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Journal articles on the topic 'Biography and autobiography'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

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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2

Rosenthal, Alan, and Ernest Callenbach. "Autobiography & Biography." Film Quarterly 42, no. 4 (1989): 29. http://dx.doi.org/10.2307/1212827.

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3

Rosenthal, Alan, and Ernest Callenbach. "Autobiography & Biography." Film Quarterly 42, no. 4 (July 1989): 29. http://dx.doi.org/10.1525/fq.1989.42.4.04a00090.

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4

Bilinkoff, Jodi. "The Many “Lives” of Pedro de Ribadeneyra." Renaissance Quarterly 52, no. 1 (1999): 180–96. http://dx.doi.org/10.2307/2902019.

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The important early Jesuit Pedro de Ribadeneyra (1526-1611) has the distinction of having been a biographer of men, a biographer of women, an autobiographer, and the subject of biography. As such he and his texts seem particularly apt subjects for study given the current interest by scholars in a number of disciplines in the various forms of “life-writing“ produced so abundantly in the early modern period. In this essay I briefly examine Ribadeneyra's most famous biography, that of his mentor Ignatius Loyola, as well as two little-known and virtually unstudied texts: his Life of the pious laywoman Estefanía Manrique de Castilla and his autobiography or Confessions. I focus upon the ways in which he treated issues of authority and obedience in constructing as exemplary the lives of these three Spanish nobles and explore his strategies for enlisting life-writing in the campaign for a renewed, activist Catholicism.

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5

MELEZHKO, V. "LYUDMYLA OVDIENKO: BIOGRAPHY, AUTOBIOGRAPHY." Philological Studies, no. 34 (December 30, 2021): 13–19. http://dx.doi.org/10.33989/2524-2490.2021.34.250137.

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The publication presents the biography and autobiographical motives of the lyrics of the Ukrainian writer Lyudmyla Ovdienko. The purpose of the article is to present a biography and analysis of the poetic heritage of a fellow artist in the autobiographical aspect. We came to the conclusion that Lyudmila Ovdienko’s lyrical cycle is not only a speciﬁc type of context, but also a special form of creativity, a type of integrity that diﬀers from the usual collection of poems and is a sequence of texts formed by the author. We are convinced that motives-images are signiﬁcant for the poet’s autobiographical lyrics. Of the many motifs that sound in the poems, the most prominent is the autobiographical. The emergence of the genre of autobiographical motives in the creative work of L. Ovdienko is determined by a special type of thinking of the author, the national tradition. The leading place in the consideration of lyric poetry is given to the study of motives-images (motive-family, motive-village). These motives the most signiﬁcant for the autobiographical lyrics of our compatriot.

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6

Curthoys, Ann. "Feminist biography and autobiography." Australian Feminist Studies 4, no. 9 (March 1989): 111–17. http://dx.doi.org/10.1080/08164649.1989.9961637.

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7

Wilson, Laurie, and Harold P. Blum. "Biography, autobiography and history." International Journal of Psychoanalysis 86, no. 1 (February 2005): 155–58. http://dx.doi.org/10.1516/lt3j-q4lk-727x-wq22.

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8

Garziano, Svetlana. "Le projet autobiographique de Vladislav Xodasevič." Chroniques slaves 5, no. 1 (2009): 19–37. http://dx.doi.org/10.3406/chros.2009.936.

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The article “Vladislav Khodasevich’s Autobiographical Project” studies the question of the autobiography’s status in Vladislav Khodasevich’s work. This writer develops autobiographical genre's criteria in his critical and theoretical works. The present study is composed of three parts : Khodasevich about the autobiography and the biography, memories and the diary and the autobiography Infancy [Младенчество, 1933]. The author of the article distinguishes two structuring elements in Infancy : things’ futility and humor. phy Infancy [Младенчество, 1933]. The author of the article distinguishes two structuring elements in Infancy : things’ futility and humor.

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9

RODIN, KIRILL A. "AUTOBIOGRAPHY AND (LITERARY) LAG FORM." Chelovek.RU, no. 2021-16 (November 22, 2021): 181–86. http://dx.doi.org/10.32691/2410-0935-2021-16-181-186.

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In the article we are trying to propose a new way of linking (explaining overdetermination) autobiography (biography) and literary text. We contrast the concept Death of the Author and the formal methods of analysis of the literary text (when the author's biography and autobiography are taken out of the brackets) to the lag form introduced by us. The lag form is considered as a universal form of conjugation of biography (autobiography) and (literary) text. The article is based on examples of the analysis of Dostoevsky's underground consciousness and the film by Rainer Werner Fassbinder «In a Year of 13 Moons».

