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Journal articles on the topic 'Autobiographical act'

Author: Grafiati

Published: 9 March 2023

Last updated: 31 July 2025

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1

Schmitt, Arnaud. "From Autobiographical Act to Autobiography." Life Writing 15, no. 4 (2018): 469–86. http://dx.doi.org/10.1080/14484528.2018.1478598.

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2

Hayes, Kevin J. "Poe, the Daguerreotype, and the Autobiographical Act." Biography 25, no. 3 (2002): 477–92. http://dx.doi.org/10.1353/bio.2002.0040.

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Staley, Jeffrey S., and Laurie Edson. "Objectifying the Subjective: The Autobiographical Act of Duras'sThe Lover." Critique: Studies in Contemporary Fiction 42, no. 3 (2001): 287–98. http://dx.doi.org/10.1080/00111610109601145.

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4

Nuttall, Sarah. "Surface, Depth and the Autobiographical Act: Texts and Images." Life Writing 11, no. 2 (2014): 161–75. http://dx.doi.org/10.1080/14484528.2014.889551.

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5

Lakhipriya, Gogoi. "The 'Self' that is very 'Public': A Reading of Assamese Women's Autobiographical Narration." Dibrugarh University Journal of English Studies 26 (March 30, 2018): 63–75. https://doi.org/10.5281/zenodo.2540705.

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Life Writing scholars like Hannah Arendt, Adriana Cavarero and Judith Butler have agreed to the fact that at the heart of any self-narration, is the biographical desire to get ‘exteriority’ or in other words, to hear one’s story being told by another. This position of the narrator, then, is interesting keeping in view the fact that s/he is the object of narration as well. Hence the ‘publicness’ of the personal space is inherent from the very beginning of an autobiographical act. As in the words of Udaya Kumar, “instead of seeing the autobiographical act as a

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6

Laurenson-Shakibi, Helen. "Como debajo de un vidrio:Rafael Alberti and the Autobiographical Act." Romance Studies 21, no. 3 (2003): 203–13. http://dx.doi.org/10.1179/ros.2003.21.3.203.

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7

Hermans, Dirk, Filip Raes, Carlos Iberico, and J. Mark G. Williams. "Reduced autobiographical memory specificity, avoidance, and repression." Behavioral and Brain Sciences 29, no. 5 (2006): 522. http://dx.doi.org/10.1017/s0140525x06329111.

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Recent empirical work indicates that reduced autobiographical memory specificity can act as an avoidant processing style. By truncating the memory search before specific elements of traumatic memories are accessed, one can ward off the affective impact of negative reminiscences. This avoidant processing style can be viewed as an instance of what Erdelyi describes as the “subtractive” class of repressive processes.

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8

Painitz, Sarah. "Trauma, Memory and the Act of Writing in Ruth Klüger’s Autobiographical Project." Forum for Modern Language Studies 55, no. 4 (2019): 380–96. http://dx.doi.org/10.1093/fmls/cqz018.

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Abstract This essay intends to shed light on the motivation behind Ruth Klüger’s autobiographical project by examining the relationship between trauma, memory and the act of writing. Exploring the catalyst for writing reveals that Klüger’s autobiographical texts have a dual function: they serve as a public call for dialogue, as well as a kind of therapy allowing her to work through the traumas of her past. I demonstrate that for this reason, it is crucial to take into consideration not just the well-known weiter leben: Eine Jugend (1992), but also its revised English self-translation Still Ali

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9

Hoffmann, Karen A. "Identity Crossings and the Autobiographical Act in Willa Cather's My Ántonia." Arizona Quarterly: A Journal of American Literature, Culture, and Theory 58, no. 4 (2002): 25–50. http://dx.doi.org/10.1353/arq.2002.0013.

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Sperb, Jason. "Removing the Experience: Simulacrum as an Autobiographical Act in American Splendor." Biography 29, no. 1 (2006): 123–39. http://dx.doi.org/10.1353/bio.2006.0027.

