Relevant bibliographies by topics / Autobiography (genre)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Autobiography (genre)'

Author: Grafiati
Published: 11 December 2022
Last updated: 28 July 2024

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Journal articles on the topic "Autobiography (genre)"

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Watson, Julia. "Is Relationality a Genre?" European Journal of Life Writing 5 (September 21, 2016): R16—R25. http://dx.doi.org/10.5463/ejlw.5.201.

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Review of Anne Rüggemeier, Die relationale Autobiographie: Ein Beitrag zur Theorie, Poetik und Gattungsgeschichte eines neuen Genres in der englischsprachigen Erzählliteratur [Relational Autobiography: A Contribution to the Theory, Poetics, and Genre History of a New Genre in English-language Narrative Literature] (Wissenschaftlicher Verlag Trier, 2014)
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Rosovetskii, Stanislav. "On the Influence of Shevchenko's Autobiography on Kulish's." Actual issues of Ukrainian linguistics: theory and practice, no. 39 (2019): 37–57. http://dx.doi.org/10.17721/apultp.2019.39.37-57.

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In honor of the 200th anniversary of P. Kulish's birth, the article offers a multi-level comparison of autobiographies of two prominent Ukrainian writers of the 19th century. In the categories and concepts of modern literary criticism, the hypothesis of literary influence of T. Shevchenko on P. Kulish's perception of artistic autobiography genre is checked and confirmed. For this purpose, three texts are compared: an autograph of "Autobiography" by T. Shevchenko, deeply edited by P. Kulish for printing in "People's Reading" journal, a version of T. Shevchenko's "Autobiography" and an autobiography "My Life" by P. Kulish. The comparison is carried out at narratological, compositional, genre and intertextual levels. The historical background of the creation of each of the texts is analyzed. It is proved that the autograph of T. Shevchenko's "Autobiography" and P. Kulish's "My Life" both belong to the genre of artistic autobiography and have a compressed narrative structure. It is confirmed that T. Shevchenko didn't have extra-literary reasons for creating a third-person autobiography, unlike P. Kulish, who, moreover, was very likely to come under the literary influence of the text of T. Shevchenko and developed T. Shevchenko's narrative structure in his artistic autobiography. At the same time, it is assumed that literary influence might not be the main argument in choosing a third-person narration, since there were extra-literary reasons for keeping P. Kulish's incognito. It is noted that the text "My Life" of P. Kulish is more functional in the aspects of orientation to objectivity, emotional pressure and moderation of the author's image in literary life. Its narrative structure is compressed precisely for the sake of objectivity, addressees and consignees are implicit and difficult to isolate on each of the layers of the narrative structure precisely to mimic the non-fiction. The text of a letter to the author integrated into "My Life" is the only exception. It is concluded that hypothesis about literary influence of T. Shevchenko on P. Kulish within the genre of artistic autobiography is reliable and well-reasoned. To the author's mind, further studies should focus on finding evidence of unconscious literary influence of T. Shevchenko on P. Kulish in other genres, chances of discovering which in future are rather high.
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Osman, Mohammed. "Discourse Study of Genre: Autobiography." English Language and Literature Studies 5, no. 4 (November 30, 2015): 154. http://dx.doi.org/10.5539/ells.v5n4p154.

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<p>What arouses our interest is curiosity to know about others. What is an autobiography? The dictionary says: “A personal account of one’s own life especially for publication”. Autobiographies offer insight into the mode of consciousness of others especially in the case of men of notable achievement to know the personal story of well-known events, of motives and intentions that are hidden behind them. This type of knowledge is interesting and instructive.</p><p>Unlike novel we are won over by the hero, in the case of the real hero of the autobiography he is won over by his achievements. We admire him by knowing him intimately and by peeping into his privacy. Autobiographies are works of art that keep us spellbound and fascinating. Autobiography is a form in which a writer speaks of himself and events of his personal life which he had experienced.</p>
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DR. REHMAN SARWAR BAJWA. "A Critical and Research Review of Written Thesis on Autobiography at PhD Level in Pakistani Universities." DARYAFT 16, no. 01 (June 26, 2024): 85–103. http://dx.doi.org/10.52015/daryaft.v16i01.389.

