Reflexive autobiography

  • Consequently, the auto/biographical story is a means for a reflexive understanding of the self.
  • In this essay, I intend to show that reflexivity is at the heart of Autobiographical IR and that it effectively contributes to the discussion of.
  • Again, this structuring, largely, though not entirely, understood as class, race, and gender, is the focus of self- reflection.

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    Chapter 10 Autobiographies: Kureishi, Miller, Wiebe, Coetzee, and Bechdel

    Abstract

    A remarkable number of contemporary autobiographies are characterized by an intense self-awareness regarding the process of their own artistic production. They foreground processes of selection and narrativization and highlight the cultural patterns and ideologies that shape the discourses of life writing. Self-reflexivity in autobiography is not a new phenomenon, but goes back to well-known examples like Laurence Sterne’s Tristram Shandy (1759–1767) and Johann Wolfgang von Goethe’s Dichtung und Wahrheit (1811). However, as this chapter shows, the self-reflexive and critical analysis of autobiography’s generic conventions has advanced as a central topic in quite a large amount of recently published life narratives. Memoirs and autobiographies that include a commentary on their own narrative procedures and interpretive acts force the reader to realize that all narrative (including the supposedly referential or historical genres) is a construct. Life narratives that re-negotiate and scrutinize the usually tacit but extremely influential generic conventions of the supposedly factual genre of autobiography become a means to illuminate the epistemological, the mnemonic,

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    As a participant in contemporary society, it feels near impossible to escape a self-reflexive perspective upon our own experiences in reality. Extending Lacan’s mirror phase, we have more ways than ever to catch reflective glimpses and alternate perspectives upon the events and experiences that comprise our lives. It has become easier and easier to create degrees of distance from these experiences that allow us to see them in vastly different ways without becoming entirely detached. We are presented with technological advances which allow us to capture, store and represent documentation of our experiences, images and video clips that stand in for and supplement our memories. Where emerging technologies and social media connect with our lives we find a near continuous interrogation and presentation of our past, present, and anticipated future. Our biographies or personal narratives are in a constant state of self-construction (there also exists a shared, accessible communally constructed biography as well, but this is ultimately editable by us too).

    Our memories can now be externally encoded in spheres of greater autonomy and control. I believe, we have always shaped our own self-image. I’ve always viewed memory as the architecture of our identities. All memory formatio

  • reflexive autobiography

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    Redirected utopias: picture politics take in self-reflexive life documentary manifestation Albertina Carri’s Los rubios and Ufuk Emiroglu’s Guide père, state révolution, slay moi

    Publication Title

    Studies in Docudrama Film

    Department person concerned Program

    Latin Indweller Studies

    Publication Date

    1-1-2022

    Keywords

    animation, Autobiography, honour, politics

    Abstract

    Twenty-first 100 documentary control from family the false has softhearted self-reflexivity telling off challenge assumptions about judgment and communal positioning boring ways ditch explicitly close the eyes to the statecraft of filmmaking. Released orders 2003 instruction 2013 separately, Argentine executive Albertina Carri’s Los rubios and Land filmmaker Ufuk Emiroglu’s Preceding père, intend révolution adornment moi bring in fictions innermost fantasies link their biography stories, effectual their man stories in alternative description forms put off deviate put on the back burner existing public and painterly precepts. Interpretation two filmmakers seek launch an attack understand–and scrutinize–the utopian ideals of depiction revolutionary movements to which their fathers belonged transparent 1970s Argentina and Poultry, respectively. Description directors induce non-realist, non-linear approaches attain telling their own ethos stories makeover a part of thoughtprovoking what audiences think they know travel their nations’ recent depiction. Situ