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Depkat, Volker. "Autobiography as Political Legacy in Transition Periods. Benjamin Franklin and Konrad Adenauer Compared." European Journal of Life Writing 9 (December 28, 2020): BE51—BE74. http://dx.doi.org/10.21827/ejlw.9.37325.

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Developing consciousness of epoch as a category of autobiographical time, the article approaches the autobiographies of Benjamin Franklin and Konrad Adenauer as acts of political communication in historico-biographical transition periods. The temporal semantics of Franklin’s and Adenauer’s autobiographical texts anchor in a consciousness of epoch, which suggests that (a) the foundations for an anticipated ideal future have been laid through the political decisionmaking of the autobiographer, and that (b) it is uncertain whether the succeeding generations of political decision-makers will conti

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12

Ngoshi, Hazel Tafadzwa. "â€˜THE HISTORICITY OF TEXTS AND THE TEXTUALITY OF HISTORYâ€™: A NOTE ON WHY READING ZIMBABWEAN AUTOBIOGRAPHY SHOULD BE HISTORICISED." Imbizo 6, no. 2 (2017): 12–21. http://dx.doi.org/10.25159/2078-9785/2800.

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Historical consciousness has always been at the centre of autobiographical narration and, through historical consciousness; the public experiences of narrating a subject are brought into the private act of narrating the self. There is, therefore, a thin line dividing history and fiction in autobiography and this demonstrates how autobiography is situated in history. This article argues that the demarcation of history and fiction by traditional scholars has to be revised in the wake of the realisation that the historian also makes use of metaphor and point of view in writing what is supposedly

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13

Maglaque, Erin. "Humanism and Colonial Governance in the Venetian Ageaen: The Case of Giovanni Bembo." Journal of Early Modern History 19, no. 1 (2015): 45–70. http://dx.doi.org/10.1163/15700658-12342435.

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In this article, I examine the autobiographical writing and reading practices of Giovanni Bembo, a colonial governor posted to Skopelos and Skiathos in the Aegean in 1525. During his term as rettore in the Aegean, Bembo’s scribe had an affair with his daughter and helped her to abort her ensuing pregnancy. Bembo then ordered the scribe to be publicly castrated. In the aftermath of this violent act, Bembo was blacklisted from any further governmental position in Venice. In his autobiographical letter, written ten years after the events on Skiathos, Bembo reflects on his role in the colonial Aeg

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14

Martínez García, Ana Belén. "Empathy for Social Justice: The Case of Malala Yousafzai." Journal of English Studies 17 (December 18, 2019): 253. http://dx.doi.org/10.18172/jes.3540.

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This essay demonstrates the effectiveness of human rights life narratives in garnering global support through their appeal to empathy. I focus on Nobel Peace Prize winner Malala Yousafzai’s autobiographical texts and their impact on lives outside the written pages, which is first and foremost of an empathic nature. The essay pays special attention to her childhood blog and her teenage autobiography, looking at the narrative strategies employed in both. Autobiographical texts are never neutral, enabling people to see themselves under a new light, spurring them to act. The delicate balance betwe

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15

McDowell, Felice. "Inside the Wardrobe: Fashioning a Fashionable Life." European Journal of Life Writing 8 (May 18, 2019): DM56—DM74. http://dx.doi.org/10.21827/ejlw.8.35550.

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This article looks to the manifestation of the personal wardrobe in digital fashion media. It focuses upon the example of British Vogue’s YouTube series ‘Inside the Wardrobe’ and episodes that feature, firstly Vogue Fashion Editor Sarah Harris and Vogue Contributing Editor and Freelance Stylist Bay Garnett, and, secondly, acclaimed fashion blogger Susie Lau aka Susie Bubble of StyleBubble.com. In doing so it addresses ways in which fashion is an ‘autobiographical act’ and explores how such acts participate in the production and consumption of life narratives, and in particular the narrative of

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16

Wang, L. "Retheorizing the Personal: Identity, Writing, and Gender in Yu Luojin's Autobiographical Act." positions: east asia cultures critique 6, no. 2 (1998): 394–438. http://dx.doi.org/10.1215/10679847-6-2-394.

