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An enduring legacy
Editor: Erik Hedling

This book on Swedish filmmaker Ingmar Bergman contains eighteen new scholarly chapters on the director’s work, mainly in the cinema. Most of the contributors—some Swedish, others American or British—have written extensively on Bergman before, some for decades. Bergman is one of the most written-about artists in film history and his fame still lingers all over the world, as was seen in the celebrations of his centenary in 2018. The book was specifically conceived at that time with the aim of presenting fresh angles on his work, although several chapters also focus on traditional aspects of Bergman’s art, such as philosophy and psychology. Ingmar Bergman: An Enduring Legacy thus addresses a number of essential topics which have not featured in Bergman studies before, such as the director’s relations with Hollywood and transnational film production. It also deals at length with Bergman’s highly sophisticated use of film music and with his prominence as a writer of autobiographical literature, as well as with the intermedial relations to his films that this perspective inevitably entails. Finally, the book addresses Bergman’s complex relations to Swedish politics. Many different approaches and methods are employed in the book in order to show that Bergman remains a relevant and important artist. The analyses generally focus on some of his most memorable films, like Smiles of a Summer Night, The Seventh Seal, Wild Strawberries, Persona, and Fanny and Alexander; but some rarer material, including Hour of the Wolf, The Lie, and Autumn Sonata, is discussed as well.

Open Access (free)
Actresses, female performers, autobiography and the scripting of professional practice
Maggie B. Gale

autobiographical writing. Fifteen years her senior, Ada Reeve (1874–1966), who had also spent a substantial proportion of her career working as a Gaiety Girl and in musical comedy, titled her late autobiography Take It for a Fact (Reeve, 1954), with a similar pointed reference to her sense of agency and ­18 The social and theatrical realm authority in the writing of her own professional life story. Reeve, with a characteristic lack of charm, orders us to read her reminiscences as a ‘record’ of fact, even though they were written in a moment of almost desperate nostalgia

in Stage women, 1900–50
Open Access (free)
Winifred Dolan beyond the West End
Lucie Sutherland

story was that of another person I once knew’ (Dolan, 2010: Foreword, n.p.). This effort to separate an earlier self historicises professional work in the theatre, allowing the idea of perspective and authority over past experience and its subsequent influence to come to the fore. As recent work on the actress and autobiography has made explicit, the memoir is a form of autobiographical writing that provides space for the writer to present themselves as actor, not an object (Bratton, 2003: 101), and this is exemplified by the perspective Dolan takes upon her former

in Stage women, 1900–50
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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

Irish autobiography, however, the intense relationship between the psychology of the self and the politics of nationhood has been rendered through an especially powerful and experimental preoccupation with place and time. One of the unusual and distinctive features of recent autobiographical writing has been its tendency to highlight its own spatial and temporal complexities as a way of denoting the problematic nature of identity. A strong commitment to the co-ordinates of place and time might well be expected in nationalist memoirs and autobiographical writings by

in Irish literature since 1990
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Chantal Chawaf ’s melancholic autofiction
Kathryn Robson

to their daughters as vampires and explores a specifically feminine melancholia. Yet the figure of the female vampire also offers a suggestive means of reading Chawaf ’s writing as autobiographical fiction. A recurring figure of a bleeding female vampire in Vers la lumière shows up the ways in which melancholia stains and contaminates autobiographical writing, reconfiguring the relation between text and writing subject and even, perhaps, allowing unspeakable loss to be spoken. Melancholia and vampirism: Freud and Kristeva In his  essay, ‘Mourning and melancholia

in Women’s writing in contemporary France
Literature and/or reality?
Marion Sadoux

the ‘autobiographical pact’. Of course, the disruption of autobiography’s pact with the reader is not new. It rests upon an established tradition both within autobiographical writing and within the philosophical and critical sphere, a fact which has been brought to the fore and analysed by many critics and which has been the focal point of much of the debate surrounding autobiography after Lejeune. As Paul John Eakin notes in Fictions in Autobiography: ‘the self that is at the centre of all autobiographical narrative is necessarily a fictive structure’ (p

in Women’s writing in contemporary France
Open Access (free)
Christopher Morgan

that ‘For Thomas, then, autobiographical writing can be seen as an aid to consolidation of a self’ and cites Paul J. Eakin’s view of ‘autobiography not merely as the passive, transparent record of an already completed self but rather as an integral and often decisive phase of the drama of self-definition’ (1996: 101). Interestingly, Prys-Williams refers in this capacity to Sartre’s The Words, in which the philosopher claims to have not rendered but discovered his identity through the very act of writing: I was born of writing. Before that, there was only a play of

in R. S. Thomas
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Sibylle Lacan’s Un père: puzzle
Elizabeth Fallaize

the daughter merely confirming the law of the father? This intriguing text tables issues relating to autobiographical writing, to discourses of fatherhood and daughterhood and to the ways in which women’s writing can be appropriated – or legitimised – by the dominant theoretical discourses of its day. I intend to consider these issues in three different stages of this chapter: first, what kind of writing project is entailed? Second, how does it explore and engage with discourses of the daughter–father relation? And third, can the text be reduced simply to a reading in

in Women’s writing in contemporary France
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The male leader’s autobiography and the syntax of postcolonial nationalism
Elleke Boehmer

the individual life.9 In contrast, women’s autobiographical writings, certainly in Britain and the United States, tend to show greater awareness of the gaps, uncertainties and fictions involved in the construction of identity. Models of the self are less individualistic, more relational and group-based, if also often alienated (given that autobiographical writing is itself seen as a masculine tradition).10 The theme of accomplishment in these writings rarely dominates: self-disclosure and the recognition of achievement are usually linked to some higher cause, family

in Stories of women
Open Access (free)
Christine E. Hallett

and Paul Berry and Mark Bostridge, whose meticulous research on the life of Vera Brittain has made it possible for historians to offer deeper analyses of the significance of her autobiographical writing.28 This work also owes a debt to writers such as Margaret Higonnet, Angela Smith, and Janet Watson, who explored nurses’ writings among those of other women.29 It extends their work by deepening the focus on nurses; it offers new insight into well-known nurse authors, and explores the work of previously neglected authors. Most of the 4 Introduction published

in Nurse Writers of the Great War