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Journal articles on the topic 'Biography, literature and literary studies'

Author: Grafiati

Published: 11 December 2022

Last updated: 25 January 2023

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1

Duran, Angelica. "Chinese Christian Studies and Anglophone Literary Studies." Christianity & Literature 68, no. 1 (November 15, 2018): 86–99. http://dx.doi.org/10.1177/0148333118789168.

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The author responds to the most salient matters in Chin Kenpa’s paper in this journal issue on the Chinese biography Wuchanzhe Yesu 無產者耶穌 (Jesus, the Proletarian) by W.T. Chu (朱維之, Zhu Weizhi), with special emphasis on the interrelated matters of linguistic context, uneven academic cultural resources, and agency within publishing networks, in turn outlining inroads for deepening Anglophone–Chinese literary critical conversations through a convergence of biblical studies, comparative literature, and World Literature.

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2

Grace, Sherrill. "Timothy Findley, His Biographers, and The Piano Man’s Daughter." Text Matters, no. 8 (October 24, 2018): 413–30. http://dx.doi.org/10.1515/texmat-2018-0024.

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In this paper, Sherrill Grace, Findley’s biographer, will examine her biographical practices in the context of Findley’s own memoir, Inside Memory, and his interest in creating fictional auto/biographers and auto/biography in several of his major novels (notably The Wars, Famous Last Words, The Telling of Lies, and The Piano Man’s Daughter). His fictional auto/biographers often use the same categories of document that Findley himself used—journals, diaries, archives—and this reality produces some fascinating challenges for a Findley biographer, not least the difficulty of separating fact from fiction, or, as Mauberley says in Famous Last Words, truth from lies. Like many writers, Findley kept journals all his life, and they are a key source of information for his biographer; however, his way of recording information and his creation of fictional journals means that a biographer (like the readers of his fictional auto/biographers) must tread carefully. While not a theoretical study of auto/biography, in this paper Grace will offer insights into the traps that lie in waiting for a biographer, especially when dealing with a biographee who is as self-conscious an auto/biographer as Findley.

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3

Zhygun, Snizhana. "Re-Writing a Woman’s Biography: Marco Vovchok as a Character of Literary Work." University of Bucharest Review. Literary and Cultural Studies Series 10, no. 2 (October 2021): 63–74. http://dx.doi.org/10.31178/ubr.10.2.5.

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The attitude to biographical works has changed significantly under the influence of postmodernism: the refusal to perceive the author as a single authoritative source of meaning has led to the perception of biographical fiction as a fiction biography, creating in the context of the ideology a biography of the biographer himself. The aim of the proposed study is to find out how gender and ideology form the strategies for presenting the Ukrainian woman writer as a character of a biographical novel. The proposed article will deal with 4 works of different periods: “The Silent Deity” by V.Domontovych (1930), “At Dawn” by Y. Tys (1961), “Maria” by O. Ivanenko (1983), “Like a Magnet” by I. Rozdobudko (2013). At the heart of all of them is the life of the first Ukrainian writer Marco Vovchok (Maria Vilinska), but quite different women are represented in these works. The biographical works under consideration demonstrate more attention to the events of the writer’s life than to what she wanted to say in her work. The interpretation of Marco Vovchok’s stories is dominated by their political (social) significance and they are presented as a basis for talking about the life of the woman (with the exception of Rozdobudko’s story).

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4

Smith, Curtis Dean. "Dictionary of Literary Biography: Classical Chinese Writers." Early Medieval China 2003, no. 1 (June 2003): 180–81. http://dx.doi.org/10.1179/152991003788138474.

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MARUSHIAKOVA, ELENA, and VESSELIN POPOV. "Beginning of Romani literature: The case of Alexander Germano." Romani Studies 30, no. 2 (December 1, 2020): 135–61. http://dx.doi.org/10.3828/rs.2020.7.