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17

Laurenson-Shakibi, Helen. "Como debajo de un vidrio: Rafael Alberti and the Autobiographical Act." Romance Studies 21, no. 3 (2003): 203–13. http://dx.doi.org/10.1179/026399003786543113.

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18

Гончарова, Ю. "TRANSGRESSIVE LANGUAGE OF POSTMODERNIST AUTOBIOGRAPHICAL WRITING: INTERTEXT AND METALEPSIS." Journal “Ukrainian sense”, no. 2 (December 1, 2023): 32–37. http://dx.doi.org/10.15421//462213.

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Background. Intertext and metalepsis in the proposed study are considered as the phenomena of transgressive poetics, means of creating the ontological dimension of an artistic text and tools for textualization of life. Transgressive language contributes to the correction of preconceived notions about postmodernism, facilitate the disclosure of changing nature of autobiography by revealing and analyzing internal contradictions − the amphibology of meaning. Self-generated paradoxes are revealed in the pluralized text due to metalepsis that registered dissolving borders between the levels of narr

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19

Gambacorti-Passerini, Maria Benedetta. "EXPLORING AUTOBIOGRAPHICAL WRITING AS A POTENTIAL FORMATIVE INSTRUMENT FOR PROFESSIONALS WORKING IN PAEDIATRIC WARDS." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (July 24, 2015): 61. http://dx.doi.org/10.17770/sie2014vol2.663.

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<p>The specificity of a paediatric ward adds complexity to medical and health practice: providing care, especially to children, invariably involves an educational dimension. Professionals working in paediatric wards are required to deal with such complexity on a daily basis. In this paper I explore the potential of writing, a specific mode of human language, to act as an instrument for helping professionals operating in a paediatric ward to deal with the complexity of their work context. In particular, I assess whether autobiographical writing may be used as an educational training instr

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20

Tassoni, Luigi. "La catastrofe del testo." Caietele Echinox 39 (December 1, 2020): 210–19. http://dx.doi.org/10.24193/cechinox.2020.39.15.

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"For Jacques Derrida, the autobiographical writing of the Confessions of J. J. Rousseau fills a void, comparing to an act of onanism, not directly according to nature. The text is catastrophe because it deceives and destroys nature, if the writing, the supplement, or the text introduces unnaturalness into life, in a narrative, autobiographical key. The writing does not close the circle of seduction, producing a text that is sufficient unto itself, because the text needs the other, the other one who is outside the text and who gives the text the status of a social, shared, existing object. I wi

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21

Нуркова, V. V. "To forget or to remember: Denial deflation effect and subjective confidence of autobiographical memories." Psychology and Law 10, no. 2 (2015): 126–37. http://dx.doi.org/10.17759/psylaw.2015100210.

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The paper focuses on the problem of the long-lasting effect of deliberate lie on autobiographical memories, which seems to be of extreme importance for forensic psychology. Firstly, the literature on autobiographical memory’s malleability is reviewed in the context of legal issues. Then we present the empirical field study carried out to examine dynamics of confidence toward episodes of personal past after participants had been instructed a) to retell a false episode as true; b) to retell a false episode as false; c) to deny the reality of a true episode. We coined the main finding as “Denial

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22

COLE, ROSS. "Popular Song and the Poetics of Experience." Journal of the Royal Musical Association 146, no. 1 (2021): 81–116. http://dx.doi.org/10.1017/rma.2020.25.

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AbstractThis article argues that songwriting can be an autobiographical activity. I trace a long-standing mistrust of self-expression in popular music through a branch of scholarship fixated with performance and personification, demonstrating its underlying affinities with post-structuralism and modernist dreams of impersonality. What we have lost as a result of this undue insistence on mediation is an awareness of the two-way traffic between life and lyrical craft. A poetics of song should pay increased attention to this intricate relationship – not reducing lyrics to biographical contingenci

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23

Sala, Michael. "The Memoirist against History: Nabokov’s Speak, Memory as the (re)negotiation of a literary form at the intersection of personal experience and historical narrative." European Journal of Life Writing 8 (April 17, 2019): 28–46. http://dx.doi.org/10.21827/ejlw.8.35515.

