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Autobiography, a fully-recognised genre within mainstream literature today, has evolved massively in the last few decades, particularly through colonial and postcolonial texts. By using autobiography as a means of expression, many postcolonial writers were able to describe their experiences in the face of the denial of personal expression for centuries. This book is centred around the recounting and analysis of such a phenomenon. Literary purists often reject autobiography as a fully-fledged literary genre, perceiving it rather as a mere life report or a descriptive diary. The colonial and postcolonial autobiographical texts analysed in this book refute such perceptions, and demonstrate a subtle combination of literary qualities and the recounting of real-life experiences. This book demonstrates that colonial and postcolonial autobiographical texts have established their ‘literarity’. The need for postcolonial authors to express themselves through the ‘I’ and the ‘me’, as subjects and not as objects, is the essence of this book, and confirms that self-affirmation through autobiographical writing is indeed an art form.
This book looks at contemporary autobiographical works by writers with African backgrounds in relation to the idea of ‘place’. It examines eight authors’ works – Helen Cooper’s The House at Sugar Beach, Sisonke Msimang’s Always Another Country, Leila Ahmed’s A Border Passage, Noo Saro-Wiwa’s Looking for Transwonderland, Douglas Rogers’s The Last Resort, Elamin Abdelmahmoud’s Son of Elsewhere, Clemantine Wamariya and Elizabeth Weil’s The Girl Who Smiled Beads and Aminatta Forna’s autobiographical writing – to argue that place is particularly central to personal narrative in texts whose authors have migrated multiple times. Spanning Liberia, Nigeria, Sierra Leone, Egypt, Rwanda, Zambia, and Zimbabwe, this book interrogates the label ‘African’ writing which has been criticized for ignoring local contexts. It demonstrates how in their works these writers seek to reconnect with a bygone ‘Africa’, often after complex experiences of political upheavals and personal loss. The chapters also provide in-depth analyses of key concepts related to place and autobiography: place and privilege, place and trauma, and the relationship between place and nation.
The main objective of this book is to explain how contemporary literatures in Spanish and Portuguese are dealing with artistic creativity when artmaking is no longer a specialised field of cultural production, but rather an expanded field of socioeconomic interaction, personal and creative self-definition and collective imagination. The project positions the contemporary art novel as the most suitable place to understand how the economisation of cultural labour is affecting writers and artists alike. The authors examined in this book, including José Saramago, Rita Indiana Hernández, María Gainza, Mayra Santos Febres and Ondjaki (amongst others) explore the contradictions of the art market, the dynamics of art education, the multifaceted activity of curators and socially engaged artists in relation to broader debates on the role of culture in the configuration of socioeconomic dynamics. The book maps a new trend within contemporary literature that taps into the visual art system to reassess the role of literature in critical ways.
This collective book offers new insight on the genres of biography and autobiography by examining the singular path of those deemed to be ‘outsiders’, such as Winnie Mandela, Ida B. Wells, Malcolm X and Harvey Milk. Its specific focus on these female leaders and civil rights activists, who refused to be constrained by gender, race and class, shifts attention away from the great men of history and places it solely on those who have transformed their personal lives into a fight for collective goals. With an interdisciplinary approach that looks at literature, cinema and cultural studies, Women Activists and Civil Rights Leaders in Auto/Biographical Literature and Cinema argues that life writing is a key source of artistic creativity and activism which enables us to take a fresh look at history.
This book explores the complex interrelationship between fact and fiction in narratives of the twenty-first century. Current cultural theory observes a cultural shift away from postmodernism to new forms of expression. Rather than a radical break from the postmodern, however, postmodernist techniques are repurposed to express a new sincerity, a purposeful self-reflexivity, a contemporary sense of togetherness and an associated commitment to reality. In what the editors consider to be one manifestation of this general tendency, this book explores the ways in which contemporary texts across different media play with the boundary between fact and fiction. This includes the examination of novels, autobiography, autofiction, film, television, mockumentary, digital fiction, advertising campaigns and media hoaxes. The chapters engage with theories of what comes after postmodernism and analyse the narratological, stylistic and/or semiotic devices on which such texts rely. The chapters in this book were originally published as a special issue of the European Journal of English Studies.
Autobiography, a fully-recognised genre within mainstream literature today, has evolved massively in the last few decades, particularly through colonial and postcolonial texts. By using autobiography as a means of expression, many postcolonial writers were able to describe their experiences in the face of the denial of personal expression for centuries. This book is centred around the recounting and analysis of such a phenomenon. Literary purists often reject autobiography as a fully-fledged literary genre, perceiving it rather as a mere life report or a descriptive diary. The colonial and postcolonial autobiographical texts analysed in this book refute such perceptions, and demonstrate a subtle combination of literary qualities and the recounting of real-life experiences. This book demonstrates that colonial and postcolonial autobiographical texts have established their â ~literarityâ (TM). The need for postcolonial authors to express themselves through the â ~Iâ (TM) and the â ~meâ (TM), as subjects and not as objects, is the essence of this book, and confirms that self-affirmation through autobiographical writing is indeed an art form.
Autobiographical writings have been a major cultural genre from antiquity to the present time. General questions of the literary as, e.g., the relation between literature and reality, truth and fiction, the dependency of author, narrator, and figure, or issues of individual and cultural styles etc., can be studied preeminently in the autobiographical genre. Yet, the tradition of life-writing has, in the course of literary history, developed manifold types and forms. Especially in the globalized age, where the media and other technological / cultural factors contribute to a rapid transformation of lifestyles, autobiographical writing has maintained, even enhanced, its popularity and importance. By conceiving autobiography in a wide sense that includes memoirs, diaries, self-portraits and autofiction as well as media transformations of the genre, this three-volume handbook offers a comprehensive survey of theoretical approaches, systematic aspects, and historical developments in an international and interdisciplinary perspective. While autobiography is usually considered to be a European tradition, special emphasis is placed on the modes of self-representation in non-Western cultures and on inter- and transcultural perspectives of the genre. The individual contributions are closely interconnected by a system of cross-references. The handbook addresses scholars of cultural and literary studies, students as well as non-academic readers.
This book examines the relationship between words and images in various life-writing works produced by nineteenth to twenty-first century American and British women. It addresses the politics of images in women’s life writing, contending that the presence or absence of images is often strategic. Including a range of different forms of life writing, chapters draw on traditional (auto)biographies, travel narratives, memoirs, diaries, autofiction, cancer narratives, graphic memoirs, artistic installations, quilts and online performances, as life writing moves from page to screen and other media. The book explores a wide range of women who have crossed the boundary between text and image: painters who have become writers, novelists who have become painters, writers who hesitate between images and words, models who seize the camera, and artists who use the frame as a page.
projects, and an extensive bibliography. --Book Jacket.
Born in 1900 in French West Africa, Malian writer Amadou Hampâté Bâ was one of the towering figures in the literature of twentieth-century Francophone Africa. In Amkoullel, the Fula Boy, Bâ tells in striking detail the story of his youth, which was set against the aftermath of war between the Fula and Toucouleur peoples and the installation of French colonialism. A master storyteller, Bâ recounts pivotal moments of his life, and the lives of his powerful and large family, from his first encounter with the white commandant through the torturous imprisonment of his stepfather and to his forced attendance at French school. He also charts a larger story of life prior to and at the height of French colonialism: interethnic conflicts, the clash between colonial schools and Islamic education, and the central role indigenous African intermediaries and interpreters played in the functioning of the colonial administration. Engrossing and novelistic, Amkoullel, the Fula Boy is an unparalleled rendering of an individual and society under transition as they face the upheavals of colonialism.