Autobiographical Work Research Articles

Transformation of the Female Image in Ukrainian Illustration from Soviet Times to the Present

The purpose of the study is to investigate the corpus of creative illustration, the appearance of which was caused by the full-scale Russian invasion. To reveal the common and different in artistic practices in illustration between artists in the Ukrainian SSR and artists of the era of Independence. Research methods include theoretical, source-scientific, comparative, chronological and analytical. Scientific novelty. For the first time, the specifics of the relationship between the Ukrainian illustration of the Ukrainian SSR period and the era of Independence were investigated, with an emphasis on the period of full-scale Russian invasion, with the definition of a certain typology regarding the interpretation and presentation of female characters. Previously unresearched works from exhibitions of the war period have been introduced into scientific circulation. Conclusions. Based on the results of the research, the main thematic difference between Ukrainian Soviet illustration and works of recent times was established, which consists in the emergence of a new aspect of autobiographical works. The stylistic departure consists of the refusal of the modern artist from the long preparatory process of drawing works with the use of models and in the gravitation to the stylistics of emotional and somewhat deliberately inept children’s illustration. The process of directly creating modern illustrations is practically impossible without the use of computer technologies, in particular, graphic editors. Technologically, in the process of creating an order, the Soviet artist relied on his own work, based on academic education in higher educational art institutions, the nature of the work was exclusively commissioned (at the expense of the network of Soviet publishing houses). A modern illustrator, on the other hand, is characterized by self-conscious work for society, which confirms a high degree of social responsibility, with attempts to find funding for personal projects on crowdfunding platforms. The technical difference lies in the change in the way the illustrations are made public, since in Soviet times the book was published in thousands of editions and was exhibited at specialized exhibitions. Instead, today’s artists have received a huge resource in the form of social networks, where the cost of publication is zero, and the views can be counted in the thousands or tens of thousands, depending on how famous the author or artistic group is.

L’ombre est tombée sur le corps : Georges Perec

ObjectivesThis article delves into an understanding of the figures of the body in the creative process of Georges Perec's autobiographical work, “W or the Memory of Childhood,” as well as “A Man Asleep.” It seeks to examine how the shadow of Perec's parents, who disappeared during his early childhood, cast itself upon his body and his writing, resonating with Freud's famous expression to define melancholy: “the shadow of the object has fallen upon the ego.” Drawing inspiration from Didier Anzieu's work on the “Body of the Work,” this article aims to define the role played by the shadow of the object that falls upon the body in the creative process of contemporary works. Additionally, it aims to explore an interpretative key for Perec's work and creative processes in general. This exploration takes place in light of the evolving paradigms of current psychoanalytic interpretation, focusing on the crucial representation of the object's absence, as opposed to other modes of interpretation. MethodologyThe method employed for “listening” to literary texts draws inspiration from clinical psychoanalysis. This article proposes an examination of “W or the Memory of Childhood” and “A Man Asleep” through the lens of psychoanalytic practice with patients who, like Perec, claim to lack childhood memories and show signs of being marked by significant losses and/or traumas during their early years. Contemporary clinical practice often encounters states of subjective withdrawal that numerous forms of contemporary art attempt to represent. The interaction between a psychoanalytic approach to Perec's work and psychoanalytic clinical work can shed light on certain particularities of the creative process. The focus will be on listening to the sensory impressions conveyed in the text and the writer's associations stemming from his bodily experiences as a child. ResultsThis contribution puts forth the hypothesis of the role played in the creative process by incorporative identification. The shadow of Perec's parents’ bodies is particularly evident in the autobiographical fiction of “W,” where the writing portrays a body fragmented into shattered islands – memories and body parts crushed, wrecked, and petrified. These enigmatic traces of object presence gradually gain coherence as we progress in our reading. According to this perspective, the writing is unconsciously driven to “disincorporate,” so to speak, the petrified objects within the writer, attempting to emerge from psychic petrification. In “A Man Asleep,” another autobiographical fiction related to the author's late adolescence, the shadow of what did not take place with the object inhabits the narrative. This text encourages the psychoanalyst, particularly in clinical practice with patients suffering from chronic depression, to try to release the patients from melancholic incorporations, enabling them to break free from petrification and revitalize their psychic life. In the creative process of Perec's two books, as well as in listening to patients with borderline issues, the aim is to identify a form of associativity in the sequence of hallucinated sensations, much like the formal signifiers that stem from primary forms of symbolization. These signifiers somehow narrate the initial modalities of the relationship with the object. DiscussionThis analysis of the creative process based on the figures of the body and the role played by incorporative identifications opens up a discussion on a psychoanalytic approach centered around the theorization of the symbolization of absence in the therapeutic process, specifically in the presence/absence of the analyst. This approach could facilitate the process of mourning the mother. ConclusionGeorges Perec's autobiographical work resonates with the analytical listening to certain patients who also claim to have no childhood memories. One way of listening to experiences of blankness, erasure, or annihilation, with zones of withdrawal from subjectivity, involves paying attention to how the shadow of the object has fallen upon the patient's body. The analytical work consists of attempting to weave together disparate bodily experiences with fragments of memories related to the object, essentially recontextualizing sensory impressions within the history of the patient's early attachments to objects. The dynamics of the creative act, both in writing and in therapy, thus involve an internal constraint to give form and meaning to traumatic experiences rooted in the body.

