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Journal articles on the topic 'Biography as literary form'
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Holden, Philip. "Literary Biography as a Critical Form." Biography 37, no. 4 (2014): 917–34. http://dx.doi.org/10.1353/bio.2014.0052.
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Khan, Muhammad sajid. "Biography: Anees by Nayyar Masood (An Overview of his Sketch writing)." Pakistan Journal of Applied Social Sciences 5, no. 1 (2017): 35–42. http://dx.doi.org/10.46568/pjass.v5i1.473.
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The article aims at exploring and analyzing the sketch-writing in Anees, a biography written by Nayyar Masood. The sketches usually appeared in a biography is little different from a sketch developed as a genre in Urdu literature. The reason to see such sketches is to know how importance given by the biographer to those influencing the life and time of the hero of the biography. A successful biography is what in which the time and life of the hero appeared vividly as it leads readers to understand the era, literary culture of the time, political atmosphere and various linguistic trends. It happens when a biographer focuses the hero and his or her contemporaries. The way contemporaries are focused in a biography it forms a genre in literature. The article gives instances from Anees to suppert his view and paving the way for a new genre in literature. This article also discusses some of the factors relevant to form a genre.
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Willumsen, Liv Helene. "Om Regine Normanns biografi med påfølgende debatt - slik biografen ser det." Nordlit 2, no. 1 (1998): 337. http://dx.doi.org/10.7557/13.2210.
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This essay is written as part of a debate related to the biography as genre, following the publishing of my biography Havmannens datter. Regine Normann - et livsløp [The merman's daughter. Regine Normann - a life story] (1997). On one hand the essay contains arguments related to this specific biography. On the other hand, it contains general points of view related to biography as genre. The author defines biography as a written life-story about a person different from the biographer himself or herself. A biography is a work according to historical methods, as it is based on historical sources and has an explicit claim to documentation inherent. In the specific biography on Regine Normann, which is styled as a story, strict demands to historical references are practiced. Still the biography in its final form is dependant upon interpretation of the sources. As more general points on biography as genre the essay argues that competence within documentation is of uttermost importance for the work, as reliable historical sources are the fundament of any valid biography. The work of reference is emphasized, as the reader should have the possibility to control the factual information given. There is a demand that correct and accurate when referring to sources, and not inventing or adding information which can not be documented.It is further argued for a division line between biography writing and literary analysis, in cases wherein the biography is written on an author. For that reason, literary analysis of fictional works does not have any place in a biography, but should be published as literary research. The interpretative function of the biographer is underlined, even in a text based on historical information. In a text formed along narrative lines, as is the case with Regine Normann's life story, the narrator has the authority and power to interpret documents and formulate the text in his own manner and according to his interpretation. N.B: This article was originaly printed among the reviews of Nordlit nr. 3 and can also be found there, in its chronological place. It has been elevated by request of the author.
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Smith, Beverley J. "The Biography of Gruffudd AP Cynan: Literary Form and Historical Interpretation." Welsh History Review / Cylchgrawn Hanes Cymru 29, no. 3 (2019): 337–76. http://dx.doi.org/10.16922/whr.29.3.1.
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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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Taylor-Terlecka, Nina. "Biografia – ale jaka?" Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 48, no. 3 (2020): 23–38. http://dx.doi.org/10.36770/bp.516.
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The author discusses the problem of biography as a literary genre, as well as biographics as a form of (popular-)scientific writing. Among the analysed examples there are texts of: J. Le Goff, J. M. Rymkiewicz,J. Barker, A. Buisine, G.D. Painter and others. In conclusions the author suggests that the biography will remain selection-editorial-reduction, a form of simplification or pigeonholing. Hence, it is impossible to avoid the dilemma of whether it is to be a scientific, literary or popular work, whether to prefer the spirit or the letter of fact.
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Thompson, Mary Shine. "Literary life‐chronology: an alternative form of biography. The case of Austin Clarke." Irish Studies Review 6, no. 3 (1998): 253–62. http://dx.doi.org/10.1080/09670889808455610.
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Foulcher, Keith. "Biography, history and the Indonesian novel : Reading Salah Asuhan." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 161, no. 2 (2009): 247–68. http://dx.doi.org/10.1163/22134379-90003709.
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The novel Salah Asuhan (Wrong Upbringing), written by the Indonesian nationalist politician and journalist Abdoel Moeis, has long held an honoured place in the modern Indonesian literary canon. It was originally published in 1928 by Balai Poestaka, the Netherlands Indies government printing house, and by 1995 it had been reprinted twenty-three times. In summary form, it has been studied by generations of Indonesian schoolchildren, and in 1972 it was adapted by Asrul Sani as a successful feature film. Critics and historians of modern Indonesian literature have always regarded Salah Asuhan as a literary milestone. It is admired for the maturity of its author’s literary imagination, as well as the modernity of its language and style. In linguistic terms, it is seen as one of the pioneering literary expressions of the language which was designated as Bahasa Indonesia in the very year of the novel’s publication. It exercises an additional fascination for literary critics and historians because of the circumstances of its publication. The form in which it was originally written is now unknown, for the novel was only published after a lengthy delay and a series of revisions which the author made to the text after seeing his manuscript languish for more than a year under the scrutiny of Balai Poestaka’s editors. As a result, the original conception of Salah Asuhan remains a mystery. Indeed, it is one of the greatest puzzles in a literary history that is so full of documentary lacunae that its serious study remains a source of ongoing challenge and frustration.
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Groń, Ryszard. "Biograf Aelreda z Rievaulx i jego źródła." Vox Patrum 64 (December 15, 2015): 151–70. http://dx.doi.org/10.31743/vp.3710.
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The article was written to illustrate the difficulties we encounter when attempting to convey the biography of Aelred, a famous 12th century English abbot of Rievaulx. The difficulties are linked with the fact that Aelred lived in medieval times and his biography was written in the form of a hagiography. This style of writing was very popular in the middle ages and usually served to emphasize the holiness of a person’s life, i.e. to demonstrate an exemplary life of Christian virtues rather than as an attempt to concentrate on biographical details. The latter rather served as points of reference to the person in question and were expressed in hagiographic style, i.e. with focus on models of behavior, achievements and miracles that fit the style, based on examples taken from the Bible and the lives of other popular saints. Written in monastic circles, such works took on the form of biographies of saints and were often written to satisfy a specific cause (T.J. Heffernan). This is the type of biography we are dealing with here. When attempting to convey Aelred’s biography in the contemporary meaning of the term, we must first sift through its hagiographic form and supplement information contained therein with other historical and literary sources. In our case, the attempt was carried out in six points, with focus on: the primary source of Aelred of Rievaulx’s biography, Vita Aelredi (1); its author, Walter Daniel (2); the reasons why this work was written (3); its hagiographic form (4); the work’s internal sources, i.e. sources linked with the author’s own circles (5); as well as outside historical and literary sources of information concerning Aelred (6).
