Biographical Discourse Research Articles

Russian-Ukrainian War: Biographical Discourse on Ukrainian Heroes

In this article, the author addresses the importance of encyclopedic publications aimed at highlighting and popularizing the defenders of Ukraine. These individuals not only protect their homeland in the war against Russia but also, through their successful and heroic deeds, defend the contemporary global order embodying a humanistic, democratic path of civilization development. The Russian-Ukrainian war, lasting almost a decade, with the last two years being full-scale and particularly brutal and destructive, has vividly exposed the gap between Ukrainians and Russians, dispelling long-held notions of fraternal nations. Ukrainians represent democracy, peace, and progress, while Russians embody totalitarianism, aggression, and decline. Throughout centuries, regardless of Russia's political system, it exploited Ukraine by annexing territories, exploiting natural resources, looting archaeological findings, destroying ancient landmarks, appropriating history, culture, language, and ruthlessly targeting talented Ukrainians, depriving the nation of its elite. Today, all masks have been torn off: the leadership of the Russian Federation seeks to permanently resolve the Ukrainian issue, committing genocide on the sovereign territory of Ukraine. Unfortunately, the war has “opened the eyes” of many Ukrainians, prompting them to recall not only the sad moments of its history but also times of glory and world fame. Stories of the victorious regiments of Russian-Ukrainians under Prince Sviatoslav, the daring Cossacks Ivan Sirko and Ivan Bohun, and the exploits of Ukrainians during the First and Second World Wars have come to the forefront. Ukrainian historical scholarship has already produced substantial research on these periods of military history, including encyclopedic formats. The building the biographical references, especially encyclopedias, about heroes of the Russian-Ukrainian war is relevant from various perspectives: not only preserving the memory of contemporary elite Ukrainians but also laying the groundwork for future research in history, including military history, and biographistics.

Schulz and Mourning. About the Writer’s Second Body

The paper addresses the problem of the mourning cult of Bruno Schulz. The presented approach is critical of its excess in the Schulzean biographical discourses as well as literary and artistic references to his life and work, but it is by no means provocative like that of Janusz Rudnicki, who in the 1990s mocked the “hagiographic” idiom of Jerzy Ficowski. Analyzing archive records and testimonies, the author attempts to reconstruct the circumstances of Schulz’s death in possibly the minutest details. Comparing contradictory pieces of information with the official version made popular by Ficowski, he shows how profoundly it has been marked by the unperformed work of mourning over Schulz and the Holocaust – both the failed work of Ficowski himself and of his postwar correspond- ents whose letters determined the form of The Regions of Great Heresy. Using the idiom of thanatology and taking the role of a necrographer rather than that of a Schulz specialist, the author supposes that the dynamic of loss in the case of Schulz reaches far beyond the act of the writer’s execution on the street to include also the posthumous annihilation of his corpse and grave. This particular kind of necroviolence, perhaps the most hateful from the vantage point of the Jewish tradition and the heritage of Western culture in general, which consists in removing the material remains of the deceased has been called by Holocaust scholars “necrocide.” The absence of material traces and the “mourning objects” that usually help to cure the semiotic crisis which is death makes writers and artists commemorate Schulz with lyrical and artistic epitaphs. Their function is to restore the bodily identity of the dead person by creating his other body, told about and imagined in effigie, existing not beside but instead of the missing “mourning object.” However, the expansion of those elegiac narratives, particularly those produced outside Poland, often results in unintended reductionism. As a human being, writer, and artist, Schulz has been reduced in them to an emblem of the Holocaust, while such obituaries ignore the history of his archive. The other, historical and material body of the writer consists of his manuscripts, drawings, graphic works, and official documents. It exists, drawn and quartered, in archives, to be put up for auction for tens of thousands of dollars, exposed in museums and art galleries, and hoarded by collectors as precious relics.