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In universities, research on Autobiography has not only clarified the general requirements of this genre but also made it much easier to determine the boundaries and restrictions of this sort. Initial research in universities was limited to the intellectual and technical examination of Autobiographies. A reader takes interest in the genre of Autobiography not only because of his attachment to the personality of Autobiography, but also because of the political, social, cultural and cultural elements of the era of Autobiography. The Article examines the Thesis, written in Pakistani universities on Urdu Autobiography at the PhD level so that the techniques and tradition of Autobiography can be further improved.
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Di Summa-Knoop, Laura. "Critical autobiography: a new genre?" Journal of Aesthetics & Culture 9, no. 1 (January 2017): 1358047. http://dx.doi.org/10.1080/20004214.2017.1358047.

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Ali Sadiq, Ebtisam. "In a Melting Pot of Autobiography: Pickthall’s With the Turk in Wartime and the Cause of Islam." Arab World English Journal For Translation and Literary Studies 5, no. 4 (October 15, 2021): 2–16. http://dx.doi.org/10.24093/awejtls/vol5no4.1.

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Marmaduke Pickthall, a half-forgotten British novelist of the early twentieth century, has come back to the spotlight over the past few years. His Near Eastern novels and short stories have started to receive attention in contemporary scholarship but not his two autobiographies. This essay aims at tackling the more neglected piece of the two, With the Turk in Wartime, that deserves attention because of its intricate amalgamation of several features of the genre of autobiography as manifested across its history within the tradition of English literature. Analysis finds that Pickthall’s autobiography has some Romantic, Victorian, and Modern elements as well as some old characteristics of the genre elaborately interwoven into its structure. The study also traces the use that Pickthall makes of this unique autobiography and how the commingling of diverse elements allows him to turn a usually subjective genre into a public cause and dedicate it to the service of Islam. This essay highlights both the diversity that the literary history of the genre lends to Pickthall’s autobiography and the socio-political service it renders to the faith that the author has long esteemed and will ultimately convert to not long after writing this autobiography.
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Klein, Holger. "Robert Nye’s Falstaff: A Remarkable Case of Creative Reception." Revista Alicantina de Estudios Ingleses, no. 25 (November 15, 2012): 209. http://dx.doi.org/10.14198/raei.2012.25.16.

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Among fictitious autobiographies as well as among historical novels, Robert Nye’s Falstaff (1976) is a special case in that it is not the autobiography of a historical personage, but of a dramatic character —who happens to be one of the most famous in Shakespeare, indeed in world drama, to be dictated by Falstaff to various amanuenses. After briefly discussing the sub-genre of fictitious autobiography, this paper will analyze the varied use of intertextuality, the tensions fabricated between the autobiographer and his helpers, and the critical thoughts and tendencies which Nye absorbed in preparing the work with particular emphasis on the clash between the Shakespearean intertexts and the diction surrounding it.
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Campano, Gerald, James Damico, and Jerome C. Harste. "Talking Books." Talking Points 17, no. 1 (October 1, 2005): 34–35. http://dx.doi.org/10.58680/tp20054534.

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The editors look at the pedagogical value of Sandra Cisneros’ The House on Mango Street, which innovatively combines the genres of short story, autobiography, and prose poetry. They also supply a list of other recent multiple-genre YA books.
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Belogortsev, Andrei D. "AUTOFICTION OR PSEUDO-AUTOBIOGRAPHY. GENRE SPECIFICS IN MODERN RUSSIAN LITERATURE." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 3 (2023): 23–33. http://dx.doi.org/10.28995/2686-7249-2023-3-23-33.

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The article is about the emergence of autofiction (pseudo-autobiography) as a new genre in modern Russian literature on the example of the works by Andrei Astvatsaturov, Sergei Dovlatov, Roman Senchin, Eduard Limonov, Zakhar Prilepin, Dmitry Danilov, Alexander Khristoforov, as well as the works by Sylvia Plath, Janet Winterson and Carl Ove Knausgor as modern foreign literature representatives of the autofiction genre in the Russian book market. The article discusses the history of the autofiction emergence from the point of view of the genre origin abroad, and from the standpoint of home literary criticism. It describes the representatives of modern Russian literature whose works are in the autofiction genre analyzes the specifics and unique features of autofiction like stylistic, contextual and other typical characteristics that make it possible to single out this genre as an independent one, are analyzed in the article. The author presents results of a comparative analysis of diaries and autobiographies as literary genres according to the criteria of completeness, usage purpose, attitude to publications, dating and facts reliability, and identifies the elements that determine autofiction specifics. Particular attention is paid to Andrey Astvatsaturov’ literature as he analytically proves his autofiction genre choice to create his works.
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Tyc, Ewelina. "Media-style autobiography (as exemplified by Unauthorized autobiography of Kuba Wojewódzki)." Świat i Słowo 37, no. 2 (October 4, 2021): 191–212. http://dx.doi.org/10.5604/01.3001.0015.6095.