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Parry, R. Gwynedd. "Is legal biography really legal scholarship?" Legal Studies 30, no. 2 (2010): 208–29. http://dx.doi.org/10.1111/j.1748-121x.2009.00149.x.
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This paper examines the recent resurgence of interest in the legal biography among legal scholars. It argues that the legal biography has traditionally been treated with suspicion within the English law school due to ideological and methodological concerns about the intellectual validity and robustness of the form, and because of reservations about its true disciplinary province. Through a literary survey of legal biography, it claims a tension between intellectual and empirical approaches that parody the tension between the internal and external traditions in legal history. More recent biographies, however, have succeeded in bridging these divides and in demonstrating the potential value of legal biography in deepening our understanding of the human context of legal phenomena.
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Wilson, Rob. "Producing American Selves: The Form of American Biography." boundary 2 18, no. 2 (1991): 104. http://dx.doi.org/10.2307/303281.
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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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Bannet, Eve Tavor. "“Modern Biography”: Form, Function, and Celebrity in Eighteenth-Century Genre Theory." Eighteenth-Century Life 45, no. 2 (2021): 24–55. http://dx.doi.org/10.1215/00982601-8902653.
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This essay outlines the comprehensive theory of “modern” eighteenth-century biography that was articulated throughout the century in the often lengthy prefaces to collections of lives, disseminated in periodical essays, and applied in reviews to stand-alone lives. This theory addressed the proper selection, presentation, and treatment of both individual and collected “lives.” It gave biography national, historical, commercial, and educational functions; detailed the components of its life-historical narrative and of its critical portions; set standards for what constituted “a fair and full account” of a character, life, and works; and contained in embryo virtually all aspects of biography that would later be singled out as the primary or most valued characteristic of biographical writing. This essay describes the ways biographers and theorists confronted and resolved two ubiquitous difficulties arising from their consensus that “fame or celebrity among us in their generation” was “the grand principle” on which biography was founded: first, how to “do justice” to a person on the basis of sources and testimonials that reflected the partisanship of a country “rent by faction” since the Reformation; and second, how to represent people who had been celebrated in their own time, but not in the biographer's later generation.
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Kondrup, Johnny. "Den Postmoderne Biografi." Folia Scandinavica Posnaniensia 14, no. 1 (2012): 34–44. http://dx.doi.org/10.2478/v10252-012-0004-4.
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ABSTRACT This article concerns the return of the literary biography in the humanistic fields, especially in Danish literary research, since 1980. During the New Criticism in the 1960s biography was regarded as a superfluous genre, and during the neoMarxism of the 1970s as a naive genre. But around 1980 it returned in the form of a number of new scholarly works especially in the fields of literature and history. This article points to two elements in the postmodern Zeitgeist which might have played a role in promoting the return of biography: first, the collapse of the grand systems of interpretation, and second a change in the ideal of scholarship in the direction of constructivism. Then the article investigates how ‘the new biography’ is distinguished from the old and outlines three points in particular: 1) a greater understanding of the significance of social structures; 2) an increased focus on contingency, incoherence and indeterminacy in a human life; and 3) a rising interest in the ‘ordinary’ human being. On a fourth point, postmodern biography has not come as far as one might expect. Although it could be more experimental and theoretically self-conscious, in fact it employs surprisingly traditional patterns of narrative, most of which are stamped by the Bildungsroman of the 19th century.
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Israel, Kali. "Changing the Place of Narrative in Biography: From Form to Method." Life Writing 7, no. 1 (2010): 5–15. http://dx.doi.org/10.1080/14484520903342833.
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Shapoval, Mariana. "The intellectual's artistic biography in S. Rosovetskyi's dramatic." Synopsis: Text Context Media 26, no. 1 (2020): 1–10. http://dx.doi.org/10.28925/2311-259x.2020.1.1.
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The global trend of digitalization and publishing of historical sources, in particular fiction and its existence in different eras, makes the reader constantly reconsider the lives and work of persons who are regarded as prototypes of characters in literary works. As a result, an artistic image, linked to real life and rooted in the past, generates a consistent literary story in the form of artistic biography. The number and variety of such literary works, including dramatic ones, is constantly growing, which determines the topicality of this study. Over the recent decades, biographical fiction drastically changed its forms, and was enriched with numerous genre varieties and modifications. And this process remains far from complete. The term ‘meta-genre of artistic biography’ is introduced to designate it. This term emphasizes the scale of a certain phenomenon and allows defining the subject of the study — the artistic biographical description of the intellectual in contemporary Ukrainian drama — as well as clarify the understanding of the concept of the ‘intellectual,’ and problematize ways of describing characters of this type. The purpose of the article is to identify the genre-style unity of Ukraine’s modern drama about intellectuals and prove the expediency of the application to it of interpretive approaches to popular knowledge from related areas (history, philosophy, art). Specifically, such varieties of genres as personal artistic biography and intellectual artistic biography were singled out and proposed for the first time on the literary material (S. Rosovetskyi), and that is the research novelty. The research methodology is defined by an interdisciplinary approach that appeals to the achievements of literary criticism, art criticism, history, and philosophy. Results of the Study are connected with considerations that the interest in the artistic biography of the intellectual is associated with a general trend to anthropologize scientific knowledge, coupled with the growing interest of the audience in the individual and personal in the history and in the present, with the dominance of the emotional component in contemporary media discourses, resulting in the actualization of an emotional narrative of the intellectual’s biography, which often sounds tragic nowadays in the context of the catastrophic past of the Ukrainian science and culture.
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Dawsey, J. "The Literary Unity of Luke-Acts: Questions of Style – a Task for Literary Critics." New Testament Studies 35, no. 1 (1989): 48–66. http://dx.doi.org/10.1017/s0028688500024498.
