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Books on the topic 'Collaborative autobiography'

Author: Grafiati
Published: 19 February 2023

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1

Not being God: A collaborative autobiography. New York: Columbia University Press, 2009.

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2

Stephen Harper: A case for collaborative governance. Toronto, ON: ECW Press, 2006.

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3

Rios, Theodore. Telling a good one: The process of a Native American collaborative biography. Lincoln: University of Nebraska Press, 2000.

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4

Erdal, Jennie. Ghosting: A memoir. Edinburgh: Canoncate Books, 2004.

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5

The lives of the muses: Nine women & the artists they inspired. London: Aurum Press, 2003.

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6

The Lives of the Muses. New York: HarperCollins, 2002.

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7

My lucky star: A novel. London: William Heinemann, 2006.

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8

My lucky star: A novel. New York: Little, Brown and Co., 2006.

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9

Vattimo, Gianni. Not Being God: A Collaborative Autobiography. Columbia University Press, 2010.

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10

Mackey, Lloyd. Stephen Harper: The Case for Collaborative Governance. Not Avail, 2006.

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11

Campbell, Elizabeth, Kate Pahl, Elizabeth Pente, and Zanib Rasool, eds. Re-imagining Contested Communities. Bristol University Press, 2018. http://dx.doi.org/10.46692/9781447333319.

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Using history, artistic practice, writing, poetry, autobiography and collaborative ethnography, this book literally and figuratively re-imagines a place, presenting a ‘how to’ for researchers interested in community collaborative research and accessing alternative ways of knowing and voices in marginalised communities.
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12

Boyd Maunsell, Jerome. You are never yourself to yourself. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198789369.003.0007.

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This chapter begins with an account of Stein sitting for Picasso in 1905–6, and a discussion of her word portraits, before tracing how her art of portrait-writing evolved. It examines The Autobiography of Alice B. Toklas (1933), Everybody’s Autobiography (1938), Paris France (1940), and Wars I Have Seen (1945). The role of collaboration is explored, as well as how memoir-writing and autobiography implicate others. The chapter explores the aftermath of Stein’s first autobiography, as depicted in her second memoir; her ideas on autobiography and detective stories; the strong influence of visual art and Cubism on her work as an autobiographer; and the dichotomy between the present and the role of memory in all her literary portraiture. Stein’s portrayals of Ford, James, and Lewis are also discussed, as well as her years in Occupied France during the Second World War.
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13

Boyd Maunsell, Jerome. Portraits from Life. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198789369.001.0001.

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Portraits from Life examines the ways in which a group of major Modernist writers—Joseph Conrad, Ford Madox Ford, Henry James, Wyndham Lewis, Gertrude Stein, H. G. Wells, and Edith Wharton—depicted themselves and each other in their memoirs and autobiographies, rather than in their fiction. In a series of reconstructions of biographical contexts, it reveals how each of these novelists approached the task of writing their own lives, and how they experimented with the form and style of autobiography. Memoirs and autobiographies, as this book argues, are often just as artful as novels. Showing how it is impossible to understand any author’s autobiography without an understanding of their life, this book offers a group portrait examining the temptations, difficulties, and benefits which the project of writing their lives brought these novelists. The act of writing autobiography is a central focus, and many recurring themes are analyzed: how autobiography is often a collaborative act; how the time of the writing of autobiography often has a major influence; how fact and fiction, biography and autobiography, interact; how autobiography is always mediated by memory. This book argues that autobiography is as much an act of group portraiture as of self-analysis. It shows how the keeping of biographical secrets acts to protect others rather than oneself; and it explores the ethical issues at stake in autobiography when dealing with real, rather than invented, people. It also opens up a rich network of Modernist encounters, examining how these seven writers’ memoirs interrelate.
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14

Boyd Maunsell, Jerome. A straight dive into the past. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198789369.003.0003.

