- Tapa blanda: 304 páginas
- Editor: Princeton University Press; Edición: Reprint (21 de marzo de 1988)
- Colección: Princeton Legacy Library
- Idioma: Inglés
- ISBN-10: 0691014450
- ISBN-13: 978-0691014456
- Clasificación en los más vendidos de Amazon: nº374.592 en Libros en idiomas extranjeros (Ver el Top 100 en Libros en idiomas extranjeros)
Fictions in Autobiography: Studies in the Art of Self-Invention (Princeton Legacy Library) (Inglés) Tapa blanda – 21 mar 1988
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"Paul John Eakin's Fictions in Autobiography does so many things so well that it is difficult to know where to begin to praise the book. . . . As autobiography has been the dominant mode in literature of the twentieth century, so critical attention to the questions posed by the autobiographical act has become the principal preoccupation of theorists across the entire critical spectrum. And Eakin's book is both a superb exercise in thinking through these questions as they rise out of a consideration of half a dozen exemplary texts and at the same time an admirable summary, recapitulation, and extension of what has been said, directly and indirectly, on the subject in the past quarter of a century."--James Olney, American Literature
"Fictions in Autobiography is a judicious, far-ranging, immensely clarifying discussion of the modern art of self-construction which addresses several issues long perplexing readers and critics. . . . If story-telling is a basic mode of existence as well as a specific literary form, this is best demonstrated in autobiographies, particularly those by Mary McCarthy, Henry James, Jean-Paul Sartre, Vladimir Nabokov, Alfred Kazin, Frank Conroy, Saul Friedlnder, and Maxine Hong Kingston. Eakin selects these texts because each is about the making of existential fictions by both actor and author."--American Studies
Reseña del editor
Investigating autobiographical writing of Mary McCarthy, Henry James, Jean-Paul Sartre, Saul Friedlander, and Maxine Hong Kingston, this book argues that autobiographical truth is not a fixed but an evolving content in a process of self-creation. Further, Paul John Eakin contends, the self at the center of all autobiography is necessarily fictive. Professor Eakin shows that the autobiographical impulse is simply a special form of reflexive consciousness: from a developmental viewpoint, the autobiographical act is a mode of self-invention always practiced first in living and only eventually, and occasionally, in writing.
Originally published in 1985.
The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
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In chapter four Eakin focuses on The Words by Jean-Paul Sartre, a work that has started the debate on the question of whether the self is autonomous or provisional, dependent on language, narrative and others. Sartre describes the childhood illusion of the self as an existing entity that creates the world through language. At this point in the text, I had troubles understanding the example of the fable of the train in Sartre's The Words.
Selfhood has a fictive nature, but it is held to be a biographical fact. Because of this, and previously mentioned ideas of the self as constructed in narrative, critical debates are surrounding the nature of autobiographies, as this has become an ontological issue about the status of the self.
Eakin describes the "French" (inspired by French critics) challenge of the autobiographical act as the thought that the reality of the self can be denied, and that it is impossible for the self to be the author, the originator, of his own discourse. On the other hand, from a Cartesian point of view, it can be said that the self is transcendent and a timeless absolute that cannot be described in any language. This thought also makes an autobiography impossible, as the self just "is", and never "was".
Eakin continues by discussing the thoughts of Paul De Man who suggested the possibility of the autobiography as a producer of life, instead of the other way around. He implies that the writer might very well produce his life according to the desired self-portraiture. De Man states that the self in this case is a linguistic structure, an imagined narrative construction.
James Olney suggests that the self is expressed by metaphors which it creates and projects and by doing this the self comes into a different existence; we can see the metaphors, representations, of the self, but not the self itself. Language for Olney is an instrument that can be used for self construction and definition.
Eakin comes to the conclusion that if indeed the self is a metaphor, a product of language, we should use this as a power to create a lasting, strong human illusion; an illusion that the self comes before language, an illusion that is necessary to live our human lives.