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Autobiography

An Autopsy

Jean-Christophe Menu and Fabrice Neaud

landscape. We seem to agree on the fact that comics autobiography has become just another ‘genre’, like the western or fantasy. If that's where we've got to, shouldn't we acknowledge that it's ended in terrible failure? Neaud: I think that acknowledgement

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Autobiography, Anthropology

A Personal Historical Recollection

Judith Okely

The book Anthropology and Autobiography, which I co-edited with the now late Helen Callaway, has an extended early history before its completion, drawing on what was once declared highly controversial, indeed unpublishable. Decades later, many

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Autobiography in Anthropology

A Thirty Year Retrospective

Patrick Laviolette and Aleksandar Bošković

The year 2022 marks the 30th anniversary of the release of Helen Callaway and Judith Okely's edited anthology Anthropology and Autobiography. During that generational span, which roughly mirrors the life history of this journal, the book has had

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Issues of Gender Representation in Modern Greek Art

The Case of Thaleia Flora-Caravia's Photographic Images and Self-Portraits

Despoina Tsourgianni

the painter, but also examines, alongside and complementarily, written autobiographical texts, in this case the painter's unpublished autobiography, whose narrative unfortunately only reaches the year of 1906, as well as her private letters

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Instead of a Novel

Sophia Yablonska's Travelogues in the History of Modern Ukrainian Literature

Olena Haleta

Maria G. Rewkowicz claims that “autobiography as a literary genre was quite widespread among feminist writers in the 1970s and 1980s.” 56 Giving examples such as Kate Millett's Flying (1974) and Sita (1977), Anja Meulenbelt's The Shame Is Over

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The Medium Is the Message

Olivier Schrauwen’s Arsène Schrauwen beyond Expectations of Autobiography, Colonial History and the Graphic Novel

Benoît Crucifix and Gert Meesters

, otherness in general and the comics medium itself. After a brief introduction to Schrauwen’s work, we will show how Arsène Schrauwen emphatically stays away from reality-based graphic novel genres such as autobiography or the travelogue, while still making

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“One Is Not Born a Dramatist”

The Genesis of Sartre’s Theatrical Career in Writings to, with, and by Beauvoir

Dennis A. Gilbert

One of the principal themes of Jean-Paul Sartre’s autobiography, The Words (1963), is an understanding of his vocation as a writer during his childhood, adolescence, and, I would add, through the publication of his first novel, Nausea (1938

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Imagine Reality

Negotiating Comics with David B.'s Epileptic

Jörn Ahrens

With Epileptic, French comics artist David B. presents a graphic novel as innovative in style as it is experimental in content. In the foreground, Epileptic is an autobiographical tale about his youth overshadowed by his brother's suffering from epilepsy, but it is also the illustration of a dream-world. David B. consequently entangles the levels of reality, autobiography and dreamlike fantasy. Emphasised by the interaction of clear graphics with hard black-and-white contrasts and the use of surrealistic and medieval quotations, David B. presents a unique combination of art, narrative and abstraction.

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Hazel E. Barnes

Since any autobiography is necessarily personal and since I have recently written one, I will rephrase the question in my title: “Who is the subject of my autobiography?” If I say, “Hazel Barnes,” the answer is unchallengeable but not illuminating. If I say, “I am,” we fall into a morass. To critique that “I am” would be to take on all of the problems of postmodernism. I wish that I had added a subtitle so that the whole would read, “Who is the Subject of Autobiography? A Sartrean Response.” Or better, “The Response of a Sartrean.” This way I would be on firmer ground, though many interesting questions would remain. Let us assume that I have done so.

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David Zeitlyn

In this paper I explore ways in which anthropologists can and have approached life‐histories. I consider some of the theoretical background to this and discuss life‐writing, biography and autobiography. In conclusion, I see the life‐history as grounding anthropological analysis. As a model for future work I introduce the idea of an ‘anthropological silhouette’: less complete than a biography, and partial, but demonstrably based on an individual, and honest about its limitations and incompleteness.