Too Far for Comfort

Too Far for Comfort
Автор книги: id книги: 1598768     Оценка: 0.0     Голосов: 0     Отзывы, комментарии: 0 1959,56 руб.     (21,35$) Читать книгу Купить и читать книгу Купить бумажную книгу Электронная книга Жанр: Языкознание Правообладатель и/или издательство: Автор Дата добавления в каталог КнигаЛит: ISBN: 9783838267357 Возрастное ограничение: 0+ Отрывок из книги

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The dynamic between the biographer and the subject is, perhaps, one of the most fascinating aspects of biography as a genre. How does the biographer stage the illusion that is the narrative life, the illusion that the subject assumes a living form through words? In contrast to purely fictional forms, biography writing does not allow total freedom to the biographer in this creative act. Ideally, a biography's backbone is structured by accurate historical facts. But its spirit lies elsewhere.
The way a biographer captures the spirit of a subject is intriguingly shaped by the historical distance between the two. We find three types of distance in biographical narrative: First, where the biographer and the subject personally know one another; second, where the biographer is a near contemporary of the subject; and third, where biographer and subject are distinctly separated; in some cases, by hundreds of years.
In this revised and expanded edition, Rana Tekcan explores how some of the most accomplished biographers manage to recreate “life” across time and space. She looks at their illusionary art through the narrative strategies in Samuel Johnson's Life of Savage, James Boswell's Life of Johnson, Lytton Strachey's Eminent Victorians, Michael Holroyd's Lytton Strachey, Park Honan's Jane Austen, and Andrew Motion's Keats.

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ibidem Press, Stuttgart

and for Selim

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On examination these sharp words turn out to have little evidence to support them. For one thing, Mrs. Milford left the Steventon district when Jane was only ten years old, so that she can only be speaking on hearsay. For another, the description [...] is at variance with everything else we know about Jane Austen. Whatever false impression she may have made at twelve years old, it is incredible that the grown-up Jane Austen, the Jane Austen who, within a few years, was to create such devastating embodiments of silliness and affectation as Lucy Steele and Isabella Thorpe, should herself have ever appeared as affected, let alone silly. Or husband-hunting; though, like most girls of her age, she probably considered any young man she met in the light of a possible husband. Altogether Mrs. Milford’s account must be considered mainly worthless. Personally, I should be sorry to regard it as wholly worthless. I like to think there was a time in Jane Austen’s life when she could be called a pretty butterfly. I know of no other women writer of the first rank who has been similarly described. (67)

Although Cecil dismisses the document at first, he cannot keep himself from commenting on it in a way that supports his own vision of the author as a well-adjusted woman who would shun folly in any shape or form. He gives credit to the statement, in the manner of an understanding father, by making the reader imagine a livelier, true-to-life young girl who had the artistic vision as well as the social experience to write the sparkling Pride and Prejudice.

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