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'Interpretive Biography' combines one of the oldest techniques in the social sciences and humanities with one of the newest. Bringing in elements of postmodernism and interpretive social science, it re-examines the biographical and autobiographical genres.
Mr. Johnson puts the outline of his aims in the form of two questions: "What was Emily Dickinson like?" and "As a poet, what was she trying to do?" He has answered both as fully as they can be answered. --Robert Hillyer.
A modern assessment of the thirty-fifth president evaluates the perspectives of both his supporters and revisionists, sharing nuanced interpretations of the influence of a range of factors from his family values and military contributions to his political achievements and personal scandals.
Like all writing, biographies are interpretive. In Interpretive Autoethnography, Norman Denzin combines one of the oldest techniques in the social sciences with one of the newest. Bringing in elements of postmodernism and interpretive social science, he reexamines the biographical and autobiographical genres as methods for qualitative researchers. Grounded in theory and rigorous analysis, this accessible book points up the inherent weaknesses in traditional biographical forms and outlines a new way in which biographies should be conceptualized and shaped. The book provides a guide to the assumptions of the biographical method, to its key terms, and to the strategies for gathering and interpreting such materials. Denzin introduces the key concept of "epiphany," or turning points in person’s lives. A final chapter returns to autoethnography’s primary purpose: to make sense of our fragmented lives.
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The author sets out to capture Picasso's early life in this biography, exploring the originality of his art and ambition. At the heart of the interpretation is Picasso's first great love, Fernande Olivier, with whom the artist lived for seven years - a period which included his most revolutionary works. Fernande is given her own voice by way of excerpts from her candid memoirs. Including the artist's friendships with Apollonaire and Gertrude Stein, the book evokes the atmosphere of bohemian life in Paris in the early 1900s.
"This biography traces the output of jazz master Charles Mingus--his recordings, his compositions, and his writings--highlighting key moments in his life and musicians who influenced him and were influenced by him. As a young man, Mingus played with Louis Armstrong as well as with Kid Ory. Mingus also played in bands led by Duke Ellington, Charlie Parker, Lionel Hampton, Red Norvo, Art Tatum, and many others. He began leading his own bands in New York City in 1955. Eric Dolphy, Rahsaan Roland Kirk, Jimmy Knepper, Jackie McLean, Toshiko Akiyoshi, Cat Anderson, and Jaki Byard are among the many distinguished jazz artists who made music with Mingus during the 1950s, 1960s, and 1970s. In addition to leaving behind a large collection of compelling recordings by large and small units, Mingus was also a talented writer. His autobiography, Beneath the Underdog: His World Composed by Mingus, is unlike any other book by a major jazz artist. Mingus creates vivid portraits of the many people who passed through his life and tells his story with compelling prose. Mingus also wrote a good deal of poetry and prose, all of it reflecting his unique vision. In 1977 he was diagnosed with amyotrophic lateral sclerosis. After several months of steady deterioration, he died in 1979 in Mexico"--Provided by publisher.
Expanded and revised, as well as translated, from the 1985 German edition, details the thought of Benjamin (1892-1940), an all-around European intellectual most active between the wars. Annotation copyrighted by Book News, Inc., Portland, OR
This study of black images in American motion pictures, is re-issued for its 30th anniverary in its 4th edition. It includes the entire 20th century through black images in film, from the silent era to the unequalled rise of the new African American cinema and stars of today. From The Birth of a Nation, Gone with the Wind, and Carmen Jones to Shaft, Do the Right Thing, Waiting to Exhale, The Hurricane, and Bamboozled, Donald Bogle reveals the way the image of blacks in American cinema has changed - and also the shocking way in which it has often remained the same.
Epstein's narrative interweaves interpretive and theoretical chapters as it emplots the discourse of English biography from Walton to Strachey. In this way familiar generic relationships between biographer, subject, life, text, falsehood, and readership are analyzed in specific (if constantly shifting) historical, literary, cultural, and economic texts.