Debord et Jouffroy, alliés en instance de poésie

Alain Jouffroy and Guy Debord belong to the same generation, "attracted" by suicide and revolution, being in touch with surrealism and the Marxist movement(s) of May 68. Jouffroy never became a member of the Situationist group, but in the frame of "Poetry of real-life" he wrote the poems that the Situationists refused to produce. His poetry had a grasp of the everyday situations/meetings, by criticizing the capitalist society, and overcoming the very notion of poetry without abandoning the poetic means, proving, thus, that criticism of capitalism and criticism of poetry are both compatible with poetry itself. Jouffroy applies sabotage and guerilla war methods—as well as Situationist methods such as the textual-détournement—on his own texts to provoke a poetic-language revolution. Situationnists used to criticize Jouffroy's views. All the same, by publishing Revolutionary Individualism, Jouffroy enters into virtual dialogue with Debord, mainly, on The Society of the Spectacle. Jouffroy discusses Situationist topics including textual-détournement and the overcoming/abolition of art. In his Trans-paradis-express poetry collection, he stages his imaginary meeting with Debord and Ducasse. Finally, he inverts the course of history, officializes his alliance with Debord by establishing him as ``the poet of Paris'', an image that emerges from Debord's own films, life and autobiographical works. He inscribes Debord's project in his own poetical and revolutionary project: Revolutionary Individualism and the "Poetry of real-life". In this way, he justifies Debord's work as well as his own.

1920년대 미국 사회의 심리상태에 대한 정신분석학적 연구

In the 1920s, American society had been already filled with romantic wonder and riches. However, the Materialism that resulted from rapid industrialization ruined universal hopes and ideal values of the American society including American Dream and American Traditional Innocence and so on.
 The aim of this thesis is to look into and examine the characters’ social backgrounds in Fitzgerald’s The Great Gatsby with regard to psychoanalytical perspectives, which help us to understand whether the atmosphere of American society was matched or not in the 1920s. Thus, as one way to closely approach these issues, we analyze the states of mind within the characters focused on Freudian and Jungian notion of psychoanalysis theories.
 According to Freud’s psychoanalytic theory. there are three steps(=Id-Ego-Super Ego) that play parts in moral judgment and control within the states of human mind. Therefore, when psychoanalytic theory applies to the characters in The Great Gatsby, we can distinguish them as three groups; Firstly, the main character, Gatsby, who didn’t realize ideal values of American society in the 1920s represents the Ego world. Secondly, an observant bastard Tom and his wife Daisy, Myrtle, and Jordan are in the Id state.
 In fact, we are willing to say that Fitzgerald’s The Great Gatsby is his autobiographical work to apprise the corruption of American society at that time he lived. Hence, the reason why Freud’s theory was applied to the characters in The Great Gatsby is to help not only understand many persons’ psychology from the characters of Fitzgerald’s work on American society in the 1920s but also heal those who live in the modern society through the psychoanalytical approach.