BIOGRAPHY AND AUTOBIOGRAPHY: COLLISIONS OF FICTION AND REALITY IN THE CREATIVITY OF A PERSON'S LIFE

Actual scientific researches and issues analysis. A significant impetus for understanding and involvement of the scientific potential embedded in the life description practices was given in works of F. Schleiermacher, V. Dilthey, K. Jaspers, J.-P. Sartre, R. Rorty. Ukrainian scientists O. Va-levskyi, V. Horskyi, I. Holubovych, A. Tsyapa, V. Menzhulin have especially carefully worked out the biographical discourse within the framework of philosophical science and have derived some thorough, in our opinion, methodological principles The research objective. This research examines biography and autobiography as a socio-cultural and cultural-anthropological phenomenon by identifying the differences and similarities between them. We will also explore fiction and/or falsified biography as a self-reflective practice and explore its methodological potential in relation to reality. We will also consider autobiographical practices using vivid examples of the pre-industrial, industrial and post-industrialeras The statement of basic materials. Differences between biography and autobiography at the socio-cultural and cultural-anthropological level can be of fundamental importance in the case when the biography serves as a practice of distinguishing between the “I” of the narrator and the Others. The difference between the two genres becomes fundamental at the level of consideration of the character against the background of his social environment, historical and cultural circumstances. An important question for modern researchers is the border that separates the autobiographical narrative, which strives to be as close as possible to reality, from the imaginary or even deliberately constructed. Perhaps the most important work that reflects the transition from ancient memoirs, epistles and self-reflective lyrics, as well as the genre of medieval hagiography to autobiography itself, is the “Confessions” of Augustine Aurelius, in which many researchers see the first complete work built using psychological introspection. Autobiography as a separate genre in the modern sense took shape at the end of the 18th and the beginning of the 19th centuries, standing out from other works that contained elements of self-reflection, subjectivity, and authorial self-identification. In the post-industrial era, biographical/autobiographical collisions take on the most sophisticated form and vividly express the relationship between the individual and society. The conflict on the boundary of Self/Other deepens, the importance of the connection between the author's life and his work increases in public consciousness, which turns into a kind of reaction of the most sensitive authors to the trends of the era.

Schulz w Paryżu

The text includes a possibly complete reconstruction of 27 days spent by Schulz in Paris in 1938. The reconstruction provides the basis of a theoretical commentary which compares the advantages and traps of narrativized biographical discourses on Schulz with the order of the calendar. All that is known about Schulz in Paris has been found in about a dozen documents and several dozens of references in his correspondence, which is not too bad for a biography of a “writer without archive.” The documentation of other episodes of his life is much scarcer. We know when and where he stayed in Paris, sometimes even his hotel room number. However, of the 27 days spent by Schulz in Paris only about one third can be reconstructed in fragments. All the rest remains nebulous and impenetrable. Schulz often disappears into thin air and in fact we do not know what he was doing all days long. He neither talked nor wrote about it much. The opinions and remarks which he formulated, e.g., that Paris is a „riotous Babylon,” were quickly picked up by his exegetes and reconstructors of his biography. The surviving documents set boundaries which – while the reconstruction of episodes is still at stake – can be crossed only by conjectures and speculation. There is nothing wrong in these risky procedures. They are not bad as such, but those who move too far from the documents letter can be easily led astray. Not that everything is legitimate – in the world without the god of biography some rules are still valid. Conjectures and speculation must not reach beyond the „material truth.”

A Dutch Study of Remarkable Recoveries After Prayer: How to Deal with Uncertainties of Explanation

This article addresses cases of remarkable recoveries related to healing after prayer. We sought to investigate how people who experienced remarkable recoveries re-construct and give meaning to these experiences, and examine the role that epistemic frameworks available to them, play in this process. Basing ourselves on horizontal epistemology and using grounded theory, we conducted this qualitative empirical research in the Netherlands in 2016–2021. It draws on 14 in-depth interviews. These 14 cases were selected from a group of 27 cases, which were evaluated by a medical assessment team at the Amsterdam University Medical Centre. Each of the participants had experienced a remarkable recovery during or after prayer. The analysis of the interviews, which is based on the grounded theory approach, resulted in three overarching themes, placing possible explanations of the recoveries within (1) the medical discourse, (2) biographical discourse, and (3) a discourse of spiritual and religious transformation. Juxtaposition of these explanatory frameworks provides a way to understand better the transformative experience that underlies remarkable recoveries. Uncertainty regarding an explanation is a component of knowing and can facilitate a dialogue between various domains of knowledge.

Estrategias de ficcionalización en las biografías de mujeres destinadas al público infantil y juvenil / Strategies of fictionalization in women’s biographies for children and young readers

Biographies of illustrious people stimulate children and young people to perceive how other people see and feel what is happening around them, while offering them the opportunity to see historical figures as models they can identify with and imitate in the future. All of this is very visible in one of the genres of non-fiction for children that has seen the greatest boom in the last five years: illustrated biographies of illustrious women. In this work,  a mixed study of a selection of works (35) is carried out in various peninsular languages. On the one hand, a quantitative analysis is achieved, taking into account their textual typology and compositional scheme. On the other hand, a qualitative analysis of the most frequently used verbal and visual fictionalisation resources is realized. Finally, it is concluded that, apart from the fact that these texts can be considered as "short fictionalised biographies" (Andugar, 2018), the use of fictionalisation resources in them is inevitable as a way of approaching the biographical discourse to children and young people and, therefore, as a key element in the formation of a richer and more complete reading universe.