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Joseph Tyson's The Death of Jesus in Luke-Acts and Robert Tannehill's The Narrative Unity of Luke-Acts, published in 1986, are good examples of the interpretive wealth being mined by scholars who are adopting literary-critical methods for approaching the Lukan writings. What most distinguishes these critics' approaches from older, more familiar ones is the claim that the Bible's historical narratives are imaginative re-enactments of history – thus, in form, more akin to fiction than to theology, biography, or history. Robert Alter called the Biblical stories ‘historicized fiction’, meaning in our case that the author of Luke and Acts employed the artifices of fiction-writing, among others, supplying feeling and motives and creating speeches and dialogue for his characters. Professors Tyson and Tannehill, and other literary scholars like them, are helping us better discern how these techniques were used in Luke and Acts, thus opening new windows to the characters, the way that the author ascribes intentions to them, the plot, themes, nuances, points of view, uses of irony, and word-plays and associations in the writings.
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Kiec, Izolda. "The Schoolgirl trills of Zuzanna Gincburżanka." Tekstualia 2, no. 33 (2013): 101–14. http://dx.doi.org/10.5604/01.3001.0013.6588.
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The article is devoted to the youthful lyrics of Zuzanna Ginczanka (1917–1944), a Polish poet of Jewish descent and a victim of the Holocaust. She was brought up in Rivnne in Volyn, in the atmopshere of social, moral and artistic changes in the 1920 s. The young poet touched upon various aspects of modernity in her earliest literary works written for the secondary-school magazine „Echo School”. Her work is a defense of the youthful lyric as a form adequately expressing emotions and identity. It is also a defense of biography, an important source of literary creation and a context of reading.
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Lawson, Andrew. "William Faulkner: An Economy of Complex Words." Historical Materialism 19, no. 2 (2011): 137–43. http://dx.doi.org/10.1163/156920611x573851.
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AbstractThis review-essay explores the theoretical and methodological innovations of Richard Godden’s William Faulkner, arguing that it makes a signal contribution to historical materialism in literary studies. The article focuses on Godden’s concept of ‘generative structure’, and relates the term to earlier usages by Aglietta and Jameson. After summarising the close readings of Faulkner’s texts performed by Godden, the article suggests an expanded rôle for biography in making the linkages between economy, psyche and text which form the basis of Godden’s analysis.
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Cameron, Rebecca. "Sunny Stalter-Pace. Imitation Artist: Gertrude Hoffmann’s Life in Vaudeville and Dance." Modern Drama 64, no. 3 (2021): 390–92. http://dx.doi.org/10.3138/md.64.3.br8.
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Imitation Artist is a well-researched biography of a path-breaking performer, choreographer, and producer who elevated imitation to an art form. Stalter-Pace draws valuable connections between Hoffman’s career and popular American theatre and dance from the 1890s to the 1930s, with emphasis on the popularization of European modernism for American vaudeville audiences.
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Pugliatti, Paola. "Biography and Shakespeare’s Money." Critical Survey 30, no. 3 (2018): 67–82. http://dx.doi.org/10.3167/cs.2018.300306.
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Robert Bearman’s book Shakespeare’s Money (2016) can be considered the first economic biography of William Shakespeare; but it is also the latest specimen of an innovative trend in Shakespeare biography which has come to the fore over the last ten years or so. While the vein of cradle-to-grave biographies seems to be exhausted, new attention is being devoted to parts of Shakespeare’s life, with an attitude that has been seen as ‘microhistorical’ or ‘disintegrationist’. The article will discuss this new kind of sensitivity to biography in general and Shakespeare biography in particular. It starts out by addressing certain developments in the theory and practice of life writing during the second half of the twentieth century, which are today becoming ever more substantial; it then examines the progress of Shakespeare biographies and, in particular, how the issue of money has been tackled since Nicolas Rowe first dealt with it.
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Arac, Jonathan. "Joseph Frank." boundary 2 47, no. 2 (2020): 5–17. http://dx.doi.org/10.1215/01903659-8193196.
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Joseph Frank (1918–2013) achieved fame as a literary scholar first with his three-part essay “Spatial Form in Modern Literature” (1945) and then with his five-volume critical biography Dostoevsky (1976–2002). This essay traces his career, emphasizing its divergence from the practices both of New Criticism at its start and of the theory movement in the 1970s and 1980s, and noting the crucial role played by Allen Tate and the Sewanee Review. Unfashionable independence, fidelity to personal fascination, and unremitting effort all play a role in scholarly accomplishment.
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Imamuddin, Basuni. "Longing for Freedom in Sayyid Quthb’s Poem Akhi Anta Hurrun Waraa Al-Sudud." Sunan Kalijaga: International Journal of Islamic Civilization 2, no. 2 (2019): 263. http://dx.doi.org/10.14421/skijic.v2i2.1484.
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A literary work is a repress entation of a character who lived in his time. A literary work usually represents the feelings and conditions of the writer at that time. Among the productive writers was Sayyid Quthb who had a balanced and adequate educational background, both in terms of religious and general education. Sayyid Qutb's life journey significantly changed his outlook. One of his experiences made him join a group to defend the rights of oppressed citizens. One form of his contribution to this cause was writing the poem "Akhi Anta Hurrun Waraa Al-Sudud" to commemorate the events at that time. This article discusses the biography, education, works, and an analysis of sixteen lines from Sayyid Quthb's poem "Akhi Anta Hurrun Waraa Al-Sudud".
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Denisova, E. A. "TO THE QUESTION OF LANGUAGE INTERFERENCE IN THE ANGLOPHONE LITERARY TEXT." Bulletin of Udmurt University. Series History and Philology 30, no. 2 (2020): 251–57. http://dx.doi.org/10.35634/2412-9534-2020-30-2-251-257.
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The study of bilingualism problems (code switching, language interference, foreign language insertions) is traditionally considered as a single interdisciplinary interaction: cognitive science, pragmatics, psycholinguistics, etc. and serves as a necessary basis for solving problems in the second language acquisition. Translation problems, language specificity of literary text also make up a single interface. The article considers the interrelation of the phenomena "author's bilingualism" and "language interference" on the material of the English-language literary text. The author of the analyzed work uses foreign language insertions to perform certain functions in the creation of multilingual speech situations, the transfer of national color, to create a certain atmosphere in the text, as an emphatic means, and also to indicate a variable form of discourse. Individual author's bilingualism is considered as a kind of bilingualism from the point of view of the literary text, as well as from the standpoint of the literary context of the bilingual personality of the writer. In this particular case, the biography and oeuvre of D. Fowles represent his bilingualism and language interference.
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Ayupova, Kamilya F., Maria A. Kozyreva, and Tatyana I. Akimova. "The Artist and His Oeuvre in G. K. Chesterton’s Biography: G. F. Watts." Journal of History Culture and Art Research 6, no. 5 (2017): 310. http://dx.doi.org/10.7596/taksad.v6i5.1259.
