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The male leader’s autobiography and the syntax of postcolonial nationalism
Elleke Boehmer

explaining the leader’s self-description as nationalist, the life-narrative helps to validate his position and/or status. Self-inscription becomes nationalist self-realisation: composing the discrete, monadic entity, which is conventionally the objective of autobiography, involves incrementally knitting that entity into the national collective.6 This aspect of the leader’s life-story offers a special instance of the coercive effects that are wreaked upon the autobiographical subject by autobiography, as in Paul de Man’s theory of the genre. In view of its conspicuous failure

in Stories of women
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Writing home in recent Irish memoirs and autobiographies (John McGahern’s Memoir, Hugo Hamilton’s The Speckled People, Seamus Deane’s Reading in the Dark and John Walsh’s The Falling Angels)
Stephen Regan

unpredictability and waywardness, is given shape and structure. There is a special pleasure, too, in being persuaded that the autobiographical narrative is a truthful record of events, while knowing all along that what we are reading is an elaborate, stylised fiction. Memoir similarly suggests a recollection of actual events and experiences, with an implicit trust in the faithfulness of memory being shared by author and reader. The term implies historical knowledge, an informed account of one’s own life and times, but the distinctions between autobiography and memoir are not

in Irish literature since 1990
Siobhán McIlvanney

– this chapter will focus on texts by writers who most closely conform to beur criteria, in that all three were born in France of Algerian parents. The works to be examined are Georgette! by Farida Belghoul, Beur’s story by Ferrudja Kessas and Ils disent que je suis une beurette by Soraya Nini.2 These works are all autobiographical and are written by authors of working-class origin – which would seem to be an inevitable component of this particular permutation of ‘Beurness’, in that the firstgeneration Algerian parents of these writers came to France as unskilled

in Women’s writing in contemporary France
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Winifred Dolan beyond the West End
Lucie Sutherland

adaptation of Toad of Toad Hall. A very small number of letters – those directly quoted in the memoir – and some pictures are also present.3 Looking across the collection, the majority of the material is there as a guide to future theatre makers, and the ephemera – letters and photographs – serve to consolidate the account of professional work outlined in Small Beer. This kind of evidence is rare; while it is possible to examine the published and unpublished autobiographical accounts and personal papers of many prominent theatre workers, a range of practice-focused manuals

in Stage women, 1900–50
Open Access (free)
John Robert Keller

oeuvre is also a message from an ‘abandoned work’, that is, from the unrecognized, emerging-self. 3 In this, I do not completely agree with Linda Anderson, who states ‘the autobiographical self is a fictional construct within the text, which can neither have its origins anterior to the text, nor indeed coalesce with its creator’ (Anderson, 1986: 59), since I believe that the narrative/autobiographical self, is always operative. Texts are always transitional records of its ongoing experience. Keller_01_Intro 7 23/9/02, 10:45 am 8 Samuel Beckett and the primacy of

in Samuel Beckett and the primacy of love
Irish fiction and autobiography since 1990
Liam Harte

subjectivity it is an exemplary Irish autobiographical text, the boynarrator’s quest for enlightenment being emblematic of a ceaseless struggle for mastery over a mutinous, possibly fictive, history. This struggle engenders in turn chronic feelings of homelessness and homesickness, interlinked themes which resonate through much recent Irish autobiography, the profusion of which led one acclaimed memoirist, Nuala O’Faolain, to assert that ‘Ireland, at the end of the twentieth 9780719075636_4_011.qxd 208 16/2/09 9:28 AM Page 208 Fiction and autobiography century, was

in Irish literature since 1990
Johnnie Gratton

autobiographical or ethnographic in its generic force, is not cancelled out. We are thus left suspended, uncertain. There are many reasons one could adduce for both the suspicion of fictionality in Calle’s work and the sense of its ultimately uncertain status. I would like to suggest here that one of the most pervasive triggers of both responses is the recurrent instance of what I have chosen to call ‘experimental experience’. Experimental experience takes the form of feelings, emotions, reactions, etc., which are not so much in and of an underlying self as signs announcing what

in Women’s writing in contemporary France
Open Access (free)
Maggie B. Gale and Kate Dorney

autobiographical memoir’ (Clay, 2006: 2). She acknowledges an additional ‘recuperative dimension to this study to make “forgotten” lives and writings newly visible’ (2006: 2). In many ways our collection shares her approach to a similar range of sources, but rather than merely ‘recuperating’ forgotten lives, we seek to ask, and explore the complexities of, why these lives or works might be ‘forgotten’ and what the processes of their forgetting can tell us about historiographical practices in relation to theatre and performance histories more generally. The theatre workers

in Stage women, 1900–50
Open Access (free)
Gill Rye and Michael Worton

autobiographical and the fictional in texts. Indeed, what is most striking about contemporary women’s writing is precisely the slippage between these latter two terms, between these two types of writing subject. The use of the first person in writing by women is extensive, but conventional definitions of genre no longer retain their hold in the s. Third-person narration is, of course, traditionally associated with narrative authority, whereby the writer (or his or her narrator) is vested with omniscience, knowledge and insight. First-person narration, on the other hand, is

in Women’s writing in contemporary France
Open Access (free)
Care and debility in collaborations between non-disabled and learning disabled theatre makers
Dave Calvert

the actors appearing as themselves, rather than in the guise of characters. At the same time, the productions are markedly different in tone, structure and content, with Contained invoking an open atmosphere of reciprocal care and collaboration in contrast to the more compartmentalised relationships presented by Disabled Theater . Built primarily on autobiographical stories told by the ensemble, Contained offers accounts of personal experiences and relationships that encompass struggle, achievement, pain, joy, victory, defeat and resilience, even within

in Performing care