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Journal articles on the topic 'Autobiography (genre)'

Author: Grafiati

Published: 11 December 2022

Last updated: 28 July 2024

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1

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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2

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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3

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Więckiewicz, Agnieszka. "(Auto)analityczny opis przypadku. Wspomnienia Izydora Sadgera o Zygmuncie Freudzie." Poznańskie Studia Polonistyczne. Seria Literacka, no. 35 (November 5, 2019): 253–76. http://dx.doi.org/10.14746/pspsl.2019.35.12.

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The article presents an analysis of Freud’s early biography written by Isidor Isaak Sadger, one of his earliest students. The author argues that Sigmund Freud. Persönliche Erinnerungen bonds together different literary genres such as biography, autobiography and pathography, thus allowing for studying the impact of life-writing literature on psychoanalysis. The first part of the article is devoted to the relation between introspection, auto-analysis and everyday writing practices of Freud and his students. In the second part, the author presents unknown facts from Sadger’s history in the psychoanalytic movement and reads his biography as an example of a heterogeneous literary genre where he becomes a writer-biographer and a doctor-autobiographer simultaneously.

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12

MacHann, Clinton. "Gender Politics and the Study of Nineteenth-Century Autobiography." Journal of Men’s Studies 6, no. 3 (June 1998): 307–18. http://dx.doi.org/10.1177/106082659800600304.

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This article discusses ideologically-slanted reactions to the study of British Victorian autobiography, a “male-dominated” literary genre, as an example of the “social agendas” currently operative in the study of the humanities. It focuses on the publication and reception of the book The Genre of Autobiography in Victorian Literature (1994a). Literary autobiography for the Victorians was a referential, nonfiction genre, which, with conventional pressures applied through historicity and verifiability, required the conflation of mental or spiritual (inner) development and the (outer) development of career and reputation based on publications (along with other public works). The field of men's studies opens up a space within which male writers like the Victorian autobiographers can be studied unapologetically from a variety of theoretical perspectives.

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13

Coté, Amy. "“A Handful of Loose Beads”." Nineteenth-Century Literature 75, no. 4 (March 1, 2021): 473–94. http://dx.doi.org/10.1525/ncl.2021.75.4.473.

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Amy Coté, “‘A Handful of Loose Beads’: Catholicism and the Fictional Autobiography in Charlotte Brontë’s Villette” (pp. 473–494) This essay considers the influence of confession as a Catholic liturgical sacrament and as a literary genre informing the fictional autobiography in Charlotte Brontë’s Villette (1853). In her earlier novel Jane Eyre (1847), Brontë used the tradition of Protestant spiritual autobiography as a literary genre focused on the individual’s spiritual development. Villette, written as it was at the height of a wave of anti-Catholic sentiment in England in the 1840s and 1850s, has understandably been read as a nationalistic rebuke of Catholicism. This essay complicates this narrative, and shows how Brontë looks to Catholic liturgical traditions, most notably the sacrament of confession, to trouble the generic conventions of the Protestant spiritual autobiography and, by extension, of fictional autobiography.

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14

Vizcaíno-Alemán, Melina. "The Autobiography of an Ancient Statue." Aztlán: A Journal of Chicano Studies 38, no. 1 (2013): 45–71. http://dx.doi.org/10.1525/azt.2013.38.1.45.

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This essay focuses on Fray Angélico Chávez’s 1954 narrative La Conquistadora: The Autobiography of an Ancient Statue as a critical model for re-reading Mexican American women’s literature and Chicana feminist art. The statue of La Conquistadora, which arrived in Santa Fe in 1625, is venerated as the oldest Marian representation in the United States. The autobiography is worth serious study because of its transvestite narrative voice: the female statue tells “her-story” as written by the male author. In La Conquistadora Chávez crosses gender and genre in ways that prompt a critical assessment of the autobiography’s significance through a deconstructive reading that draws on Southwest studies, feminism, and queer theory. This analysis offers a fresh perspective for determining how gender works in the life writings of early-twentieth-century Mexican American writers and the feminist works of contemporary Chicana artists.

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15

Menu, Jean-Christophe, and Fabrice Neaud. "Autobiography." European Comic Art 14, no. 1 (March 1, 2021): 41–68. http://dx.doi.org/10.3167/eca.2020.140104.

