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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)
A love story of queer intimacies between (her) body and object (her cigarette)
Dresda E. Méndez de la Brena

autobiographical writing on everyday intimate moments between me and my partner. The material that I explore consists of personal excerpts from poetic narratives, speculative storytelling and photography as visual/narrative imaginaries, motivated by my attempts to create a different way to write academically. As Deborah Bird Rose (2012) argues, ‘writing is an act of witness; it is an

in Affective intimacies
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Fragments of a history of the self
Elwin Hofman

Goethe to call him ‘the most cheerful man of his time’. 1 For all of this, he has been characterised as ‘the incarnation of the eighteenth century’. 2 And as this incarnation, he could not fail to practise that typical eighteenth-century activity of autobiographical writing. From the 1790s onwards, Ligne started working on his Fragments de l’histoire de ma vie . As the perils of revolutionary times seemed to prevent a further glorious career at court and, more importantly, strained his finances, Ligne shifted his ambitions towards literary glory. He had been a

in Trials of the self
An introduction
Elwin Hofman

, autobiographical writing, psychoanalysis or taking psychological advice. But there are less obvious examples: drinking alcohol to lose self-control, for instance, or reading philosophical treatises to learn more about how the self works. People can practise techniques of the self voluntarily, though this is not necessary. Someone else may stimulate or even force them to do something to alter their self. Mandatory psychological therapy, for instance, may be part of a conviction. The concept of ‘techniques of the self’ makes possible the analysis of both disciplining and

in Trials of the self
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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
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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