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Fun Home by A fresh and brilliantly told memoir from a cult favorite comic artist, marked by gothic twists, a family funeral home, sexual angst, and great books. This breakout book by Alison Bechdel is a darkly funny family tale, pitch-perfectly illustrated with Bechdel's sweetly gothic drawings. Like Marjane Satrapi's Persepolis, it's a story exhilaratingly suited to graphic memoir form. Meet Alison's father, a historic preservation expert and obsessive restorer of the family's Victorian home, a third-generation funeral home director, a high school English teacher, an icily distant parent, and a closeted homosexual who, as it turns out, is involved with his male students and a family babysitter. Through narrative that is alternately heartbreaking and fiercely funny, we are drawn into a daughter's complex yearning for her father. And yet, apart from assigned stints dusting caskets at the family-owned "fun home," as Alison and her brothers call it, the relationship achieves its most intimate expression through the shared code of books. When Alison comes out as homosexual herself in late adolescense, the denouement is swift, graphic -- and redemptive.
Call Number: 823.92 BEC
Publication Date: 2007
The Yellow Wallpaper and Selected Writings by It is stripped off - the paper - in great patches . . . The colour is repellent . . . In the places where it isn't faded and where the sun is just so - I can see a strange, provoking, formless sort of figure, that seems to skulk about . . .'
Based on the author's own experiences, 'The Yellow Wallpaper' is the chilling tale of a woman driven to the brink of insanity by the 'rest cure' prescribed after the birth of her child. Isolated in a crumbling colonial mansion, in a room with bars on the windows, the tortuous pattern of the yellow wallpaper winds its way into the recesses of her mind.
Charlotte Perkins Gilman was America's leading feminist intellectual of the early twentieth century. In addition to her masterpiece 'The Yellow Wallpaper', this new edition includes a selection of her best short fiction and extracts from her autobiography.
Call Number: 813.52 GIL GIL
Publication Date: 2009
Father and Son by At birth Edmund Gosse was dedicated to 'the Service of the Lord'. His parents were Plymouth Brethren. After his mother's death Gosse was brought up in stifling isolation by his father, a marine biologist whose faith overcame his reason when confronted by Darwin's theory of evolution. Father and Son is also the record of Gosse's struggle to 'fashion his inner life for himself' - a record of whose full and subversive implications the author was unaware, as Peter Abbs notes in his Introduction. First published anonymously in 1907, Father and Son was immediately acclaimed for its courage in flouting the conventions of Victorian autobiography and is still a moving account of self-discovery.
Call Number: 809.93 GOS
Publication Date: 1989
Moments of being by Virginia Woolf's only autobiographical writing is to be found in this collection of five unpublished pieces. Despite Quentin Bell's comprehensive biography and numerous recent studies of her, the author's own account of her early life holds new fascination - for its unexpected detail, the strength of its emotion, and its clear-sighted judgement of Victorian values.In 'Reminiscences' Virginia Woolf focuses on the death of her mother, 'the greatest disaster that could happen', and its effect on her father, the demanding patriarch who took a high toll of the women in his household. She surveys some of the same ground in 'A Sketch of the Past', the most important memoir in this collection, which she wrote with greater detachment and supreme command of her art shortly before her death.Readers will be struck by the extent to which she drew on these early experiences for her novels, as she tells how she exorcised the obsessive presence of her mother by writing To the Lighthouse. The last three papers were composed to be read to the Memoir Club, a postwar regrouping of Bloomsbury, which exacted absolute candour of its members. Virginia Woolf's contributions were not only bold but also original and amusing. She describes George Duckworth's passionate efforts to launch the Stephen girls; gives her own version of 'Old Bloomsbury'; and, with wit and some malice, reflects on her connections with titled society.
Call Number: 823.91 WOO WOO
Publication Date: 2002
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The tutor will supply additional reading lists, links to articles and visual material to support work on the specific authors being studied.
These are more general critical and theoretical books which will be useful for the longer essay assignment.