‘Intelligible to the mind and pleasing to the eye’: Mapping out kinship in British family directories (1660–1830)

Peerages and baronetages were successful commercial directories sold by a number of prominent London booksellers from the beginning of the 18th century. They provided an account of most titled families (peers as well as baronets). As serial publications, they were intended for a larger public in need of identification tools in a context of expanding urban sociability and of major recomposition within the elites. In these pocket books, there were no longer the elaborate tree diagrams that had ornamented most of the visitation books of the College of Arms, and which still could be found among ancient family papers. This transition was required for technical, commercial, and also ideological reasons. The selling point for publishers was to provide an up-to-date account of the ‘modern’ families, which could be better achieved through alphabetical listings, biographical discourses, or tabular charts. However, this formal reconfiguration led to many criticisms. These family directories were accused of compromising the dignity of titled families. The idea of a lost Golden Age when ancient lineages had been exhibited on stone, wooden panels, or vellum regained some appeal among social commentators. After 1760, with the renewal of radicalism and the onset of the age of revolutions, tree thinking came to be rehabilitated, but was also reinvented to better defend and naturalise social hierarchies. In this context, trees were increasingly used as powerful national emblems and less as dynastic emblems. The changing fortunes of family trees in 18th-century British prints enable us to reflect on the ideological aspects of the visualisation of kinship.

Предбиографическое лицо рок-поэта в фокусе интернет-дискурса (статья первая)

Using the example of the biography of a modern Russian rock-poet, the article reveals the theoretical and methodological problems of the genre of biography: genetic potential, a change in the content paradigm, ethical and aesthetic intersections of the biographer, the biographer and the recipient. The relationship between the participants in the biographical discourse is considered in the context of cultural memory, formed in the communicative field of the Internet-environment. In connection with the solution of the indicated problems, the concepts of a prebiographical face , prebiograph , epoch-making interpellative , cultural-dialogical forecast of the recipient are introduced . The question is raised about the influence of the prebiographical face of the rock-poet on the subsequent creation of his biography.

Network Temporalities and North American Influence in the Romanian Poetry of the Early 1980s

Set within the frame of World Literature, and dwelling on the multifaceted concept of networking, this paper aims to provide a temporal pattern concerning the transfer/import of postwar North American poetic trends within the Romanian poetry of the 1980s. By relating the aestheticized model of Romanian (neo)modernism to the more direct, biographical discourse of the Beat poetry, the influence of which emerged upfront in Romanian poetry starting from the late 1970s, as well to the Confessional model the paper explores overlapping temporalities within the two literary systems, whereby the paradigms of (neo)modernism and postmodernism, respectively, clashed, due to the homogenizing effect of the communist context. Along these lines, I outline the notion of diachrony in synchrony of the Romanian poetry of the early 1980s, when several poetic patterns pertaining to different stages of North American poetry exerted a simultaneous influence during a very short time interval. The attempts made by Romanian poets to synchronize with, or borrow from Anglo-American literature, also involved relaying certain attitudes, views, and values – both aesthetic and largely ideological – that were specific to the source culture.

Building size among economists: how academic career trajectories pave the way to symbolic visibility

ABSTRACT Economists receive high social recognition in media, politics and business discourses where they often obtain a status as ‘star economists’ and ‘financial prophets’. This paper investigates the social conditions that make the formation of size in the economic sciences possible. It analyses the institutional constraints, professional networks, forms of academic knowledge and publication strategies of early career economists as part of an academic dispositif. A position of ‘size’ is achieved when academics take a privileged scientific discourse position via publications, presentations and various evaluation reports for journals, funds and other academic institutions. To understand the formation of privileged academic discourse positions, we need to investigate the entire construction processes that start already at the earlier phases of the professional biography. Based on narrative-biographical interviews with economists in UK and Germany, this paper will focus on four sorts of resources that are analysed as ‘biographical discourse capital’. Biographical resources as ‘discourse capital’ are mobilised by early career researchers to solve practical problems in their daily life. The paper shows how specific tacit and conceptual knowledge interact with access to professional networks in order to find a ‘proper topic’ that help young economists to finally publish an A+ or ‘Four* ’ paper.