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This chapter begins with an account of James sitting for an oil portrait by John Singer Sargent in Chelsea in 1913, and then discusses the composition of James’s three volumes of autobiography: A Small Boy and Others (1913), Notes of a Son and Brother (1914), and The Middle Years (1917). The role of dictation and collaboration is highlighted, as James dictated these books to his typist Theodora Bosanquet. The chapter traces the genesis of the first two volumes, illuminating the role of depression and illness in James’s undertaking to write the memoirs. It shows how the writing of autobiography was initially therapeutic for James, and analyzes James’s impressionistic approach to fact, his autobiographical discretion, and his relations with Conrad, Ford, Wells, and Wharton. It also discusses James’s views on biography, and how the autobiographies were conceived as family biography rather than autobiography.
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15

Cottis, David. Towards a British Concept Musical. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.12.

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The three stage shows written in collaboration by Leslie Bricusse and Anthony Newley—Stop the World—I Want to Get Off (1961), The Roar of the Greasepaint, the Smell of the Crowd (1964), and The Good Old, Bad Old Days (1972)—are unlike anything that preceded them in the British musical theatre: minimalist, metatheatrical, drawing on contemporary developments in other arts, and ultimately dependent on the persona of Newley, their co-writer and star. This chapter examines the collaboration between Bricusse and Newley, its influences and legacy, as well as the work each did without the other—Newley’s history of musical autobiography and Bricusse’s many literary adaptations.
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16

Petropoulos, Jonathan. Artists under Hitler: Collaboration and Survival in Nazi Germany. Yale University Press, 2014.

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17

Artists under Hitler: Collaboration and survival in Nazi Germany. 2014.

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18

Marin, Reva. Outside and Inside. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496829979.001.0001.

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This book is the first full-length study of autobiographies and memoirs of white American jazz musicians, whose accounts reveal attitudes toward race, ethnicity, and gender across a wide range of twentieth-century jazz communities. White jazz autobiographers highlight their immersion in Black jazz environments as central to establishing their legitimacy as jazz musicians, claiming versions of masculinity shaped by these immersion experiences and positioning themselves in relation to colorblind or essentialist arguments that have dominated twentieth-century jazz discourse. Their accounts illustrate the triumphs and failures of jazz interracialism, displaying the contradictory attitudes of reverence and entitlement, deference, and insensitivity that remain part of the white response to Black culture to the present day. The book examines sixteen autobiographies published between 1926 and 2010. Its thematic approach includes chapters that examine the collaborative process in jazz autobiography, Jewish American jazz musicians, and race relations in the New Orleans jazz revival and on Los Angeles’ Central Avenue. Its focus on male instrumentalists and bandleaders provides opportunities for revisiting some of the classic depictions of the “white Negro” in contemporary cultural criticism. While informed by the insights of critical race theory, the book argues that viewing these texts simply through the lens of white privilege does not do justice to the sustained relationships with Black music and culture described by these autobiographers. It both insists upon the value of insider perspectives and holds the texts to rigorous scrutiny, while embracing an expansive interpretation of white involvement in Black culture.
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19

Hackett, Clifford P. Who Wrote the Memoirs of Jean Monnet?: An Intimate Account of an Historic Collaboration. Lang AG International Academic Publishers, Peter, 2016.

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20

Hackett, Clifford P. Who Wrote the Memoirs of Jean Monnet?: An Intimate Account of an Historic Collaboration. Lang AG International Academic Publishers, Peter, 2016.

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21

Hackett, Clifford P. Who Wrote the Memoirs of Jean Monnet?: An Intimate Account of an Historic Collaboration. Lang AG International Academic Publishers, Peter, 2016.

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22

Williams, Sonja D. Globetrotting with The Greatest. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039874.003.0011.