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<p>The article offers a close analysis G. K. Chesterton’s largely overlooked biographical essay <em>G. F. Watts </em>(1904). The authors study the genre specifics of the biography of an artist, as well as the problems of biographical theory. In <em>G. F. Watts</em>, which the authors define as the literary portrait of the artist, Chesterton traces his subject’s personality through his art. He views Watts’ creativity through his Victorianism. Analyzing the artist’s oeuvre Chesterton also reveals his own artistic methods, which he would later use in his novels. Being the critic’s early work, the book allows a closer view of the shaping of his philosophical ideas and artistic principles, which would take form in his later writings. The authors come to the conclusion that, for all its undeniable merits, the biography in a whole is rather subjective, and hence, its value lies in Chesterton’s general insights on fine art. </p>
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Meylaerts, Reine. "Habitus and self-image of native literary author-translators in diglossic societies." Translation and Interpreting Studies 5, no. 1 (2010): 1–19. http://dx.doi.org/10.1075/tis.5.1.01mey.
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Since in many cases past and present the professional translation field is not — or is only weakly — differentiated, the transposability of dispositions acquired through experiences related both to other fields and to translators’ larger life conditions and social trajectory may play a fundamental role in a translator’s habitus. Research on translators’ socio-biographies therefore deserves special attention. For native literary author-translators who live and work in a diglossic society characterized by socio-linguistic conflicts between the translators’ working languages, the plural and dynamic internalization of this conflict and of broader linguistic and cultural hierarchies is likely to form one of the constitutive aspects of their habitus and self-image, of their literary and translational behavior. In the first part of this article, I propose a tentative typology of Belgian native author-translators’ habitus and self-image according to potentially different internalizations of the Belgian linguistic conflict in their broader socialization process. In the second part, I present relevant aspects of the socio-biography of Camille Melloy, a native literary author-translator who translated between conflicting cultures in early twentieth century Belgium.
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Egan, Gabriel. "Shakespeare and Marx, the writer and the society.Translated by E. Koltaevskaya." Voprosy literatury, no. 6 (December 20, 2019): 176–95. http://dx.doi.org/10.31425/0042-8795-2019-6-176-195.
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The work touches on the popular concept of the relationship between society and the writing process, suggesting the relevance of certain ideas stemming from Karl Marx for the study of the Shakespearean legacy. Marx’s idea that creative potential shines at its best in society, and that personal freedom emerges through interconnectedness of individuals, rings new and up to date in the modern world and for Shakespearean studies in particular. Through examples taken from Shakespeare’s plays and examination of professional organization of literary research in the form of academic journals and international associations, this paper argues that the Marxist image of society helps to consider literary creativity from a new viewpoint. Invoking the latest discoveries in the feld of Shakespeare biography and professional practices, especially his extensive collaboration with other playwrights, the article demonstrates how ideas of the two great thinkers and writers, Shakespeare and Marx, interact in the sphere of the best contemporary literary-critical practices.
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Altunbay, Müzeyyen. "Using Literature in Bibliotheraphy: Biography Sampling." Journal of Education and Training Studies 6, no. 11 (2018): 201. http://dx.doi.org/10.11114/jets.v6i11.3593.
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Bibliotherapy is consisted of a combination of the Greek “biblion (book)” and “therapeia (therapy-healing)” which have become popular since the 20th century as one of the alternative therapy methods. It is used to make individuals identify themselves with the works they read through works of high literary and aesthetic value and make them powerful individuals in the spiritual direction by producing solutions to the problems they experience in this way. In other words, bibliotherapy can also be defined as bringing the right books to the individual at the right time. That is, the history of accepting the idea that books are good for man is very old. In this study, the importance of using biographies will be explained in one of the important alternative therapy methods, bibliotherapy. There are some criteria in the selection of books because they are the most important materials that form the basis of bibliotherapy. As it is known, the process is three dimensions as the advisee, book preference and consultant. However, it is not possible to use every work in bibliotherapy. It is important to use the works that are high in reality dimension and keeping a mirror on the problems of the individual in bibliotherapy. This process includes the works that will develop the imaginary world of the individual, as well as the works suitable for real life. As is known, the common point in biographies is not only the success that the person who wrote the biography has achieved, but also this person's struggle for reaching his goal is his patience and perseverance. As a result, in the process of bibliotherapy, reading the biographies that will increase the morale and motivation of the individual and develop self-confidence will contribute positively to the person. Moreover, the preference of the biographies of the positive role-model in the society will be the example for the individual.
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Khasanah, Shokhikhatul. "AN ANALYSIS OF ROMANTIC ASPECT AS PORTRAYED IN ‘THE REVOLT IN PARADISE” BY K’TUT TANTRI." JEELL (Journal of English Education, Linguistics and Literature) 5, no. 2 (2019): 73. http://dx.doi.org/10.32682/jeell.v5i2.1004.
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This study was aimed to analyze the aspects of Romanticism manifested in the novel “The Revolt in Paradise” and behavior of character reflects Romanticism in “The Revolt in Paradise”. This study was based on the descriptive-qualitative research since the findings were going to be presented in a descriptive form. The data to be analyzed are gathered from two sources. The primary source is the novel itself; The Revolt in Paradise and the secondary sources includes many appropriate documents in the form of literary works, previous thesis, biography, theories and literary criticism, dictionaries and etc. Related to the instrument, the researcher employed herself as the human instrument. The data were analyzed through underlying and labeling. The result of the study found that there four aspects of Romanticism manifested in the novel; The Revolt in Paradise, they were: the love of nature, the memories of the past, the horror /gothic setting and the emotion; included; love, anger and hatred. This study also found that The Revolt in Paradise gave the vivid depiction of the Nationalism as the major behavior reflects Romanticism.
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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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KHAVZHOKOVA, L. B. "LITERARY HERITAGE OF AHMEDKHAN NALOYEV: MAJOR MILESTONES IN BIOGRAPHY AND PROBLEMS OF CREATIVITY (to the 100th anniversary of the birth of the writer)." Kavkazologiya, no. 2 (2021): 154–65. http://dx.doi.org/10.31143/2542-212x-2021-2-154-165.