Elements in the biographical discourse of the documentary Ole Bull

The article discusses how the biographical is represented in the documentary Ole Bull (), a film about the world-famous Norwegian composer and violin virtuoso (1810–80). It focuses on the biographical discourse – that is, by what kind of stylistic devices his life story is told and the audio-visual strategies the film employs to make the past present.

ЕКЗИСТЕНЦІяльНА ПАРАДИГМА ЛІрики МихайлА СитникА і ГаннИ Черінь (художньо-БІОГРАФІЧНИЙ ДИСКУРС)

The article highlights the poetic legacy of the war and postwar years of Ukrainian artists Mykhailo Sytnyk and Hanna Cherin, united not only by the Muse but also, albeit for a short time, by marriage. The creative tandem of poets lasted until the end of the 1940s, in the 1950s their lives diverged in the United States, but there remained works that united artists in their common life and artistic destiny. The aim of the article is to comprehend the existential paradigm of the lyrics of M. Sytnyk and H. Cherin in the artistic and biographical discourse. Materials of scientific research, in particular the texts of some poems, have been published in Ukraine for the first time and make it possible to cover the littleknown pages of the life and work of M. Sytnyk and H. Cherin in the 1940s in Europe. The article is written with the maximum preservation of the cited materials, which are important historical and literary sources in the study of the biography and work of Ukrainian artists, the disclosure of their biographical and creative discourse. To achieve this goal, several methods were used – primarily from biographical with the study of authentic sources, cultural-historical, philological, intertextual to phenomenological and hermeneutic analysis, which allow distinguishing and analyzing artistic and biographical discourse in the lyrics of M. Sytnyk and H. Cherin to explore the existential paradigm of their poetry. Elements of conceptual analysis are also used, which allow considering the lyrics of poets through the prism of dominant concepts. The married life of artists and the reasons for their divorce can be reproduced only from fragments, i.e. from the words of their friends, acquaintances, in some mentions of researchers of their work and from the poetic lines of M. Sytnyk and H. Cherin, because none of them did not mention this period after the break. The post-war period in Europe was the time not only of romantic relations between artists, marriage, and the birth of a daughter but also of successful creative activity, joint speeches at conferences, literary evenings, and other events of the DP cultural and artistic community. While in Europe, poets published their works in numerous emigrant publications and separate collections of poetry in the 1940s, existential meditations), in which the dominant concept is the lost Motherland, which is realized in the lyrics of poets through the opposition of foreign – native land. The artistic discourse of poetry of the war and post-war periods of M. Sytnyk and H. Cherin is represented by personal, intimate lyrics; civic and patriotic lyrics (in wartime – the lyrics of heroism and rank), and existential-nostalgic, anteistic lyrics associated with the loss of the Motherland. The existential paradigm of the lyrics of Mykhailo Sytnyk and Hanna Cherin in the artistic and biographical discourse is determined primarily by the circumstances of their life and creative activity – the Second World War, the difficult postwar years, and the emigration factor, which for many Ukrainian artists was decisive not only in their lives but also in their work. The common destiny of the artists was connected by the poetry of the war and the first postwar years, which reflected at the artistic level not only the story of their love – its bright and dramatic sides, but also the existential circumstances of Ukrainians in exile.

(Авто)биографический дискурс в эпистолярии А.С. Хомякова

The article discusses autobiographical and biographical discourse in the epistolary of A.S. Khomyakov. It turns out that both, and especially the former, are underrepresented. Khomyakov steadily replaces autobiographical elements typical of the epistolary genre and thereby expected by the reader with biographical elements, almost always in the form of obituary. As a rule, those are obituaries to public figures who had left a mark in history, influenced contemporaries, and possibly descendants — what mostly interests Khomyakov as the author. Paying primary attention to personal qualities, the scope and degree of self-realization of these qualities, he almost never covers external, factual side of their lives. Thus, the epistolary includes, on the one hand, paradoxical elements of the obituary and the biographical genre without a typical biographic narrative, while on the other hand, a highly individualized version of the obituary, a genre that, at a time, seemed to have hopelessly exhausted itself and become clichéd.

