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 This paper focuses Las memorias del General (1996) and Las vidas del General (2004), written by the Argentine novelist and journalist Tomás Eloy Martínez, reinforcing the subject of enunciation and the historical referent. Here are some of the reformulations we consider significant between the first and the second of these books, before proceeding to the analysis of the role played by memory, narrative and rewriting of the self in the articles which are present in both editions: 1) "Las memorias de Puerta de Hierro"; 2) "Días de exilio en Madrid "; 3) "Perón y sus novelas". The autobiographical voice of the former president of Argentina, printed in interviews he granted to Martínez, faces the critical considerations and reassessments of the author in the first item listed, it remains in the second text, featured as biographical, and joins the autobiographical writer’s own voice, in the third one and in paratexts of the analyzed books, in a process that allows us to note the adjacent borderlines between memorialistic, biographical, historical and autobiographical narratives.

 Se trata de una tentativa de reconstituir la historia vivida por Francisco Umbral con María España Suárez Garrido desde su juventud en Valladolid, y su noviazgo después de la muerte de la madre de Paco en 1953, su boda en 1959, sus pinitos de periodista y escritoren Madrid y su experiencia dolorosa cuando muere su único hijo, hasta los últimos años en La Dacha, en las afueras de Madrid. Entre todas las mujeres conocidas y amadas por Umbral, a lo largo de una vida de seductor, María España es la esposa fiel y atenta. Al dedicarle un libro entero, directa y explícitamente dirigido a ella, Carta a mi mujer (2008), obra póstuma pero redactada en los años 80, Umbral reconoce la gran importancia de esta mujer en su vida. Nos referimos en este trabajo a unos textos o manifestaciones públicas del propio escritor y sobre todo a Carta a mi mujer que podría ser en cierta medida la ilustración de esa mezcla de géneros en la obra de Umbral y una muestra ejemplar de autoficción.

 El escritor español Javier Marías (Madrid, 1951) ha ido construyendo un autorretrato ficticio a través de los relatos en los que los narradores toman la forma de fantasma y de espía. Las novelas Todas las almas (1989) y Tu rostro mañana (2002-2007) tejen una serie de continuidades, equivalencias y diferencias tras las cuales podemos reconocer el perfil del autor con sus opiniones, fobias y obsesiones. La existencia de Negra espalda del tiempo (1998) y de Aquella mitad de mi tiempo (2008), permiten leer el conjunto de ambas novelas como un "espacio autobiográfico". Al terminar este recorrido por las correspondencias entre Todas las almas y Tu rostro mañana, resulta inevitable compararlas. Habitualmente los lectores de Marías dividen sus preferencias entre una y otra. Por mi parte, caigo del lado de los que aprecian los valores de la primera y considero Tu rostro mañana una reescritura "manierista" de Todas las almas.

 This article discusses a special testimony given by Georges Perec in his book W or the memory of childhood. When he lost his parents in the Shoah, Perec was too small to have a complete understanding of the events, but he wasn’t so young as to stay completely alienated while the events were taking place. Thereby, to face his childhood trauma, Perec composed a work with full of enigmas, restrictions, games, puzzles and fiction that could be read in a testimonial way.

 This article shows how the autobiographical gender is shaped in Gonzalo Torrente Ballester’s texts "Currículum en cierto modo" (1981), Dafne y ensueños (1983) and "Nota autobiográfica" (1986), in light of Philippe Lejeune´s theory, and what is the professional image that stands out from this set of biographical acts or of this writing the self.

 The purpose of this paper is to analyze the configurations of memory in some narratives from dictatorial regimes and to demonstrate its relationship with the construction of identity and subjectivity of the narrator experiences, relating these with the historical period. Taking into account Kenneth Burke’s theory about literature as a symbolic act and Walter Benjamin’s theories about the concept of history beyond Aleida Assmann’s studies on culture of memories among other, we intend to verify aspects related to the limits and functions of memory in some works: Tropical Sol da Liberdade, Collin and Cassandra. The first one is of the Brazilian writer Ana Maria Machado, the following two of the German writers Stefan Heym and Christa Wolf, both from the former German Democratic Republic (GDR).