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The article is devoted to the study of the life and literary heritage of one of the significant creative figures in the Kabardian literature of the 60s – 80s. Of the twentieth century, which determined the features of the formation and development trends of national prose of the specified period. The relevance of the stated topic is due to the fact that until now in the Adygeyan literary criticism there are no generalizing works on the study of milestones in the biography and a comprehensive analysis of the literary work of A. Naloev. The scientific novelty of the research lies in the fact that for the first time a comprehensive substantive and structural-compositional analysis of the writer's works is carried out, starting from the first sketches in the form of miniatures and satirical and humorous stories, ending with larger genres – a story and a novel. The aim of the study is to recreate a complete biographical and creative picture of the life of a talented writer, philologist, educator, educator who raised a whole generation of artists and workers of culture and education. To achieve the goal, a number of tasks are solved, among the main ones – the study of the milestones of the biography of A. Naloev, the analysis of works, the consideration of the ideological and thematic orientation and the genre-style paradigm of the writer's work, determination of the role and place of his creative heritage in national literature and in general in cultural development Adyghe ethnos. The study used general scientific methods with an emphasis on the method of analysis, description and generalization. The results obtained have theoretical significance for further study of national literatures. They can become a significant practical help in writing various kinds of research papers, as well as in the preparation of special courses in universities and colleges.
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O’Toole, Sean William. "Uncommon criticism: Reading Ivan Vladislavić’s collected work as art criticism." Journal of Commonwealth Literature 52, no. 1 (2017): 11–26. http://dx.doi.org/10.1177/0021989416676865.
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Johannesburg author, essayist, and editor Ivan Vladislavić has a longstanding interest in art, an interest richly recorded in his literary corpus. Since publishing his debut work of fiction, Missing Persons (1989), Vladislavić has repeatedly dwelled on artworks in his fiction and non-fiction writing. His literary corpus is studded with descriptions of paintings, sculptures, photographs, ceremonial statues, murals, and other, more obscure pieces of urban flotsam given their own artistic agency in his fecund imagination. This article discusses his interest and entanglement in art from a threefold perspective: thematically, biographically, and theoretically. It argues that the art world has consistently functioned as a laboratory for the author to refine his thoughts, albeit as a literary writer, not an art critic. While Vladislavić does not identify as an art critic, this article argues that his writing on art and broader literary output represent a valuable critical resource and an important intervention in fervid and unresolved debates around the definition of art criticism. The article begins by identifying thematic constellations that recur throughout Vladislavić’s work, placing these in conversation with salient aspects of the author’s early professional biography. It concludes by proposing that Vladislavić’s oeuvre can be read as a historically mindful, crisis-orientated form of art criticism.
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DIAMOND, CATHERINE. "The King and Us: Spectacle and Biography in Thai Epic Dramas." Theatre Research International 32, no. 3 (2007): 278–95. http://dx.doi.org/10.1017/s0307883307003112.
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A large proportion of Thai films and of traditional and modern dramas are based on significant figures whose lives helped shape the trajectory of Thai history, but who are in the end overwhelmed by events. Some works are produced with obvious propaganda intent, reflecting the efforts of cultural reconstruction and historical reinterpretation. This paper suggests that the plays under discussion follow an epic and episodic form, depicting the full scope of the protagonist's life rather than focusing on a single dramatic event or examining a tragic destiny. This structure resembles the paradigmatic epic underwriting Thai royalty, the Ramakien, even while the role and nature of the king is being newly exemplified in annual spectacles.
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Luescher, Andreas. "The Professional Portfolio as Heuristic Methodology." Journal of Technical Writing and Communication 32, no. 4 (2002): 353–66. http://dx.doi.org/10.2190/0yg4-3yrh-kk3n-ykgx.
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The antecedents of literary autobiography as we know it today emerged during the 17th century against a backdrop of the rise of empirical science and inductive method. An arguably older form of autobiography—the portfolio—has, unlike the literary biography, languished on the periphery of academia during our time. While it should not be controversial to say that possession of an heuristic bent is one mark of a successful education (since learning how to think, that is learning how to be open, alert, engaged, is the fundamental mission of the student), the portfolio has been ignored in part because of its modern connotation as a ‘marketing’ tool but perhaps more significantly because as a heuristic methodology it is a threat to the centrality of the pedagogue. I argue that the portfolio deserves at very least a re-evaluation throughout academic (to say nothing of quotidian) life as an indispensable tool of the spirit of pedagogy. Like the autobiography, it is validated by the belief that gathering data or details about individual lives has to precede drawing general conclusions or seeing any overarching patterns.
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Fontineles Filho, Pedro Pio. "Intelectualidade e escritas de si: traços (auto)biográficos na obra de O. G. Rego de Carvalho / Intellectuality and Self Writing: (Auto)Biographical traits in the Literary Work of O. G. Rego de Carvalho." O Eixo e a Roda: Revista de Literatura Brasileira 28, no. 4 (2019): 167. http://dx.doi.org/10.17851/2358-9787.28.4.167-194.
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Resumo: O objetivo principal deste estudo é compreender os traços (auto)biográficos na obra do literato O. G. Rego de Carvalho (1930-2013). Metodologicamente, o estudo fez a leitura analítico-interpretativa do universo documental, que foi composto pelo livro Como e por que me fiz escritor (1994), de livros em forma de antologias e fortuna crítica sobre a obra do literato. Como arcabouço teórico-metodológico, foram utilizadas as proposições de Bourdieu (2010, 2006), Chartier (2002), Certeau (2011) e Lejeune (2008), para pensar o “campo literário”, a biografia e a autobiografia. O estudo considerou, em linhas gerais, que a obra do literato é fulcral para pensar os elementos dinâmicos da escrita (auto)biográfica.Palavras-chave: literatura; (auto)biografia; escrita; leitura; O. G. Rego de Carvalho.Abstract: The main goal of this study is to comprehend the (auto)biographical traits in literary work of O. G. Rego de Carvalho (1930-2013). Methodologically, the study did the analytical and interpretative reading of the documental universe, which was composed by the book Como e por que me fiz escritor (1994), anthology books and critical fortune about the literary work of the writer. As theoretical and methodological framework, the propositions by Bourdieu (2010, 2006), Chartier (2002), Certeau (2011) and Lejeune (2008) were used to think about “literary field”, biography and autobiography. The study considered, in general, that work of the literate is the key to think the dynamic elements of the (auto)biographical writing.Keywords: literature; (auto)biography; writing; reading; O. G. Rego de Carvalho.
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von Graevenitz, Antje. "Another Form of Blindness – a Symptom of an Artistic Viewpoint: Glossing the Work of Marcel Duchamp." Ikonotheka, no. 29 (September 16, 2020): 177–203. http://dx.doi.org/10.31338/10.31338/2657-6015ik.29.3.