Experiencing Migration and Asylum Seeking: A Diasporic study of The Book of Rosy: A Mother’s story of separation at the Border by Rosayra Pablo Cruz and Julie Schwitert Collazo

This study delves into the experiences of migration and asylum-seeking through the lens of William Safran's diaspora framework, which centers on the concepts of dispersion, diaspora consciousness, and homeland connections. Employing Safran's theoretical model, the research critically analyzes the autobiographical work "The Book of Rosy" by Rosayra Pablo Cruz and Julie Schwietert Collazo, focusing on the challenges faced by migrants, particularly mothers, in the context of Trump's zero tolerance policy. The narrative provides an insightful portrayal of the multifaceted struggles of immigrants, revealing the emotional and psychological toll of forced separation at the Mexico border. The findings underscore the significance of community support and advocacy efforts in addressing the traumatic consequences of migration. This study contributes to a nuanced understanding of the human experiences entailed in the migration process and underscores the relevance of Safran's diaspora model in comprehending its complexities.

Les mémoires de prison postcommunistes roumains et la poétique de la résilience du moi

Following the dismantling of communism in Eastern Europe in 1989, survivors of this totalitarian regime wrote down their stories about suffering and injustice. Their memoirs and autobiographical works have become representative of post-communist life writing, promoting debates on trauma, memory, and resistance strategies. However, life writing scholars have not explored the textual strategies employed by writers to construct their ego-resilient Self, namely, their capacity to adjust to challenging circumstances. To instantiate the case, Romanian memoirs and transcribed interviews have been selected for the corpus given the highly repressive nature of the Romanian communist regime. The project pursues the following two research objectives: (a) to examine the textual strategies employed by narrators in their construction of ego-resiliency and (b) to analyse the historical specificities of Romanian communism while expanding knowledge on this totalitarian regime. To this end, the research combines Narrative Inquiry with Personality Psychology.

Takut, Bertaut, and Runtuh: Analizing the Authenticity of Autobiographical Lyrics and Their Relation With Youth Reception

Previous studies showed that love has become an eternal theme in pop music. But since the early 2000s, new themes with negative sentiments such as pain, despair, fear, and sadness have emerged in pop music. Along with this phenomenon, recent pop music offers poetic lyrics instead of cliché lyrics. What makes them more interesting is, some of the lyrics are autobiographical. This study aims to analyze the originality of autobiographical lyrics and their relation to young listeners’ reception. The researchers use three songs as the research object: Takut by Idgitaf, Bertaut by Nadin Amizah, and Runtuh by Feby Putri and Fiersa Besari. This qualitative research uses the lyrics of those songs and questionnaire results as its data. The questionnaire respondents are young listeners between 18 and 30 years old who live in different villages and cities in Indonesia with various social economic and educational backgrounds. The collected data are analyzed using Fraith and Hoggarts’ thoughts. Analysis of the works of Idgitaf, Nadin Amizah, Feby Putri, and Fiersa Besari shows that all of them have distinct and unique songwriting skills. They also show consistency in choosing the theme song, including the three songs used as research objects. Out of 64 respondents, 56.3% claim that knowing a song is an autobiographical work does not change their opinion and feelings toward the song. However, the result of the questionnaire shows that young listeners feel connected to song lyrics that represent their feelings.

«АВТОРСКОЕ СОЗНАНИЕ» И СМЫСЛОВОЙ ЦЕНТР АВТОБИОГРАФИЧЕСКОГО ПРОИЗВЕДЕНИЯ

The essence of the conceptual and figurative concept in linguistic and literary approach is studied. The conceptual-figurative concept is one of the units that fill the figurative-semantic system of the author. Its function in an autobiographical work is considered as a way of transmitting the author's consciousness, which is an organizing center that has a multi-level structure and a complex content of an artistic work. The role of the conceptual and figurative concept in the formation of the semantic center of the work is determined. The conceptual-figurative concept in an artistic autobiographical text is understood as a verbalized value-significant mental unit of an individual author's picture of the world. The unit under study is considered from two points of view: as a generally accepted knowledge and as a reflection of the author's subjective experience of experiencing reality.

The Lived Experiences of Students and Teachers with Disability in Keller’s and Wright’s Autobiographical Works

The study explores the lived experiences of students and teachers with disabilities inside schools/colleges while pursuing their studies and working in Hellen Keller’s The Story of My Life and Mary Herring Wright’s Sounds Like Home: Growing up Black and Deaf in the South. This study inquires what they have experienced and how they have made meanings from the campus phenomena. This research has utilized the disability studies theory, specially based on Alice Hall and Tobin Siebers, to interpret the selected autobiographical texts, and note-taking technique has been used to collect the required information from the autobiographical texts. The findings of the study are that the school/college infrastructures, practices, the executives’ attitudes are unfriendly, hostile and adverse to the students and teachers with disabilities while pursuing studies and working at schools/colleges. They suggest that the executives, administrators and other physically normal teachers and students can create the disabled-friendly physical, academic and social environment at the educational institutions if they slightly modify their attitudes and practices, and eliminate their conscious negligence to the needs of the disabled. The findings of the study can motivate the executives to enable physical and social (attitudes and practices) environment and service delivery, address the needs and demands of the disabled, and manage the required sources/materials and performance assessment system in schools/campuses.