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In this email exchange, Jean-Christophe Menu inveighs against the deterioration of comics autobiography into a formulaic ‘genre’. Fabrice Neaud maintains that the autobiographical enterprise is necessarily a dangerous undertaking in which a precarious subject comes into being, unlike the ‘proximate’ autobiography featuring a ready-made persona in search of peer approval. He employs a Darwinist evolutionary metaphor to demonstrate the colonisation of the ecological niche that houses comics autobiography by an ‘autobiography-lite’ better adapted to the market. He details the criticisms that have been made of his work (‘egotistical’, or formally over-conservative) and laments the tendency to equate artless scribbles with ‘sincerity’. Menu regrets that a distanced and selective portrayal of family life can be read as invasive of privacy, with devastating legal consequences.

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16

Menu, Jean-Christophe, and Fabrice Neaud. "Autobiography." European Comic Art 14, no. 1 (March 1, 2021): 41–68. http://dx.doi.org/10.3167/eca.2021.140104.

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In this email exchange, Jean-Christophe Menu inveighs against the deterioration of comics autobiography into a formulaic ‘genre’. Fabrice Neaud maintains that the autobiographical enterprise is necessarily a dangerous undertaking in which a precarious subject comes into being, unlike the ‘proximate’ autobiography featuring a ready-made persona in search of peer approval. He employs a Darwinist evolutionary metaphor to demonstrate the colonisation of the ecological niche that houses comics autobiography by an ‘autobiography-lite’ better adapted to the market. He details the criticisms that have been made of his work (‘egotistical’, or formally over-conservative) and laments the tendency to equate artless scribbles with ‘sincerity’. Menu regrets that a distanced and selective portrayal of family life can be read as invasive of privacy, with devastating legal consequences.

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17

Danielewicz, Jane. "Personal Genres, Public Voices." College Composition & Communication 59, no. 3 (February 1, 2008): 420–50. http://dx.doi.org/10.58680/ccc20086406.

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Writing in personal genres, like autobiography, leads writers to public voices. Public voice is a discursive quality of a text that conveys the writer’s authority and position relative to others. To show how voice and authority depend on genre, I analyze the autobiographies of two writers who take opposing positions on the same topic. By producing texts in genres with recognizable social functions, student writers gain agency.

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18

Bishara, Dr Hanan. "FRAGMENTATION OF REVELATION AND HIDING BEHIND THE WALLS OF THE DISTANT MARGIN IN THE SAUDI FEMINIST AUTOBIOGRAPHY: An Analytical Reading of the Novel Madi, Mufrad, Mudhakkar/ Past, Singular, Masculine1 by the Saudi Writer, Omaima al-Khamis2." International Journal of Language, Linguistics, Literature, and Culture 03, no. 02 (2024): 01–18. http://dx.doi.org/10.59009/ijlllc.2024.0060.

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If the biography is a narrative type with an unimaginable reference basis, the feminist autobiography is a narrative type with a reference basis, in which the author is a woman who admits and does not imagine, as if it were unnecessary to differentiate it from the masculine autobiography, or because the latter is the dominant and the more productive, or because the human being is a terrestrial being, that has no gender. The author can be a man or a woman. However, the work remains described as a non-specialized autobiography. It is not difficult to differentiate between a male autobiography and a female autobiography, but it would be in favor of the first, the second of which appears to be subordinate to it. The autobiography was defined as a literary genre in ancient Arab literature more than a thousand years ago, and until recently it was a purely male literary genre, if we exclude some narratives of female autobiographies that we received mostly through oral narration. The autobiography in modern Arabic literature is not considered an extension of the ancient Arabic autobiography as much as a tradition of Western models of autobiography. In Saudi culture, the autobiography is still unknown as much as the novel or the story and the play, and to be common it took enough time to emerge from the cycle of contempt, whether as a produced text or a receptive text.

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19

Jurdant, Baudouin. "Popularization of science as the autobiography of science." Public Understanding of Science 2, no. 4 (October 1993): 365–73. http://dx.doi.org/10.1088/0963-6625/2/4/006.

