Berlioz’ Memoirs and Delacroix's Journal : Context, Personality, Ethos

Romanticism ◽  
2017 ◽  
Vol 23 (1) ◽  
pp. 1-14 ◽  
Author(s):  
Richard Lansdown
Keyword(s):  
Autobiographical Writing ◽  
French Romanticism

Berlioz’ Mémoires (1870) and Delacroix's Journal (1893) are commonly seen as two of the greatest records of Romantic creativity. They also share a common background in French Romanticism, and are powerful instances of two great forms of autobiographical writing. This essay takes these features into account, but also contrasts the two Romantic artists — and human individuals — recorded in these books.

Forum: Religion and American Autobiographical Writing

1999 ◽  
Vol 9 (1) ◽  
pp. 1-29 ◽  
Author(s):  
Susan Juster ◽  
John D. Barbour ◽  
Gary Comstock ◽  
Richard Rabinowitz
Keyword(s):  
Autobiographical Writing

Laughter on the Fringes

2019 ◽  
Author(s):  
Anna Peterson
Keyword(s):  
The Other ◽  
Literary Canon ◽  
Autobiographical Writing ◽  
Treasure Trove ◽  
Old Comedy ◽  
Other Hand ◽  
Aggressive Humor ◽  
The One ◽  
The Individual ◽  
The Impact

This book examines the impact that Athenian Old Comedy had on Greek writers of the Imperial era. It is generally acknowledged that Imperial-era Greeks responded to Athenian Old Comedy in one of two ways: either as a treasure trove of Atticisms, or as a genre defined by and repudiated for its aggressive humor. Worthy of further consideration, however, is how both approaches, and particularly the latter one that relegated Old Comedy to the fringes of the literary canon, led authors to engage with the ironic and self-reflexive humor of Aristophanes, Eupolis, and Cratinus. Authors ranging from serious moralizers (Plutarch and Aelius Aristides) to comic writers in their own right (Lucian, Alciphron), to other figures not often associated with Old Comedy (Libanius) adopted aspects of the genre to negotiate power struggles, facilitate literary and sophistic rivalries, and provide a model for autobiographical writing. To varying degrees, these writers wove recognizable features of the genre (e.g., the parabasis, its agonistic language, the stage biographies of the individual poets) into their writings. The image of Old Comedy that emerges from this time is that of a genre in transition. It was, on the one hand, with the exception of Aristophanes’s extant plays, on the verge of being almost completely lost; on the other hand, its reputation and several of its most characteristic elements were being renegotiated and reinvented.

Autonom autobiografisch: Zu Thomas Manns Die Entstehung des Doktor Faustus

2020 ◽  
Vol 55 (1) ◽  
pp. 83-99
Author(s):  
Lukas Hermann
Keyword(s):  
Thomas Mann ◽  
Autobiographical Writing ◽  
Documentary Source ◽  
Textual Evidence ◽  
Structural Frame ◽  
The Status ◽  
Structural Aspects

AbstractIn its peritext, Thomas Mann’s Entstehung des Doktor Faustus is described as a “Roman eines Romans”. The essay reasons that this description of its genre as well as structural aspects of its composition mark it as an autobiographical text. Instead of following most studies on the Doktor Faustus, which regard the Entstehung simply as a documentary source for exposing autobiographical intricacies of Mann’s novel, textual evidence for the Entstehung’s autonomy is given. The analysis focuses first on the structural frame of the Entstehung in order to show Mann’s central techniques of autobiographical self-stylization. In this context auto-fictional elements can also be identified. Exemplary passages from two longer sections are taken into account based on these findings. While the Doktor Faustus is a recurrent topic in these passages, it is not, by any means, the only one. Combined with varying autobiographical writing techniques, the Entstehung is thus displaying continuous independence from the Faustus. Based on these insights, future Mann studies on both works may reevaluate the role of the Entstehung for the reception of the Faustus and the status of autobiographical literature in the works of Thomas Mann.

Remembering J. M. Stuart-Young of Onitsha, Colonial Nigeria: Memoirs, Obituaries and Names

Africa ◽  
2003 ◽  
Vol 73 (4) ◽  
pp. 505-530 ◽  
Author(s):  
Stephanie Newell
Keyword(s):  
Young Men ◽  
Local People ◽  
Autobiographical Writing ◽  
Over Time

AbstractColonial Onitsha provided the stage for John Moray Stuart-Young (1881–1939), a Manchester trader and poet, to perform the role of an educated gentleman. In his autobiographical writing, Stuart-Young created a host of famous metropolitan friends and constructed for himself a past through which he invited African readers to remember him. The extent to which Onitsha citizens accepted his version of his life is explored in this article, for during the period of Stuart-Young's residence in town, from approximately 1909 until his death in 1939, different sectors of Igbo society observed him closely, read his publications, worked with him and witnessed his patronage of young men. Local people, including the children, studied his behaviour over time and produced a range of African names and watchwords by which they remembered his life.

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