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10

Ávila, Myriam Correa de Araújo. "A vida como retorta – Considerações sobre a autobiografia em O insistente inacabado, de Luiz Costa Lima / Life as a Retort – Considerations on Autobiography in O insistente inacabado, by Luiz Costa Lima." O Eixo e a Roda: Revista de Literatura Brasileira 29, no. 4 (December 23, 2020): 142. http://dx.doi.org/10.17851/2358-9787.29.4.142-150.

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Resumo: Em O insistente inacabado (2019), Luiz Costa Lima recorrentemente explora as relações entre a biografia e a teoria, ao tratar do estabelecimento de uma Ciência da História, a partir do fim do século XVIII. No capítulo dedicado à autobiografia, não é apenas a escrita da vida que se aborda, mas também as contingências biográficas que interferem em e informam esse gênero e suas estratégias de construção. Propõe-se, portanto, neste artigo, distinguir dois elementos de sustentação das escritas do biógrafo e do autobiógrafo, ambas atravessadas pela res fictae e pela res factae: a “bio”, correspondendo ao vivido, e a “vida”, correspondente ao vivível.Palavras-chave: Luiz Costa Lima; biografia; autobiografia; História.Abstract: In his book O insistente inacabado (2019), Luiz Costa Lima recurrently elaborates on the relations between biography and theory when dealing with the establishment of a Science of History in the 18th and 19th centuries. In this book’s chapter on autobiography, besides the writing of a life, Costa Lima approaches the biographical contingencies that interfere and give contour to that genre and its construction strategies. This article intends to distinguisch two sustaining elements in the writings of the biographer and of the autobiographer, both pervade by res fictae and by res factae: “bio”, corresponding to what has been lived, and “life”, corresponding to what can be experienced.Keywords: Luiz Costa Lima; biography; autobiography; History.

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11

Mijolla, Alain de. "Freud, Biography, his Autobiography and his Biographers'." Psychoanalysis and History 1, no. 1 (January 1999): 4–27. http://dx.doi.org/10.3366/pah.1999.1.1.4.

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Freud has a dual attitude to the biographical genre. When he places himself in the position of psychoanalyst/biographer of others, he enthusiastically speaks of lands to be conquered for psychoanalysis. His works, as well as his correspondence, show that he continued to devote himself to investigations which resulted in interpretations of a number of personalities, the most detailed of which regarded Leonardo da Vinci, Goethe, Dostoyevsky, President Wilson and Moses. On the other hand, even though during the first years of the discovery of psychoanalysis he allowed himself, in a more or less veiled manner, confidences of an autobiographical nature, Freud remained very secretive about himself. He limited himself to making public only the routine information found on his university curriculum vitae or the details of his life directly related to the discovery and development of psychoanalysis. Hidden behind die Sache, the Cause, the man always vigorously defended himself against those who, braving the repeated destruction to which he subjected his archives, claimed to apply to him this ‘investigative drive’ the heuristic richness of which he otherwise celebrated. It is by means of fantasies of identification to the work, which are present in every biographical effort, that we here attempt to address the contradictions of this dual attitude. Freud, la biographie, son autobiographie et ses biographes Dans son rapport au genre biographique, l'attitude de Freud est double. Lorsqu'il se place en position de psychanalyste-biographe des autres, it se montre volontiers enthousiaste, pane de terrain a conquerir pour la psychanalyse et ses oeuvres comme sa correspondance montrent qu'il n' a jamais cesse de se livrer a des enquetes assorties d'interpretations sur un certain nombre de personnalites dont les plus approfondies ont concerne Leonard de Vinci, Goethe, Dostoievski, le President Wilson et Moise. En revanche, meme si, durant les premieres annees de la decouverte psychanalytique it s'est adonne de farcon plus ou moins voilee a des confidences de type autobiographique, Freud est demeure tres secret sur lui-meme, se bornant a livrer au public les renseignements d'un banal curriculum vitae a usage universitaire ou les circonstances de son existence directement lilies A la decouverte puis is l'extension de la psychanalyse. Efface derriere die Sache, la Cause, l'homme s'est toujours defendu avec vigueur contre ceux qui, bravant la destruction periodique qu'il faisait de ses archives, pretendaient appliquer k sa personne cette ‘pulsion d'investigation’ dont it celebrait par ailleurs la richesse heuristique. C'est par le biais des fantasmes d'identification A l'oeuvre dans toute tentative du genre biographique que nous tentons d' aborder ici les contradictions de cette double attitude.

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12

Jakubowska, Luba. "Identity as a narrative of autobiography." Journal of Education Culture and Society 1, no. 2 (January 17, 2020): 51–66. http://dx.doi.org/10.15503/jecs20102.51.66.