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In this paper I investigate the status of popular science texts as a literary genre, and ask how a text can be recognized as belonging to that genre. To determine this I compare popular science texts with science fiction, which indicates that it is popular science's truth claims which give the literary genre of popular science its place in literature as a whole. However, critics have argued that literature is not concerned with truth, which implies that popular science texts—despite being written documents—are not literature. To resolve this I compare popular science with autobiography—another genre which makes truth claims—and examine the products of their shared intention of telling the truth about the natural world in the case of popular science and about oneself' in the case of autobiography.

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20

Muravyova, L. "A CRISIS OF HYBRID GENRES: PHILIPPE FOREST AND THE RETURN OF THE ‘I-NOVEL’ TO FRENCH LITERATURE." Voprosy literatury, no. 4 (October 2, 2018): 243–63. http://dx.doi.org/10.31425/0042-8795-2018-4-243-263.

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The article analyses the disintegration of hybrid genres, a major trend that has been taking shape in French literature in recent decades. Having exhausted the resources for hybridization of genres and survived the ‘death of the author’ period, French literature is searching for new ways to rejuvenate and refresh its genre forms. One option is convergence with other national literary tradition, in order to reconsider its own genre hierarchy and establish a new status of the writing individual between the autobiography and the novel. Particularly interesting in this regard is the attempt to overcome a genre crisis by the French writer Philippe Forest (born in 1962), who draws on the traditions of French avant-garde novels and the Japanese ‘I-novel’ (shôsetsu). The new genre distinguishes itself through special narration forms, the particular meaning of an event, and a certain balance between the imaginary and factual in Forest’s prose.

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21

Mikhieieva, Anastasiia. "The Holocaust Trauma and Autobiographism in Ida Fink’s and Charlotte Delbo’s Stories." Kyiv-Mohyla Humanities Journal, no. 10 (December 29, 2022): 120–31. http://dx.doi.org/10.18523/kmhj270983.2023-10.120-131.

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The research is based on a study of short story collections by Israeli writer Ida Fink’s, All the Stories, and French writer Charlotte Delbo’s, Auschwitz and After, to reflect the impact of the Holocaust on autobiographical elements in their work. The authors are representatives of the first generation of Holocaust survivors, which means that the mass systematic genocide during World War II was a personal traumatic experience for them. The works of female writers are studied using the theory of trauma at the genre level. Since autobiography has been considered a documentary genre with its own peculiarities, works about the Holocaust were seen as historical evidence of this event. However, based on the works of Juri Lotman and some principles of Philippe Lejeune’s “autobiographical pact”, we can conclude that autobiography is similar to fiction if it can meet certain aesthetic functions. Under the influence of trauma, the genre of autobiography can be modified in the literary text in such a way that the line between autobiography and fiction is blurred. Ida Fink and Charlotte Delbo write short stories with fictional narrators, but all the situations are certainly the experiences of the writers themselves, who turn to the autofiction and conventions of Philippe Lejeune’s “autobiographical pact” to transfer their memories to literary heroes. The aim of the study is to define the peculiarities of the autobiographical genre, analyze its functions in Holocaust literature, identify poetic elements of autobiography, and prove that there is no canonical form of narration about the Holocaust-Era, as the writers were searching for how to articulate their traumatic experience in experimental forms.

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22

Graham, Lesley. "Scientific autobiography: some characteristics of the genre." ASp, no. 43-44 (March 1, 2004): 57–67. http://dx.doi.org/10.4000/asp.1039.

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23

Mathew, Anju. "Dissident Self-Writing in Malayalam: Reading Autobiographical Dissonance as Protest." International Journal of English Literature and Social Sciences 8, no. 5 (2023): 043–48. http://dx.doi.org/10.22161/ijels.85.8.