Autobiography by If every writer necessarily draws on their own life, is any writing outside the realm of 'autobiography'? The new edition of this classic guide is fully updated to include:
developments in autobiographical criticism, highlighting major theoretical issues and concepts
different forms of the genre from confessions and narratives to memoirs and diaries
uses of the genre in their historical and cultural contexts
major autobiographical writers including St Augustine, Bunyan, Boswell, Rousseau and Wordsworth, alongside non-canonical autobiographies by women
twentieth-century autobiography including women's writing, black and postcolonial writing, and personal criticism
a new chapter on narrative and new material examining recent trends in autobiography such as blogs, the popularity of literary memoirs and recent developments in theory on testimonial writing.
Combining theoretical discussion with thought-provoking readings of major texts, this is the ideal introduction to the study of a fascinating genre.
Call Number: 809.934 AND + eBook
Publication Date: 2011
Victorian Biography Reconsidered by In 1939, Virginia Woolf called for a more inclusive form of biography, which would include 'the failures as well as the successes, the humble as well as the illustrious'. She did so in part as a reaction against Victorian biography, deemed to have been overly preoccupied with 'Great Men'. Yeta significant number of Victorians had already broken ranks to write the lives of humble, unsuccessful, or neglected men and women. Victorian Biography Reconsidered seeks to uncover and assess this trend.The book begins with an overview of Victorian biography followed by a reflection on how the bagginess of nineteenth-century hero-worship enabled new subjects to emerge. Biographies of 'hidden' lives are then scrutinized through chapters on the lives of humble naturalists, failed destinies, minorwomen writers, neglected Romantic poets rescued by Victorian biographers, and, finally, the Dictionary of National Biography. In its conclusion, the book briefly discusses how Virginia Woolf absorbed earlier biographical trends before redirecting the representation of 'hidden' lives.Victorian Biography Reconsidered argues that, often paradoxically, nineteenth-century biographers regarded the public sphere with intense wariness. At a time of instability for men of letters, biographers embraced the role of mediators in a manner that asserted their own cultural authority.Frequently, they showed little interest in vouchsafing immortality for their unknown or forgotten subjects, but strove instead to provoke amongst their readers a feeling of gratitude for the hidden labour that sustained the nation and an appreciation for the writers who had brought it to theirattention.
Call Number: 809.934 ATK
Publication Date: 2010
Interpreting Women's Lives by This groundbreaking multidisciplinary and multicultural examination of women's oral and written documents offers rich insights into the ways that women's voices and life stories can inform scholarly research. The book expands our understanding of both the shared experience of gender and the profound differences among women.
Call Number: 305.42 BAR
Publication Date: 1989
The Private Self by This collection of twelve essays discusses the principles and practices of women's autobiographical writing in the United States, England, and France from the eighteenth to the twentieth centuries. Employing feminist and poststructuralist methodologies, the essays examine a wide range of private life writings -- letters, journals, diaries, memoirs, pedagogical texts, and fictional and factual autobiographies. The concepts of theory and practice -- as opposing and mutually exclusive methodologies, as focal points for conflicting interpretations, and finally as complementary approaches to the study of literature -- are central to this collection. The Private Self explores the links between the historical devaluation of women's writings and the cultural definitions of women that have constrained their writing practices and excluded them from the canon of traditional autobiographical texts. Collectively, these essays expose the cultural biases that derive from notions of selfhood defined by a white, masculine, and Christian experience. In an effort to revise our prevailing concept of autobiography, these essays deal with differences of race, class, religion, sexual orientation, and gender. Discussed here are writings by more than two dozen women including Jane Austen, Emily Dickinson, Alice James, Virginia Woolf, Charlotte Forten Grimke, Zora Neale Hurston, Maya Angelou, Sophie Kovalevsky, Anais Nin, Hilda Doolittle, and Simone de Beauvoir. The work of these writers reveals a split between public and private self-representations, and it is the notion of a private self expressed through women's autobiographical writings that forms the link among all the essays.
Call Number: 809.934 BEN
Publication Date: 1988
Giving an Account of Oneself by What does it mean to lead a moral life?
In her first extended study of moral philosophy, Judith Butler offers a provocative outline for a new ethical practice--one responsive to the need for critical autonomy and grounded in a new sense of the human subject.
Butler takes as her starting point one's ability to answer the questions "What have I done?" and "What ought I to do?" She shows that these question can be answered only by asking a prior question, "Who is this 'I' who is under an obligation to give an account of itself and to act in certain ways?" Because I find that I cannot give an account of myself without accounting for the social conditions under which I emerge, ethical reflection requires a turn to social theory.
