Samuel Beckett (1906-1989), écrivain d’origine irlandaise, a écrit et (auto-)traduit ses textes principalement en deux langues, anglais et français. Bien que son activité bilingue ait suscité l’intérêt des chercheurs, la manière dont il a conçu ses œuvres bilingues reste insuffisamment explorée.

Ma thèse examine la poétique de l’auto-traduction chez Beckett à travers une analyse intra-intertextuelle de Company/Compagnie (1980), l’une de ses œuvres les plus autobiographiques. L’auto-traduction y est envisagée à la fois dans son acception stricte et métaphorique.

L’étude s’organise autour de trois axes principaux :

1. L’auto-traduction linguistique, analysée dans les versions anglaises et françaises de Company/Compagnie (intra-intertextualité interlinguistique).

2. L’auto-traduction autobiographique, explorée au sein de Company/Compagnie comme (ré)écriture de soi (intratextualité).

3. L’auto-traduction intersémiotique, examinant les correspondances entre Company/Compagnie et d’autres textes contemporains de Beckett (intertextualité ou auto-textualité).

Cette recherche repense l’auto(-)traduction comme un principe créateur fondamental structurant l’univers artistique bilingue de Beckett. Elle ouvre de nouvelles perspectives interdisciplinaires, touchant aux études beckettiennes, à la traductologie, et à la création littéraire et artistique.

This study explores how women writers in modern Korea and Türkiye utilized writing as a strategy of resistance against male-dominated literary circles, drawing on Elaine Showalter's Gynocriticism and Thierry Laurent's concept of Autofiction. By combining these two theories, this study analyzes how women's writing functions beyond self-expression to serve as social and political resistance.

The research focuses on two texts: Tan-sil and Joo-young (1924) by Myeong-sun Kim (1896-1951), Korea's first modern woman writer, and Göç Temizliği (1985) by Adalet Ağaoğlu (1929-2020), an established canonical writer in Turkish literature. Despite their temporal and spatial differences, both works represent significant examples of resistance through autofictional writing within male-dominated literary worlds.

Tan-sil and Joo-young employs an omniscient third-person narrator who describes external events and internal psychology through a frame narrative. Beginning in 1920s Gyeongseong, the narrative explores Tan-sil's life trajectory from late 19th century Pyongyang. The protagonist parallels Kim's life experiences, reflecting her resistance against patriarchal society's oppression as a New Woman. Through detailed descriptions of Tan-sil's inner world, Kim presents a female-centric worldview that challenges male-dominated perspectives. By borrowing the voice of Tan-sil's half-brother Jeong-taek to reveal social prejudice against women, she challenges male authority.

Ağaoğlu's Göç Temizliği is a memoir-novel where the author appears as both narrator and protagonist, reflecting on thirty years of literary life through personal documents discovered while relocating from Ankara to Istanbul in 1983. Ağaoğlu interweaves her professional trajectory with personal relationships, particularly focusing on interactions with her patriarchal father and male literary critics. She deliberately blurs the boundaries between fact and fiction, asserting personal truths through autobiographical narration and literary reconstruction.

Comparative analysis reveals both similarities and differences in the authors' resistance writing strategies. Both writers utilize autofictional elements to narrate their experiences and oppressive social structures, strategically blending fact and fiction. Through fictional narratives based on lived experiences, they reinterpret their experiences and challenge male-centric literary discourse, emphasizing how autofictional writing can serve as a powerful tool for establishing their presence within literary boundaries. However, while Kim emphasizes fictionality to convey her voice indirectly, Ağaoğlu foregrounds autobiographical truth for direct expression, reflecting their different historical contexts.

This study demonstrates how women's autofictional writing functioned as social and political resistance while revealing universal and specific aspects of women's literature across cultures. Kim and Ağaoğlu not only developed women's literary traditions in their countries — Kim by creating new pathways for women's writing and Ağaoğlu by achieving canonical status — but also pioneered narrative strategies that continue to inspire contemporary writers. Through the methodological integration of Gynocriticism and Autofiction theories, this research advances methodological approaches in comparative literature studies while expanding the scope of research between Korean and Turkish literature.

Drawing on Rivera Garza's conceptualization of disappropriation in Los muertos indóciles, this paper traces the technological evolution of documentary practices from Nadie me verá llorar to her more recent works, particularly Autobiografía del algodón and El invencible verano de Liliana. While Nadie me verá llorar relied primarily on traditional archival research, her subsequent works dramatically expand technological mediation, using digital mapping, database technologies, and online communication platforms to further decentralize authorial control and enact disappropriation.

In Nadie me verá llorar, Rivera Garza's archival research suggested an initial proto-technological approach to documentation, meticulously reconstructing historical narratives through careful technological mediation of historical sources. However, in Autobiografía del algodón and El invencible verano de Liliana, technological intervention becomes more radical, transforming from a documentary method to the narrative infrastructure itself.

Digital mapping and database technologies in these works become fundamental mechanisms of disappropriation, decentralizing traditional narrative structures and creating multi-layered documentary practices that fragment singular authorial perspectives. These technological tools actively redistribute narrative agency, transforming how spatial and temporal experiences are documented and understood. Digital communications emerge as both source material and infrastructural mechanism of disappropriation. In this context, technology is not merely an external tool, but an intrinsic process of deconstructing the ownership of memory, fundamentally altering how personal and collective experiences are constructed and transmitted.

By analyzing these technological transformations, this study reveals how digital tools facilitate disappropriation, radically reimagining literary creation by challenging established concepts of authorship, documentation, and narrative formation in Rivera Garza's works. This technological approach not only disrupts traditional literary practices but also opens a space for rethinking how disappropriation can contribute to the democratization of narrative, in line with global demands for greater justice, equity, and inclusivity. In this sense, Rivera Garza's works suggest that technological mediation—through its deconstruction of established power structures—can serve as a mechanism for reshaping authorial practice, enabling a more inclusive, equitable, and participatory literary landscape.

Yiyun Li has been a prominent Chinese American writer who has produced eight fictions since 2003. She was originally known for her fusion of Chinese elements into her English writing, while for her latest collection published last year, the Anglophone critics start to appreciate its theme and narration, rather than its Chinese-ness. This research endeavors to look through the transformation of Yiyun Li’s writing, ranging from its theme, characterization, to its language style, and particularly, its transition from translation literature to writing for global English readers. The representations of changes, the reasons behind it, and a comparison between she and Geling Yan in terms of their Chinese-ness in their works, will comprise the complete project. There has been research from scholars on Li’s language style, but the focus has been mainly on the Chinese-ness shown in her works before 2018. Therefore, this research would be the first one that could be found pertaining to Li’s 21-year publishing career, from ‘A Thousand Years of Good Prayers’ to ‘Wednesday’s Child’. The methodology of literary linguistics derived from Geoffrey Leech’s ‘Style in Fiction: a Linguistic Introduction to English Fictional Prose’ will be employed to present more detailed and objective evidence.