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This article is a proposal of identity research through its process and narrative character. As a starting point I present a definition of identity understood as the whole life process of finding identification. Next I present my own model of auto/biography-narrative research inspired by hermeneutic and phenomenological traditions of thinking about experiencing reality. I treat auto/biography-narrative research as a means of exploratory conduct, based on the narrator’s biography data, also considering the researcher’s autobiographical thought. In the final part of the article I focus on showing the narrative structure of identity and autobiography. I emphasise this relation in definitions qualifying autobiography as written life narration and identity as a narration of autobiography.

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13

Babis, Deby. "Between biography and autobiography: exploring the official history in organizations." Qualitative Research in Organizations and Management: An International Journal 15, no. 2 (July 19, 2019): 160–75. http://dx.doi.org/10.1108/qrom-09-2018-1686.

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Purpose The official history of an organization is usually found on the organization’s website and in brochures. The purpose of this paper is to explore the narrative of an institution’s official history, the autobiography, as compared to the biography constructed by researchers. Design/methodology/approach A case study was conducted on the Organization of Latin American Immigrants in Israel (OLEI), covering the entire history of the organization. Based on a longitudinal, holistic and qualitative perspective, the research methodology combines data collected from interviews, archival and digital sources. The access to these data enables researchers to explore some of the reasons and circumstance behind the construction of the official history. Findings The analysis of the data revealed a significant gap between the autobiography and the biography in four episodes. The common thread running through them was the creation of a narrative that reinforces and emphasizes the growth and stability of the organization, through the use of strategies such as forgetting, erasing and remythologizing. This narrative was found to have been re-constructed following a period of instability. Originality/value The originality of this study relies on the use of the terminology of autobiography and biography for the exploration of the official history of an organization. The innovative research methodology applied in this paper, which compares an organization’s biography with its autobiography, enables the exploration of different dimensions and dynamics, emphasizing the value of understanding autobiography by constructing a biography.

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14

Ware, Susan. "Writing Women's Lives: One Historian's Perspective." Journal of Interdisciplinary History 40, no. 3 (January 2010): 413–35. http://dx.doi.org/10.1162/jinh.2010.40.3.413.

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From the start, biography played a vibrant and significant part in the growth of women's history, especially American women's history, as a well-respected and popular field within the historical profession. The insistence of feminist biographers that the personal is political, and that attention must be paid to the daily lives of their subjects as well as to their more public achievements, continues to ripple through the field of biography as a whole. To talk about biography is also to talk about the biographer, for the precise reason that behind every biography lies autobiography—that special spark that draws the biographer to the subject in the first place and the interaction that unfolds as the project moves forward (or stalls, as often happens). As feminist theory reminds us, the personal element is relevant to the broader intellectual agenda.

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15

SHKANDRIJ, MYROSLAV. "REINTERPRETING MALEVICH: BIOGRAPHY, AUTOBIOGRAPHY, ART." Canadian-American Slavic Studies 36, no. 4 (2002): 405–20. http://dx.doi.org/10.1163/221023902x00036.

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16

Moggridge, D. E. "Biography and Autobiography: Harry Johnson." History of Political Economy 39, Suppl 1 (January 1, 2007): 315–41. http://dx.doi.org/10.1215/00182702-2006-050.

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17

Olden-Jørgensen, Sebastian. "Kongedatteren og hendes ghost writer." Danske Studier, no. 2022 (October 9, 2023): 27–50. http://dx.doi.org/10.7146/danskestudier.vi2022.141206.

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On the first of May 1673 Leonora Christina (1621-98), daughter of King Christian IV and his morganatic second wife Kirsten Munk, finished her so called French autobiography (preserved in her own hand in The Royal Library in Copenhagen and issued in a new critical edition in 2021). The text is addressed to some »Monsieur« and gives a charming and rather smug account of her turbulent life as viewed from the prison cell in Copenhagen where she had been locked up since 1663. Traditionally the anonymous addressee has been identified as the scholar Otto Sperling the younger (1634-1715) who is supposed to have used the autobiography as the main source for a short Latin biography of her in his De foeminis eruditis, an unfinished collection of 1.399 learned women of all nations and ages preserved in the manuscript collection of The Royal Library in Copenhagen. A systematic comparison between Sperling's Latin biography of Leonora Christina (soon to be published in Fund og Forskning i Det Kongelige Biblioteks Samlinger) and the French autobiography demonstrates conclusively that Sperling's text is not based on hers, and it is therefore highly improbable that he is the »Monsieur« for whom she wrote her life's story. The real addressee possibly is Admiral Henrik Bjelke (1615-83) who fits the bits of information on »Monsieur« that can be gathered from the French autobiography and other sources. This new understanding of the text's genesis not only changes the identity of the original addressee and offers a better explanation of several details such as the autobiography's unmitigated aristocratic bias. It also means that Sperling's Latin biography is not merely an adaption of another known text but an original source based on a series of interviews with Leonora Christina around 1690. This brings his text in much greater proximity to the old lady herself.