In three powerfully crafted and lucidly written chapters, Butler demonstrates how difficult it is to give an account of oneself, and how this lack of self-transparency and narratibility is crucial to an ethical understanding of the human. In brilliant dialogue with Adorno, Levinas, Foucault, and other thinkers, she eloquently argues the limits, possibilities, and dangers of contemporary ethical thought.
Butler offers a critique of the moral self, arguing that the transparent, rational, and continuous ethical subject is an impossible construct that seeks to deny the specificity of what it is to be human. We can know ourselves only incompletely, and only in relation to a broader social world that has always preceded us and already shaped us in ways we cannot grasp. If inevitably we are partially opaque to ourselves, how can giving an account of ourselves define the ethical act? And doesn't an ethical system that holds us impossibly accountable for full self-knowledge and self-consistency inflict a kind of psychic violence, leading to a culture of self-beratement and cruelty? How does the turn to social theory offer us a chance to understand the specifically social character of our own unknowingness about ourselves?
In this invaluable book, by recasting ethics as a project in which being ethical means becoming critical of norms under which we are asked to act, but which we can never fully choose, Butler illuminates what it means for us as "fallible creatures" to create and share an ethics of vulnerability, humility, and ethical responsiveness.
Call Number: 170.42 BUT
Publication Date: 2005
Fictions in Autobiography by Investigating autobiographical writing of Mary McCarthy, Henry James, Jean-Paul Sartre, Saul Friedlander, and Maxine Hong Kingston, this book argues that autobiographical truth is not a fixed but an evolving content in a process of self-creation. Further, Paul John Eakin contends, the self at the center of all autobiography is necessarily fictive. Professor Eakin shows that the autobiographical impulse is simply a special form of reflexive consciousness: from a developmental viewpoint, the autobiographical act is a mode of self-invention always practiced first in living and only eventually, and occasionally, in writing.
Call Number: 809.934 EAK
Publication Date: 1988
Touching the World by Paul John Eakin's earlier work Fictions in Autobiography is a key text in autobiography studies. In it he proposed that the self that finds expression in autobiography is in fundamental ways a kind of fictive construct, a fiction articulated in a fiction. In this new book Eakin turns his attention to what he sees as the defining assumption of autobiography: that the story of the self does refer to a world of biographical and historical fact. Here he shows that people write autobiography not in some private realm of the autonomous self but rather in strenuous engagement with the pressures that life in culture entails. In so demonstrating, he offers fresh readings of autobiographies by Roland Barthes, Nathalie Sarraute, William Maxwell, Henry James, Ronald Fraser, Richard Rodriguez, Henry Adams, Patricia Hampl, John Updike, James McConkey, and Lillian Hellman. In the introduction Eakin makes a case for reopening the file on reference in autobiography, and in the first chapter he establishes the complexity of the referential aesthetic of the genre, the intricate interplay of fact and fiction in such texts. In subsequent chapters he explores some of the major contexts of reference in autobiography: the biographical, the social and cultural, the historical, and finally, underlying all the rest, the somatic and temporal dimensions of the lived experience of identity. In his discussion of contemporary theories of the self, Eakin draws especially on cultural anthropology and developmental psychology.
Call Number: eBook
Publication Date: 1992
How Our Lives Become Stories by The popularity of such books as Frank McCourt's Angela's Ashes, Mary Karr's The Liars' Club, and Kathryn Harrison's controversial The Kiss, has led columnists to call ours "the age of memoir." And while some critics have derided the explosion of memoir as exhibitionistic and self-aggrandizing, literary theorists are now beginning to look seriously at this profusion of autobiographical literature. Informed by literary, scientific, and experiential concerns, How Our Lives Become Stories enhances knowledge of the complex forces that shape identity, and confronts the equally complex problems that arise when we write about who we think we are.