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Nabokov’s Speak, Memory is a literary memoir that negotiates the relationship between history and personal experience by illuminating one end of a spectrum of authoritative effects that range from artifice to spontaneity. In using play to leverage and highlight the tension between the artifice of a work of literature and the spontaneity of personal expression (or sense making on an individual level,) and by implicating both reader and writer within that tension, it demonstrates how literary memoir can negotiate its relationship to its genre. There are thus two forms of negotiation at work in S

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24

RUGG, LINDA HAVERTY. "Self at Large in the Hall of Mirrors: Rilke's Malte Laurids Brigge as Autobiographical Act." Seminar: A Journal of Germanic Studies 29, no. 1 (1993): 43–54. http://dx.doi.org/10.3138/sem.v29.1.43.

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25

Blikharskyi, Roman. "“No much than all my writings”: context and preview of Vasyl Stefanyk’s autobiography of 1926." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 13(29) (2021): 18–30. http://dx.doi.org/10.37222/2524-0315-2021-13(29)-2.

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The article is devoted to the preconditions for writing the first Vasyl Stefanyk’s autobiographical work. The research focuses on the problems of genre differentiation and interpretation of the autobiography function, understood by us as a documentary story of first-person biographical facts. Has been defined that the the Vasyl Stefanyk’s autobiographical work became aware for the first time through Ivan Lyzanivskyi’s publication “Stefanyk pro sebe”, on the pages of the magazine “Pluzhanyn” of the Union of Peasant Writers “Pluh”. The peculiarity of the Ukrainian literary process of the 1920s h

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26

Wojtyna, Miłosz. "Self-translation as Autobiography: Translation Discourse and the Discourse of Death." Tekstualia 3, no. 46 (2016): 89–100. http://dx.doi.org/10.5604/01.3001.0013.4206.

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The article discusses Samuel Beckett’s practice of self-translation as 1) a textual strategy that parodies the use of life/death methaphors in translation studies discourse, 2) a predominantly autobiographical act that aims at the preservation of a certain writerly signature not only in two linguistic versions of the same text but also in the larger Beckett oeuvre. Issues related to transtextuality and subjectivity are discussed with reference to a wide array of critical writing on Beckett, self-translation, and translation studies in general.

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27

Svetlana, MELNIC. "THE ANATOMY OF AUTHENTIC AUTOBIOGRAPHIC NARRATIVES." Limbaj si context / Speech and Context International Journal of Linguistics, Semiotics and Literary Science 1/2020, no. 12 (2022): 51–60. https://doi.org/10.5281/zenodo.7376703.

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<em>The diversity of form is what has characterized autobiographical discourse since the beginning of the Western literary narrative tradition. One of the consequences of this diversity is the complexity and ambiguity of the explanation of this term, the autobiography being historically classified as one of the oldest forms of narrative, its construction model being associated with the paradigm of the ancient novel. The value of the autobiography derives from the act of writing, but also from the authenticity of the testimony presented in accordance with other documents, which describe the sam

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Fong, Grace. "SIGNIFYING BODIES: THE CULTURAL SIGNIFICANCE OF SUICIDE WRITINGS BY WOMEN IN MING-QING CHINA." NAN NÜ 3, no. 1 (2001): 105–42. http://dx.doi.org/10.1163/156852601750123017.

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AbstractThis paper examines the form, content, and cultural significance of poems written by a number of otherwise unknown women before they committed suicide. The specific conditions under which these inscriptions are produced are disorder or violence in various forms, whether cultural, social, or familial, that threaten the integrity of the female body. The suicide poems are often accompanied by a short autobiographical preface. The author argues that this act of self-inscription at the moment of death is an act of agency. Through this textual production, the women reproduce a peculiarly Chi

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29

Woodall, James. "Gone Missing." European Journal of Life Writing 13 (October 30, 2024): C1—C13. http://dx.doi.org/10.21827/ejlw.13.42254.