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18

Storin, Bradley K. "Autohagiobiography." Studies in Late Antiquity 1, no. 3 (2017): 254–81. http://dx.doi.org/10.1525/sla.2017.1.3.254.

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Over the past fourteen centuries, Gregory of Nazianzus (ca. 330–390 C.E.) has been the subject of more than a dozen biographical narratives and monographs, beginning with the late antique hagiography of Gregory the Presbyter and concluding with the modern biography by John McGuckin. This is likely the result of Gregory's vast autobiographical corpus, which has provided scholars with a chronological narrative and character perspective from which to start their own secondary narratives. By examining this tradition of biography, I argue that two trends remain regularly operative. First, each biographer has consistently endowed his subject with his own values, ideals, and theological commitments. Second, each biography has given pride of place to Gregory's autobiographical voice. To make a precise demonstration of the latter trend, I follow the notorious Maximus affair from its presentation in Gregory's autobiography and in the biographical tradition, showing how Gregory's narrative remains almost entirely intact and unscrutinized. Ultimately I contend that the generic boundaries between autobiography, hagiography, and biography have broken down and suggest that readers subject autobiographical texts, along with their content, structure, style, and narrative, to rhetorical analysis rather than treat them as texts that reveal, with varying degrees of transparency, the authentic personality of their author.

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Darevsky, I. S. "My biography (herpetology and life)." Proceedings of the Zoological Institute RAS 318, no. 4 (December 25, 2014): 292–325. http://dx.doi.org/10.31610/trudyzin/2014.318.4.292.

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20

Roche, Michael. "New Zealand geography, biography and autobiography." New Zealand Geographer 67, no. 2 (August 2011): 73–78. http://dx.doi.org/10.1111/j.1745-7939.2011.01200.x.

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21

Banner, Lois W. "Biography and Autobiography: Intermixing the Genres." a/b: Auto/Biography Studies 8, no. 2 (January 1993): 159–78. http://dx.doi.org/10.1080/08989575.1993.10846717.

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22

Alderman, K. "Settling Old Scores: Biography and Autobiography." Parliamentary Affairs 54, no. 3 (July 1, 2001): 537–42. http://dx.doi.org/10.1093/parlij/54.3.537.

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HAYAKAWA, NORIYO. "Biography, Autobiography and Gender in Japan." Gender & History 2, no. 1 (March 1990): 79–82. http://dx.doi.org/10.1111/j.1468-0424.1990.tb00081.x.

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24

Royle, Nicholas. "Commemoration and Autobiography: In Memory of Laura Marcus." Oxford Literary Review 44, no. 1 (July 2022): 42–63. http://dx.doi.org/10.3366/olr.2022.0375.

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This piece seeks to explore notions of commemoration and autobiography with particular reference to the life and work of Laura Marcus. Special attention is given to her Auto/Biographical Discourses, Virginia Woolf and Autobiography, as well as Paul de Man’s essay ‘Autobiography as De-Facement’, the work of Jacques Derrida (in Mémoires: For Paul de Man and elsewhere), and Woolf’s ‘biography’, Orlando (1927).

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25

Greene, Jody. "Francis Kirkman's Counterfeit Authority: Autobiography, Subjectivity, Print." PMLA/Publications of the Modern Language Association of America 121, no. 1 (January 2006): 17–32. http://dx.doi.org/10.1632/003081206x96096.

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This essay explores the relation between print culture and literary authority in seventeenth-century England, through the career of the rogue author, translator, and autobiographer Francis Kirkman. Barred from traditional forms of authority by his middle-class birth and rudimentary education, Kirkman claimed new forms of self-authorization promised by the press. In his autobiography, The Unlucky Citizen, as well as in his biography of the impersonator Mary Carleton, the self-styled “German Princess,” Kirkman developed strategies of counterfeiting authority to compensate for the traditional entitlements he, like Carleton, lacked. These strategies involved harnessing the press to circulate authoritative versions of his authorial persona that were intended to substitute for his unauthorized status. Kirkman's ultimate failure to “gain some Reputation by being in Print” is instructive for scholars interested in the history of autobiography and in the changing conditions of authorship in the first era of print culture. (JG)

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Karpinski, Eva C. "Hélène Cixous’s „The Exile of James Joyce”: A Biographical Limit Case." Anglica Wratislaviensia 55 (October 18, 2017): 35–45. http://dx.doi.org/10.19195/0301-7966.55.3.