Using life writings as examples--including works by Christa Wolf, Art Spiegelman, Oliver Sacks, Henry Louis Gates, Melanie Thernstrom, and Philip Roth--Paul John Eakin draws on the latest research in neurology, cognitive science, memory studies, developmental psychology, and related fields to rethink the very nature of self-representation. After showing how the experience of living in one's body shapes one's identity, he explores relational and narrative modes of being, emphasizing social sources of identity, and demonstrating that the self and the story of the self are constantly evolving in relation to others. Eakin concludes by engaging the ethical issues raised by the conflict between the authorial impulse to life writing and a traditional, privacy-based ethics that such writings often violate.
Call Number: 809.934 EAK
Publication Date: 1999
Burdens of Proof by Autobiographical impostures, once they come to light, appear to us as outrageous, scandalous. They confuse lived and textual identity (the person in the world and the character in the text) and call into question what we believe, what we doubt, and how we receive information. In the process, they tell us a lot about cultural norms and anxieties. Burdens of Proof: Faith, Doubt, and Identity in Autobiography examines a broad range of impostures in the United States, Canada, and Europe, and asks about each one: Why this particular imposture? Why here and now? Susanna Egan's historical survey of texts from early Christendom to the nineteenth century provides an understanding of the author in relation to the text and shows how plagiarism and other false claims have not always been regarded as the frauds we consider them today. She then explores the role of the media in the creation of much contemporary imposture, examining in particular the cases of Jumana Hanna, Norma Khouri, and James Frey. The book also addresses ethnic imposture, deliberate fictions, plagiarism, and ghostwriting, all of which raise moral, legal, historical, and cultural issues. Egan concludes the volume with an examination of how historiography and law failed to support the identities of European Jews during World War II, creating sufficient instability in Jewish identity and doubt about Jewish wartime experience that the impostor could step in. This textual erasure of the Jews of Europe and the refashioning of their experiences in fraudulent texts are examples of imposture as an outcrop of extreme identity crisis. The first to examine these issues in North America and Europe, Burdens of Proof will be of interest to scholars of life writing and cultural studies.
Call Number: 809.934 EGA
Publication Date: 2011
Missing Persons by Auto/biography is currently one of the most popular literary genres, widely supposed to illuminate the study of the individual and his or her personal circumstances. Missing Persons suggests that auto/biography is, in fact, based on fictions, both about the person and about what it is possible to know about any one individual.
Organised into chapters which consider particular kinds of auto/biographical writing, such as work on the British Royal Family and auto/biographies of twentieth-century men, this book demonstrates the absences and evasions - indeed the `missing persons - of auto/biography. Mary Evans' book will provide invaluable reading for students of womens studies, sociology and cultural studies courses.
Call Number: 809.934 EVA + eBook
Publication Date: 1999
Memory in the Twenty-First Century by This book maps and analyses the changing state of memory at the start of the twenty-first century via short essays written by scientists, scholars and writers. An experimental, multidisciplinary volume, it presents new research whilst recontextualising memory by investigating the impact of new conditions such as the digital revolution, climate change and an ageing population. It contains contributions by researchers at the foreground of new thinking about the human mind, such as N. Katherine Hayles and Claire Colebrook, as well as by writers such as Will Self, Maggie Gee and Adam Roberts. The interlinking work shows that the multiplicity of revolutions force us to reconsider our thinking about what it means to be a human being in the twenty-first century. Memory is increasingly becoming a collective, globally shared networking activity, whilst the role of the human mind is increasingly marginal, and taken over by machines. Human nature is rapidly changing.
Call Number: 153.1209051 GRO
Publication Date: 2016
Memory; an anthology by You have to begin to lose your memory, if only in bits & pieces, to realise that memory is what makes our lives. Life without memory is no life at all. This anthology introduces us to arguments & experiences, evocative moments & hard scientific debate on the subject of memory, the thread that holds our lives & our history together. Stimulating and provocative and often profoundly moving, Memory is a book to treasure - and remember. Harriet Harvey Wood is the former Head of Literature at the British Council and A.S. Byatt is pre-eminent as a novelist and critic.
Call Number: 808.80353 HAR
Publication Date: 2008
Life Writing by Life Writing offers the novice writer engaging and creative activities, making use of insightful, relevant readings from well-known authors to illustrate the techniques presented. This volume makes use of new versions of key chapters from the recent Routledge/Open University textbook, Creative Writing: A Workbook with Readings for writers who are specializing in life writing.
