sphere of journalism about Vira Vovk, namely, from interviews with poetess within literary evenings, conferences, round tables. The article outlines significant instructions to the younger generation of writers: here we are talking about the use of Ukrainian images, plots, historical background of our Motherland, without the involvement of foreign motifs and style. We will try to reveal the secret of "lameness" of the Ukrainian text through the eyes of Vira Vovk and the role of the Ukrainian author's style in the context of the formation of a young writer. In addition to the purely literary level and the analysis of the emigration author's work, we also intent to show Vira Vovk as a sophisticated person, whose literary roots germinated deeply from the Ukrainian land, absorb the entire color of the Ukrainian mentality, world view and reveals in her work. The means of expressiveness outline the divine direction of her poetry: her faith, exclusive intuition, openness to people and purity of thought.

Poetik der Übertragung: Zur Medialität von Krankheit in Ingeborg Bachmanns Buch Goldmann

Ingeborg Bachmann's Buch Goldmann, which we have only in a fragmentary state, usually plays a subordinate role in the discussion of the author's Todesarten project. The new reading presented here is based on the fundamental thesis of an interweaving of mediality and the topos of illness as a structural textual principle with poetological relevance. The specifi c entanglement is systematically elaborated in the examination of motifs (thematization of mediality, e.g., writing), narrative strategies (e.g., case studies), and materiality of the surviving typescripts (e.g., writing errors). For theoretical reflection, the author draws upon approaches from media theory and psychoanalysis in an attempt to forge a "poetics of transference." The Buch Goldmann thus becomes comprehensible as a "laboratory," which plays a key role in the genesis of the Todesarten project. The topos of illness, so central to Bachmann's work, cannot be explained solely with recourse to the author's biography. The focus is rather on a textual surface on which various literary experimental arrangements unfold. It is not about pathology and deviance, but about processes of creativity

Picturing Indians: Native Americans in Film, 1941–1960 by Liza Black

Reviewed by: Picturing Indians: Native Americans in Film, 1941–1960 by Liza Black Jennifer L Jenkins Picturing Indians: Native Americans in Film, 1941–1960. By Liza Black. ( Lincoln: University of Nebraska Press, 2020. Pp. 327. Illustrations, notes, bibliography, filmography, index.) Picturing Indians examines twenty years of U.S. film history, post-Stagecoach, in the so-called Golden Age of the Western. Distinct from many film histories of the period and of Native representation in the period and beyond, Picturing Indians examines the economics of what might be called settler-colonial lenses. By disaggregating the production processes from the film narratives, Black exposes the embedded structures within Hollywood's studio system that did much to reify racist views of indigeneity from behind, around, and in the margins of the scenes. Chapters deal with script issues, labor of Native and non-Native actors, the role and race of extras, and the construction of "Movie Indians" upon both Native and non-Native bodies through makeup, costume, and the iconography associated with both. The focus on the labor dynamics of the industry is a clever choice, for it foregrounds typically unseen labor (even now)—doubly unseen when done behind the scenes and by people of color. Every chapter merits careful reading and rereading, but I found the chapter on Indigenous performativity, "'Not Desired by you for Photographing: the Labor of American Indian (and Non-Indian) Extras," particularly resonant and thought-provoking. Black is adept at weaving together close readings of film narratives, granular details about productions, details from Native-produced revisionist documentaries such as Reel Injuns (Diamond, 2009), and firsthand responses from Native viewers to fully deconstruct—and I mean that in the strictest Derridean, not colloquial, [End Page 98] sense—Hollywood's construction of Indianness. Her reportage of coeval and latter-day resistance to such "picturing" is a model of critical storytelling practice as well as of applied decolonizing methodologies. This is film history as activism. As Black argues, this is a project dedicated to Native sovereignty. It is interlaced with critical Indigenous theory, and draws heavily upon Native scholarship, including her wide—and not deferential—reading in Euro-American film studies. Indeed, the literature review should be (and will be in my courses) required reading and a model for how to decolonize academic research. The volume includes an extremely useful filmography in two parts: Hollywood fiction films containing Indian characters from 1941 to 1960 and a broader list of global films with Native characters, many Native-directed or -produced, from 1914 to 2019. Numerous needed courses in film history and theory, economic history, American Indian Studies, regional studies and beyond could be built from these two lists. Liza Black frames this history of "the hyperreality of filmic Indians" (xi) from Cherokee positionality. Black explains that her identity is grounded in Cherokee history but that she presents as White and grew up off-reservation in Southern California. In most cases an author's biography would be irrelevant to an academic study, but American Indian personhood is central to this work. Life details here are an authorizing impulse as well as a respectful means of introducing one's storytelling position. As her final chapter's subtitle indicates, "The Search for Authenticity" is ongoing and urgent. In both method and content, this book charts a new movement in Indigenous film studies in particular and film studies in general. It is welcome, indeed. Jennifer L Jenkins University of Arizona Copyright © 2021 The Texas State Historical Association