Artistic interpretation of the socialization of personality in a foreign cultural society in the novel by Elena Bravo “Curfew for swallows”

The author examines the autobiographical novel “Curfew for Swallows” by the modern Belarusian writer Elena Bravo. The stages, functional components, the general structure of the processes of socialization and inculturation of personality, which are reflected in the literary text, are considered. The problems are identified and the cause-and-effect relationships of basic socialization and subsequent adaptation of the individual in a foreign cultural society are established. The article substantiates the increased relevance of autobiographical prose in connection with the processes of global globalization and industrialization of modern society, the main object of which is the younger generation. The article analyzes the general role of fiction as a socio-cultural practice that promotes the development of cultural competence and productive socialization of the individual, since the fundamental civilizational values and their semantic models are codified and transmitted in society largely through such phenomena as text and book. It is revealed that the autobiographical work of E. Bravo psychologically reliably reflects the content of socialization – a kind of convention between a person and society, a two-way process of mastering social norms and cultural values by an individual and their reproduction. It is argued that the story “Curfew for swallows” has a high socializing potential, is an effective catalyst for the reflexive activity of the reader, a stimulator of creative thinking, an indirect way of comprehending the norms and rules of social and social existence.

Racism in the Black American Autobiographical Work From Maya Angelou's I Know Why the Caged Bird Sings

Racism in the Black American Autobiographical Work From Maya Angelou's I Know Why the Caged Bird Sings

Introduction. Women’s Stories of Crisis: Portals to Relationality, Vulnerability and Resistance?

This special issue aims to provide a deeper insight into cultural responses to various contemporary crises, such as migratory movements in recent history and, at the very present moment, pandemics, climate change and such other unsettling societal processes as political and economic ruptures, armed conflicts or environmental disasters. In particular, our aim is to draw attention to the way these changes have affected women’s lives and the way female writers and artists represent these processes and their consequences in diverse cultural narratives, such as fiction, poetry, experimental and autobiographical works. We explore issues related to diaspora, feminism, environmentalism, new materialism, memory and identity from a transnational and intersectional perspective, attempting to find connections among those cultural texts by women voicing some of the most relevant crises that have configured and are still re-configuring our global and local identities.

Children as Participants in the Liberation Struggle: Lydia Shaketange’s Walking the Boeing 707 (2008) and Ellen Namhila’s The Price of Freedom (1997)

This paper explores how two Namibian female-authored autobiographical texts represent children as active participants in the liberation struggle. It interrogates whether children are portrayed as agents in the liberation struggle or simply objects of pity and victims in the exilic environment. The findings in this study reveal that during the liberation struggle, children were active agents and subjects. As such, the study debunks the portrayal of children as passive victims of the exilic environment, as often portrayed in some literary and academic texts. Although, to some extent, they suffer victimisation and the brutality of the struggle, the child characters in the autobiographies have proven agency by taking part in activities that enable the country to attain independence, for instance, the maintenance of the camps, working as teachers and material developers, and as nurses. It has further been revealed that children are intelligent and perseverant beings. Implicitly, they are portrayed as compassionate, assertive, full of endurance, as well as “s/heroes.” Therefore, the study re-versions the representation of children simply as weak, passive, and objects and victims of life’s historical events. The paper also argues that issues of child subjectivity in the struggle are rarely foregrounded in Namibian literary studies; hence this study has proven to be a platform to interrogate the conventional objectification of child characters in the autobiographical works of Shaketange and Namhila.

Автобиографическое произведение как источник верификации теории уголовно-правового аффекта

The article discusses ways to improve the theory and practice of forensic psychological examination of affect. It is shown that one of the sources for studying the signs and the course of affect can be autobiographical works that describe the facts of the observed affect. The criteria for the accuracy of the description of affect can be the correlation of the described fragments of the affective reaction with scientific data on the physiological affect.