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This article traces the beginning of Romani literature. It focuses on the work of Alexander Germano in the context of the history of a unique Romani literacy project developed in the USSR before the Second World War. It shows the peculiarity of the Soviet Romani literature and in particular the personal activities and contributions of Germano, the man considered the progenitor of contemporary Romani literature (with works in all three main genres of literature: poetry, prose, and drama). The study is based on a number of years of archival work in a variety of archives in the Russian Federation and to a great extent in Alexander Germano’s personal archive, preserved in the town of Orel (Russian Federation). The documents studied allow us to clarify the blurred spots in his biography, to reveal his ethnic background and identity, and to highlight the reason for the success of the Romani literary project. The example of Germano shows that the beginning of a national literature depends on the significance and public impact of the literary work of a particular author, and is not necessarily related to the author’s ethnic origin and identity.

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6

Litwa, M. David. "Literary Eyewitnesses: The Appeal to an Eyewitness in John and Contemporaneous Literature." New Testament Studies 64, no. 3 (June 6, 2018): 343–61. http://dx.doi.org/10.1017/s0028688518000073.

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This essay supports the thesis that the Beloved Disciple is a purely literary character employed as a literary device of authentication recognisable during the late first and early second centuries CE. As evidence, three works are thoroughly compared with the Fourth Gospel in regard to their eyewitness appeals: Philostratus’Life of Apollonius of Tyana(a biography), theWonders beyond Thuleby Antonius Diogenes (a historiographical novel) and theDiary of the Trojan War(a revisionary history) attributed to Dictys of Crete. All three works are roughly contemporaneous with the Fourth Gospel and offer important insights into the sophisticated use of an eyewitness as a literary character to guarantee the (spiritual and moral) truth of a narrative.

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7

Bertolini, John A. (John Anthony). "Shaw Biography." English Literature in Transition, 1880-1920 50, no. 2 (2007): 209–12. http://dx.doi.org/10.1353/elt.2007.0014.

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Towheed, Shafquat. "RLS Biography." English Literature in Transition, 1880-1920 50, no. 2 (2007): 214–17. http://dx.doi.org/10.1353/elt.2007.0028.

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9

HOFFMEISTER, DONNA L. "Hölderlin-Biography, 1924-1982: Transformations of a Literary Life." Seminar: A Journal of Germanic Studies 21, no. 3 (September 1985): 207–31. http://dx.doi.org/10.3138/sem.v21.3.207.

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10

Patterson, Martha, and Annette White-Parks. "Sui Sin Far/Edith Maude Eaton: A Literary Biography." MELUS 22, no. 2 (1997): 122. http://dx.doi.org/10.2307/468140.

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11

Osovskii, Oleg. "MARINA TSVETAEVA IN THE BIOGRAPHY OF PRINCE D.P. SVYATOPOLK-MIRSKY." Literaturovedcheskii Zhurnal, no. 3 (2022): 7–27. http://dx.doi.org/10.31249/litzhur/2022.57.01.

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The article is devoted to the literary and human relations between two prominent figures in the literature of Russian emigre literature, M.I. Tsvetaeva and D.P. Svyatopolk-Mirsky. According to the author, an analysis of this relationship in the context of the history of literature, culture, ideology and politics of emigration adds the new details to the modern understanding Russia abroad as well as the literary biography functioning and “little time” (M.M. Bakhtin) working in writer and literary critic’ life. The author uses materials from the biographies of M. Tsvetaeva by M. Razumovskaya, V. Schweitzer and I. Kudrova, as well as the recently published biography of D. Svyatopolk-Mirsky by M. Yefimov and J. Smith. The author attempts to reconstruct the nature of the relationship between the poet and the critic, to add new details to the already existing picture in colour studies and to highlight the reasons for specific interpretations of this subject.

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12

Pollak, Oliver B. "The Biography of a Biographer: Hans Roger Madol (1903–1956)." Germanic Review: Literature, Culture, Theory 78, no. 1 (January 2003): 74–85. http://dx.doi.org/10.1080/00168890309597463.

