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Abstract only
Angela Lait

Autobiography and biographical certainty The closing years of the twentieth century and early ones of the twenty-first were marked by two phenomena – the increasing production of, and interest in biography and autobiography, alongside an intense (re)engagement with traditional, creative, craft-based labours, particularly cookery and horticulture. This is not merely

in Telling tales
Open Access (free)
Christopher Morgan

chapter1 28/1/05 1:21 pm Page 13 1 Poetry as autobiography Introduction ‘This To Do’ is a frequently overlooked poem in R. S. Thomas’s 1966 collection Pieta. Although appearing twenty years into Thomas’s career as a published poet, Pieta effectively ends the early periods of work at Manafon (1942–54) and Eglwysfach (1954–67) and simultaneously initiates the succeeding periods at Aberdaron (1967–78) and Rhiw (1978–94) on the Llyn peninsula in north Wales. The collection falls not only within a geographical transition for the poet but at a major thematic cross

in R. S. Thomas
Sue Vice

Versions of autobiography 7 P’tang, Yang, Kipperbang (1982), Bye, Bye, Baby (1992), Eskimo Day (1996) and Cold Enough for Snow (1997) Many of Jack Rosenthal’s television plays contain autobiographical elements, particularly the early films The Evacuees (1975) and P’tang, Yang, Kipperbang (1982). Bye, Bye Baby (1992) was described on its release as the third in an informal trilogy consisting of these plays, and was followed ten years later by two further autobiographically based films, Eskimo Day (1996) and its sequel, Cold Enough for Snow (1997). Rosenthal

in Jack Rosenthal
Abstract only
Viv Gardner and Diane Atkinson

The Autobiography GARDNER 9781526138040 PRINT regular footnotes.indd 11 07/01/2019 15:32 Frontispiece  ‘Undaunted by the jeers of the onlookers’, Kitty Marion at the Wrexham Eisteddfod, 5 September 1912. After heckling David Lloyd George, Kitty Marion and two other protesters were attacked by the crowd and escorted to safety by the police. Unidentified cutting, probably from the Daily Sketch (see KMA: 165–6). GARDNER 9781526138040 PRINT regular footnotes.indd 12 07/01/2019 15:32 KITTY MARION Chel. 3 – 6969                  230 W. 22 St. GARDNER

in Kitty Marion
Renate Günther

many of Duras’s films are shaped by underlying political concerns, the latter are never represented directly, but are instead woven into a highly idiosyncratic mixture of autobiography, politics and aesthetics. Nor did Duras wish to be part of what Hayward has called the entre-hommes (Hayward 1993 : 232), the fraternity of male directors who, in their own work, typically quoted from and referred to the films of others

in Marguerite Duras
Geertje Mak

9 SCRIPTING THE SELF. N. O. BODY’S AUTOBIOGRAPHY identity as a script Barbin and N. O. Body The protagonists of N. O. Body’s autobiography Aus einem Mannes Mädchenjahren (Memoirs of a Man’s Maiden Years), published in 1907, and of Barbin’s autobiographical writings have a lot in common.1 Both were raised as girls and only discovered that they were male in their twenties. Both had already had a passionate love affair with a woman for quite some time before the medical discovery of the error of sex. For both the breakthrough came after a confession of their life

in Doubting sex
Edmund G. Gardner
Bulletin of the John Rylands Library
Bulletin of the John Rylands Library
Open Access (free)
James Baldwin and Malcolm X
Mikko Tuhkanen

Taking its cue from recent scholarly work on the concept of time in African American literature, this essay argues that, while both James Baldwin and Malcolm X refuse gradualism and insist on “the now” as the moment of civil rights’ fulfillment, Baldwin also remains troubled by the narrowness assumed by a life, politics, or ethics limited to the present moment. In his engagement with Malcolm’s life and legacy—most notably in One Day, When I Was Lost, his screen adaptation of Malcolm’s autobiography—he works toward a temporal mode that would be both punctual and expansive. What he proposes as the operative time of chronoethics is an “untimely now”: he seeks to replace Malcolm’s unyielding punctuality with a different nowness, one that rejects both calls for “patience,” endemic to any politics that rests on the Enlightenment notion of “perfectibility,” and the breathless urgency that prevents the subject from seeing anything beyond the oppressive system he wants overthrown. Both thinkers find the promise of such untimeliness in their sojourns beyond the United States.

James Baldwin Review
Terence Davies and the Paradoxes of Time
Wendy Everett

This article examines the paradoxes inherent in filmic time, with particular reference to the autobiographical work of the British director Terence Davies. Analysing ways in which film, itself constructed from still images, can create, reverse or freeze temporal flux, confuse and blend multiple and conflicting temporalities, and create the spatial dimensions of an ‘imaginary’ time, it argues that the relationship between film and music may well provide a fundamental key to the understanding of filmic time.

Film Studies