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The subject of a detailed analysis presented in this article is the Unauthorized Autobiography of Kuba Wojewódzki. A thorough review of the collected source material enabled the author to characterize this popular genre and indicate its role in a media space. The genological description draws attention to four aspects of the genre pattern. The regularities or deviations from the canonical pattern perceived in this area deepen the knowledge of contemporary autobiography and allows one to capture what makes it attractive.
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Dissertations / Theses on the topic "Autobiography (genre)"

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Broadhead, Mark 1968. "Avatars of the seventh articleliterature, genre and autobiography in Virginia Woolf /." Monash University, School of Literary, Visual and Performance Studies, 2002. http://arrow.monash.edu.au/hdl/1959.1/7811.

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Broadhead, Mark 1968. "Avatars of the seventh article : literature, genre and autobiography in Virginia Woolf." Monash University, School of Literary, Visual and Performance Studies, 2002. http://arrow.monash.edu.au/hdl/1959.1/8251.

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Kulbaga, Theresa A. "Trans/national subjects genre, gender, and geopolitics in contemporary American autobiography /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1150386546.

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Mosley, Marcus. "Jewish autobiography in Eastern Europe : the pre-history of a literary genre." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.306789.

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Crowley, Patrick Noel. "Hybrid identities : genre and auto/biographical subject in the works of EugeÌ?ne Savitzkaya and Pierre Michon." Thesis, Royal Holloway, University of London, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.249670.

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Litvinavičienė, Inga. "Generic transformations of the autobiography in the work of Annie Ernaux." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2008. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20080306_084706-67216.

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The author of the dissertation analyses the work of a contemporary French writer Annie Ernaux at the core of which lie the autobiographical narrative and search for identity. This dissertation takes as its stating point the theoretical views articulated by Philippe Lejeune. However, in analysing Annie Ernaux, the author of the dissertation seeks to reveal modifications and divergencies from the canon of the autobiography and sets the author‘s work against the most widely known autobiographical models. Due to the hibridic and ambiguous character of Annie Ernaux‘s writing, it it has been called auto-biography, autosocioanalysis, ethnososiology, anti-journals, auto fiction, etc. Ernaux‘s autobiographical narrative oversteps the boundaries set by the canon and acquires aspects of biographical, feminist, transpersonal, ethnographical and sociological writing. Deviation from the cannonical autobiographical writing and the hibridity of the author‘s texts best reflect the author‘s innovative ways of constructing the self. As one of the most important deviations from the canon (Jean Jacques Rousseau‘s Confessions being the archetypal model of autobiography), the author of the dissertation emphasizes sociological aspects of Annie Ernaux‘s work and the link with the sociological ideas of Pierre Bourdieu. The disseration discusses the parallels between such sociological categories as the dominating and the dominated, class reproduction, class subconscious, the notions of habitus and... [to full text]
Disertacijoje nagrinėjama šiuolaikinės prancūzų rašytojos Annie Ernaux kūryba, kurios pagrindas - prabėgusio gyvenimo pasakojimas, savojo tapatumo ieškojimai. Autobiografinio pobūdžio tekstai analizuojami remiantis autobiografinio žanro tipologija, išryškinant svarbiausius Ph. Lejeune’o sukurtos autobiografijos teorijos postulatus. Tačiau darbo autorė atkreipia dėmesį ir į tam tikrus A. Ernaux kūrybai būdingus nukrypimus nuo tradiciškai suprantamo autobiografiškumo, kartais ambivalentišką ar hibridinį kai kurių kūrinių pobūdį, suponavusį tokius jos tekstų apibūdinimus kaip auto - biografija, autosocioanalizė, etnosociologija, antidienoraščiai, autofikcija etc. Pastebėta, kad autorės kūryboje autobiografinis pasakojimas kartais įgauna biografijos, feminizmo, transpersonalumo, etnografijos, sociologijos bruožų. Tokios deviacijos nuo tradiciškai suprantamo autobiografiškumo atsiskleidžia kaip naujų išraiškos formų ieškojimas, postmodernistinis žaidimas su literatūrine autobiografijos tradicija. Vienas reikšmingiausių pastebėtų nukrypimų nuo rusoistinės tradicijos ( J.- J. Rousseau Išpažintis traktuotina kaip archetipinis autobiografijos modelis) yra sociologinių aspektų išryškinimas, tam tiktas intertekstualumas su prancūzų sociologo P. Bourdieu idėjomis. Disertacijoje atskleidžiami paralelizmai tarp sociologinių kategorijų ( dominuojantys, dominuojamieji, klasinė reprodukcija, klasinė pasąmonė, habitus, dvigubas habitus etc.) ir literatūrinio jų interpretavimo. Autorės... [toliau žr. visą tekstą]
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Moraldo, Delphine. "Les sommets de l'excellence. Sociologie de l'excellence en alpinisme, au Royaume-Uni et en France, du XIXème siècle à nos jours." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSEN050/document.