Oleksandr Dovzhenko: several observations about the worldview and aesthetic universals of his phenomenon against the background of the 20th century

The attention in the offered article was focused on comprehension of a large-scale complex of philosophical, moral-and-ethical, aesthetic problems connected with the activity of the Ukrainian cinematographer Oleksandr Dovzhenko, the giant of world scale of the 20th century. The axiological priorities of the genius and the social-and-historical circumstances of his existence were clarified. The diary thoughts of Dovzhenko scholar, the great Ukrainian thinker of the 20th – 21st centuries – Yevhen Sverstiuk in the understanding of this axiological paradigm played an important role. Given this context, little-known facts of the biographical discourse of O. Dovzhenko and D. Shostakovych were actualized; the immanent consonance of their modern aesthetic searching in cinematic art, colour painting and musical painting of the 20th century was marked on the basis of primary sources. The harmony of movement, coloration, sound in the poetics of artists was a large field of interest even for humanities scientists of the 21st century. Attention was paid to the moral-and-ethical estimation made by O. Dovzhenko of D. Bedny as a destroyer of the principles and embodiment of the latest world cinematic aesthetics and its creator, which appeared in the film masterpiece «Zemlia (Land)». The antagonism of ideological works of socialist realism and works of art for centuries was illustrated in the exploration on the examples of the poetic word of the Kyivan – M. Bulgakov and S. Yesenin. The consonance of the receptions of the reality of the Soviet-era period in the figurative-and-semantic axiologems of O. Mandelstam’s poetry and O. Dovzhenko’s diary notes was clarified in the comparative parallels.Devotion to aesthetic truth overcomes the delusions of the past. Analytical attention to the important semiosphere, which was the role of D. Shostakovych in revealing the truth to the world about killing of the Congress of Ukrainian Kobzars in 1935 by the Soviet authorities in the mentioned value-and-semantic context was drawn. This empathic involvement in the grief of another was the ideological basis of the phenomena of Christian self-sacrifice as O. Dovzhenko and other mentioned artists and thinkers of the analyzed time.

Мodels of Biographical Construction in the Context of Neoclassical Discourse

The thesaurus including current principles and concepts is considered in terms of constructing a biographical narrative of particular cultural and historical era. The reasons involved to formulate the subject field of neoclassical biographistics are analyzed on the principles of socio-cultural determination. Certain strategies that are due to the impact of the crisis of metanarratives on the biographical history and the impact of the crisis of historical knowledge on the understanding of the description are defined in the article. The author argues that the principle of biographical discursiveness is gaining importance in modern studies of biographies, as it affects the model of memorization and representation of the present (memoirs, autobiographies, stories, dairies, etc.). The features of biographical discourse, which are decisive in the models to construct biographies in the context of neoclassical discourse, differ from the biographical narrative, exactly this approach is clarified in the article. It is proved that the models of constructing a biography depend on the researcher's belonging to a specific narrative group, which is determined by socio-cultural and psychological conditioning. Revision of the main strategies of biographical discourse is conducted in the context of modern philosophical and cultural theories. The author singles out the dominant concepts that change the classical vector of biography and actualize biographical searches, marking the actual parameters of the "biographical consciousness of the epoch". It is proved that multiplying the variability of stories and the possibility of an infinite number of stories as well as biographical narrative always correlates with the cultural tradition, which forms the parameters of preservation and fixation of stories taking into account personal factors and multivariate contexts of their interpretations. The theoretical basis of neoclassical biography by means of Paul Ricœur's hermeneutic methodology for interpretation of creative biographies of artists in models of biographical discourse is developed. The interdisciplinary parameters of biography at the intersections of discursiveness of art, anthropology, aesthetics, history and memories are outlined. The specifics of forming models of biography construction in the context of neoclassical discourse are substantiated. It is proved that taking into account the narratives of a certain cultural-historical epoch it is possible to create conditions for transforming a biographical story into a source of knowledge about culture in its various manifestations and aspects, and the ways of "speaking" or fixing on media influence the mechanisms of constructing a narrative about life.