Using their experience and expertise as teachers as well as authors, Derek Neale and Sara Haslam guide aspiring writers through such key writing skills as:
writing what you know
investigating biography and autobiography
finding a form
using novelistic, poetic and dramatic techniques.
The volume is further updated to include never-before published interviews and conversations with successful life writers such as Jenny Diski, Robert Fraser, Richard Holmes, Michael Holroyd, Jackie Kay, Hanif Kureishi and Blake Morrison. Concise and practical, Life Writing offers an inspirational guide to the methods and techniques of authorship and is a must-read for aspiring writers.
Call Number: 809.934 HAS
Publication Date: 2009
Tracing the Autobiographical by The essays in Tracing the Autobiographical work with the literatures of several nations to reveal the intersections of broad agendas (for example, national ones) with the personal, the private, and the individual. Attending to ethics, exile, tyranny, and hope, the contributors listen for echoes and murmurs as well as authoritative declarations. They also watch for the appearance of auto/biography in unexpected places, tracing patterns from materials that have been left behind. Many of the essays return to the question of text or traces of text, demonstrating that the language of autobiography, as well as the textualized identities of individual persons, can be traced in multiple media and sometimes unlikely documents, each of which requires close textual examination. These "unlikely documents" include a deportation list, an art exhibit, reality TV, Web sites and chat rooms, architectural spaces, and government memos, as well as the more familiar literary genres--a play, the long poem, or the short story. Interdisciplinary in scope and contemporary in outlook, Tracing the Autobiographical is a welcome addition to autobiography scholarship, focusing on non-traditional genres and on the importance of location and place in life writing. Read the chapter "Gender, Nation, and Self-Narration: Three Generations of Dayan Women in Palestine/Israel" by Bina Freiwald on the Concordia University Library Spectrum Research Repository website.
Call Number: eBook
Publication Date: 2005
Handling the Truth by Writing memoir is a deeply personal, and consequential, undertaking. As the acclaimed author of five memoirs spanning significant turning points in her life, Beth Kephart has been both blessed and bruised by the genre. In Handling the Truth, she thinks out loud about the form - on how it gets made, on what it means to make it, on the searing language of truth, on the thin line between remembering and imagining, and, finally, on the rights of memoirists. Drawing on proven writing lessons and classic examples, on the work of her students and on her own memories of weather, landscape, color, and love, Kephart probes the wrenching and essential questions that lie at the heart of memoir. A beautifully written work in its own right, Handling the Truthis Kephart's memoir-writing guide for those who read or seek to write the truth. 'A marvelous primer for anyone who would dare to face the furies and write about his or her life. Beth Kephart has read the genre closely, put her own feet to the fire, and distilled the form with all the passion of a great teacher.' Marie Arana, author of The National Book Award Finalist American Chica'With infectious passion and hard-won wisdom, Beth Kephart eloquently celebrates the rigors and rewards of the creative process and equally necessary the art of crafting a meaningful life. Read it and learn how to tell your story. Better yet, read it and begin to understand why your story matters.' Katina Kenison, author of Magical Journey- An Apprenticeship in Contentment'Beth Kephart has done something extraordinary with this huge and messy thing called memoir roping it into submission with her typically beautiful writing. In this well-organized book, every example is a precious stone to turn over and to learn from, particularly in terms of crafting a voice and finding one's way in. Memoir is an academic field. This should become the seminal text.' Buzz Bissinger, author of Father's Day, A Prayer For The City, And Friday Night Lights
Call Number: 808.06692 KEP
Publication Date: 2013
Memory, Narrative, Identity by It is commonly accepted that identity or a sense of self is constructed by and through narrative - the stories we tell ourselves and each other about our lives. This book explores the complex relationships that exist between memory, nostalgia, writing and identity. The author examines arange of autobiographical and first-person fictional texts from holocaust literature, women's writing and popular fiction. Each text foregrounds issues of memory, history and trauma in the construction of identity.There are close readings of texts including Sylvia Fraser's My Father's House, Margaret Atwood's Cats Eye, Barbara Vine's A DarkAdapted Eye, Toni Morrison's Beloved, George Perec's W Or the Memory of Childhood, and Anne Michael's Fugitive Pieces. Reading these texts of memory shows that'remembering the self' depends not on restoring an original identity, but on 're-membering', on putting past and present selves together, moment by moment, in a process of provisional reconstruction. This is a powerful contribution to the growing field of 'trauma' and holocaust studies. It will beof relevance to those working in the areas of literary and cultural studies, which are witnessing a steady growth of interest in autobiography, theories of narrative, and the relationship between trauma, history and memory.