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Cette thèse propose une approche socio-historique de l’excellence en alpinisme, sur une période qui s’étend de l’apparition de l’Alpine Club britannique, le premier club alpin au monde, créé en 1856, jusqu’au début du XXIe siècle. L’excellence est envisagée sous l’angle d’un triple rapport : un rapport à la pratique, qui désigne les manières légitimes de pratiquer, un rapport à soi-même, qui renvoie à la façon dont les alpinistes excellents (les « grands alpinistes ») se perçoivent et envisagent leurs trajectoires biographiques, et un rapport aux autres individus, c'est-à-dire la manière dont ces alpinistes appréhendent et se distinguent des autres usagers de la montagne et des non-alpinistes. À partir des discours des membres de l’élite de l’alpinisme britannique et français, la question est posée de savoir comment se crée, se transmet, se diffuse dans l’espace et se maintient dans le temps un « esprit de l’alpinisme » entendu à la fois comme mentalité, esprit de corps, ethos, et principes éthiques au fondement de l’excellence, fortement distinctif, identitaire et fédérateur, au principe d’un sentiment d’appartenance, voire d’une identité collective. Centré sur le Royaume-Uni, berceau de l’alpinisme et lieu de codification d’une forme originelle d’excellence, encore perçue comme spécifique de nos jours, ce travail considère l’alpinisme français, d’apparition plus tardive, comme contre-point comparatif servant notamment à étudier des phénomènes de diffusion de la conception britannique de l’excellence. La question de la genèse historique d’un « grand alpinisme » sur le temps long se double enfin de celle de la fabrique biographique du « grand alpiniste », sur le temps court de la trajectoire biographique. Ce faisant, c’est un travail de dénaturalisation de l’excellence, pensée comme un construit historique et social, qui est entrepris. L’étude des trois dimensions de l’excellence (rapport à l’activité, à soi, et aux autres) se fait en premier lieu à partir d’un matériau original : un corpus de 62 autobiographies d’alpinistes. Son usage s’accompagne d’une réflexion méthodologique sur les conditions de sa validité sociologique. Afin de réinscrire ces discours dans leurs cadres historiques et sociaux d’énonciation, d’autres matériaux sont mobilisés : 16 entretiens, deux bases de données (dont l’une permet de mener une analyse prosopographique), les articles et les notices nécrologiques des revues des grands clubs alpins sélectifs des deux pays
This thesis proposes a socio-historical approach of excellence in mountaineering, from the creation of the British Alpine Club, the first alpine club in the world, founded in 1856, up until the beginning of the 21st century. Excellence is defined by three relations: a relation to the activity of mountaineering, that is, the legitimate ways of practicing this activity, a relation to oneself, that is, the ways in which excellent mountaineers (the “great mountaineers”) see themselves and consider their biographical trajectories, and a relation to others, that is, the ways in which these mountaineers apprehend and distinguish themselves from the other users of mountains and from non-mountaineers. From the study of the discourses of the elite of British and French mountaineering, we seek to understand how a “spirit of mountaineering” (a mentality as well as an “esprit de corps”, an ethos, and a set of ethical principles at the foundation of excellence) has been created, transmitted, has travelled between countries and has been maintained over time. This “spirit” is the basis of a sense of belonging, even of a collective identity. Centered on Britain, as the cradle of mountaineering and the place where an original form of excellence, still perceived today as specific, was initially codified, this study considers French mountaineering, of later appearance, as a comparative point of reference, useful to point out a phenomenon of diffusion of the British conception of excellence. The issue of the historical genesis of a “great mountaineering” on the long-term scale doubles up with the issue of the biographical making of the “great mountaineer”, considered on the short-term scale of the biographical trajectory. By doing so, it is a work of denaturalization of excellence, seen as a historical and social construct, which is undertaken. The study of the three dimensions of excellence (as a relation to activity, to oneself, and to the others) is carried on in the first place with the help of an unusual material: a corpus of 62 autobiographies of mountaineers. Its use is backed with methodological observations regarding the conditions of its sociological validity. In order to consider these discourses within their historical and social frames of enunciation, other materials are used: 16 interviews, two databases (one of them used to carry out a prosopography), the articles and necrologies of the journals of the selective alpine clubs of the two countries
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Hennart, Audrey. "Claudine après Willy : réminiscences et rémanences des écrits de jeunesse dans l'oeuvre de Colette." Thesis, Artois, 2018. http://www.theses.fr/2018ARTO0001.