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My paper attempts to study the autobiographical ‘slips’ of Nalini Jameela’s Njan Laingikathozhilali (Trans. Autobiography of a Sex Worker) through the conceptual framework of war-machine proposed by Deleuze and Guattari. My paper focuses on the role of colonial modernity in establishing the genre of autobiographical writing in Kerala and reads how Nalini Jameela’s work significantly alters the genre by subverting the dominant notions of ideal woman, cheap woman and autobiographical language. Colonial modernity had a significant role in establishing stabilised characteristics to gender categories and accordingly an ideal woman is supposed to be subservient, family-centric and should function in society-approved manner for the progress of her nuclear family. Nalini Jameela’s work questions these suppositions. I explore the following questions in my paper - What was the impact of colonial modernity in establishing autobiography as a genre in Kerala? By challenging hegemonic modes of ‘telling’, how does the work establish a conflicted political subjectivity ? Does Nalini Jameela’s autobiography subvert the established understandings of veshya(prostitute)? How does the work de-consecrate the ‘respectability’ notions of angelic domestic woman?

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Jovićević, Stevan. "The Novelistic Potential of Dositej Obradović’s Autobiography." Stephanos Peer reviewed multilanguage scientific journal 54, no. 4 (July 31, 2022): 35–49. http://dx.doi.org/10.24249/2309-9917-2022-54-4-35-49.

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This paper begins with a brief overview of the most famous literary-historical readings of Dositej’s major work, in order to consider the question of determining its genre nature from the end of the 18th century to the present day. Functionally problematizing the necessary criteria for the constitution of a typical autobiography, we strive to single out the basic factors that distinguish the mentioned genre from the novel. Exami ning the characters, dialogues and some of the most impressive scenes from Dositej’s work, we point to its genre hybridity and assess the degree of the writer’s commitment to the enlightenment-rationalist concept. Finally, we scrutinize the diff erence between those elements that are didactic and those that, from a purely artistic point of view, could be considered literary.

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Gyimesi, Brigitta. "The Nonidentical Twin: The Possible Worlds of Nabokov’s Speak, Memory and Look at the Harlequins!" Hungarian Journal of English and American Studies 29, no. 1 (June 1, 2023): 143–63. http://dx.doi.org/10.30608/hjeas/2023/29/1/8.

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Abstract The article examines how Vladimir Nabokov probes the boundaries between autobiography and fiction in his autobiography, Speak, Memory, and his last finished novel, Look at the Harlequins! Both autobiographies and first-person novels project possible worlds, that is, alternative perspectives on empirical reality. The Nabokov of Speak, Memory and V.V. in Look at the Harlequins! are both focalizers in possible worlds derived from the historical Nabokov’s empirical reality. The common origin that binds them together opens up a multi-directional channel between the worlds, allowing the reader to gain a deeper understanding of Nabokov’s life story than either of the texts could offer on its own. Nabokov’s two texts highlight the fundamental similarities between the nonfictional genre of the autobiography and the fictional genre of the novel by exploring the transitory zone between fiction and reality. (BGY)

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Farjami, Mahmud. "Self-Mockeries of a Mullah: An Overview of the Humorous Autobiography of Āqā Najafī Qūchānī (1878–1944)." International Journal of Persian Literature 8 (September 1, 2023): 109–33. http://dx.doi.org/10.5325/intejperslite.8.0109.

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Abstract This article deals with Siyāḥat-i Sharq, a remarkable self-satirizing autobiography of an Iranian mullah (clergy) called Āqā Najafī Qūchānī (1878–1944). By offering a close reading of Siyāḥat-i Sharq, this article sheds light on “autobiography” as a very rare genre among Muslim clergies and high-ranked Shiʿa ulema. This article also focuses on the techniques of humor used by Āqā Najafī in his autobiography, among which “self-mockery” is the most notable.

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Szabados, Béla. "Autobiography after Wittgenstein." Tekstualia 2, no. 61 (August 15, 2020): 37–58. http://dx.doi.org/10.5604/01.3001.0014.3811.

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Béla Szabados claims that Wittgenstein in his observations on the roles, functions and possibility of autobiography anticipates the death of the traditional autobiography and points to a way of transforming the genre so as to make it suit our present concerns. The article addresses Wittgenstein’s strategies in his own autobiographical projects. Szabados points out that the eclipse of the traditional autobiography, as described and performed by Wittgenstein, refl ects the exhaustion of cultural forms that previously shored up confessional practices, and this exhaustion can be seen in the changes to the autobiographical form that have occurred since Augustine and Rousseau.