Call Number: 809.934 KIN
Publication Date: 2000
On Life-Writing by On Life-Writing offers a sampling of approaches to the study of life-writing. The collection brings together eminent scholars and writers to reflect on specific examples of life-writing to reflect broader themes within the genre.
Call Number: 808.06692 LEA + eBook
Publication Date: 2015
Body Parts by A collection of essays communicating the problems of reading and writing biography. The book explores the relationship between biography and fiction. Looking at writers' lives in connection with their work, Lee raises profound and intriguing issues about aspects of writing and reading a life
Call Number: 809.934 LEE
Publication Date: 2005
Proust was a neuroscientist by Is science the only path to knowledge?In this sparkling and provocative book, Jonah Lehrer explains that when it comes to understanding the brain, art got there first. Taking a group of celebrated writers, painters and composers, Lehrer shows us how artists have discovered truths about the human mind - real, tangible truths - that science is only now rediscovering. We learn, for example, how Proust first revealed the fallibility of memory; how George Eliot understood the brain's malleability; how the French chef Escoffier intuited umami (the fifth taste); how Cézanne worked out the subtleties of vision; and how Virginia Woolf pierced the mysteries of consciousness. It's a riveting tale of art trumping science again and again.
Call Number: 700.105 LEH
Publication Date: 2007
On Autobiography by Encompassing classical masterworks, popular literature, how-to manuals, the painted self-portrait, and oral as well as written narratives, Lejeune makes a bold case for autobiography as a priveleged source for the understanding of social and cultural history.
Call Number: 809.934 LEJ
Publication Date: 1989
In the Presence of Audience by As a diary writer imagines shadow readers rifling diary pages, she tweaks images of the self, creating multiple readings of herself, fixed and unfixed. When the readers and potential readers are husbands and publishers, the writer maneuvers carefully in a world of men who are quick to judge and to take offense. She fills the pages with reflections, anecdotes, codes, stories, biographies, and fictions. The diary acts as a site for the writer's tension, rebellion, and remaking of herself. In this book Martinson examines the diaries of Virginia Woolf Kathenne Mansfield, Violet Hunt, and Doris Lessing's fictional character Anna Wulf, and shows that these diaries (and others like them) are not entirely private writings as has been previously assumed. Rather; their authors wrote them knowing they would be read. In these four cases, the audience is the author's male lover or husband, and Martinson reveals how knowledge of this audience affects the language and content in each diary. Ultimately, she argues, this audience enforces a certain male censorship which changes the shape of the revelations, the shape of the writer herself making it impossible for the female author to be honest in writing about her true self. Even sophisticated readers often assume that diaries are primary private. This study interrogates the myth of authenticity and self-revelation in diaries written under the gaze of particular peekers.
Call Number: 828.91 MAR
Publication Date: 2003
Autobiography by Professor Olney gathers together in this book some of the best and most important writings on autobiography produced in the past two decades. Originally published in 1980. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Call Number: 809.934 OLN
Publication Date: 2014
Memory and Narrative by Memory and Narrative presents an elegant, authoritative account of how life-writing has changed over time to arrive at its present form. James Olney, one of the most distinguished scholars of autobiography, tells the story of an evolving literary form that originated in the autobiographical writings of St. Augustine, underwent profound changes in Jean-Jacques Rousseau's life-writing trilogy, and found a momentary conclusion in the work of Samuel Beckett.
Call Number: 809.93 OLN
Publication Date: 2000
Transculturing Auto/Biography by Rosalia Baena's theoretically challenging, analytical volume of essays, explores the diversity of shapes that transcultural life writing takes, demonstrating how it has become one of the most dynamic and productive literary forms of self-inscription and self-representation.
Expanding much of the contemporary criticism on life writing, which tends to centre on content, the essays highlight that reading contemporary forms of life writing from a literary perspective is a rich field of critical intervention that has been overlooked because of recent cultural studies' concerns with material issues. To read life writing as primarily cultural texts undercuts much of its value as a complex dynamic of cultural production, where aesthetic concerns and the choice and manipulation of form serve as signifying aspects to experiences and subjectivities.