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Not blindness itself, but blindness as a symptom for an inner seeing and as a counterforce against a one-sided fixation on beauty and taste were the reasons why Marcel Duchamp from 1916 onwards was occupied with the theme of blindness. Two volumes of The Blind Man were displayed in 1917 on the exhibition of the Society of Independent Artists in New York. The second volume contained comments about the fact that Duchamp’s contribution of a Fountain, his now so famous ready-made Urinoir, signed “R. Mutt”, was rejected by the apparently jury-less committee. This means that the theme of blindness was expressed twice: no one could see the work and so his theoretical opposition against beauty and taste could not be illustrated by the Urinoir either. How Duchamp from then on also challenged the other senses, so as to avoid focusing only on the eyes, will be dealt with in this article as well. Arguments from the biography, philosophy, mythology, and iconography will be used to underpin the article’s main thesis. In this sense the question may be asked whether Duchamp was inspired in this group of his works by humorous etymological and literary references. In the end it will become clear that the theme of blindness in his work and artistic theory is highly paradoxical.
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Millati, Piotr. "Czy Bruno Schulz był pisarzem?" Schulz/Forum, no. 15 (September 24, 2020): 44–64. http://dx.doi.org/10.26881/sf.2020.15.03.
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The essay is an analysis of the most important, yet actually quite sporadic artistic adventure of Schulz, which was fiction writing. The question discussed is apparently paradoxical: was Bruno Schulz a writer? The author argues that there is a difference between a writer and a man of letters, i.e. someone who is a professional in the literary field. Schulz never became the latter and this is what makes his biography significantly different from those of the typical literati among whom he had many friends. In comparison to them, Schulz wrote very little, started writing quite late, and the period when he really was a writer lasted only several years. One might say that writing fiction indeed rather happened to him – it was not a permanent disposition of his artistic existence. That had crucial consequences for the form of his writing.
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Endres, Johannes. "Totemismus und Gesellschaft." Scientia Poetica 22, no. 1 (2018): 83–110. http://dx.doi.org/10.1515/scipo-2018-003.
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Abstract Sergei Eisenstein’s visit to Hollywood and Mexico, from 1930 to 1932, finds the famous director in rather unfamiliar territory. While his stay yielded little artistic output, in the form of an unfinished movie on Mexico, his theoretical reflections on American film and its foremost champions, Charlie Chaplin and Walt Disney, count among the most fascinating, yet also contentious elements of Eisenstein’s intellectual biography. A central part of his American aesthetics is his theory of »totemism«, which he develops in an intricate dialogue with the various encounters on his journey as well as from a plethora of literary references that seems to betray the agenda of his communist beginnings. The article argues that, despite its mystical overtones and logical contradictions, Eisenstein’s theory of »totemism« remains connected to his earlier convictions through an attempt to reconcile his new insights with a critical social or sociological theory.
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Stephens, Tim. "I Am What Is a Photograph: Photofiction as Performative Autoethnography." Cultural Studies ↔ Critical Methodologies 19, no. 2 (2018): 79–83. http://dx.doi.org/10.1177/1532708618807244.
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This article is based on one fact about the author’s biography and one retold memory of the author’s mother. Each relates to the conception of the author. It takes the form of a performative autoethnography employing photofiction.1 The article specifically interrogates the grounded nature of subject identity in bodily experience, as matter, and chronology through speculative inquiry and the intersubjective relation, as themselves “photographic,” mediated through language. However, notions of subject and experience, photograph and academic language are pushed to an extreme position until highly reflexive and to a point beyond literary metafiction. The article thus elaborates and enacts photofiction as autoethnography, replacing “meta” thinking and representational thinking about events and memories, with the nonrepresentational, to write the real [self] as nondualistic: experiential data as nonphotography. The onto-epistemological position of the researcher, author, Subject, in relation to his or her own status is in fact a photofiction.
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Babicheva, M. E. "Evolution of V.B. Sven’s Creative Work: From Essays and Stories to the Big Epic Form." Observatory of Culture 15, no. 3 (2018): 330–39. http://dx.doi.org/10.25281/2072-3156-2018-15-3-330-339.
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The article for the fi rst time attempts to introduce into the Russian cultural circulation the creative heritage of V.B. Sven, whose 120th anniversary of birth was celebrated in 2017. This writer of the second wave of Russian emigration is now almost unknown in homeland. His works, however, deserve to be noticed by Russian readers and researchers. Firstly, V.B. Sven’s works, due to their high artistic level, are an integral part of Russian culture. Secondly, the writer refl ected in his literature a number of interesting historical and cultural phenomena, characteristic of the era he wrote about. A literary analysis of V.B. Sven’s works is given in correlation with his unusual biography. Many facts from the writer’s life are refl ected only in sources diffi cult to access; they are presented to a wide audience in this work for the fi rst time. The article considers the specifi cs of V.B. Sven’s creative style in the evolutionary development. The article develops a periodization of the literary array created by the writer and justifi es the conditionality of its division into periods. It shows the infl uence of M.M. Prishvin on the work of V.B. Sven, determines the place of the writer in the emigrant literature, analyzes the reviews of his works written by his contemporary critics-emigrants. Much attention is paid to the artistic innovation of V.B. Sven, his experiments in the fi eld of artistic form, inherent in later works. The article highlights the mystical element in the worldview and, accordingly, in works of the writer, and the specifi c cultural phenomenon closely associated with it — Miklashevsky’s “system”, which became the content and structural center of one of his works. The article distinguishes between the diffi culty of seeing any V.B. Sven’s lifetime printed publications, on the one hand, and the availability of texts of his works in digitized form, on the other. There is emphasized the importance, in a situation like this, of information about the existence of the works, about their merits and accessibility. The references to the article include a list of sites where the main works of the author can be found.
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Kusek, Robert. "Upheavals of Emotions, Madness of Form: Mary M. Talbot’s and Bryan Talbot’s Dotter of Her Father’s Eyes and a Transdiegetised (Auto)Biographical Commix." Prague Journal of English Studies 4, no. 1 (2015): 107–21. http://dx.doi.org/10.1515/pjes-2015-0007.
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Abstract In 2012, Mary M. Talbot and Bryan Talbot joined the likes of Richard Ellmann, Gordon Bowker and Michael Hastings and in their graphic memoir Dotter of Her Father’s Eyes (2012) offered a new re-telling of James Joyce’s life, focusing, in particular, on the difficult relationship between the great Irish writer, and his daughter Lucia. However, the story of a complicated emotional bond between Joyce and Lucia was only a framework for an autobiographical coming-of age narrative about Mary M. Talbot herself and her violent relationship with James S. Atherton, a celebrated Joycean scholar and her very own “cold mad feary father”. Following Martha C. Nussbaum’s conception about cognitive and narrative structure of emotions postulated in Love’s Knowledge (1990) and Upheavals of Thoughts (2001), this article wishes to argue in favour of an organic connection between the volume’s thematic concerns and its generic affiliation. In other words, it discusses how a specific class of emotions pertaining to Lucia’s gradual mental disintegration can be adequately told only in a specific literary form, i.e. in a transdiegetised “commix”, an (auto)biographical account which occupies a threshold space between a comic and a novel, fiction and non-fiction, biography and autobiography, words and pictures.