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Colette s’est bien souvent montrée critique face à ses premiers écrits, qui ont pourtant signé son entrée en littérature. Il semble donc légitime de s’interroger sur la manière dont l’œuvre de jeunesse, irrigue, par divers biais, les écrits de Colette, sur les causes et les visées profondes de cette présence, et enfin sur l’influence profonde de ces textes sur la structure du récit colettien, rendant sa classification générique difficile. Dans un premier temps, la reprise du prénom « Claudine » dans La Maison de Claudine suggère une réminiscence de l’œuvre de jeunesse, puisque l’écrivain met à distance, mais aussi reprend et développe les motifs des Claudine, comme pour réintégrer pleinement le cycle qui a marqué son entrée en littérature à l’œuvre. Le lien entre les écrits de jeunesse et le reste de l’œuvre dépasse pourtant cette référence, et on peut s’interroger sur la manière dont la genèse de Claudine a constitué la condition de toute écriture ultérieure, autobiographique dans un premier temps, mais également fictionnelle, puisque l’œuvre de l’auteur semble bâtie sur l’incessant dialogue entre l’inévitable dette envers Willy, et la nécessité de dépasser un modèle artistiquement stérile. Enfin, ce dialogue permet de percevoir, tout au long de l’œuvre de Colette, une série de tensions et de paradoxes, qui nourrissent l’écriture parce qu’elles encouragent la mise en question du projet artistique de l’auteur, qui propose une écriture plurielle, aplanissant les catégories génériques au profit de la voix qui porte le récit, faisant de la construction et de la mise en scène d’une figure d’écrivain l’enjeu artistique majeur de l’œuvre de Colette
Colette very often proved to be critical facing her first writings, which however signed her entrance in litterature. It seems therefore evidence based to wonder how youth work has influenced Colette’s writings, and how her first texts have deeply influenced the structure of her stories, making difficult the classification of these texts. At first, the resumption of forename « Claudine » in La Maison de Claudine suggests a reminiscence of youth work, since the writer put away, and also takes back and develops several themes of Claudine, as if she wanted to reintegrate to her project the cycle which marked her beginning in litterature. The link between her first novels and the rest of her works exceeds this reference. So we could wonder why the creation of Claudine is the condition of all her following writings, autobiographic at first, but also fictional, because her texts seems to be built on uninterrupted dialogue between an unavoidable debt towards Willy, and the necessity to surpass a fruitless model. Finally, this dialogue allows to receive, throughout Colette’s work, a series of tensions and paradoxes, which feeds the appraising of the artistic plan of the author, who offers a plural writing, smoothing the generic categories to the advantage of the voice which carries the story, making of the building of writer’s representation the major artistic stake of Colette’s work
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Taylor, Michelle Marie. "From sentiment to sagacity to subjectivity: dogs and genre in nineteenth-century British literature." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6303.