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Jürgensen, Christoph. "(Un)Ordnung und frühes Leid: Zum generischen Traditionsverhalten in August von Platens Jugend-Tagebüchern." Internationales Archiv für Sozialgeschichte der deutschen Literatur 44, no. 2 (November 8, 2019): 471–88. http://dx.doi.org/10.1515/iasl-2019-0023.

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Abstract Starting with a brief overview of the history and development of diary writing, this article examines how August von Platen’s juvenile diaries can be situated in the context of this tradition of genre. In doing so, it will be shown that von Platen employs a unique blend of the genres autobiography and diary in order to relate his ‘Bildungsgeschichte’ of homosexuality in an innovative and Rousseauian spirit of openness.

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Bodenheimer, Rosemarie. "AUTOBIOGRAPHY WITHOUT BORDERS." Victorian Literature and Culture 27, no. 1 (March 1999): 317–25. http://dx.doi.org/10.1017/s1060150399271173.

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WHERE IS “Victorian autobiography” in the late 1990s? Everywhere and nowhere. Always contested as a genre, autobiography has stretched its fragile boundaries and diffused itself among the many forms of self-representation that interest contemporary critics: travel narratives, letters, journals, fiction, poetry, essays, biography. This diffusion is in many ways a fruitful development, although it raises the question of whether “Victorian autobiography” is still a meaningful category to use in describing critical work. Although I concentrate here on a number of recent books that flourish the word “autobiography” in their titles, I come to this review with a sense that some of the most vital work on Victorian self-representation may be flying under different banners.

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Y. Gashi, Agron. "Fact and Fiction in Autoconfession: A Theoretical Confrontation." Journal of Educational and Social Research 11, no. 6 (November 5, 2021): 105. http://dx.doi.org/10.36941/jesr-2021-0132.

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The formulation of the topic fact and fiction in auto-confession is a result of earlier research in which the greatest theoretical confrontation takes place in the area of autobiographical prose. This paper investigates and explores issues with which contemporary poetics is faced regarding the concepts in question, especially when they coexist within a work concerned either with genre codification or with undefined status (i.e. hybrid genre). Such discussions are often accompanied by great dilemmas on whether auto-confessional texts such as autobiography or autobiographical prose should be considered fact or fiction. Being a fierce confrontation, especially for a genre that is considered a compromising genre in which the facts are weaved according to the fictional practice, this paper proposes that a double reading (fact-fiction) will highlight issues that are essential to interpret and decode a text of autoconfessional premises and, beyond that, a codification of the genre when dilemmas grow and become even larger: in fiction, nonfiction, novel, autobiographical novel, autobiography, etc. Received: 27 January 2021 / Accepted: 2 September 2021 / Published: 5 November 2021

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Haag, Oliver. "Indigenous Australian autobiography and the question of genre: an analysis of scholarly discourse." Acta Neophilologica 44, no. 1-2 (December 31, 2011): 69–79. http://dx.doi.org/10.4312/an.44.1-2.69-79.

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This article is concerned with the different genre applications to Indigenous Australian autobiographies. Scholarship has not employed a consistent genre designation for this literature. This article identifies the reasons for a particular genre choice in scholarship and draws on interviews with scholars and authors to test their motivation for either adopting or rejecting the term 'autobiography' for Indigenous life narratives.

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Albiac, Gabriel, and Christine Campbell. "Althusser, Reader of Althusser: Autobiography as Fictional Genre." Rethinking Marxism 10, no. 3 (September 1998): 80–89. http://dx.doi.org/10.1080/08935699808685543.

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Mokhtari, Fizia Hayette. "Autobiography and "Genre" Transgression in Malika Mokeddem’s Works." Lublin Studies in Modern Languages and Literature 40, no. 2 (January 18, 2017): 82. http://dx.doi.org/10.17951/lsmll.2016.40.2.82.

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Murtaza, Mahnoor, and Dr Elizabeth Shad. "An overview of Ada Jafri’s Autobiography “Jo Rahi So Bekhabri Rahi”." Noor e Tahqeeq 8, no. 01 (March 5, 2024): 6–17. http://dx.doi.org/10.54692/nooretahqeeq.2024.08012136.