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13

North, Julian. "PORTRAYING PRESENCE: THOMAS CARLYLE, PORTRAITURE, AND BIOGRAPHY." Victorian Literature and Culture 43, no. 3 (May 29, 2015): 465–88. http://dx.doi.org/10.1017/s1060150315000030.

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This essay looks at Carlyle's interestin visual and literary portraiture, as the basis for a reassessment of his practice as a biographer in relation to the wider biographical culture of Victorian Britain. Carlyle's fascination with portraits manifested itself in a number of ways. Despite his professed reluctance as a sitter, his face was one of the most visible of his day – painted, sketched, sculpted, photographed, and reproduced for public circulation in engravings andcartes de visite. He collected portraits of his family, friends, and heroes, and was a public champion of the art, most famously through his influential role in the founding of the English National Portrait Gallery. He was also valued by his contemporaries as a portraitist in words, a writer whose graphic style included a striking ability to picture people. Yet only partial answers have been offered to the question of how these activities related to each other and what their significance might be in terms of his career. Paul Barlow has explored Carlyle's concept of the authentic, historical portrait in relation to his proposals for a National Portrait Gallery (“Facing the Past” and “The Imagined Hero”), and John Rosenberg has discussed his pictorial style as a means by which he sought to make history into a secular scripture by “endowing the past with extraordinary ‘presence’” (24). Richard Salmon has given some consideration to Carlyle's engagement with contemporary “portrait gallery” publications as part of his discussion of his ambivalent response to idolatry and literary “lionism” (Salmon 2002). I am indebted to these discussions but I differ from them in arguing that we need to see Carlyle's interest in portraiture, both visual and verbal, as integral to his conception and practice of biography. The fact that he, famously, enmeshes history and biography, in theory and practice, does not invalidate this point. It is with biography and the biographical basis of historical narrative, that he associates the portrait and portraiture. This distinction matters because it shifts us away from the emphasis on Carlyle as an historian that has sometimes occluded his links with his contemporary biographical culture. By restoring these links we can understand more fully the significance both of the portrait within his work, and of his innovative contribution to a broader climate of experimentation with the conjunction of visual and verbal portraiture in life writing at the period.

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14

SHELSTON, ALAN. "Biography and criticism." Critical Quarterly 27, no. 1 (March 1985): 71–75. http://dx.doi.org/10.1111/j.1467-8705.1985.tb00762.x.

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15

Booth, Howard J. (Howard John). "A Lawrence Biography." English Literature in Transition, 1880-1920 50, no. 2 (2007): 240–43. http://dx.doi.org/10.1353/elt.2007.0015.

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16

Pugliatti, Paola. "Biography and Shakespeare’s Money." Critical Survey 30, no. 3 (September 1, 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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17

Hawthorne, Melanie C., and Joanna Richardson. "Judith Gautier: A Biography." Tulsa Studies in Women's Literature 8, no. 1 (1989): 137. http://dx.doi.org/10.2307/463891.

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18

Felber, Lynette, Gloria G. Fromm, George H. Thomson, and Susan Gevirtz. "Dorothy Richardson: A Biography." Tulsa Studies in Women's Literature 16, no. 1 (1997): 147. http://dx.doi.org/10.2307/464045.

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19

LEE, J. C. "Biography of a House." Critical Quarterly 49, no. 1 (April 2007): 104–10. http://dx.doi.org/10.1111/j.1467-8705.2007.00752.x.

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20

Schmidt, Siegfried J. "Past: Notes on Memory and Narration." Empirical Studies of the Arts 7, no. 2 (July 1989): 191–202. http://dx.doi.org/10.2190/1lj0-bjt6-xmx5-lrxy.

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Memory is a crucial topic not only for psychology but also for literary studies. The conceptualization of notions as narration, biography or autobiography immediately depends on how memory and the process of remembering are theoretically modeled. This article presents a short survey on concepts of memory, concentrating on constructivist approaches, and their impact on concepts of time, history, and narration in literary studies.