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This article examines Hélène Cixous’s biographical monograph The Exile of James Joyce as a limit case of biographical praxis. Joyce’s biography is read in the context of Cixous’s own evolving personal motif of exile, revealing her autobiographical investment in becoming a writer through reading Joyce. She pushes the boundaries of the biographical genre at the intersections of autobiography, literary criticism, and biography, defying simple generic classifications and exposing the limits of conventional demarcations between the artist, the work, the biographer, and the critic. As a result, the text becomes a creative-interpretive hybrid project, where the biographical code has been displaced by focus on epistemological, psychological, and textual problems implicit in the relationship between the biographer and the biographical subject. Her approach invites us to consider the following questions: How does she rewrite Joyce through her own multiple experiences of exile that she also shares with Jacques Derrida? What difference does gender make in the construction of the biographical subject as the great modernist “genius”? How does gender marginalization impact her authority as a biographer? The discussion is also framed through some larger questions concerning the aesthetic, epistemological, ethical, and political role of biography in approaching modernist literature and culture: Is biography an art or a craft? What kind of knowledge does biography generate? How far is biography a form of discursive violence and voyeurism? How can attention to affect and intimacy offer new insights into the aesthetics of the biographical genre?

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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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Hlavatska, Yu. "AN AUTOBIOGRAPHICAL TEXT: THE SHIFTING OF THE LINGUISTIC FORM (CASE STUDY OF ITS TYPOLOGY AND STYLISTIC FEATURES)." Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no. 3(98) (December 23, 2022): 79–89. http://dx.doi.org/10.35433/philology.3(98).2022.79-89.

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The article provides an analysis of modern theoretical and methodological studies focused on the study of autobiographical texts within their typological and stylistic characteristics. It has been specified that the theoretical understanding of autobiographical texts closely correlates with the concepts of anthropocentrism and the autobiographical discourse. The purpose of our paper is to outline the main vectors of theoretical studies of the autobiography and the biography as texts of the autobiographical discourse. It is believed that the processed data have a fruitful basis for further research of the literary biography. It is noted that the linguistic form of the autobiography has undergone changes due to the skillful description of a person’s life as an amazing story via which one can outline his/her image. The attention has been focused on various scientific approaches to the study of an autobiographical text in modern linguistics. Different classification criteria as well as linguistic and stylistic properties of the autobiography and the biography have been established, such as: retrospectivity, chronology, identity of the author, narrator and protagonist, memory, openness, ratio of the past and the present, a pronounced personal element, ratio of subjective and objective principles. The article claims that the text of the artistic biography differs from the text of the literary biography. The latter is characterized by a gradual and slow depiction of data from the real life of a specific figure, an arbitrary way of presenting the material, a combination of elements of two styles (artistic and official), awareness of the picture of the past life of the object of the literary biography. Among the stylistic peculiarities of such texts the article distinguished emotional and expressive vocabulary, complex sentences, the author’s digressions that reflect his personal positions and "destroy" the ambiguity, one-planning and simplification of the biographical text.

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Nourkova, Veronika, Daniel M. Bernstein, and Elizabeth F. Loftus. "Biography Becomes Autobiography: Distorting the Subjective past." American Journal of Psychology 117, no. 1 (2004): 65. http://dx.doi.org/10.2307/1423596.

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30

Grima, Benedicte. "The Pukhtun "Tapos": From Biography to Autobiography." Asian Folklore Studies 44, no. 2 (1985): 241. http://dx.doi.org/10.2307/1178510.

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31

Campbell, Ian W. "Writing Imperial Lives: Biography, Autobiography, and Microhistory." Kritika: Explorations in Russian and Eurasian History 18, no. 1 (2017): 151–64. http://dx.doi.org/10.1353/kri.2017.0007.

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32

Magarey, Susan, and Kerrie Round. "From autobiography to biography: Roma the First." Australian Feminist Studies 19, no. 43 (March 2004): 87–101. http://dx.doi.org/10.1080/0816464042000197459.

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Pesemen, Ros. "Autobiography, biography and Ford Madox Ford's women." Women's History Review 8, no. 4 (December 1999): 655–70. http://dx.doi.org/10.1080/09612029900200226.

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Clark, Matthew. "Book Review of Biography of a Yogi (Foxen, 2017)." Journal of Yoga Studies 3 (2020): 93–96. http://dx.doi.org/10.34000/joys.2020.v3.005.

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Biography of a Yogi: Paramahansa Yogananda and the Origins of Modern Yoga. Anya P. Foxen. New York: Oxford University Press, 2017. 238 pages. First published in 1946, Autobiography of a Yogi by Paramahansa Yogananda has to date sold over four million copies. It is by far Yogananda’s most popular book and has been translated into thirty-three languages. Aside from South Asian religio-philosophical texts, Autobiography of a Yogi is perhaps the most widely read publication on the life of a yogi of all time.

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Mutran, Munira H. "Newman by Himself; New Man, by O’Faolain." ABEI Journal 2, no. 1 (June 1, 2000): 99–106. http://dx.doi.org/10.11606/issn.2595-8127.v2i1p99-106.