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My dissertation examines the ways that canine roles affect genre—the categories into which we place works of literature, which shape their forms and which in turn shape our expectations of what we read. For instance, if epitaphs and elegies are at least partially meant to usher the dead into heaven and praise the dead’s suitability for a Christian afterlife, what happens when the subject is a dog denied a soul by Christianity? These are the kinds of questions I address. In addition to epitaphs and elegies, I consider detective and sensation fiction as well as dog autobiographies—works of fiction written from the dog’s perspective—to explore how taking the dog as a subject forced the conventions of certain genres to change, or in the case of detective and sensation fiction, how dog-like ways of knowing helped to birth a new genre altogether. In either case, what is important is that the generic changes signal a less human-centered approach to literature: one which opens animals up to be the possessors of souls, intelligence, and subjectivity. These changes paved the way for the Victorians to consider animals as beings worthy of compassion and respect.
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Pearson, Paul Michael. "The geography of a soul : Thomas Merton's ongoing spiritual autobiographical quest within the context of the literary genre of autobiography." Thesis, Heythrop College (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362391.

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Thomas Merton throughout his autobiographical writings took some of the dominant images and metaphors from the Christian tradition and, as many writers have done previously, applied them to himself, reinterpreting them for the twentieth century. This dissertation examines the metaphors Merton used to describe his spiritual quest and places his writings within the category of autobiographer that James Olney defines as a theoretical or auto-autobiographer thus providing a new way of interpreting Merton's writings. This dissertation examines Merton's major autobiographical works, some of which are well known, others that have only been recently published, and his unpublished nineteen-thirties' novels along with teenage writings uncovered in the course of this study. Reference is also made to other published and unpublished work as appropriate. By looking at these works and at specific chronological periods it is possible to see developments in Merton's autobiographical writings, specifically in the metaphors Merton used to express his developing sense of his self. The key to Merton's life and writings is his ongoing autobiographical quest, a spiritual development expressed using a variety of Christian and biblical metaphors including journey and place. This dissertation traces and evaluates aspects of Merton's spiritual development in the light of his autobiographical process. Merton's metaphors developed throughout his writings, moving from a physical journey where he saw himself as an exile, unstable and without a home, to a spiritual journey in which nature, place and stability grew in importance, until he arrived at a deep level of at-homeness achieved through his vow of stability which allowed him to go out to the world, to others and, eventually, to undertake his final pilgrimage to the East.
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Books on the topic "Autobiography (genre)"

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1947-, Chamberlain Mary, and Thompson Paul Richard 1935-, eds. Narrative and genre. London: Routledge, 1998.

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1947-, Bates Martha A., ed. 5 years of 4th genre. East Lansing: Michigan State University Press, 2006.

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Remembering. Edgar, WI: Color Vision Ltd., 2012.

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Autobiography. 2nd ed. Milton Park, Abingdon: Routledge, 2010.

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Myroni︠u︡k, Andriĭ. Nash Kavkaz: Istoriï ukraïnsʹkykh dobrovolʹt︠s︡iv kavkazʹkykh voi︠e︡n. Kyiv: Propala hramota, 2020.

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Writing about lives in science: (auto)biography, gender, and genre. Göttingen: V&R Unipress, 2014.

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Julia, Swindells, ed. The uses of autobiography. London: Bristol, PA, 1995.

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Tunai, Kesero. Critical readings on Eastern African autobiography. Glienicke: Galda Verlag, 2016.

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Bae, Annie Jisun. Genre et réécriture de l'histoire: Témoignages, langues, autobiographie à plusieurs voix. Paris: L'Harmattan, 2016.

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Bunke, Klaus. Testimonio-Literatur in Kuba: Ein neues literarisches Genre zur Wirklichkeitsbeschreibung. Pfaffenweiler: Centaurus-Verlagsgesellschaft, 1988.

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Book chapters on the topic "Autobiography (genre)"

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Powell, Katrina M. "Self-Representation, Genre, and Performativity: Dorothy Allison’s Performances Across Genres." In Performing Autobiography, 97–126. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-64598-4_5.

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Powell, Katrina M. "Introduction: Intersections of Genre, Gender, Performance, and Rhetoric." In Performing Autobiography, 1–20. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-64598-4_1.

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Powell, Katrina M. "Shirley Geok-lin Lim’s Embodied Memories: Academic Autobiography, Genre, and Mentorship." In Performing Autobiography, 159–92. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-64598-4_7.

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Schönfelder, Sigrid. "2.4 Native American Autobiography: A "Mangled" Genre." In »Gold Fever« and Women, 59–68. Bielefeld, Germany: transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839466568-008.

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Vedder, Ulrike. "Poetological Lists: Writing-Scenes in Contemporary Literature." In Forms of List-Making: Epistemic, Literary, and Visual Enumeration, 209–24. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-76970-3_10.