“Кazakh people should bow low to her”: Irina Viktorovna Erofeeva (1953 – 2020)

Irina Erofeeva won a universal recognition as the best expert in the political history of Kazakhstan of late 15th – early 19th centuries. The President of Kazakhstan responded to her death with a telegram of condolences. Kazakh journalists called her a female batyr, whom Kazakhs should bow deeply to. Her own books and her perfectly adjusted, commented and supplied with notes and indexes publications of sources on the history of Kazakhs, appeared to become in a great demand at the time when the former Soviet Kazakhstan has been transforming itself into an independent state. What is most impressive, in none of her oeuvres did she deviate from the principle of verifying her conclusions with a critically tested empirical evidence. In the focus of her interest were also the history of Russians and Germans in Kazakhstan and the monuments of Buddhism dating back to the Dzungarian expansion in the Kazakh steppe. She became one of the initiators of a comprehensive study on the remnants of the Buddhist monastery Ablai-Hit and one of the authors for a corresponding collective monograph. Yet, the masterpiece of her scholarly career is two-volume edition of the letters of the Kazakh ruling elite in the period from year 1675 to year 1821. She came up with the very idea of a unique collection that absorbed 811 messages, of which four-fifths were never published; wrote biographies of the authors of the letters and several research articles for the supplement; prepared the introduction and comments; edited 1,800 pages, and, found generous sponsors and sophisticated publishers.

ОБРАЗ ВАРВАРА У "ЖИТТЄПИСАХ ФІЛОСОФІВ" ДІОГЕНА ЛАЕРЦІЯ

The paper considers two worlds – “ours” and “theirs” in the work of Diogenes Laërtius (3rd century AD). He was a biographer of Greek philosophers. The main objective of article is an analysis of the image “the Other” in “Lives and Opinions of Eminent Philosophers”. Much attention is given to the historiography of problems of formation of the image of the Barbarian in the ancient literature. There were several semantic traditions of usage of the term “barbarian” in ancient culture. The Greeks used the term for those who did not speak Greek and who is perceived as primitive. The results show that Diogenes Laërtius used these two semantic traditions to determine “the barbarian”. The researcher analyzed the biographies of philosophers in “Lives and Opinions of Eminent Philosophers”. Eight of them had barbaric roots, namely Thales of Miletus, Anacharsis, Pittacus, Clitomachus, Herillus, Menippus, Arcesilaus and Antisthenes. It has been found that knowledge of the ancient Greek language was a symbol of civilization for Diogenes Laërtius. All these philosophers were a part of the antique culture and civilization. They were not an example of the idealization of barbarians. Diogenes Laërtius used the image of “the Other” as an example of wildness because he considered that the Greek people and culture were superior to all others. However, this author expressed the idea of equality of different peoples This paper has clearly shown that studying the image of the barbarian has perspectives. We will analyze the work of contemporaries of Diogenes Laërtius in further articles.

Struktura oficirskog kora Srpske državne straže u Mitrovičkom okrugu 1942-1944

The topic of this paper is the analysis of the officer's corps of the Serbian State Guard in Kosovska Mitrovica district. The introductory part explains the changes in formation, senior staff and the subordination of this collaborationist military formation in the mentioned area. In the main part of the work, based on the files of 43 officers, who served at some time in the occupation in aforementioned district, their structure is presented according to nationality, religion, place of birth, education, marital and family status. Also, short official biographies of all the officers examined were also given. The article is written on the basis of the original and published material, primarily from the Military Archive, the corresponding periodicals and literature.

PESQUISAFORMAÇÃO NARRATIVA (AUTO)BIOGRÁFICA E A ESCRITA DE CARTAS COMO MODO DE DIZER-SER

Since narrative writing has always been accompanying my personal life and professional career. To inventory, and find the letters written by me to different recipients, in different times and formation degrees, in a movement articulated to the writing of the memorial, based in these letters like memory triggering objects, made us realize, I and my advisor, that the letters could be, at the same time objects of research study, and a rich material in the dialogue between the experiences of school daily life and the historicalpolitical-social contexts. The rereading of the letters and the memorial writing process during the first semester of the Professional Master's Degree overflowed with perspectives of continual (self)biographical narrative writing, a dialogue between memories, narratives and instituting experiences. From the theoretical-methodological point of view, the choice for a (self)biographical narrative research, which articulates the three dimensions throughout the journey: data sources, the register and also the way to produce knowledge, has been delineated as a different research form. where the initial-continuous-permanent reflexive movement shifts the emphasis from the materiality of the sources themselves and of the possible results and/or answers, to the (per)formative course of this dissertation. The paths and (mis)paths of this research-formation, the previous script, as well as the deviations, have caused the reflection in/with a re-signified practice and constituent of the teacher-people that when narratingresearching, researching-narrating, create a dialogical movement of reflection, (per)formation and constitution of identity that reveal and affirm or not, a way of being in teaching.