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Mother–daughter relations in Paule Constant’s fiction

mean, however, that Tiffany, Chrétienne and Aurore are one and the same character; nor can they be read autobiographically, and related in a straightforward way to Constant herself, despite the fact that obviously autobiographical elements are included in her work: as a child, Constant lived in turn in Africa and Cayenne with her parents, and she makes no secret of the fact that Confidence pour confidence has its roots in her own US experiences. Rather, the metafictional aspects of Confidence pour confidence throw into relief the complex relationship between fiction and

in Women’s writing in contemporary France
Sylvie Germain and the generic problems of the Christian novel

). Inasmuch as Germain could be said to have female precursors these are to be found not in the genre of the novel, but in the field of devotional and mystical literature, often autobiographical in form, which flourished in France especially in the seventeenth century (represented by, for example, Madame Acarie, Marie Guyard, Marguerite-Marie Alacoque and Madame Guyon). Notable later figures include Thérèse de Lisieux (–) and Simone Weil (–), with both of whose work Germain engages in her Les Echos du silence ().4 Many of the above figures departed, often quite

in Women’s writing in contemporary France
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Memories of cinema-going in the ‘Golden Age’ of Hollywood

(Cambridge: Cambridge University Press, 1989). 10 Joseph Fitzgerald, ‘Reminiscence in Adult Development’, in David C. Rubin (ed.) Remembering Our Past: Studies in Autobiographical Memory (Cambridge: Cambridge University Press, 1995), p. 370. 11 Fitzgerald

in Memory and popular film

. Ibid. Manifesto of the N.C.F. (London, 1915). See UL,LC, file of J. Sadler, CO/FAU section. UL,LC, file of Frank Shackleton, ‘All My Tomorrows’ (manuscript of unpublished autobiographical novel), p. 81. Ibid., Shackleton, ‘Tomorrows’, p. 145. Ibid., p. 154. Ibid., pp. 207–8. Imperial War Museum, Sound Archive, file of H.C. Marten, 383/6, p. 31. Ibid., pp. 2–3. Marten also identified this ‘artistic’ element in his description of the various categories of objector that he had witnessed at a prison/work centre at Princetown on Dartmoor, supplied to J.W. Graham for

in A war of individuals
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well as bringing ourselves back into our work, it means seeing our interlocutors as complex, grounded people too, with histories and relations. Back notes that in the wards of the hospital in Croydon where his father died, ‘people just disappeared, they were not remarked upon, they were mostly working-class people and – like my father – they simply vanished’.19 The desire to hold on to those whose lives would otherwise vanish without trace motivates his work. My autobiographical accounts in Chapters 1 and 10 clearly have something of the same purpose, but my accounts

in Change and the politics of certainty

-text and William scenes? I suggest that the former illustrates episodes in Marlowe’s and Nashe’s careers while the latter is autobiographical. Scene 3.3 shows us a spying Jaques-Marlowe overhearing Touchstone-Nashe’s ‘great reckoning’ lines, and Clown-Nashe brought face to face with a Mar-text. Below I will suggest that 5.1 functions to introduce a

in Reading Shakespeare’s mind

ambitions. Case writing gave voice to a crisis of ex­pression that had accompanied Wulffen through his legal studies, glimpses of which are expressed in his 1913 roman-àclef Frau Justitias Walpurgisnacht (The Walpurgis Night of Mrs Justice). Publication of this novel saw Wulffen demoted from his post as State Prosecutor for Criminal Affairs in Dresden to the status of Councillor for Civil Affairs at the Magistrate’s Court in provincial Zwickau.20 An unpublished autobiographical sketch dating to 1932 likewise reveals that Wulffen’s first inclination had been to study not

in A history of the case study
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Don’t Ever Wipe Tears Without Gloves as a reparative fantasy

someone having been there  –​and someone bearing witness –​testifying in the present moment. Second, while not autobiographical, Don’t Ever Wipe Tears Without Gloves reiterates many familiar themes of Gardell’s writing and stage performances since the late 1980s: growing up as a queer child in a religious home, being harassed at school, bearing social stigma, and experiencing and living with the threat of violence. These topics as well as the use of the autobiographical self are the very core of Gardell’s oeuvre. Third, in interviews on Don’t Ever Wipe Tears Without

in The power of vulnerability
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Ben Okri, Chenjerai Hove, Dambudzo Marechera

accounts of Marechera may also be found in: Robert Fraser, Ben Okri: Towards the Invisible City (Tavistock, Devon: Northcote House, 2002), pp. 45–7; Flora Veit-Wild, ‘Introduction’ in Marechera, The Black Insider, pp. 5–22. For his internal struggles with language, see also The House of Hunger, pp. 30–1. For a discussion of Marechera’s work as self-critically autobiographical, see: Melissa Levin and Laurice Taitz, ‘Fictional autobiographies/autobiographical fictions’, Journal of Commonwealth Literature, 32:1 (1997), pp. 103–15. For an insightful account of Marechera as a

in Stories of women
De-scribing Imperial identity from alien to migrant

also impinges on other ‘Indian’ writers growing up in Britain. Meera Syal describes how her semi-autobiographical character Anita came to this realisation that she had no home that she had ever visited: Papa’s singing always unleashed these emotions which were unfamiliar and instinctive at the same time, in a language I could not recognise but felt I could speak in my sleep, in my dreams, evocative of a country I had never visited but which sounded like the only home I had ever known. The songs made me realise that there was a corner of me that would be forever not

in Across the margins