 Ubicando el foco de análisis en la construcción de la narrativa autobiográfíca por medio del cine, este artículo se propone establecer algunas líneas de reflexión sobre las posibilidades que este género puede proporcionar para el abordaje de las últimas dictaduras militares de Argentina y Brasil. Adoptamos una perspectiva metodológica centrada en la microhistoria, que destaca los aspectos cotidianos y las experiencias personales, ofreciendo una mirada singular sobre un pasado reciente traumático. Así, seleccionamos dos películas que recrean las vivencias, miedos y esperanzas experimentados por un niño en un contexto de singular violencia política. A partir del análisis de los films y de los relatos de sus respectivos directores, se puede observar que el cine autobiográfico nos permite mirar un pasado reconstruido desde el presente a partir de la narración de la experiencia, la inclusión de elementos ficcionales, recuerdos, olvidos así como memorias personales y colectivas.

 Before women have access to writing, and to autobiographical writing, the female subject was only known by the male voice, in other words, by the male’s imaginary and stereotypes. The women silence breaking allowed to unveil this world, and also allowed that the women could construct their own identity (s), what was before forged by Western patriarchal model and often misogynistic. Based on the viewpoint that the diaries and letters, as autobiographical writings, are pieces that date back to a historical time, to the time of writing, not just containing dates or vestiges of the daily writer, but the context in which he lived, this work has the objective to analyze how Florbela Espanca (1894-1930), from the diverse self-representation and female identities and self-analysis reflections, shows the intimate and social female universe in her time, in her diary and letters of the last year.

 In this work, the book Navegação de cabotagem (1992) is seen as a privileged space for dialogue with the writer Jorge Amado and his work, space at the same time to unify and disseminate human and intellectual experiences, marked by the cribble of the role and witness, of the reason and emotion, of the glory and the simplicity in conducting an existence. The book is presented as a kaleidoscope of experiences and knowledge, memory and history, literature and life, art and culture, fact and fiction, memory and legacy, denouncement and delight – finally, it notes for a possible autobiography that the author dodged write , writing it, but as a process and fragments. It concerns us, mostly, discussing Navegação de cabotagem focusing on critical, literary and socio-historical issues and/or formulations, involving the artistic, intellectual and political trajectory of the author Jorge Amado.

 From reading the novel Los sorias, 1998, of the Argentine writer Alberto Laiseca, I propose some hypotheses showing two figurations collected by narratives and procedures throughout the novel and suggest that they offer themselves as evidence of the extent of the basic contradictions world in which the novel stands and, of course, the world created in this narrative. On the one hand, the idea of testimonial delirium, a kind of convergence of self-reflection and autobiographical impulse potentiated in proportion to the face of traumatic experiences lived in the twentieth century, which I call here testimonies delusional. On the other, the image, embodied in some main characters of the novel, especially in Monitor, the dictator who mutates throughout the novel, a change from evil to good, which coincides with the defeat in the war, a trace of feeling redemption, which connote the possibility of a rebirth. The destruction, in fury and stubbornness caused by war, ideology, humanism and the very notion of humanity and civilization follow new rearrangements, gaining unprecedented forms and movements. In other words, we see the emergence of a sensibility that can displace the imaginary horizon. When it is no longer possible to rethink the relationship between man and the world is required to produce the human being itself a radical shift, absolutely heartbreaking, that place open to the effects caused by the sufferings of his fellow men, and so I’m calling here performingconversions.

 Divertimento, a primeira novela de Cortázar, escrita em 1949, foi publicada apenas postumamente. Nessa novela, ainda pouco explorada pela crítica, um grupo de amigos artistas se diverte com suas opiniões estéticas sobre a arte. A narrativa experimental, em ritmo de mistério, revela, em pequenas doses humorísticas, a visão de arte de um escritor ainda em formação. Dentro desse divertido jogo ficcional, onde se discute o surrealismo y suas diferentes manifestações artísticas, interessa-nos investigar os aspectos autobiográficos y receptivos que fluem das opiniões convergentes e divergentes de seus personagens. Para este propósito, foi fundamental retomar o epistolário de Cortázar, já que em suas cartas o escritor também brinca de mesclar ficção com autobiografia.