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John Henry Newman's Apologia Pro Vita Sua (1865) shows the divided self and the search for a spiritual identity. Sean O'Faolain's biography Newman's Way (1952) presents a new man in a larger social context. Self portrait and portrait prove quite different and the examination of the two texts tells much about the frontiers between autobiography and biography.

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Avanesov, S. S. "Child in Time. Autobiographic Battles of Vladimir Nabokov." Critique and Semiotics 38, no. 2 (2020): 337–63. http://dx.doi.org/10.25205/2307-1737-2020-2-337-363.

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This article is devoted to the analysis of autobiography as a form of anthropological practice of yourself. The autobiography of Vladimir Nabokov’s “Other Shores” has been investigated from this perspective in connection with his other works. The philosophical side of Nabokov’s memoirs is considered here. This made it possible to formulate the main problems of the writer’s autobiographical work: the ratio of memory and imagination when plotting, the difference between fact and event in the structure of memory, the degree of individual freedom from coercion of objective historical circumstances, the possibility of discerning the meaning of one’s own biography long before the end of physical life. As a result of the study, Nabokov’s autobiography is characterized as a struggle against time for personal immortality. In this struggle, the writer is not so much expressing as creating yourself. He takes an active position in the act of remembrance, directing memory into the mainstream of the search for the meaning of his past, starting from early childhood. A person who remembers himself gets the opportunity to break out of the linear course of time, to distinguish repetitions in the past and read them as signs of his biography. Finally, reconfiguring biographic optics allows the author to come to a point of view from which he, through ordinary objects, begins to see not only the past and the future in their mutual transition, but also eternity. Thus, the writer avoids the main threat hanging over the mortal creature – the prospect of its annihilation.

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Swidler, Ann. "Life's Work: History, Biography, and Ideas." Annual Review of Sociology 49, no. 1 (July 31, 2023): 21–37. http://dx.doi.org/10.1146/annurev-soc-031021-040416.

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Part personal autobiography, part intellectual history, this article offers lessons from a long career, reflections on my sociological contributions, and an account of how major social changes shaped my trajectory and made me the sociologist I am. I also offer an assessment of some of my central ideas and some new suggestions about how to understand culture.

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Chesnokova, Nadezhda. "Materials for the biography of metropolitan Parthenius of Laodicea (? — 1704)." St. Tikhons' University Review 113 (August 31, 2023): 9–26. http://dx.doi.org/10.15382/sturii2023113.9-26.

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Parthenius, Metropolitan of Laodicea, more often called Parthenius Neboza in Russian historiography, is known as the author of one of the translations into Russian of the post-Byzantine Prediction about Constantinople, as well as a panegyric in honour of the capture of Azov by the troops of Tsar Peter I and his own autobiography in Russian. The texts of Parthenius have long been familiar to researchers. It is generally accepted that Parthenius was a Russian or a native of Ukraine, a traveler in the Orthodox East. During his travels, he helped the Russians taken prisoner, ransomed them to freedom, and performed worship in the Slavic language. Other evidence about the metropolitan, except for what he told about himself, is practically non-existent in scholarly literature. Based on archival documents, the author of this article demonstrates that Parthenius was a Greek by birth, the evidence of the metropolitan’s autobiography is correct, while his consecration to Russian metropolitan sees as well as the origin of the Russian texts of Parthenius require further study. The appendix publishes the autobiography of the Metropolitan.

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Tarascio, Vincent J. "An Intellectual Autobiography." Journal of the History of Economic Thought 21, no. 1 (March 1999): 53–63. http://dx.doi.org/10.1017/s1053837200002844.

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Although this essay is essentially an intellectual biography, personal experiences have influenced my career as an economist and historian of economic thought. For this reason, I shall devote some space to these experiences before turning to the main topic.My parents migrated from Sicily to the United States prior to the First World War; met and then married in this country and eventually settled in Hartford, Connecticut. I was conceived in 1929, the year of the Great Crash and born the following year at the onset of the Great Depression. However, for my family our economic depression had begun in 1929, when my father was seriously injured at a construction site and spent the next 8 months hospitalized, leaving my mother, who was pregnant with me, and my two siblings, without any means of support.

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Schutte, Gerrit. "Kanttekeningen bij het Merkwaardig Verhaal van M.C. Vos." STJ | Stellenbosch Theological Journal 6, no. 2 (January 22, 2021): 363–76. http://dx.doi.org/10.17570/stj.2020.v6n2.a16.

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The Rev M.C. Vos (1759-1825), born at the Cape, clergyman in The Netherlands, at the Cape and Sri Lanka, is known as an initiator of the mission in South Africa. His life is mostly based on his autobiography Merkwaardig verhaal (1824). Some factual historical remarks learn, however, that his autobiography is far from a virtual (auto)biography, it is his story of God’s guidance in his life and an incentive to a religious revival.

