'A striking number of Australian women have ventured into the autobiographical genre. While a slew of immigrant men were producing their personal odysseys of pioneering endeavour and the exploration and appropriation of a new land in the nineteenth century, a regiment of women from diverse backgrounds began to record their remembered experiences and specific local responses to colonial life. The women’s stories were very different. Franker, relational, concerned with childhood, people and places, some masquerading as regional or local history, in a strongly masculine society they were often judged as ‘unimportant’ or ‘trivial’ and not given publication at the time of writing. But they came to lay the foundation of ‘a complementary culture’ to male autobiography with its ongoing emphasis on national identity and image, and they have been judged by literary and historical scholars as a rich and unique reading experience.' (Introduction)
Contesting Childhood : Autobiography, Trauma, and Memory
New Brunswick
:
Rutgers University Press
,
2010
Z1836606
2010
single work
criticism
'The late 1990s and early 2000s witnessed a surge in the publication and popularity of autobiographical writings about childhood. Linking literary and cultural studies, Contesting Childhood draws on a varied selection of works from a diverse range of authors - from first-time to experienced writers. Kate Douglas explores Australian accounts of the Stolen Generation, contemporary American and British narratives of abuse, the bestselling memoirs of Andrea Ashworth, Augusten Burroughs, Robert Drewe, Mary Karr, Frank McCourt, Dave Pelzer, and Lorna Sage, among many others." "Drawing on trauma and memory studies and theories of authorship and readership, Contesting Childhood offers commentary on the triumphs, trials, and tribulations that have shaped this genre. Douglas examines the content of the narratives and the limits of their representations, as well as some of the ways in which autobiographies of youth have become politically important and influential. This study enables readers to discover how stories configure childhood within cultural memory and the public sphere.' (Publisher's blurb)
Shameful Autobiographies : Shame in Contemporary Australian Autobiographies and Culture
Carlton
:
Melbourne University Press
,
1999
Z482284
1999
single work
criticism
biography
Contesting Childhood : Autobiography, Trauma, and Memory
New Brunswick
:
Rutgers University Press
,
2010
Z1836606
2010
single work
criticism
'The late 1990s and early 2000s witnessed a surge in the publication and popularity of autobiographical writings about childhood. Linking literary and cultural studies, Contesting Childhood draws on a varied selection of works from a diverse range of authors - from first-time to experienced writers. Kate Douglas explores Australian accounts of the Stolen Generation, contemporary American and British narratives of abuse, the bestselling memoirs of Andrea Ashworth, Augusten Burroughs, Robert Drewe, Mary Karr, Frank McCourt, Dave Pelzer, and Lorna Sage, among many others." "Drawing on trauma and memory studies and theories of authorship and readership, Contesting Childhood offers commentary on the triumphs, trials, and tribulations that have shaped this genre. Douglas examines the content of the narratives and the limits of their representations, as well as some of the ways in which autobiographies of youth have become politically important and influential. This study enables readers to discover how stories configure childhood within cultural memory and the public sphere.' (Publisher's blurb)
Shameful Autobiographies : Shame in Contemporary Australian Autobiographies and Culture
Carlton
:
Melbourne University Press
,
1999
Z482284
1999
single work
criticism
biography
'A striking number of Australian women have ventured into the autobiographical genre. While a slew of immigrant men were producing their personal odysseys of pioneering endeavour and the exploration and appropriation of a new land in the nineteenth century, a regiment of women from diverse backgrounds began to record their remembered experiences and specific local responses to colonial life. The women’s stories were very different. Franker, relational, concerned with childhood, people and places, some masquerading as regional or local history, in a strongly masculine society they were often judged as ‘unimportant’ or ‘trivial’ and not given publication at the time of writing. But they came to lay the foundation of ‘a complementary culture’ to male autobiography with its ongoing emphasis on national identity and image, and they have been judged by literary and historical scholars as a rich and unique reading experience.' (Introduction)