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Ada Jafri is one of the greatest writers who presented the essence of her art in the form of poetry as well as in prose. She holds a special position amongst the pioneers of modern Urdu and is also called the first lady of poetry. Apart from poetry, she also experimented with an important genre of literature, Aap Beti (autobiography). In her autobiography, “Jo Rahi So Bekhabri Rahi” Ada Jafri has appeared in a different style. Through this autobiography, she has described the educational and social problems faced by women before the establishment of Pakistan, as well as the culture and civilization of that time. The purpose of this research article is to provide readers with historical, cultural and tourist information in the light of Ada Jafri’s autobiography and to highlight the importance of autobiography in literature.

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Dobozy, Tamas. "The hybrids of Claudio Magris." Journal of European Studies 49, no. 1 (February 13, 2019): 31–47. http://dx.doi.org/10.1177/0047244119830904.

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This essay argues that Claudio Magris’s early novels, Inferences from a Sabre (1991), and A Different Sea (1993), deliberately mingle genres in order to disrupt systems of knowing, and the power they enforce. While both novels treat different subject matter, they have a shared concern with the application of texts to life, deploying a range of genres – biography and autobiography, letters, the novel, the philosophical and scholarly essay and historiography – in bringing their stories to the reader. The ruptures between these genres disclose Magris’s interest in structures of knowing, the work of genre in enforcing a certain world view, and the importance of the capacity – derived from his interest in the ‘Habsburger Mythos’ – to accommodate intra-generic variance, multiplicity, even contradiction, instantiating an unsettled writing, somewhere on the border between certainty and doubt. Magris’s work with genre is thus not only aesthetic, but political, recalling a lost vision of European organization and inter-working.

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Grigoryeva, K. A. "Autobiographical Form in «nothing to be Frightened of» by Julian Barnes." Izvestiya of Saratov University. Philology. Journalism 10, no. 1 (2010): 57–61. http://dx.doi.org/10.18500/1817-7115-2010-10-1-57-61.

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Chaturvedi, Namrata. "Indian Christian Spiritual Autobiography." International Journal of Asian Christianity 3, no. 1 (February 28, 2020): 26–43. http://dx.doi.org/10.1163/25424246-00301003.

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Krupabai Satthianadhan’s Saguna (1887–88), initially serialised in the Madras Christian College magazine is rightfully regarded as the first Indian spiritual autobiographical novel. Any study of this narrative compels one to explore the influence of the Evangelical autobiography on this genre in nineteenth century India as well as to engage with the distinctive aspects of an Indian Christian woman’s spiritual quest in British India. This study also argues for focus on the spiritual life of Indian Christianity as a valid way of according recognition to the experiences and struggles of the life of a religion that is outside of mainstream religious discourse in contemporary India.

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Brierley, Jane. "The Elusive I." Meta 45, no. 1 (October 2, 2002): 105–12. http://dx.doi.org/10.7202/002142ar.

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Abstract In the light of knowledge gained in translating autobiography, the author reviews recent critical theory concerning the genre, and looks briefly at two translations of Stendhal's La Vie de Henry Brulard.

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Samorodnitskaya, E. I. "Helena Ifill. Creating character: Theories of nature and nurture in Victorian sensation fiction; Heidi L. Pennington. Creating identity in the Victorian fictional autobiography." Voprosy literatury, no. 5 (October 11, 2023): 188–93. http://dx.doi.org/10.31425/0042-8795-2023-5-188-193.

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The review discusses two monographs devoted to Victorian novels: H. Ifill’s work on the problem of character in sensation fiction and H. L. Pennington’s study of what shapes identity in an imaginary autobiography. Among the indisputable merits of Ifill’s book, which focuses on W. Collins’s and M. Braddon’s works, is the author’s attempt to consider Victorian novel as a holistic literary phenomenon beyond its chronological definition. Such an approach immediately removes the division into literary ranks and the opposition of realistic to sensation or social-criminal novel, etc. The scholar describes the essential genre characteristics of the texts, partially represented by the principles of character shaping. Pennington looks at C. Dickens’s and C. Brontë’s novels from the viewpoint of shaping of the protagonist’s identity in a genre born as a mixture of fiction and autobiography.