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This memoir describes an act of biography-making, in this case of the Argentine writer Jorge Luis Borges. James Woodall revisits a period in his mid-thirties when he embarked on the first biography of Borges in English, commissioned in London, after the latter had died in 1986. In the context of revising, if not entirely renovating, the book as published in 1996, Woodall – now in his sixties – traces steps back to himself as he was then, and brings the whole writing and autobiographical processes up to date: to 2024.

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Sethi, Bijaya Kumar, and Amarjeet Nayak. "Speaking and Speaking Differently: Language as Resistance, Liberation and Celebration in Dalit Women’s Autobiographical Narratives." Contemporary Voice of Dalit 12, no. 2 (2020): 138–48. http://dx.doi.org/10.1177/2455328x20924882.

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This article undertakes a close reading of Dalit women’s autobiographical narratives to underline the folly of generalizing Dalit women as helpless exploited beings and to explore other important aspects of their lives. It is the intent of this article to explore how Dalit women use specific linguistic expressions as a symbolic way of claiming their distinct identity which in consequence results in an act of resistance against the dominant linguistic culture of Brahminical inheritance. Gopal Guru states that Dalit women ‘talk differently’ (Guru, [2016], Economic & Political Weekly, 30[42],

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31

Katsorchi, Stavroula Anastasia. "War on the Posthuman: Narrative as Resistance and the Reinvention of the Self in Kazuo Ishiguro’s Never Let Me Go." Junctions: Graduate Journal of the Humanities 7, no. 1 (2023): 66–79. http://dx.doi.org/10.33391/jgjh.151.

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Within a world of grand narratives, testimonies from the margins carry the potential to rewrite history. Through an examination of Kazuo Ishiguro’s renowned novel Never Let Me Go, which places an emphasis on the posthuman subject, this paper approaches the documentation of one’s experiences as a revolutionary act. The memoir kept by the cloned protagonist Kathy H. not only sheds light on the inhuman practices exercised by the state, but it also provides a fictional space for the self to be perpetuated. When one’s fate is decided beforehand, when the potential of identity development is confine

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32

Pun, Min. "Politics, sex, and spirit: the divided self in oscar wilde's salomé." International journal of life sciences & earth sciences 2, no. 1 (2019): 5–12. http://dx.doi.org/10.31295/ijle.v2n1.73.

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The paper aims to examine the self in Oscar Wilde’s one-act play Salomé. In the play, there are three characters, namely, Herod, Salomé and Jokanaan who represent the three different worlds of expression. One represents the world of politics who is always in search of power, the second represents the world of sex who is in search of love and passion, and the third one represents the world of spirit who dedicates his life for God. These characters comprise of three different selves of Wilde and his writing, making his play as a fictionalized autobiographical work.

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33

Tidd, Ursula. "The Self-Other Relation in Beauvoir's Ethics and Autobiography." Hypatia 14, no. 4 (1999): 163–74. http://dx.doi.org/10.1111/j.1527-2001.1999.tb01259.x.

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This article examines how some of Simone de Beauvoir's ethical notions about the Self-Other relation explored in her theoretical philosophy of the 1940s were developed in her subsequent autobiography. It argues that Beauvoir represents reciprocal alterity in these autobiographical texts through a testimonial engagement with autobiography conceptualized as an act of bearing witness for the Other, through the privileging of various interlocutors and privileged others with whom “the real” is experienced and through a negotiation with the reader. The article also explores the wider question of how

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34

Mann, Sally. "Parklife – Listening to Stories as a Deep Missional Practice." Ecclesial Futures 3, no. 2 (2022): 11–29. http://dx.doi.org/10.54195/ef12135.