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Moshonkina, Elena N. "Dante Alighieri’s Vita Nova: between Biography and Autobiography." Studia Litterarum 5, no. 1 (2020): 42–65. http://dx.doi.org/10.22455/2500-4247-2020-5-1-42-65.

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Eakin, Paul John. "Henry James's "Obscure Hurt": Can Autobiography Serve Biography?" New Literary History 19, no. 3 (1988): 675. http://dx.doi.org/10.2307/469095.

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Topan, Farouk. "Biography Writing in Swahili." History in Africa 24 (January 1997): 299–307. http://dx.doi.org/10.2307/3172032.

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Any meaningful assessment of biography and autobiography writing among the Swahili as a historical source needs to take at least three factors into consideration. The first is the influence of Arab literary traditions on the emergence of the genre on the East African coast; the second is the relationship between literacy and orality, and its implication for writing and narration in an African context. The role of colonialism, and the introduction of the Western “mode” of biography and autobiography writing, forms the third factor. The aim of the paper is to survey these factors, not chronologically, but as part of a general discussion on the notion and status of the genre in the Swahili context.Swahili interface with Arabic as an essential ingredient of Islamic practice laid the foundation for the development of literate genres on the East African coast, among them the biographical and the historical. In the process, Swahili adopted styles of narrative expression which are reflected in the terms employed for them. The most common are habari (from the Arabic khabar) and wasifu (from wasf). In its original usage, khabar denoted a description of an event or events that were connected in a single narrative by means of a phrase such as “in that year.” It lacked a genealogy of narrators, and the form was stylistically flexible to include verses of poetry relevant to the events. In Swahili the current meaning of the word habari is “information” and “news” (and, hence, also a greeting) but, as a historical genre, it has been used in two ways. The first is in relation to the history of the city-states recounted through documents whose titles include the word, khabari/habari, (or the plural, akhbar in Arabic), usually translated as “chronicle(s).”

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Khan, Muhammad Sajid. "The Sketches of 20th Century biographers in Urdu literature." Pakistan Journal of Applied Social Sciences 10, no. 1 (September 8, 2019): 47–63. http://dx.doi.org/10.46568/pjass.v10i1.110.

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Biographies and Pen-Sketches are two separate branches and lots of these two are available in Urdu Literature as well as writings about these two categories but this article is an effort to find sketches of personalities related to the authors of biographies without whom the author's personality cant be revealed fully. These people may be the author's relatives, friends, peers, observers and other persons who has been with him/her at various stages of author's life. Amongst them may be their parents, children, spouse and other relatives as well as other in the same profession. A good biographer takes are of all the aspects, requirements and dimensions from start to end of an autobiography. A person is central to an autobiography can't be highlighted completely unless different aspects of his/her life are described with reference to other related people. This article focuses on the personalities around the central-to-a-biograpgy person and describes them in the light of various biographies in which he/she is talked about. To support this argument, examples are also taken from the biographies written after the selected biography so that it can be proved that biographers can also tell the importance of presented sketches of other personalities. Although these sketches are not written with any such plan, as compared to formal pen sketches, even then these can be considered important and complete to some extent and are comparable to pen sketches.

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ABDULHAMID Ali ABDULHAMID, EL zarug, and Hussien Mohamed Abdalla EHMAIDA. "THE BIOGRAPHY BETWEEN TEXTUALITY AND COMMITMENT." International Journal Of Education And Language Studies 04, no. 02 (June 1, 2023): 131–40. http://dx.doi.org/10.47832/2791-9323.2-4.9.

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When the reader wants to classify what reads, several questions arise in the mind in terms of looking at the autobiography as a history or a literary text. And Whether it is a history or a literary text, or both, does it has to be committed to honesty, and its constraints in terms of ethics and religion? These questions create a hypothesis: is the biography has to include all the qualifications that eligible it to be a literary and historical text, and the reader might search in it for what could be searched in literary texts such as language use, imagination, and other rhetorical procedures. However; at the same time, the autobiography might contain ideologies and ideas that are completely different from what literary readers are looking for. Moreover, there is another valuable question created by the research hypothesis which is; how can the author declare everything he lived? especially the author is not ideal, and everything he lived was not as well. And, like all people, his life will not be at the same pace, in which there are contradictions like happiness and suffering, good and evil. The research problem and hypothesis will be investigated by answering the above questions. And the descriptive analytical approach will be used because it is more appropriate for this research

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Konrád, György. "Truth in Autobiography." Common Knowledge 28, no. 2 (May 1, 2022): 216–23. http://dx.doi.org/10.1215/0961754x-9809179.