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21

Middlebrook, Diane Wood. "The Role of the Narrator in Literary Biography." South Central Review 23, no. 3 (2006): 5–18. http://dx.doi.org/10.1353/scr.2006.0036.

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22

Hipchen, Emily, and Ricia Anne Chansky. "Looking Forward: The Futures of Auto|Biography Studies." a/b: Auto/Biography Studies 32, no. 2 (April 25, 2017): 139–57. http://dx.doi.org/10.1080/08989575.2017.1301759.

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23

Bondarenko, Grigory. "Alexander Smirnov and the Beginnings of Celtic Studies in Russia." Studia Celto-Slavica 5 (2010): 139–48. http://dx.doi.org/10.54586/vzlu3138.

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Celtic studies in Russia which have developed during the twentieth century into a recognised and respectable branch on the tree of humanities owe much to one person who undoubtedly has won a right to be called a patriarch of Celtic studies in Russia, namely Alexander Alexandrovich Smirnov. Mostly known for his pioneering translations of early Irish tales into Russian in the early days of his career he was also prominent scholar of Welsh and Breton covering many aspects of Celtic linguistics and literary studies. His biography, achievements and approach to Celtic studies in Russia deserve better attention both on the Russian side and in the view of the history of Celtic studies worldwide. We are aiming here to connect facts of his biography with his academic career in the field of Celtic studies and because of the specific aims and limits of the present conference we are not going to touch on his role as a scholar of Romance literatures and as a Shakespearean scholar. Alexander Smirnov [27.8(8.9).1883 – 16.9.1962] can be considered the first professional Celtic scholar in Russia. He was a prominent medievalist and philologist with a range of interests from early Irish and Welsh literature to Shakespearean studies. The paper is devoted to some little known facts from Smirnov’s biography especially to the early years of his academic career in Russia, France and Ireland. His earlier publications on Celtic literatures and ideas expressed therein will be brought to light and examined. Smirnov should be recognised as a ‘founding father’ of a school of Russian Celtic studies. His ideas and influence are still alive in the works of subsequent Russian scholars of Celtic.

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24

Fromm, Harold. "Holroyd/Strachey/Shaw: Art and Archives in Literary Biography." Hudson Review 42, no. 2 (1989): 201. http://dx.doi.org/10.2307/3851509.

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25

Shahîd, Irfan. "Arabesques: Selections of Biography and Poetry from Classical Arabic Literature." Journal of Arabic Literature 38, no. 2 (November 1, 2007): 237–39. http://dx.doi.org/10.1163/157006407783182326.

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26

Carey Eldred, Janet. "Figuring Culture and Literacy in Willa Cather's "Paul's Case"." Keeping Ourselves Alive 3, no. 2-3 (January 1, 1993): 299–318. http://dx.doi.org/10.1075/jnlh.3.2-3.13fig.

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Abstract Literacy, both as a theme and as a narrative structuring device, marks much literature and takes on specific shapes and forms, depending on its relationship to its generic and historical contexts. Set in Pittsburgh, Willa Cather's "Paul's Case: A Study in Temperament" (1905/1983) features the steel world of indus-trialists and laborers, the world of monied capitalists (Carnegie, Mellon, West-inghouse, and Heinz) and of workers aspiring to middle-class safety or, in their daydreams, to the wealth of an employer like Carnegie, who began as one of them and who advanced, as he claims in his autobiographical accounts, in part through literacy. By studying Cather's short story, we can learn how literacy shapes construction of character in fiction and biography as well as construc-tion of persona in autobiographical material. That is, we can learn the integral role that figurations of literacy play in literary narratives. (Literary criticism, dialogic approach and biographical criticism; composition and literacy studies) Dreams are neither ideologically neutral nor politically innocent. (Giroux, 1990)

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27

Rueda, Manuel. "Biography." Callaloo 23, no. 3 (2000): 909. http://dx.doi.org/10.1353/cal.2000.0171.

