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Abstract only
Nicholas Royle

’, trans. Eric Prenowitz, in Reading Cixous Writing , special issue of Oxford Literary Review , 24 (2003), 17–42: here, 17. 14 Derrida, ‘Ants’, 20. 15 Hélène Cixous, Death Shall Be Dethroned: Los, A Chapter , the Journal , trans. Beverley Bie Brahic (Cambridge: Polity, 2016), 60. 16 See Hélène Cixous, in Hélène Cixous and Mireille Calle-Gruber, Rootprints: Memory and Life Writing , trans. Eric Prenowitz (London: Routledge, 1997), 100. 17 Cixous, Three Steps on the Ladder of Writing , 51. 18 Cixous and Calle

in Hélène Cixous
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‘Passing’ fads?: recent controversies of authenticity and authorship
Sinéad Moynihan

in fraudulent authorial behaviour. Novelist William Gass observes: [a] memoir is usually the recollection of another place or personality, and its primary focus is outward bound … Even when the main attention of the memoir is inward, the scope of the memory tends to be limited (how I felt at the first fainting of the queen), and not wide enough to take in a life. 10 This does shed more light on the issue, but only in distinguishing the memoir from other forms of life writing – diary, notebook, journal – rather

in Passing into the present
The War Books Boom, 1928–1930
Andrew Frayn

part of the novel brutally satirises Victorian conventions, mores, and values, laying the blame for the war and attitudes which supported it firmly at the feet of the antecedents. Max Saunders sees satirical life-writing as a distinctively modern form, and notes D. H. Lawrence’s influence on Aldington’s transformation from Imagist poet to satirical novelist.42 Death of a Hero is even more vituperative than most of Lawrence’s harangues, and this is its point: anger at the war must now be given full rein. Aldington did not enter the army until almost two years into the

in Writing disenchantment
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Gerd Bayer

his Sense and Principles by Timothy and Philautus, than from the Grand Authour himself.130 It is rare to find in a work as conventional and conservative as Penton’s instructions to educators such an unbiased discussion of the potential ability of narrative prose fiction to include important aspects from real life in a productive manner. Mary Davys’s The Fugitive (1705) also teeters on the brink between truth and fiction, drawing heavily on the author’s personal experience and, at the same time, drawing substantially on various traditions of life writing and

in Novel horizons
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Frederick H. White

22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 Degeneration, decadence and disease in the Russian fin de siècle form of literature. See Morris, David B. ‘Narrative, Ethics, and Pain: Thinking With Stories.’ Narrative, 9, 1 (January 2001): 58. For a discussion of some of the issues involved in contemporary life writing and the seeming requirement for intellectualized tabloid material see Eakin, Paul. How Our Lives Become Stories: Making Selves (Ithaca; London: Cornell University Press, 1999) 142–86. Prendergast, Catherine. ‘On the Rhetorics of Mental

in Degeneration, decadence and disease in the Russian fin de siècle
Gerd Bayer

The London Jilt is told in the first person but hardly ever draws on the temporal distance between the experiencing I  and the narrating I.  For the most part it narrates the events as if they were written up immediately afterwards, yet the consistency in tone belies this approach and suggests that the whole piece was written subsequently. Given that there were no clear conventions for this sort of life writing, one might just as easily argue that the author of this novel simply did not reflect sufficiently on the different intellectual stages the protagonist went

in Novel horizons
Tom Woodin

‘boring’ themes and writers – tea on the lawn or surreptitious middle-class affairs – as uninspiring literature. But these were selections from a vast array of work, and a complete break between bourgeois and working-class culture was not easily sustained. Nevertheless, classed relations would continue to foster feelings of separateness. Fed publications constituted a form of life writing that could not easily be assigned to neat categories but rather cut across disciplinary boundaries. While Fed writing often revealed a strong ‘materialist aesthetic’ and a desire to

in Working-class writing and publishing in the late twentieth century
Anna Siebach Larsen

, ‘Manipulating Reputations: Sir Thomas More, Sir Thomas Elyot, and the Conclusion of William Roper’s Lyfe of Sir Thomas Moore, Knighte’, in Thomas F. Mayer and D.R. Woolf (eds), The Rhetorics of Life-Writing in Early Modern Europe: Forms of Biography from Cassandra Fedele to Louis XIV (Ann Arbor, MI: The University of Michigan Press, 1995), pp. 133–61. 24 Regrettably, there is no room here to discuss in depth the explicit rhetorical and ‘literary’ techniques exploited by the Lives’ authors, or the effect of More’s own texts on the Lives’ structure and style. The few

in Sanctity as literature in late medieval Britain
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Emma Robinson-Tomsett

discourses intertwine within them, and previous analyses of women’s travel writing have powerfully argued that the discourses they feature are not simple expressions of an author’s feelings or opinions, but a configuration of diverse structures with which the author negotiates.49 Texts such as diaries are considered part of the genre of life writing, which, it is argued, virtually invites authors to create textual personas that do not reflect their actual personalities. The diarist constructs a fictional persona on the page, however unconsciously.50 Women journeyers

in Women, travel and identity
Emma Liggins

Chapter 5 Professional spinsters, older women and widowed heroines in the 1930s This chapter compares representations of single and widowed women in 1930s novels and life-writing in the context of concerns about promiscuity, maternity and ageing. A new interest in cross-generational bonding had ushered the obscurer figure of the widow into the spotlight. Virginia Woolf ’s polemic Three Guineas (1938) welcomed the Sex Disqualification (Removal) Act of 1919, which ‘unbarred the professions’ to women, as a moment of ‘excitement’ and ‘pride’, allowing the educated

in Odd women?