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AbstractThe article focuses on literary lists the items of which demonstrate the practice of writing, that is, those which evoke a “writing-scene” (R. Campe). These poetological lists consolidate the self-reflexive potential of literary texts, gather elements of narration in list form, stage the conditions for a non-linear narrative in the list or even thematize the “genea-logic” of narrative and writing. Under consideration are four lists (all in the second half of the twentieth century) from the most disparate of genres: lyric poetry (Inger Christensen), the manifesto (Jack Kerouac), the novel (Italo Calvino), and the autobiography (Roland Barthes). Each of these lists reflects not only the process of writing and poetics but also genre specificity.
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Rossi, Luisa. "Raccontare, raccontarsi. Massimo Quaini fra biografia ed ‘egogeografia’." In Il pensiero critico fra geografia e scienza del territorio, 345–72. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-322-2.23.

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Intertwining biographical method and autobiography. Massimo Quaini had shown much interest in the ‘egogeography’ genre, practiced by different French geographers. The work traces back, on the basis of published and unpublished writings, some significant aspect of the intellectual personality of the Italian geographer. In particular, passages are presented in which he recalls his scientific and professional training and some letters that account for the highly critical positioning towards academic power, against the management of competitions based on personal relationships rather than on scientific merits (to the detriment of the discipline itself). Some original documents testify the interest in history and philosophy and the acceptance of historical materialism that has shaped his youth work and, more generally, founded his interpretation of geographical reality.
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Wagner-Egelhaaf, Martina. "Of Strange Loops and Real Effects: Five Theses on Autofiction/the Autofictional." In Palgrave Studies in Life Writing, 21–39. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-78440-9_2.

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AbstractThis chapter explores the advantages of understanding the autofictional as a flexible matrix with scalable parameters. It puts forward five theses: (1) The fact that so many scholars have tried to work with the term “autofiction” indicates an obvious need for the “autofictional” to grasp what is vibrant between life and text. (2) The autofictional is a scalable and latent dimension in all autobiographical writing. Therefore, autofiction is not a separate genre in addition to autobiography and the novel. (3) Imagination and the use of the supernatural may support autobiographical reference. (4) Autofiction produces real-life effects. (5) Autofiction oscillates between fictionality and factuality. Although it brings one or other aspect to the foreground, all of them persist and continue to, more or less, resonate together.
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Moon, Saket. "The Dalit Autobiography as a Critical Genre: Situating Ambedkar’s Waiting for a Visa Among Marathi Dalit Autobiographical Writings." In (Im)possible Worlds to Conquer, 175–92. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-9680-3_10.

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"3. Relating Ethics to Genre." In American Autobiography, 103–26. Edinburgh University Press, 2012. http://dx.doi.org/10.1515/9780748644629-004.

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Balfour, Ian. "Autobiography." In The Oxford Handbook of British Romantic Prose, 367–82. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780198834540.013.5.

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Abstract Autobiography is a precarious genre as it consists in principle of works by and about an individual and yet an autobiography could only be ‘generic’ if the life and the text shared numerous experiences and dynamics with those of others. Many autobiographies entail a complicated dialectic of individual and general, including the possibility of readers identifying with the authors and their lives. This chapter addresses prominent (even some bestselling) autobiographies by Romantic writers at a time when the genre or mode flourished: Jean-Jacques Rousseau, Oladuah Equiano, William Wordsworth, Samuel Taylor Coleridge, and Harriette Wilson. Attention is paid to the discursive shaping of lives that risk having no particular shape, focusing on conversion and moments forcing self-reflection (such as theft in the era of childhood). The projects of these autobiographies are fraught with difficulties of articulation, given the vagaries of memory, the force of narcissism, and the uncertainties of self-reflection.
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Conference papers on the topic "Autobiography (genre)"

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Kurako, Julia. "GUO MORUO’S MY CHILDHOOD AND HU SHI’S SELF-NARRATION AT FORTY: COMMON AND SPECIAL FEATURES IN REPRESENTATION OF NEW MAN OF THE NEW ERA." In 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.20.