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SMIRNOV, SERGEY A. "PAUL FEYERABAND: THE RESTLESS ANARCHIST." Chelovek.RU, no. 2021-16 (November 22, 2021): 150–80. http://dx.doi.org/10.32691/2410-0935-2021-16-150-180.

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The article provides a reflexive analysis of the autobiographical experience presented in the autobiography of Paul Feyerabend "Killing Time". The specificity of the genre and method of the author's work on his own biography is highlighted. It is shown that this experience is strikingly different both from that to which European continental thinkers or domestic philosophers are accustomed, and from that which is presented in the Western intellectual tradition. Feyerabend deliberately built his story as "light reading", comparable to comics, musical script and stand-up comedy genre. At the same time, it is shown that as the story progresses, the position of the narrator himself changes and his very intonation changes towards more personal and spiritual tones and topics related to personality changes. The author was least of all interested in his own intellectual pursuits, and most of all he was interested in emotional attachments and love for one's neighbor. For the sake of this love, he wrote, in essence, his autobiography, strangely similar to the genre of repentance of the restless atheist anarchist.

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Péron-Douté, Eugénie. "L’autofiction, un genre performatif." Symbolon 22, no. 1 (2021): 167–83. http://dx.doi.org/10.46522/s.2021.01.15.

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The purpose of this paper is to comment on the emergence of autofiction genre and its meaning. Beginning with a comparative analysis of this genre and the autobiographical one we will show the lack a stability of its definition since the 1970’s until dawn of the 21st century. This neologism, created by Serge Doubrovsky in 1969 shall be rebuilt by the author himself in 1977. Doubrovsky shall hence define that concept for a period of twenty years without achieving to fix all the issues concerning that very word. Beyond the more or less accepted combination of deconstructed narration, split subject and links to the psychoanalysis, autofiction genre appears to contain a performative potential. We will question about how and in which way autofiction parts itself from autobiography, showing it is from the beginning intrinsically performative

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Cassagnau, Laurent. "La transgression des genres dans les poèmes en prose de Georg Trakl." Austriaca 65, no. 1 (2007): 209–26. http://dx.doi.org/10.3406/austr.2007.4563.

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The three prose texts in Trakl’s poem collection Sebastian im Traum (1915) blend the fictional and the autobiographic, as well as the poetic and the narrative elements in such a way that the interlocking of these different dimensions does not allow a definite literary classification. Just like in his verse poetry, Trakl’s prose poetry on the one hand falls back upon different genres only to transgress their limits immediately, and on the other hand it also takes in different types of voices : the first person of autobiography and of lyrical expression, the second person of inner monologue and of the narcissistic and/or schizophrenic Doppelgänger, the third person of epic narration or of fantasized biography as well as the first person plural of considerations about human fate. However, because of the size of the poems, the genre boundaries seem to be even more blurred in Trakl’s prose poems than in his versified poetry. They therefore show evidence of the indefiniteness which is constitutive of modern poetry at the turn of the 20th century.

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Dmitrieva, Larisa Aleksandrovna, and Tat'yana Ivanovna Zaitseva. "AUTOBIOGRAPHY GENRE IN KEDRA MITREI’S PRE-REVOLUTIONARY CREATIVE WORK." Philological Sciences. Issues of Theory and Practice, no. 10 (October 2019): 51–55. http://dx.doi.org/10.30853/filnauki.2019.10.12.

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Cherniavska, O. K. "GENRE OF ARTISTIC AUTOBIOGRAPHY: PROBLEMAL ASPECTS OF UKRAINIAN REFLECTION." "Scientific notes of V. I. Vernadsky Taurida National University", Series: "Philology. Journalism" 3, no. 1 (2022): 84–88. http://dx.doi.org/10.32838/2710-4656/2022.1-3/14.

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Bezhan, O. "Biography and autobiography as genre modifiers in Holocaust literature." International Humanitarian University Herald. Philology 41, no. 1 (2019): 78–81. http://dx.doi.org/10.32841/2409-1154.2019.41.1.19.

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Dawson, Carl. ": The Genre of Autobiography in Victorian Literature. . Clinton Machann." Nineteenth-Century Literature 50, no. 4 (March 1996): 533–35. http://dx.doi.org/10.1525/ncl.1996.50.4.99p0195j.

