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Representations of Forgetting in Life Writing and Fiction
This book primarily focuses on the concept of forgetting, with particular emphasis on how we can trace the forgotten in contemporary life writing and memory texts. It consists of two main parts: the first concentrates on life writing in particular and what the author calls “scenes of forgetting”; the second examines both fiction and autobiographies that deal with questions of collective memory/forgetting. The book’s principal aim is to map methods and strategies writers employ when writing the forgotten – it argues that forgetting is a constant companion in any memory text and plays a decisive role in the memory work performed in the texts. The main theoretical objective is to examine carefully the connection between collective memory and personal memory, by drawing from two disciplines at once: memory studies and theories on life writing. By considering both areas of research, the conclusions of this study are able to feed into both theoretical perspectives.
The Twentieth Century in European Memory
The Twentieth Century in European Memory investigates contested and divisive memories of conflicts, world wars, dictatorship, genocide and mass killing. Focusing on the questions of transculturality and reception, the book looks at the ways in which such memories are being shared, debated and received by museum workers, artists, politicians and general audiences. Due to amplified mobility and communication as well as Europe’s changing institutional structure, such memories become increasingly transcultural, crossing cultural and political borders. This book brings together in-depth researched case studies of memory transmission and reception in different types of media, including films, literature, museums, political debate printed and digital media, as well as studies of personal and public reactions. Contributors are: Ismar Dedović, Astrid Erll, Rosanna Farbøl, Magdalena Góra, Gunnthorunn Gudmundsdottir, Anne Heimo, Sara Jones, Wulf Kansteiner, Slawomir Kapralski, Zoé de Kerangat, Zdzisław Mach, Natalija Majsova, Inge Melchior, Daisy Neijmann, Vjeran Pavlaković, Benedikt Perak, Tea Sindbæk Andersen, and Barbara Törnquist-Plewa.
Life Writing
In our age, self-publishing, self-broadcasting, and telling stories about our own lives and the lives of others are all-pervasive. This is also the age of the witness, the age of testimony in which first-hand accounts, personal experience, life change and evolution are valued, for good or ill, over distanced reflection. What are we to make of all this telling of lives? The essays collected in Life Writing: The Spirit of the Age and the State of the Art from writers and academics associated with the Centre for Life Narrative Studies at Kingston University in London, begin to address this very question, and in doing so demonstrate the fluidity and diversity of life writing itself. The remit of...
Mourning and Resilience in Indian Ocean Life Writing
This volume examines a selection of life writing in English by authors from the South West Indian Ocean, namely South Africa, East Africa, Mauritius and Sri Lanka. The two motifs that run through the chapters – mourning and resilience – are theoretical frameworks that have so far not been brought into conversation in this way. The combination of trauma studies and autobiographical analysis sharpens the focus of the discussions on Indian Ocean life writing, privileging an Indian Ocean imaginary that is transnational and cross-oceanic in its orientation and pointing to networks of connections that transcend the nation state, which is often the origin of trauma in the first place. Filling a gap in Indian Ocean studies in its close readings of trauma and resilience, the book also broadens perspectives on postcolonial life writing since little attention has been paid so far to Indian Ocean autobiographical literary products. By the same token, the volume also enriches the field of Indian Ocean literary studies by incorporating life writing as an aesthetic strategy which helps to configure Indian Ocean subjectivities.
Experiments in Life-Writing
This volume examines innovative intersections of life-writing and experimental fiction in the 20th and 21st centuries, bringing together scholars and practicing biographers from several disciplines (Modern Languages, English and Comparative Literature, Creative Writing). It covers a broad range of biographical, autobiographical, and hybrid practices in a variety of national literatures, among them many recent works: texts that test the ground between fact and fiction, that are marked by impressionist, self-reflexive and intermedial methods, by their recourse to myth, folklore, poetry, or drama as they tell a historical character’s story. Between them, the essays shed light on the broad range of auto/biographical experimentation in modern Europe and will appeal to readers with an interest in the history and politics of form in life-writing: in the ways in which departures from traditional generic paradigms are intricately linked with specific views of subjectivity, with questions of personal, communal, and national identity. The Introduction of this book is open access under a CC BY 4.0 license via link.springer.com.
Borderlines
Borderlines. Autobiography and Fiction in Postmodern Life Writing locates and investigates the borderlines between autobiography and fiction in various kinds of life-writing dating from the last thirty years. This volume offers a valuable comparative approach to texts by French, English, American, and German authors to illustrate the different forms of experimentation with the borders between genres and literary modes. Gudmundsdóttir tackles important contemporary concerns such as autobiography’s relationship to postmodernism by investigating themes such as memory and crossing cultural divides, the use of photographs in autobiography and the role of narrative in life-writing. This work is of interest to students and scholars of comparative literature, postmodernism and contemporary life-writing.
Life Narratives, Creativity, and the Social in the Americas
Resorting to life narratives as a comprehensive umbrella term and embracing hemispheric American studies paradigms, this edited volume explores the interrelations between life narratives, the social world, creativity, and different forms of media to narrate and (re)present the self to see in which way these expressions offer (new) means of (self-) representation within cultural productions from the Americas. Creativity in the context of life narratives nourishes the act of narrating and propels among others the desire to link individual life stories with larger stories of social embeddedness, conditioning, and transformation thus pushing new forms of historiography and other forms of nonfict...
Serial Killers and Serial Spectators
Serial murder is a global entertainment industry where the serial killer emerges as one of the most significant cultural figures of our time. No longer an exclusively Anglo-American phenomenon, narratives of serial killing are widespread in India, China, Japan, and other cultures. This book asks why this is the case, and how serial violence has been aestheticized in different contexts. It raises important questions regarding the ethics of spectatorship, complicity, and resistance. Unique in its transnational reach, it covers both novels and visual media, both West and East, both perpetrators and witnesses.
What Forms Can Do
How does form propose a bridge between the text and the world beyond? This volume investigates the agency of form across a spectrum of twentieth- and twenty-first century French and Francophone writings, renewing the engagement with form that has been a key feature of French cultural production and of analysis in French studies.
The Memory Marketplace
What happens when cultural memory becomes a commodity? Who owns the memory? In The Memory Marketplace, Emilie Pine explores how memory is performed both in Ireland and abroad by considering the significant body of contemporary Irish theatre that contends with its own culture and history. Analyzing examples from this realm of theatre, Pine focuses on the idea of witnesses, both as performers on stage and as members of the audience. Whose memories are observed in these transactions, and how and why do performances prioritize some memories over others? What does it mean to create, rehearse, perform, and purchase the theatricalization of memory? The Memory Marketplace shows this transaction to b...