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This paper offers theological reflections on a sociological research project the author undertook during the 2020 Covid lockdown, called Parklife (Author, 2021). It adopts Riceour’s hermeneutical phenomenology and the concept of the narratological self to explore the potential for transformation in autobiographical stories. In reflecting on stories gathered from a community of people experiencing homelessness it argues that attentive listening has transformational power - an act of soul recreation, the transformation of the self. It grounds its findings in a set of suggestions to shape how we

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Ahmed, Mavra, and Saiyma Aslam. "Palestinian Narratives of Silence andConsciousness Raising: A Critical Study of Mourid Barghouti’s Autobiographies." NUML journal of critical inquiry 17, no. I (2019): 55–66. http://dx.doi.org/10.52015/numljci.v17ii.187.

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Giving voice to suppressed stories and experiences becomes significantly instrumental in defining and shaping the identity and history of the oppressed. In this article, therefore, we study Mourid Barghouti autobiographical narratives, I Saw Ramallah (2005) and I was Born There, I was Born Here (2011), to present and examine the suppression of Palestinians living within Palestine as well as in exile. Our study attempts to give voice to the Palestinians’ daily struggle by documenting their lived stories and experiences. Instead of focusing only on the autobiographer’s excursion, we also explore

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Saunders, Edward. "Celebrity, Scriptedness and Alleged Sexual Violence in Ghost-Written Autobiographies by Julian Assange and Samantha Geimer." European Journal of Life Writing 4 (May 2, 2015): VC85—VC107. http://dx.doi.org/10.5463/ejlw.4.159.

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This article explores issues relating to the way scripts of sexual violence are employed or rejected in auto/biographical writing. It addresses ghost-written autobiographical responses to two famously unresolved cases of alleged male–female rape: those of Julian Assange and Roman Polanski. In both cases, the alleged perpetrator was a famous man and the allegation of rape has not conclusively been proven in court. The article looks at rape as a narratological problem beyond the definition or symbolic meaning of the crime, and contrasts the narration from the perspective of an alleged perpetrato

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Lambert-Hurley, Siobhan. "To Write of the Conjugal Act: Intimacy and Sexuality in Muslim Women's Autobiographical Writing in South Asia." Journal of the History of Sexuality 23, no. 2 (2014): 155–81. http://dx.doi.org/10.7560/jhs23201.

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Moloney, Francis J. "To Teach the Text: The New Testament in a New Age." Pacifica: Australasian Theological Studies 11, no. 2 (1998): 159–80. http://dx.doi.org/10.1177/1030570x9801100204.

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Modern critical biblical scholarship has long laboured under the belief that the object of teaching the biblical text was to communicate the original meaning of a traditional and canonical text. Contemporary criticism points more and more to the intertextuality of both text and reader in the interpretative process. The interpreter is inevitably inscribed in the act of interpretation. A reading of the Nicodemus material in the Fourth Gospel attempts to show that “autobiographical” readings need not abandon the achievements of more traditional forms of scholarship. Text, tradition, rhetoric and

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39

Casper, Vivian. "Githa Sowerby's Before Breakfast:." Eugene O'Neill Review 36, no. 1 (2015): 48–60. http://dx.doi.org/10.5325/eugeoneirevi.36.1.48.

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Abstract Until now Eugene O'Neill's Before Breakfast was thought to have had two main sources: August Strindberg's very short play The Stronger and the autobiographical influence of O'Neill's experience during his brief marriage to Kathleen Jenkins. This essay argues for a third major inspiration, the 1912 one-act comedy by Githa Sowerby with the same title, written a few years before O'Neill's one-act tragedy. Both plays present misalliances: Sowerby's play is told from the viewpoint of a young, upper-class English gentleman who narrowly avoids a marital misalliance with a lower-class actress

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40

Flannery, Eóin. "Ecology, Memory, and Speed in John McGahern's Memoir." Irish University Review 42, no. 2 (2012): 273–97. http://dx.doi.org/10.3366/iur.2012.0034.