No kora Liepājā uz galvenajām lomām Berlīnē: latviešu tenora Artūra Priednieka-Kavaras starptautiskā karjera starpkaru periodā

The article brings to the spotlight Latvian tenor Arthur Cavara (Artūrs Priednieks-Kavara, 1901–1979), one of the most outstanding Latvian operatic tenors of the 20th century in the context of his international career successfully developed in Germany in the 1930s. In both the recently established Latvian Republic and Europe, the interwar period was a very intensive and, at the same time, very contradictory time due to the historical conditions, social processes and political regimes, but it was also the time of opportunities when one of the centres of art life longed for by Baltic musicians was Berlin. Arthur Cavara was one of a few Latvian singers gifted with unique voice qualities, working capacity and a vast repertoire, who managed to develop a successful career on operatic stages in Berlin in a very short time, thus engraving his name in European opera history of the interwar period. In 1927 the young opera choir singer from Liepāja was not hired by Latvian National Opera, and he decided to go to Berlin to study vocal art with Louis Bachner (1882–1945). In a few years, Priednieks-Kavara developed a successful operatic career in Germany, becoming one of the leading tenors of Krolloper un Die Deutsche Staatsoper in Berlin, participating in guest performances in other countries, including South America, and finally, he was critically acclaimed in Latvia, too. The Second World War and related circumstances stopped the singer’s career at its peak, Cavara, together with his family, emigrated first to Germany, a well-known country to him, and afterwards to the USA, where he worked as a vocal coach and opera director. A great deal of facts regarding the life of Latvian tenors in Berlin was documented in letters published in Latvian press of the interwar period and autobiographical works by another opera singer and writer Mariss Vētra (1901–1965), who often met Cavara both in Germany and Latvia. The article traces the career of Cavara until the emigration in 1944.

Chinese silk fine art in early Qing dynasty observations from historical literature

This article analyses in some detail the silk fabrics that appear in a historical literary work of the early Qing dynasty, Dream of the Red Chamber, a famous autobiographical work in which the author describes many of the details of the fabrics based on his own experiences and his family's inextricable links with the imperial silk factories of Jiangnan during the Kangxi period. The text also cross-referenced historical archives to show the exquisite silk fashion at the turn of the seventeenth and eighteenth centuries, the pursuit and enjoyment of luxurious silk and imported fabrics by the aristocracy class in the early Qing dynasty, and how this mode affected the lives of ordinary people.

Narratives of Self-Discovery: Examining Kamala Das's Autobiography in the Context of Women's Empowerment

This research article examines the significance of autobiographical works as a means of self-expression and self-portrayal in contemporary society. The study explores the genre of autobiography, its historical development, and its psychological implications. The research focuses on Kamala Das's autobiography, "My Story," as a case study to analyze the themes of self-realization, self-assertion, and the struggles of Indian womanhood. The article highlights the role of autobiographies in challenging societal norms and advocating for women's rights and individuality. It explores how Kamala Das's autobiography defies patriarchal expectations and explores themes of love, sexuality, and personal growth. The research also addresses the impact of Kamala Das's work in reshaping feminine personas in Indian English fiction. Overall, the article contributes to the understanding of autobiographical literature as a powerful medium for self-exploration and social critique.

Gender Inequality in Homeira Qaderi’s Dancing in the Mosque

Gender inequality is a basic problem, a social fact, and a situation that women and men are not equal. It has been a controversial argument in Afghanistan since many centuries so far. Over two decades, under the Republic State of Afghanistan, attempts to empower women and achieve gender equality have been made, but it has not been sufficient. The Republic State of Afghanistan joined all international conventions and declarations and pledged to uphold gender equality and women’s rights in this regard. Similarly, gender equality was theoretically supported in Afghanistan’s official laws, particular departments were established in the majority of governmental organisations, but women had a relatively low participation rate in official authorities in 2021, just before the Islamic Republic of Afghanistan’s government was overthrown. Furthermore, radical Islamists were actively spreading misinformation about women’s rights and gender equality in mosques, schools, and academic institutions. Homeira Qaderi, an advocate for gender equality and women rights, published her autobiographical book, Dancing in the Mosque in 2020. The concerns that Qaderi focuses on are crucial and significant for Afghan women. She writes on immigration, polygamy, Islamic extremism, tribal culture of Afghan society and approaches these topics from a critical stance. The primary theme of this book is gender equality and women’s rights in Afghanistan. She suggests civil rights, gender equality and activism for women of Afghanistan in her writings. This paper will examine gender equality, social justice, and women rights in her named autobiographical work. It will increase expectation for equality and end gender discriminations.