 This paper develops a approach to the theoretical question of authorship based on the images of shoes painted by Vincent van Gogh during the 1880s. More than the analysis of the paintings, the paper seeks to outline a range of connections between studies that have dealt with them, notably those of Martin Heidegger, Meyer Schapiro and Jacques Derrida. Along with this, there is also the idea of the shoe as a metaphor for realism in literature, with J.M. Coetzee and Daniel Defoe, and as a metaphor for the relationship between the author and the text, with Michel Foucault and Giorgio Agamben.

 Comment l’autobiographie a-t-elle peu à peu émergé comme objet d’étude artistique dans le champ des études littéraires jusqu’à s’y fixer de façon désormais incontournable? Qu’est-ce qui la caractérise au point d’en faire un espace de réflexion analytique multidimensionnel? Quels en sont les dédoublements qui ouvrent le passage de l’espace du public à l’espace du privé? Comment se pencher sur le journal intime et l’écriture des diaristes? C’est en détective que Philippe Lejeune retrace la genèse de l’autobiographie littéraire qu’il a fondée en champ de recherche. C’est aussi en généticien qu’il analyse les écritures de soi en se plongeant dans les brouillons de journaux intimes, car lui tient à coeur de mettre au jour les diverses façons de "dire sa vie".

 El artículo plantea cómo los avances en el campo de la neurociencia están repercutiendo en los estudios sobre la autobiografía. Estos se benefician de las aportaciones al funcionamiento de la memoria (muy simplificada en relación a lo sostenido por la psicología cognitiva) y de la identidad (o Self). La idea es que la identidad reside en el cuerpo antes que en la mente. El artículo se detiene en algunas contribuciones literarias recientes (Vicente Verdú, Marcos Ordóñez, Javier Pérez Andújar) cuya escritura, abiertamente autobiográfica, se vincula a la experiencia del cuerpo y a sus alteraciones. Ello sugiere una concepción quebrada de la autobiografía como la más acorde a los tiempos actuales, cuando la narración compacta del ser parece un imposible.

 This study presents a reflection on the writing of memoirs in Brazil in an attempt to discuss an assertion by Afrânio Coutinho (1969) about the absence of such a tradition in our country. The analysis presented is based on a sequence of literary works - Memórias (1948), by Visconde de Taunay; Memórias do Cárcere (1953), by Graciliano Ramos; Um homem sem profissão (1954), by Oswald de Andrade; Meus verdes anos (1956), by José Lins do Rego; Solo de Clarineta (1974-1976), by Érico Veríssimo; Navegação de Cabotagem (1992), by Jorge Amado e Quase memória: quase-romance (1995), by Carlos Heitor Cony. The main theoretical background is based on Jacques Le Goff (2003), Alba Olmi (2006) and Anna Caballé (1991). By pointing out the idiosyncrasies of each work in relation to the representation of the past, it is possible to observe a continuous tradition of memoirs writing in the Brazilian literary historiography.

Se plantea una amplia reflexión sobre el coleccionismo, una de las pulsiones menos comprendidas por el pensamiento contemporáneo, y aquí concebido como una extensión humanizadora del Ser. El destino de los objetos es el nuestro porque sin ellos no existiríamos como seres verdaderamente humanos. El artículo se apoya en teóricos como Walter Benjamin o Hannah Arendt y se detiene en novelistas que han reflexionado sobre él en sus contrautopías, donde el ser humano es tratado como un objeto.

 The autobiography is a privileged genre that is involved in a obscure writing, in an existence still incomplete and conscious of the gaps that characterize it. The fictional biography, the journal, every group of writings about the self consist in leaving open the hesitations that are necessary for the creation of a novel work which coincides with the fictional and misleading recreation of reality, wouldn’t the writings about the self be, in a paradox, an open work, in the sense of being a confession that needs the other to have it definite value? That is the question that leads our reflexion.

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