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FREEMAN, MARK. "Death, Narrative Integrity, and the Radical Challenge of Self-Understanding: a Reading of Tolstoy's Death of Ivan Ilych." Ageing and Society 17, no. 4 (1997): 373–98. http://dx.doi.org/10.1017/s0144686x97006508.
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Much contemporary theory suggests that, unlike works of biography or autobiography, human life itself is fundamentally comprised of disconnected moments and is thus devoid of literary form. People may seek to bind these moments together as narratives in the course of their efforts at self-understanding; but these narratives, it is often held, are little more than fictions or myths, impositions of form and order upon the flux of experience. In Tolstoy's Death of Ivan Ilych, we find a powerful refutation of this view. For what we see in Tolstoy's story are the grave consequences of a life lived moment to moment, without any sense of the whole. Only in the face of death could Ivan Ilych gain the requisite distance to behold the true meaning of his dismal life and only upon beholding this meaning could he see the contours of the life well-lived, that is, the life possessed of narrative integrity. By exploring the relationship between death, narrative integrity, and the radical challenge of self-understanding via the story of Ivan Ilych, the present essay seeks ultimately to identify ways in which the study of ageing might contribute to our identifying the good and virtuous life.
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McQuade, Brendan. "“The road from Mandalay to Wigan is a long one and the reasons for taking it aren’t immediately clear”: A World-System Biography of George Orwell." Journal of World-Systems Research 21, no. 2 (2015): 313–38. http://dx.doi.org/10.5195/jwsr.2015.7.
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George Orwell is one the best known and highly regarded writers of the twentieth century. In his adjective form—Orwellian—he has become a “Sartrean ‘singular universal,’ an individual whose “singular” experiences express the “universal” character of a historical moment. Orwell is a literary representation of the unease felt in the disenchanted, alienated, anomic world of the twentieth and twenty-first centuries. This towering cultural legacy obscures a more complex and interesting legacy. This world-system biography explains his contemporary relevance by retracing the road from Mandalay to Wigan that transformed Eric Blair, a disappointing-Etonian-turned-imperial-policeman, into George Orwell, a contradictory and complex socialist and, later, literary icon. Orwell’s contradictory class position—between both ruling class and working class and nation and empire—and resultantly tense relationship to nationalism, empire, and the Left makes his work a particularly powerful exposition of the tension between comsopolitianism and radicalism, between the abstract concerns of intellectuals and the complex demands of local political action. Viewed in full, Orwell represents the “traumatic kernel” of our age of cynicism: the historic failure and inability of the left to find a revolutionary path forward between the “timid reformism” of social democrats and “comfortable martyrdom” of anachronistic and self-satisfied radicals.
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Cymbrykiewicz, Joanna. "Den Danske Litterære Biografis Identitet – Med Udgangspunkt i Peer Hultbergs Biografiske Roman Præludier." Folia Scandinavica Posnaniensia 14, no. 1 (2012): 15–24. http://dx.doi.org/10.2478/v10252-012-0002-6.
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ABSTRACT The paper discusses the issue of the contemporary Danish biographical novel, its identity and condition on the example of Peer Hultberg’s work on Chopin’s childhood, Preludes. The author of the article argues that the novel diverts to a large extent from the traditionally formulated principles which govern the genre of a biographical novel. In order to demonstrate it, the author analyses the text using the following criteria as a sort of a litmus test of the work’s “biographical provenance”: chronologically structured plot, objectivity and the protagonist’s development. As expected, the Preludes does not meet any of the above expectations towards a biographical novel, which proves that the work can be recognized as a postmodernist literary biography. The structure consisting of fragments, narration in the form of stream-of-consciousness and lack of milestones in the protagonist’s life are the primary features of the new genre which is seen as inherent in postmodernist tendencies, in particular those formulated by Jean-Francois Lyotard and Zygmunt Bauman.
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Sofyan, Ilhamdi Hafiz. "“There Is No Good War”: The Firebombing of Dresden and Kurt Vonnegut’s View Towards World War II in Slaughterhouse-Five." Vivid Journal of Language and Literature 6, no. 2 (2019): 60. http://dx.doi.org/10.25077/vj.6.2.60-67.2017.
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This study discusses Kurt Vonnegut's view of war reflected in his novel Slaughterhouse-Five and also his efforts in conveying his views through his novel. This novel is based on the experience of Kurt Vonnegut during World War II when he was imprisoned in a German city called Dresden and witnessed the destruction of the city on February 13, 1945 in an Allied bombing operation. In the novel, Vonnegut rewrote his experience in the form of a fiction. In discussing this literary work, I used the expressive theory by M. H. Abrams which was supported by a historical and biographical approach. In analyzing this literary work, I took quotes from the novel Slaughterhouse-Five as the main data as well as other data as secondary data, such as the biography of the author, interviews with the author taken from various sources, as well as writings on author that is relevant to the discussion in this study. The result show that Kurt Vonnegut see war as something that was completely meaningless and only caused destruction and death for innocent residents. Kurt Vonnegut uses narrative techniques such as black humor, irony, and metaphysics at Slaughterhouse-Five so that his views on war can be conveyed to his readers.
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Anggraini, Nani. "ANALISIS STRUKTURALISME GENETIK DALAM NOVEL MIDAH SIMANIS BERGIGI EMAS KARYA PRAMOEDYA ANANTA TOER." Ksatra: Jurnal Kajian Bahasa dan Sastra 1, no. 2 (2019): 27–40. http://dx.doi.org/10.52217/ksatra.v1i2.326.
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This study discusses how the world view according to the author in Pramoedya Ananta Toer's novel Midah Simanis Bergigi Emas based on genetic structuralism which covers the world view and collective subject and the surrounding environment and how the author views Pramoedya Ananta Toer's Midah Simanis Bergigi Emas novel based on reality history linked to the literary work. The method used in this research is descriptive analytical method. The analysis technique performed is dialectical technique, namely, prioritizing coherent meaning. Dialectic techniques develop two kinds of concepts, namely "whole-part" and "understanding-explanation". Sources of data in this study used primary data sources in the form of a novel entitled Midah Simanis Bergigi Emas by Pramoedya Ananta Toer. the creation of the Midah Simanis Bergigi Emas novel was lifted from a social problem that affected it. Genetic elements of the work of Sasta are worldview, author's relationship with historical reality, author's biography, application of novel genetic structuralism. The world view on genetic structuralism in the Midah Simanis Bergigi Emas novel is lifted from a social problem that influences its views on God, the world, and humans. The world view that triggers the subject to identify world views is considered as one of the characteristics of the success of a literary work in genetic structuralism.