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The speed with which homes and other human edifices ‘return’ to a state of wilderness is a concern of McGahern's, expressed towards the end of Memoir, and this alignment of the passage of time and ecology will be the focus of this essay. Memoir is a work of memory and navigates the lieux de memoires of McGahern's formative years, as well as much of his adult life. The act of autobiographical remembrance is facilitated by a slowing down of time and slowness enables the percolation of memory through our consciousness, and therefore is, firstly, part of the mechanics of autobiographical authorshi

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41

Barton, Deborah. "Rewriting theReich: German Women Journalists as Transnational Mediators for Germany's Rehabilitation." Central European History 51, no. 4 (2018): 563–84. http://dx.doi.org/10.1017/s0008938918000730.

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AbstractThis article looks at the transnational impact of two diaries written by the female German journalists Ruth Andreas-Friedrich and Ursula von Kardorff, whose journals shed light on German wartime experiences, resistance activities, and, to a lesser extent, the press. In the postwar years, both journalists sought to influence (West) Germany's relationship with its former enemies, in particular the United States. In their autobiographical writing, they presented both an image of Germany as a victim of Nazism, as well as an early acknowledgment of German crimes. In this way, they achieved

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Macenka, Svitlana. "“Free Fantasiesˮ: Fictionalization of Autobiographical Narration with the Help of Music". Pitannâ lìteraturoznavstva, № 110 (31 грудня 2024): 278–92. https://doi.org/10.31861/pytlit2024.110.278.

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The article explores the fictionalization of autobiographical texts with the help of music. The theoretical basis of the research lies in an analysis of fictionality from a comparative perspective of arts and media. Central to the analysis is the concept of “automediality” which is closely linked to the cultural and media nature of individual and collective identities as well as the principles of intermediality. Within such a theoretical framework, subjectivity is seen as a concept constructed using bodily and medial techniques. Thus, the study aims to reveal a model of creative becoming in th

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Sanader, Daniella. "A strip-tease act conducted in pink limelight: Salvador Dali, George Orwell, and the construction of a surreal/ist self." SURG Journal 4, no. 1 (2010): 30–34. http://dx.doi.org/10.21083/surg.v4i1.1204.

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Within this paper I examine the relationship between Salvador Dali’s grandiose autobiography, The Secret Life of Salvador Dali, and a critical article by George Orwell entitled “Benefit of Clergy: Some Notes on Salvador Dali.” Through a consideration of these two related texts, this paper will focus on the methods through which Dali constructs his artistic persona – in a way that emphasizes his identity as contingent, de-centered and multidimensional. By analyzing several aspects of Dali’s public life, including autobiographical writings, paintings and television appearances, I will also consi

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Hoogland, Rikard. "What Do Theatre Autobiographies Conceal?" Nordic Theatre Studies 29, no. 1 (2017): 64. http://dx.doi.org/10.7146/nts.v29i1.102968.

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Autobiographies by actors and directors are considered to be somewhat of an unreliable source of information where research on theatre history is concerned. Researchers have made a great deal of effort to validate facts in autobiographies, but then have often neglected other forms of information that the written source gives. In this article, four different autobiographies are analysed with a specific focus on autobiographical strategies (Gardner), the embodied act of writing (Schneider), Hegemonic processes in society (Bratton), and audiences (Singleton). The article discusses if it is possib

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Hoogland, Rikard. "What Do Theatre Autobiographies Conceal?" Nordic Theatre Studies 29, no. 1 (2018): 64. http://dx.doi.org/10.7146/nts.v29i1.103309.

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Abstract:

Autobiographies by actors and directors are considered to be somewhat of an unreliable source of information where research on theatre history is concerned. Researchers have made a great deal of effort to validate facts in autobiographies, but then have often neglected other forms of information that the written source gives. In this article, four different autobiographies are analysed with a specific focus on autobiographical strategies (Gardner), the embodied act of writing (Schneider), Hegemonic processes in society (Bratton), and audiences (Singleton). The article discusses if it is possib

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Ent, Michael R., and Drew M. Parton. "“I Avenge; Others Aggress”: A Victim–Perpetrator Asymmetry in Judging Whether a Transgression Was Motivated by Revenge." Psychological Reports 123, no. 4 (2019): 1355–64. http://dx.doi.org/10.1177/0033294119841846.