This book was previously published as a special issue of Prose Studies.
Call Number: 809.934 BAE
Publication Date: 2006
The Life Writing of Otherness by Focusing on innovative works by Woolf, Baldwin, Kingston and Winterson, the author analyzes how they each represent the self as unique, collectively "other," and inclusively human, and how these conflicting aspects of selfhood interact.
Call Number: 809.934 RUS + eBook
Publication Date: 2009
Self Impression by "I am aware that, once my pen intervenes, I can make whatever I like out of what I was." Paul Valery, Moi.Modernism is often characterized as a movement of impersonality; a rejection of auto/biography. But most of the major works of European modernism and postmodernism engage in very profound and central ways with questions about life-writing. Max Saunders explores the ways in which modern writers fromthe 1870s to the 1930s experimented with forms of life-writing - biography, autobiography, memoir, diary, journal - increasingly for the purposes of fiction. He identifies a wave of new hybrid forms from the late nineteenth century and uses the term "autobiografiction" - discovered in a surprisinglyearly essay of 1906 - to provide a fresh perspective on turn-of-the-century literature, and to propose a radically new literary history of Modernism.Saunders offers a taxonomy of the extraordinary variety of experiments with life-writing, demonstrating how they arose in the nineteenth century as the pressures of secularization and psychological theory disturbed the categories of biography and autobiography, in works by authors such as Pater,Ruskin, Proust, "Mark Rutherford", George Gissing, and A. C. Benson. He goes on to look at writers experimenting further with autobiografiction as Impressionism turns into Modernism, juxtaposing detailed and vivacious readings of key Modernist texts by Joyce, Stein, Pound, and Woolf, withexplorations of the work of other authors - including H. G. Wells, Henry James, Joseph Conrad, Ford Madox Ford, and Wyndham Lewis - whose experiments with life-writing forms are no less striking. The book concludes with a consideration of the afterlife of these fascinating experiments in thepostmodern literature of Nabokov, Lessing, and Byatt.Self Impression sheds light on a number of significant but under-theorized issues; the meanings of "autobiographical", the generic implications of literary autobiography, and the intriguing relation between autobiography and fiction in the period.
Call Number: 809.934 SAU
Publication Date: 2013
Getting a Life by From resumes to personal ads, from talk shows to self-help groups, autobiographical storytelling has become a central theme of American culture. Visual media offer possible lives through soap operas, talk shows, and "lifestyle programming", and newspapers and magazines frame their stories as "personality profiles". This text explores a variety of occasions during which people consume personal narratives. This collection aims to expand our understanding of how we negotiate and commodify identity.
Call Number: 809.934 SMI
Publication Date: 1996
De-Colonizing the Subject by De/Colonizing the Subject surveys women's autobiographical practices as they have arisen within and confronted the contexts of colonization and oppression. Challenging a universalism that reduces whole cultures to contained stereotypes and persons to cult.
Call Number: eBook
Publication Date: 1992
Reading Autobiography by With the memoir boom, life storytelling has become ubiquitous and emerged as a distinct field of study. Reading Autobiography, originally published in 2001, was the first comprehensive critical introduction to life writing in all its forms. Widely adopted for undergraduate and graduate-level courses, it is an essential guide for students and scholars reading and interpreting autobiographical texts and methods across the humanities, social sciences, and visual and performing arts. Thoroughly updated, the second edition of Reading Autobiography is the most complete assessment of life narrative in its myriad forms. It lays out a sophisticated, theoretical approach to life writing and the components of autobiographical acts, including memory, experience, identity, embodiment, space, and agency. Sidonie Smith and Julia Watson explore these components, review the history of life writing and the foundations of autobiographical subjectivity, and provide a toolkit for working with twenty-three key concepts. Their survey of innovative forms of life writing, such as autographics and installation self-portraiture, charts recent shifts in autobiographical practice. Especially useful for courses are the appendices: a glossary covering dozens of distinct genres of life writing, proposals for group and classroom projects, and an extensive bibliography.
Call Number: 809.934 SMI + eBook
Publication Date: 2010