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This chapter focuses on Richard Durham's travels with Muhammad Ali as part of their collaboration to write the autobiography of the self-proclaimed “greatest” boxer in the world. Durham relished the idea of chronicling the life of a man who had mastered his favorite sport, and who had become an internationally known, if controversial, cultural icon. During his seven years as editor for Muhammad Speaks, Durham had interacted often with Ali and genuinely liked him. On February 25, 1964, Ali, then known as Cassius Clay, beat Sonny Liston to become the heavyweight boxing championship of the world at age twenty-two. Durham began shadowing Ali with his tape recorder and microphone, regularly recording the fighter's reflections and interactions. He even captured Ali talking in his sleep. The result was The Greatest, which Durham ended with a brief postscript summarizing Ali's exhausting September 1975 battle against Joe Frazier.
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23

Culley, A. British Women's Life Writing, 1760-1840: Friendship, Community, and Collaboration. Palgrave Macmillan Limited, 2014.

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24

Culley, A. British Women's Life Writing, 1760-1840: Friendship, Community, and Collaboration. Palgrave Macmillan Limited, 2014.

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25

British Women's Life Writing, 1760-1840: Friendship, Community, and Collaboration. Palgrave Macmillan, 2014.

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26

Erdal, Jennie. Ghosting: A Double Life. Doubleday, 2005.

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27

Ghosting. Edinburgh: Canongate Books, 2009.

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28

Ghosting: A Double Life. Anchor, 2006.

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29

Erdal, Jennie. Ghosting. Canongate Books Ltd, 2004.

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30

Erdal, Jennie. Ghosting: A Double Life. Anchor Canada, 2006.

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31

Erdal, Jennie. Ghosting: A Double Life. Doubleday Canada, 2005.

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32

Eller, Jonathan R. Bradbury Beyond Apollo. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043413.001.0001.

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This book completes the biography trilogy begun in Becoming Ray Bradbury and continued in Ray Bradbury Unbound. Bradbury Beyond Apollo begins in the early 1970s, as Bradbury found himself fully established as a witness and celebrant of the Space Age. His storytelling powers were turning to stage, screen, and television adaptations of his classic midcentury titles, including The Martian Chronicles, Fahrenheit 451, Dandelion Wine, and Something Wicked This Way Comes. Although he was no longer producing a high volume of masterful tales, Bradbury Beyond Apollo chronicles how the last four decades of his life produced the playful fantasies of The Halloween Tree, his award-winning television series The Ray Bradbury Theater, a collaboration with Disney Imagineers on EPCOT’s Spaceship Earth, and significant essays on the common ground between science and religion represented by humanity’s Space Age achievements. The book also documents how Bradbury’s influential lectures, interviews, and essays explored the history of ideas, the nature of creativity, and his own evolving work ethic of optimal behaviorism. Mid-book chapters analyze Bradbury’s significant late-life achievements in fictionalized autobiography and his completion of books that originated decades earlier, including Somewhere a Band Is Playing, perhaps his most significant late-life reflection on time and memory. The book’s overarching contention is that Bradbury’s wide range of ventures were largely sustained by his ever-increasing prominence as a Space Age visionary.
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33

Prose, Francine. The Lives of the Muses: Nine Women & the Artists They Inspired. HarperCollins, 2002.

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34

Shimabuku, Annmaria M. Alegal. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823282661.001.0001.

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Alegal reveals modern Okinawa to be suspended in a perpetual state of exception: it is neither an official colony of Japan or the U.S., nor an equal part of the Japanese state. Today it is the site of one of the densest concentrations of U.S. military bases globally—a truly exceptional condition stemming from Japan’s abhorrence toward sexual contact around bases in its mainland that factored into securing Okinawa as a U.S. military fortress. This book merges Foucauldian biopolitics with Japanese Marxist theorizations of capitalism to trace the formation of a Japanese middle class that disciplined and secured the population from perceived threats, including the threat of miscegenation. Through close readings of poetry, reportage, film, and autobiography, it reveals how this threat came to symbolize the infringement of Japanese sovereignty figured in terms of a patriarchal monoethnic state. This symbolism, however, was met with great ambivalence in Okinawa. As a borderland of the Pacific, racial politics internal to the U.S. collided with colonial politics internal to the Asia Pacific in base towns centered on facilitating encounters between G.I.s and Okinawan women. By examining the history, debates, and cultural representations of these actors from 1945 to 2015, this book shows how they continually failed to “become Japanese.” Instead, they epitomized Okinawa’s volatility that danced on the razor’s edge between anarchistic insurgency and fascistic collaboration. What was at stake in their securitization was the attempt to contain Okinawa’s alegality itself—that is, a life force irreducible to the law.
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35