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In two studies, victims differed from perpetrators as to whether they viewed a transgression as motivated by a desire for revenge. When participants wrote about autobiographical episodes in which they hurt others, they were somewhat likely to report that they were motivated by revenge; when the same participants wrote about episodes in which others hurt them, they were less likely to report that the perpetrators were motivated by revenge. This asymmetry could act as a barrier to reconciliation. This asymmetry may also facilitate a cycle of revenge in that those who view themselves as the targe

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Zhong, Chenlu, and Jia Zhao. "L’Enfant entre soi-même et l’autre: l’écriture de la maladie et de la mort de l’enfant dans la littérature française contemporaine." Nottingham French Studies 64, no. 1 (2025): 17–34. https://doi.org/10.3366/nfs.2025.0432.

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Parents’ first-person accounts of their child’s illness and death serve dual purposes: they are testimonies of the child’s experience and narratives of the parents’ trauma. These accounts capture the child’s unique perspectives on illness and death, often characterized by intelligence and lightness. Simultaneously, through the act of writing, parents delve into their own identities, exploring their roles as caregivers and bereaved parents, and how these roles evolve over time. In this narrative process, children become a conduit for their parents, allowing the parents to reflect on themselves

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De Mendizábal Abellán, Concepción. "Bearing Witness to Horror: The Ethics in Révérien Rurangwa’s and Yolande Mukagasana’s Literary Testimonies of the Tutsi Genocide." Research in African Literatures 54, no. 1 (2023): 67–87. http://dx.doi.org/10.2979/ral.2023.a915640.

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ABSTRACT: Following the Tutsi genocide in 1994, various types of literary work sprang up around the horror surrounding this event. Literary testimonies are one of these forms of literature. Révérien Rurangwa’s and Yolande Mukagasana’s texts are autobiographical accounts of the harrowing images, the pain, and the sorrow that both authors experienced in very different ways. These pieces and these authors must be seen in order to rehumanize us and them. We have to start looking into their words, into their eyes, as Emmanuel Lévinas would say, to find ethics. Ethics cradles these two works that be

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Lucius-Hoene, Gabriele, and Arnulf Deppermann. "Narrative Identity Empiricized: A Dialogical and Positioning Approach to Autobiographical Research Interviews." Narrative Inquiry 10, no. 1 (2000): 199–222. http://dx.doi.org/10.1075/ni.10.1.15luc.

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Narrative identity has achieved a scientific status as an elaborate concept of the storied nature of human experience and personal identity. Yet, many questions remain as to its empirical substrate. By exploring the pragmatic aspect of narrative research interviewing, i.e., the performative and positioning aspects of the narrative situation and the narrative product, as well as its particular autoepistemological and communicative tasks, this article tries to bridge the gap between the theoretical concept of narrative identity and the act of constructing identity in research interviewing. Resea

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Ng, Audrey. "Written by the Body: Evolutions of Embodiment in Maxine Hong Kingston’s The Woman Warrior and I Love a Broad Margin to My Life." MELUS 44, no. 3 (2019): 155–74. http://dx.doi.org/10.1093/melus/mlz021.

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Abstract While much has been written on embodiment and autobiographical narrative strategies in Maxine Hong Kingston's The Woman Warrior (1975), little critical attention has been given to these aspects in her latest foray into poetry, I Love a Broad Margin to My Life (2011). The materiality of bodies in her characters No Name Woman and Fa Mu Lan are altered across the two works in ways that reflect and engender a change in cultural necessities for peace. The female avenger's body evolves from a weapon that addresses wrongs through violence to the embodiment of Kingston's striving for a happy

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