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The genre of literary autobiography started its formation in China during the New Culture Movement and entered a phase of rapid development by the end of the 1920s. A new understanding of autobiography as a generalized and objectified experience of the writer generated the diversified and syncretic form based on the combination of national tradition and foreign experience. The most representative works of that period are Guo Moruo’s My Childhood (1928) and Hu Shi’s Self-narration at Forty (1933). Based on the main characteristics of the genre of literary autobiography in world literature, the present article attempts to compare these two works in order to identify similarities and differences in authors’ approaches to the representation of personality, as well as to reveal typological features of the Chinese literary autobiography genre of the first half of the 20th century.
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Matveeva, V. P. "AUTOBIOGRAPHY AS A SPEECH GENRE IN ONLINE MEDIA." In ACTUAL PROBLEMS OF LINGUISTICS AND LITERARY STUDIES. TSU Press, 2021. http://dx.doi.org/10.17223/978-5-907442-02-3-2021-6.

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Vevere, Velga. "FEMINIST AUTOTHANATOGRAPHIES: ALICE JAMES AND SIMONE DE BEAUVOIR." In NORDSCI International Conference Proceedings. Saima Consult Ltd, 2019. http://dx.doi.org/10.32008/nordsci2019/b1/v2/34.

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Feminist autobiography is a genre with long-standing literary and philosophical tradition, still some aspects, like, autobiography as “death writing” have come to scholarly attention as of relatively recent. The conceptual framework hinged on the concepts of “tanatography” (defined as an account of a person’s death) and “autotanatography” (defined as an account of one’s own death) makes it possible to take a fresh look into feminist writings from 19th and 20th centuries (Alice James and Simone de Beauvoir). Among the questions for the critical reflection we can mention the following ones: issues of memory and forgetting, of death of the significant other, of aging, of suicide, of literary death (ending the writing career path). Autothanatography is self-death-writing, instead of self-life-writing, even if death is an experience that cannot be had for oneself. The current article takes a look into the auto-death-writing of two women writers: Alice James (1848-1892) – a sister of William and Henry James and Simone de Beauvoir (1908-1986). Although both women’s lives are set almost a century apart and none of them define herself as a feminist writer, their memoirs are written from the vantage point of imminent death. In the first case (James’s) we can speak of her posthumously published diaries, especially their second part written after she was diagnosed with breast cancer. Whereas in the latter (Beauvoir’s) case the autothanatological vibe is felt throughout the whole series of her memoirs (“Memoirs of a dutiful daughter”, “The prime of life”, “Force of circumstance”, “A very easy death”), but especially in the oeuvre “All is said and done” – the writing in anticipation of one’s death. The aspect that is common to both writers is that their memoirs exhibit the strategy of recollection, of re-reading their life events anew in the wake of the end (physical and/or authorial).
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RYCHKOV, Alexander L. "BEYOND THE PALE OF THE PAGES OF AUTOBIOGRAPHY OF A MINING ENGINEER: UNKNOWN PAGES OF THE LIFE OF ALEXANDER SCHUPPE." In Eurasia s Mountain Heart, devoted to the 95th anniversary of the Satka Municipal District. Chelyabinsk State University Publishing House, 2022. http://dx.doi.org/10.47475/9785727118511_169.

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On the foundation of lifetime publication oeuvres and archival sources, most of which are used for the fi rst time, this paper examines the remaining unknown pages of life of Alexander F. Schuppe. Schuppe was a member of the “Land and Liberty” secret society and later became one of the most creative Ural mining engineers and mining industrialists, and initiated the construction of the “Magnezit” refractory products factory and the “Porogi” ferroalloy plant. The methodology of research of regional intellectual traditions of Russia, which is focused on the fi gure of Schuppe, is based on such an interdisciplinary research direction as Intellectual History. Therefore, A.F. Schuppe’s life-creation is described in the genre of intellectual biography, where the personal life and creative activities of the researched fi gure are closely intertwined with cultural and historical contexts of the era, especially the South Ural region. This article explores his genealogy, family life and political biography, communication with famous people of his time, as well as the last years of his life, which were unknown until now. The article also presents the results of the study of documentary sources related to the discovery of magnesite deposits near the village of “Satkinsky plant” was carried out, on the basis of which found the exact date and history of the discovery of these deposits by A.F. Schuppe. The appendices contain little-known publications about Schuppe in the fi rst third of the 20th century, as well as a bibliography of his works, which is preceded by a list compiled by Schuppe himself and published for the fi rst time, “Works by A.F. Schuppe”. There is an extensive list of historical, archival, and literary sources.
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