POETICS OF AUTOBIOGRAPHICAL MEMORY IN RAY BRADBURY’S NOVEL “DANDELION WINE”: ON THE WAY TO AN IMPRESSIONISTIC NOVEL

The focus of this article is on the peculiarities of autobiographical memory images representation in the literary piece. The purpose of this work is to research the poetics of autobiographical memory in Ray Bradbury`s novel Dandelion Wine. To conduct the research biographical, hermeneutic, historico-literary, and comparative-historical methods of analysis were applied. The poetics of autobiographical memory is represented by the set of artistic means used to render the author`s reminiscences and it combines the work`s autobiographical and autopsychological concepts seen as sort of eventual autobiographism and psychological autobiographism. The poetics of autobiographical memory is based on internal psychological kindredness of the author and the hero in the autobiographical work. In Ray Bradbury`s writing autobiographism of events is frequently superseded by psychological one, engaging the mechanisms of autobiographical memory at the level of sensory impressions, emotional states, spiritual associations, defining the peculiarity of autobiographical poetics. The retrospective manner of narrative in the novel reveals two planes of autobiographical memory of the writer, which are represented by both the biographical plane, which manifests itself as factual data, including the names of those close or dear to the author, the names of the real places, locations, events and so on, and the autopsychological plane, used for recreation of the author`s own childhood emotions, which Ray Bradbury defined as “sense impressions”. The purposeful work of the writer`s memory aimed at carefully preserving his own impressions with their subsequent reproduction in the piece can be clearly seen in the vivid expression of the author`s images of experiences and perceptions, brought back to life in the novel. In Dandelion Wine`s text the sensory impressions recalled by Bradbury are transformed into the system of metaphoric images demonstrating the plasticity of representation and visual effect. Each impression acquires its unique plastic image. Conclusion. The poetics of autobiographical memory in the novel Dandelion Wine finds its expression in the depiction of the writer`s memories about his childhood sensory impressions, feelings and perceptions. The main principles of the novel`s poetics are the fragmentary narrative; time, split into a series of moments; the use of stream of consciousness method, actualized through inner monologues of the hero; expression of reminiscences in visual plastic images, sensory impressions, feelings, associations, conveyed through metaphorically exquisite lyrical style of narrative, suggesting that Bradbury follows the tradition and experience of impressionistic aesthetics of Proust, giving to Dandelion Wine the form of impressionistic novel. The principles of autobiographical poetics applied in the novel, appear as the stylecreating principles of the poetics of impressionistic novel genre in literature.

CONTEXTUALIZING THE CONCEPT OF EXILE AND THE OTHER: THE SEARCH FOR IDENTITY IN EDWARD W. SAID'S OUT OF PLACE

The autobiographical work, Out of Place, sheds light on the identity crisis by presenting sections from the author's life. The East and West conflict experienced by Edward W. Said is a crisis of cultural identity caused by the problem of not belonging as being ‘the other’. The fundamental differences in the perspective of the two communities on life determine the extent of this conflict. This identity crisis of being ‘the other’, which has deepened the sense of rootlessness and uncertainty in cultural memory, prompted Edward W. Said to write his autobiography. Said, in his work, successfully presented the crisis of identity and the sense of (un)belonging that he aroused because of both the effect of the displacement he experienced due to the conditions of the period and the effect of living in Palestine, Lebanon, Egypt as an Arab-Christian American citizen with a British name and living in America as an Arab since his childhood. The subject of this study is the identity crisis that Edward W. Said experienced as a result of his birth in Arab lands as a child of a Christian family and then leaving his country and immigrating to the West due to the political conditions of the period and so that of his becoming ‘the other’ in wherever he stayed. It is the main purpose of this study to determine whether Said's exile life and his identity problem as being ‘the other’ influenced the author's personality and work; if any, what kind of effect it has. The author's identity problem of being the other and his perspective against this problem will be examined by doing context analysis with direct quotations from the work. Furthermore, in this study, autobiographical work of Said, who is stuck between the “clash of civilizations” and seeking an answer to the question "who am I?”, named Out of Place (Yersiz Yurtsuz) will be analyzed by using the positivist method focusing on the concept of immigration, exile and othering. In this method, it is aimed to explore the relationship between life and work of the writer, considering that the literary work is a product created depending on the life story of the author himself.