Phillips, James. Sternberg and Dietrich. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190915247.001.0001.

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James Phillips’s Sternberg and Dietrich: The Phenomenology of Spectacle reappraises the cinematic collaboration between the Austrian-American filmmaker Josef von Sternberg (1894–1969) and the German-American actor Marlene Dietrich (1901–1992). Considered by his contemporaries to be one of the most significant directors of Golden-Age Hollywood, Sternberg made seven films with Dietrich that helped establish her as a style icon and star and entrenched his own reputation for extravagance and aesthetic spectacle. These films enriched the technical repertoire of the industry, challenged the sexual mores of the times, and notoriously tried the patience of management at Paramount Studios. Sternberg and Dietrich: The Phenomenology of Spectacle demonstrates how under Sternberg’s direction Paramount’s sound stages became laboratories for novel thought experiments. Analyzing in depth the last four films on which Sternberg and Dietrich worked together, Phillips reconstructs the “cinematic philosophy” that Sternberg claimed for himself in his autobiography and for whose fullest expression Dietrich was indispensable. This book makes a case for the originality and perceptiveness with which these films treat such issues as the nature of trust, the status of appearance, the standing of women, the ethics and politics of the image, and the relationship between cinema and the world. Sternberg and Dietrich: The Phenomenology of Spectacle reveals that more is at stake in these films than the showcasing of a new star and the confectionery of glamor: Dietrich emerges here as a woman at ease in the world without being at home in it, as both an image of autonomy and the autonomy of the image.
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36

Creativity, Inc. Overcoming the Unseen Forces That Stand in the Way of True Inspiration. Transworld Publishers Limited, 2014.

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37

Creativity, Inc.: Overcoming the Unseen Forces That Stand in the Way of True Inspiration. Bantam Press, 2001.

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38

Catmull, Ed. Creativity, Inc.: Les secrets de l'inspiration par le fondateur de PIXAR. TALENT EDITIONS, 2020.

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39

Catmull, Ed, and Amy Wallace. Creativity, Inc.: Overcoming the Unseen Forces That Stand in the Way of True Inspiration. Random House Audio, 2014.

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40

Prose, Francine. The Lives of the Muses. Aurum Press Ltd, 2004.

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41

The Lives of the Muses: Nine Women & the Artists They Inspired. HarperCollins, 2002.

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42

Keenan, Joe. My Lucky Star. Little Brown & Company, 2009.

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43

Creativity, Inc.: Overcoming the Unseen Forces That Stand in the Way of True Inspiration. Random House, 2014.

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44

Catmull, Ed, and Amy Wallace. Creativity, Inc.: Overcoming the Unseen Forces That Stand in the Way of True Inspiration. Vintage Canada, 2019.

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45

Catmull, Ed, and Amy Wallace. Creativity, Inc.: Overcoming the Unseen Forces That Stand in the Way of True Inspiration. Penguin Random House, 2014.

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46

Catmull, Ed. Creativity, Inc: Overcoming the Unseen Forces That Stand in the Way of True Inspiration. Transworld Publishers Limited, 2014.

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47

My Lucky Star. Penguin Random House, 2007.

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48

Keenan, Joe. My Lucky Star. Back Bay Books, 2006.

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