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28

Lawford, Cynthia. "Letitia Elizabeth Landon: A Biography." Women's Writing 18, no. 3 (July 22, 2011): 444–47. http://dx.doi.org/10.1080/09699082.2011.577303.

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29

Anwar, D. F. "Review: Suharto: A Political Biography * R. E. Elson: Suharto: A Political Biography." Journal of Islamic Studies 15, no. 3 (September 1, 2004): 396–99. http://dx.doi.org/10.1093/jis/15.3.396.

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30

Sharistanian, Janet. "Introduction: Feminism, Biography, Theory." a/b: Auto/Biography Studies 8, no. 2 (January 1993): 155–58. http://dx.doi.org/10.1080/08989575.1993.10846716.

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31

Ciepiela, Catherine, and Christopher Barnes. "Boris Pasternak: A Literary Biography. Vol. 2: 1928-1960." Slavic and East European Journal 44, no. 2 (2000): 310. http://dx.doi.org/10.2307/309963.

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32

Karpinski, Eva C. "“Broken Dialogues,” or Finding Bakhtin in Auto|Biography Studies." a/b: Auto/Biography Studies 30, no. 2 (July 3, 2015): 199–215. http://dx.doi.org/10.1080/08989575.2015.1088714.

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33

Hamad, Bushra. "History and Biography." Arabica 45, no. 3 (1998): 215–32. http://dx.doi.org/10.1163/1570058982641699.

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34

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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35

Luison, Luigi. "Ann Jefferson, Biography and the Question of Literature in France." Studi Francesi, no. 155 (LII | II) (October 1, 2008): 504–5. http://dx.doi.org/10.4000/studifrancesi.9076.

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36

Ann Minot, Leslie, and Walter S. Minot. "FrankensteinandChristabel: Intertextuality, Biography, and Gothic Ambiguity." European Romantic Review 15, no. 1 (March 2004): 23–49. http://dx.doi.org/10.1080/1050958042000180683.

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37

Schoenfield, Mark. "Periodical Auto-Biography: Theories and Representations." Wordsworth Circle 46, no. 2 (March 2015): 93–102. http://dx.doi.org/10.1086/twc24888061.

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38

Zmeškal, Tomáš. "Biography of a Black andWhite Lamb." Wasafiri 23, no. 4 (December 2008): 32–35. http://dx.doi.org/10.1080/02690050802407920.

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Wohlmann, Anita. "Approaches to (Auto)biography from History, Sociology, Media, and Literary Studies in Two German Publications." a/b: Auto/Biography Studies 31, no. 1 (October 22, 2015): 179–85. http://dx.doi.org/10.1080/08989575.2016.1099146.

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40

Duncker, Patricia. "Mary Shelley's afterlives: Biography and invention." Women: A Cultural Review 15, no. 2 (July 2004): 230–49. http://dx.doi.org/10.1080/0957404042000234079.

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41

Roth, Egonne. "Lessons in writing the biography of the crossover poet, Olga Kirsch." Tydskrif vir Letterkunde 54, no. 1 (March 24, 2017): 63–76. http://dx.doi.org/10.17159/tvl.v.54i1.4.

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Olga Kirsch was an English-speaking Jewess who wrote and published poetry in Afrikaans. As such she exemplifies a crossover poet who introduces the voice of the other into a national canon in her case, the only Jewish voice in Afrikaans poetry. Three questions were raised in the research and writing of her biography. The first concerns the extent to which she, as a Jew, was influenced by the dominant culture in which she grew up. The second seems more complex: What influence has Olga Kirsch had on the dominant culture was she able to influence the South African Afrikaans culture and literature in any way? Third, to what extent does the multi-culturalism of Kirsch affect the process of research and writing her biography; are there problems specific to writing the biography of a cross-cultural writer?