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Dziergwa, Roman. "Das Sanatorium der Verwandlung. Zur „immerwährenden“ Kreativität der polnischen Rezeption von Thomas Manns Zauberberg." Studia Germanica Posnaniensia, no. 37 (April 5, 2017): 91–108. http://dx.doi.org/10.14746/sgp.2016.37.09.
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The reception of Thomas Mann in Poland confirms its special nature, involving a very high degree of transforming processing and extraordinary creativity. It is true that the author of The Magic Mountain, and only he is and was considered in Poland as the German intellectual of the twentieth century par excellence. The more that in the case of this exceptional writer prominent Polish artists and creators of the culture didn’t succumb to a superficial and short-lived fascination, but rather they transformed the threads of his works and artistic biography in a highly productive process. Often there was no exaggeration to say about the "reinterpretation" or even a sort of "over-interpretation" of several biographical and literary motifs.The reception of Thomas Mann was not and is not merely occasional reception at most of an academic character. The rank and importance of eminent Polish writers, literary critics, translators and literary critics presented in the article show in best way the creativity of Polish references and positions taking to Thomas Mann and his work. No other of his novel can compete because of his inspiring role to a permanent creative activity reception area with regard to Magic Mountain. The newest and best prove for it is dating back to 2015 as two adaptation attempts of the novel in the form of opera and theatrical performance were in Poland discussed and extensively commented in the press and on the Internet and finally awarded with major prizes.
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Gadamska-Serafin, Renata. "Norwid’s Roma antiqua in its full version." Studia Norwidiana 37 English Version (2020): 227–47. http://dx.doi.org/10.18290/sn.2019.37-13en.
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Magdalena Karamucka’s book Antyczny Rzym Norwida [Norwid’s Ancient Rome] is the first monographic study of the problem addressed in the title. Ancient Rome is presented in this valuable study from different perspectives: as a geographical, historical and cultural reality and as a literary topos. The starting point for the discussion is a chapter devoted to a Roman episode of Norwid’s biography and his Roman readings. Another subject of analysis are the poet’s political, religious and historiosophical reflections about Rome and his remarks on literature, art and Roman theatre. The main, comparative part is devoted to a meticulous analysis of reminiscences, quotations (paraphrases), titles, etc. taken from works of Roman authors (including Catullus, Horace, Juvenal, Ovid, Virgil), Norwid’s translational work and his Roman correspondence. However, Norwid’s Roma antiqua presented in the monograph is not frozen in a dead form. The author shows in an interesting and convincing way how this romanitas becomes a starting (or reference) point for the author of Quidam in his reflections on almost all aspects of his contemporary times.
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Mills, Lia. "In Full Voice: Celia de Fréine in Conversation with Lia Mills." Irish University Review 48, no. 2 (2018): 169–82. http://dx.doi.org/10.3366/iur.2018.0347.
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Celia de Fréine is a multi-award winning poet, playwright, screenwriter and librettist, who also writes essays and fiction in both English and Irish. She has published eight collections of poetry, including three dual-language editions with Arlen House. Four of her plays have been awarded Duais an Oireachtais for best full-length play, and her biography (in Irish) of Louise Gavan Duffy – Ceannródaí – is due out later this year. This conversation with writer Lia Mills explores the innovative nature of de Fréine's work, in language, form and subject matter. It discusses key poetry volumes, such as her response to the Hepatitis C scandal – Fiacha Fola | Blood Debts – and A Lesson in Can't, which draws on the lives of Irish Travellers. It also considers her commitment to writing for theatre in both Irish and English, and her recent prose. The dialogue sheds light on the complex relationship between Irish and English in de Fréine's work, and her evolving creative practice.
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Babicheva, Maya E. "Writers’ Artistic Biographies That Received the “Big Book” Award (The Genre Typology and Works’ Specificity)." Observatory of Culture 17, no. 2 (2020): 202–13. http://dx.doi.org/10.25281/2072-3156-2020-17-2-202-213.
Full textAbstract:
The article reviews writer’s biographies as a kind of literary biography genre. There are revealed the thematic and artistic features characteristic to this subgenre of literature. The author systematizes the subgenre’s specific features and shows a wide range of their possible implementation at the present stage. The material for the study was selected among the works that won the national award “Big Book”. In less than fifteen years of the award’s existence, writers’ biographies have taken first place twice (D.L. Bykov’s book about B.L. Pasternak and P.V. Basinsky’s book about L.N. Tolstoy) and second place four times (A.N. Varlamov’s book about A.N. Tolstoy, L.I. Saraskina’s book about A.I. Solzhenitsyn, S.A. Shargunov’s book about V.P. Kataev, and the joint work by A.A. Kabakov and E.A. Popov about V.I. Aksyonov). All these works are analyzed sequentially (in order of receiving the award) in the article. On the one hand, this allows us to identify the features of each of them, on the other hand — to find common typological features that are characteristic of the subgenre in question. A distinctive feature of the book by D.L. Bykov is the deepest “sensitive immersion” of one poet (the author) in the creative work and world perception of another (his character). A.N. Varlamov is characterized by comparison of several sources in order to reveal complete truthfulness. P.V. Basinsky has a specific angle in which the writer’s biography is shown (he puts forward the “family idea”, the most important for Tolstoy himself). L.I. Saraskina focuses on the personality of A.I. Solzhenitsyn, considering his biography as the main artistic work of this author. A.A. Kabakov and E.A. Popov build the text of V.I. Aksyonov’s biography in the form of a lively, casual conversation, while the objectivity of the written is confirmed by a variety of documents submitted in the appendix. S.A. Shargunov traces the reflection of V.P. Kataev’s unusual life, full of real adventures, in the writer’s works.Nevertheless, all these works have common features. Each of them create a Russian writer’s living and full-blooded image, both tightly included in the historical and cultural context of the corresponding era, and shown in the indissoluble unity of the writer’s personal destiny and creative heritage (which is carefully analyzed). All books are written based on carefully studied biographical materials and documents, including archival ones. The works’ large volume allows including these materials directly in their text.