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Abstract Originally published in Common Knowledge 11, no. 2 (Fall 2005), this essay is reprinted in 2022 as the prelude to the first installment of a project titled “Antipolitics” and dedicated to the author's memory. “To really know” what a writer “is like,” Konrád writes here, “he would have to look back on his biography from after death” — and in this piece he hauntingly does so. Explaining that he composed his first autobiography upon being expelled from university in Hungary after Stalin's death in 1953, he defines the process as “the main event in the ritual of political detention.” In an overview of the writer's life, he describes any act of writing as like scratching one's initials “into the brick of a prison wall” in an effort “to avoid dying completely.” The editors of Common Knowledge, of whose editorial board Konrád was a founding member, chose to reprint this statement at the head of a symposium whose purpose is, in no small part, to help secure his posthumous existence.

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Banki, Luisa. "Leben schreiben. Auto/biographische Familienerzählungen in der deutschsprachigen jüdischen Gegenwartsliteratur." Aschkenas 33, no. 2 (November 28, 2023): 329–40. http://dx.doi.org/10.1515/asch-2023-2017.

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Abstract Within German Jewish contemporary literature’s engagement with the Shoah and Second World War, a new approach has gained traction: auto/biography. This article examines characteristics of recent German Jewish auto/biographical family narratives and discusses newer genre poetics of auto/biography. If every biography is also autobiography, these contemporary auto/biographical family narratives showcase the other side of that poetological coin: preoccupied with self-definition and self-assurance, these first-person narrators seek to position themselves in the generational chain of their families through a reconstruction of their family histories. By way of example, the article offers a reading of Marina Frenk’s auto-fictional debut novel »ewig her und gar nicht wahr« (2020) as an innovative, radically fictionalized, and polyphonous family biography.

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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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Metcalf, Barbara D. "Narrating Lives: A Mughal Empress, A French Nabob, A Nationalist Muslim Intellectual." Journal of Asian Studies 54, no. 2 (May 1995): 474–80. http://dx.doi.org/10.2307/2058747.

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With some exaggeration, one could claim that these three biographies, despite their disparate subjects—a seventeenth-century aristocratic lady of the Mughal court, an eighteenth-century French adventurer, and a twentieth-century Muslim intellectual and political figure—all tell the same story. In each case, a figure is born (as it happens, outside the Indian subcontinent) in relatively humble circumstances and emerges as a singular figure in some combination of the political, economic, intellectual life of the day. Each account proceeds chronologically, with the life presented as an unfolding, linear story, the fruit of “developments” and “influences,” in which the protagonist independently takes action. These accounts fit, in short, the genre of biography or autobiography known to us Americans from Benjamin Franklin to Malcolm X, of rags to riches—and, typically, lessons to impart (Ohmann 1970). Each is an example of the canonical form of male biography and autobiography that emerged in Europe from the eighteenth century.

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Dolgova, Evgeniya A. "Autobiography of Yuri Knorozov: Evolution of the Document in the Researcher’s Personal File." Herald of an archivist, no. 3 (2022): 796–809. http://dx.doi.org/10.28995/2073-0101-2022-3-796-809.

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The publication characterizes autobiographies of the historian, ethnographer, linguist, “father” of the Russian school of Mayanism Yuri Valentinovich Knorozov (1922–99), that have been identified in the fonds of various institutions and departments: (State Archive of the Russian Federation (GARF), Scientific Archive of the Russian Ethnographic Museum (REM), Scientific Archive of the Museum of Anthropology and Ethnography of the Russian Academy of Sciences (MAE RAN). Autobiography is a “free” author's presentation (with fixed semantic accents, sometimes duplicating the data of personnel sheet) and a mandatory formal element of Soviet personnel management. The text of the autobiography was influenced by the document’s purpose: individual facts unfit for socially and ideologically correct biography were “hushed up” or otherwise carefully explained by the author. Drawing on Yu. V. Knorozov’s autobiographies written in different years and for different reasons (admission to graduate school, employment, dissertation defense, promotion to honorary titles), the article assesses how explanatory statements were changing textually. “Corrections” are considered using the example of specific facts: during the Great Patriotic War (from 1941 to February 1943), Yuri Knorozov, a student of the Kharkiv Pedagogical University, unfit for military service for health reasons, was in the territory occupied by the enemy. The article is accompanied by the publication of a detailed autobiography of Yuri Knorozov (1981) compiled on the occasion of his nomination as corresponding member of the Soviet Academy of Sciences in “General history” (ethnography). The autobiography text contains information on most important facts of Yuri Knorozov’s scientific biography, including his expeditions (field research), reports at foreign scientific events and participation in international scientific associations. The author concludes that it is more important to analyze not the content of the autobiography, but the socio-political circumstances and practices that determined its semantic framework.

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