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Bozhinov, Ventsislav. "The End of the Century. Political Memories of one Non-Politician." Balkanistic Forum, SOCIAL ANXIETY AND SOURCES OF MOBILISATION 31, no. 3 (September 15, 2022): 254–63. http://dx.doi.org/10.37708/bf.swu.v31i3.17.

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Evgenia Ivanova's book „The End of the Century. Political Memories of a Non-Politician“ is an autobiographical story. It not only covers the political events in Bulgaria from the 1990s, but the narrative also goes back to fundamental personae from the 19th century onwards. The book combines various genres: from classical autobiography and journalism, characterised by different nuances of historical and fictional narrative, to memoir. This is a freer view, not succumbing to the otherwise difficult-to-discern framework of the genre, which may also show the features of the romanticised autobiography. Simultaneously, the seasoned ethnological view may distinguish the peculiarities of the autobiographical tale as a methodological apparatus, as well as the realised autoreflexiveness and the growing reverse reflexiveness of the ethnologist Evgenia Ivanova towards a vast period of processes and the events it holds. Not least, the book poses the question: „Why does the author decide to tell her story up until the year 2000?“. The answer is in the book.

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López-Pampló, Gonçal. "Estudi de <i>Memòria personal</i> d'Antoni Tàpies des de la perspectiva de l'assaig literari." Zeitschrift für Katalanistik 26 (July 1, 2013): 113–29. http://dx.doi.org/10.46586/zfk.2013.113-129.

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Summary: The painter Antoni Tàpies wrote his autobiography Memòria personal when he reached middle age. But beneath the narrative structure typical of this genre, Memòria personal presents a number of features that allow us to label the book an essay. The most important feature is the use of argumentative strategies designed to explain the author’s ideological and personal evolution, with the ultimate aim of examining his conception of art and, in particular, the role of the artist in society. [Keywords: Essay; autobiography; literary theory; Antoni Tàpies]

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Corbí Sáez, María Isabel. "La révolution espagnole… de Clara Campoamor: presencia y alcance en el campo cultural y literario francés." Çédille, no. 22 (2022): 237–62. http://dx.doi.org/10.25145/j.cedille.2022.22.12.

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"Our paper analyzes the reception in the French press of La révolution espagnole vue par une républicaine (1937) by Clara Campoamor. Already written in exile by one of the first practicing women attorneys in Spain, one of the first elected women parliamentarians that the country had had, the craftswoman of obtaining the female vote and many other social advances, one of the few writings in the early months on the Spanish civil war, the first by a woman, this autobiography in the style of a political essay had not gone unnoticed in the French press. In our paper we approach the interest that work awoke as far as concerns its thematic and by its contribution to the women autobiographic genre."

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Ivankiva, Marina V. "Why read about animals: On the formation of the animal autobiography as a literary genre in the 18th–19th century British literature." Vestnik of Saint Petersburg University. Language and Literature 20, no. 3 (2023): 495–515. http://dx.doi.org/10.21638/spbu09.2023.306.

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The article presents an analysis of the genesis of the genre of animal autobiography in English literature at the turn of the 18th–19th centuries. The emergence, formation and evolution of the genre is considered in three contexts. The ideas of Adam Smith and David Hume together with the pedagogical teachings of John Locke and Sarah Trimmer form the central philosophi cal concepts of the new genre: sentimental feeling, sympathy, concern for the well-being of another living being. Comparison of the animal autobiography with “novel of circulation”, a popular in the XVIII century type of novel about adventures of a thing, focuses readers atten tion on animate and inanimate narrator which leads to the didactics of a new genre. Auto biographical narratives such as “The Life and Perambulations of a Mouse” of Dorothy Kilner, “Adventures of a Donkey” of Arabella Argus, and “Black Beauty” of Anna Sewell are studied in the context of the 18th and 19th century novel culture and since the authors of such autobiogra phies were predominantly women, who were responsible for caregiving and education, within the female narrative strategies in biographies. Written over two centuries ago by women who appropriated the voices of animals and spoke of their well-being, animal autobiographies are studied in terms of ecofeminist critique and human-animal studies. It is concluded that this genre may be regarded as an enlightenment project, which had and still has not only a didac tic, but also an emancipatory function.

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