The figure of Mykola Illich Storozhenko in obituaries and memorial articles: Biographical and literary discourse

The figure of Mykola Illich Storozhenko in obituaries and memorial articles: Biographical and literary discourse

Schulz i żałoba. O drugim ciele pisarza

The paper addresses the problem of the mourning cult of Bruno Schulz. The presented approach is critical of its excess in the Schulzean biographical discourses as well as literary and artistic references to his life and work, but it is by no means provocative like that of Janusz Rudnicki, who in the 1990s mocked the “hagiographic” idiom of Jerzy Ficowski. Analyzing archive records and testimonies, the author attempts to reconstruct the circumstances of Schulz’s death in possibly the minutest details. Comparing contradictory pieces of information with the official version made popular by Ficowski, he shows how profoundly it has been marked by the unperformed work of mourning over Schulz and the Holocaust – both the failed work of Ficowski himself and of his postwar correspondents whose letters determined the form of The Regions of Great Heresy. Using the idiom of thanatology and taking the role of a necrographer rather than that of a Schulz specialist, the author supposes that the dynamic of loss in the case of Schulz reaches far beyond the act of the writer’s execution on the street to include also the posthumous annihilation of his corpse and grave. This particular kind of necroviolence, perhaps the most hateful from the vantage point of the Jewish tradition and the heritage of Western culture in general, which consists in removing the material remains of the deceased has been called by Holocaust scholars “necrocide.” The absence of material traces and the “mourning objects” that usually help to cure the semiotic crisis which is death makes writers and artists commemorate Schulz with lyrical and artistic epitaphs. Their function is to restore the bodily identity of the dead person by creating his other body, told about and imagined in effigie, existing not beside but instead of the missing “mourning object.” However, the expansion of those elegiac narratives, particularly those produced outside Poland, often results in unintended reductionism. As a human being, writer, and artist, Schulz has been reduced in them to an emblem of the Holocaust, while such obituaries ignore the history of his archive. The other, historical and material body of the writer consists of his manuscripts, drawings, graphic works, and official documents. It exists, drawn and quartered, in archives, to be put up for auction for tens of thousands of dollars, exposed in museums and art galleries, and hoarded by collectors as precious relics.

Titanic und Tumult

Abstract For decades, Hans Magnus Enzensberger viewed autobiographical writings with a sense of distrust and irony, while at the same time exploring themes and motifs that were closely related to experiences of the author himself. Over the past ten years, however, something has changed in Enzensberger’s approach to autobiography. This becomes most obvious in his essay entitled Tumult, published in 2014. This contribution analyzes the constitutive moments of biographical discourses for Enzensberger's artistic development since the 1950 s.

Między Ustami Italji a brzegiem Nervi. Przypadek Kazimiery Alberti

The article conjoins several interpretative perspectives. The first one focuses on Kazimiera Alberti’s volume of poetry entitled Usta Italji [The Mouth of Italy] published in the 1930s, in which Alberti unconsciously predicts her future. Her poetic excursions into Italian cities, enhanced by autothematic tropes, reveal the writerly-feminine subjectivity. What the biographical discourse delineates there is the frame for affective experiences, such as melancholy, sadness, and passion. This experience of the place would be identified today as the poetics of space, in which actual addresses merge with made up after-images. The second part of the article is devoted to Kazimiera Alberti’s experience of living in – and not only sightseeing – Italy. An analysis of the cultural memory code makes it possible to accurately portray the effort with which the poet seeks an original way of inhabiting the world that spans between the tragic Polish past and the Italian space of salvage. A reflection on Kazimiera Alberti’s letter to Maria Grabowiecka becomes not only an interpretative procedure but also – and primarily – a trigger to discuss the (arguably) central theme in Alberti’s oeuvre: the gesture of re-creation. This gesture stands for the attempt to re-create the world in the language of great cultural myths, or for the creative passion whose poetic evocation is Capri – an island equally real and “made up” or imagined.

A produção de subjetividades no romance e na entrevista midiática: rastros do autobiográfico e da escrita feminista de Maria Valéria Rezende

Este estudo investiga os discursos do biográfico na contemporaneidade sob a forma do romance e da entrevista midiática. Para tanto, retoma a obra de Philippe Lejeune sobre a noção de “pacto autobiográfico”, procura estabelecer diálogos com estudos que demarcam novos modos de pensar a relação do biográfico com a subjetividade a partir do conceito de espaço biográfico, de Leonor Arfuch, e a crítica literária feminista. Com esse aporte teórico, visa analisar a produção de subjetividades na literatura brasileira contemporânea, focando a literatura de autoria feminina e tendo como corpus de análise Outros cantos, de Maria Valéria Rezende, publicado em 2016, e duas entrevistas concedidas pela escritora, veiculadas nos sites dos jornais O Globo e El País. Constata a emergência de uma escrita de viés feminista, em que narrativas ficcionais e autobiográficas são tecidas com o apoio da memória.