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42

Phillips, Henry. "Desmarets: The Biography of History." Seventeenth-Century French Studies 14, no. 1 (January 1992): 169–76. http://dx.doi.org/10.1179/c17.1992.14.1.169.

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43

Krajewski, B. "Hans-Georg Gadamer: A Biography." Common Knowledge 11, no. 2 (January 1, 2005): 353. http://dx.doi.org/10.1215/0961754x-11-2-353.

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44

Arthur, Paul Longley. "Digital Biography: Capturing Lives Online." a/b: Auto/Biography Studies 24, no. 1 (January 2009): 74–92. http://dx.doi.org/10.1080/08989575.2009.10846789.

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45

Muecke, Stephen. "Her Biography: Deborah Bird Rose." a/b: Auto/Biography Studies 35, no. 1 (January 2, 2020): 273–77. http://dx.doi.org/10.1080/08989575.2020.1720202.

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46

Miller, Bart. "Rethinking Damasian Ngritude: biography, literature, genre theory." International Journal of Francophone Studies 13, no. 1 (June 1, 2010): 91–101. http://dx.doi.org/10.1386/ijfs.13.1.91/7.

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47

Rensen, Marleen. "Transnational Auto/Biography and European Identity: Klaus Mann's Portrait of André Gide." Comparative Critical Studies 18, supplement (October 2021): 62–84. http://dx.doi.org/10.3366/ccs.2021.0416.

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This article studies transnational biography avant la lettre by looking closely at Klaus Mann's 1943 portrait of the French writer André Gide. Writing against the backdrop of the battle against Nazism and war, Mann presents Gide as an exemplary European, who combined a strong national identity with an open, cosmopolitan mindset. The article shows how he unpacks his subject's multiple identities, while presenting a coherent life narrative, structured around the polarities of individual/communal and national/European. It further examines how writing Gide's biography influenced Mann's self-presentation as a European artist in his autobiography The Turning Point, thus aiming to reach a better understanding of how transnationalism is lived and produced through life-writing practices. Finally, this article explores the pitfalls and challenges of transnational biography by looking closely at Mann's use of national categories and his tendency to associate transnationalism with idealizing notions of crossing and breaking down borders.

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48

Karl, Frederick R. "Contemporary Biographers of Nineteenth-Century Novelists." Victorian Literature and Culture 25, no. 1 (1997): 191–201. http://dx.doi.org/10.1017/s1060150300004708.

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A sudden scholarly interest in Robert Louis Stevenson has resulted in a good many publications — his collected letters, a brief life by Ian Bell, a more authoritative life by Frank McLynn, and a very full biography of Fanny Stevenson, the American woman who lived with the writer for the last twenty years of his life. Besides informing us about the Stevensons, this outpouring says a good deal about where biography is now, in the mid-1990s.

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49

Bellos, D. "Biography and the Question of Literature in France." French Studies 62, no. 3 (July 1, 2008): 370–71. http://dx.doi.org/10.1093/fs/knn066.

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50

Arráez, José Luis. "Nathalie Skowronek « a la recherche de Max » : Construction litteraire et autometatextualite dans les ouvrages de la 3e generation de la Shoah." Scripta Judaica Cracoviensia 18 (2021): 187–208. http://dx.doi.org/10.4467/20843925sj.20.013.13881.

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The third generation survivors of the World War II genocide of the European Jews withstand, analyse and create literary texts about the Holocaust, a historical event, which was not endured by them directly but experienced through scientific papers and creative literature. Thanks to Nathalie Skowronek, a novelist living in Brussels, and her publication of Max en apparence (2013) and La Shoah de Monsieur Durand (2015), we can gain some insight into the social and literary reality of Jewish genocide memory and into its intergenerational transmission. Firstly, we will carefully analyse the approach used by this author in the composition of a biographical text about her grandfather’s reconstruction of events. After that, using an intertextual approach, we will analyse formal and moral narrative considerations of the authoress which govern the literary reconstruction grandfather’s biography.

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