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Die Reflexion (auto-)biographischer Schreibweisen und Textformen zählt zu den zentralen Aufgaben des Deutschunterrichts. Autobiographisches Schreiben in Online-Medien dominiert ebenso die Lebenswelt Jugendlicher wie eine zunehmende Personalisierung politischer und gesellschaftlicher Debatten. Die Studie bildet die gegenwärtige biographietheoretische Diskussion ab und macht auf dieser Grundlage konkrete Vorschläge für die didaktische Arbeit mit (auto-)biographischen Texten im Unterricht. Sie soll dazu anregen, im Literaturunterricht verstärkt (auto-)biographische Texte für literaturhistorische, interpretatorische und ästhetische Lernprozesse zu nutzen.
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"Qu'il les déplore ou qu'il s'en félicite, l'écrivain du XIXe siècle ne peut ignorer les nouveaux pouvoirs de la publicité appliquée à la littérature. Si de nombreux auteurs ont affiché une résistance farouche contre cette nouvelle donne commerciale qui fait de la littérature une marchandise, d'autres se sont montrés bien plus coopérants. En se généralisant au cours du siècle, la publicité éditoriale a poussé les auteurs à prendre une part de plus en plus active à la promotion commerciale de leurs oeuvres et de leur personnage médiatique. Comment ont-ils répondu à cette double injonction ? C'est la question à laquelle les contributeurs de ce volume se proposent de répondre."--Page 4 of cover.
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Diamela Elite's community idea is a political position that conjugates art and life that proposes a direct dialogue with Jean-Luc Nancy's concept of literary communism. It is a practice of articulating diverse plural voices from a common space that limits with the opening towards the other, forming an act of communication that involves "the communist interruption of the class domain, of social stratifications and of power, it is proposed to write in its expanded character," that is, different types of graphic inscriptions, somatographic and performative in general.
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Lettere a Ruggero Jacobbi offers an extensive register of over a thousand pieces of letters sent to the author over a period of forty years (from 1938 to 1981) and of about seventy letters written by him to various correspondents, giving an account of all the epistolary material preserved in the Jacobbi Collection of the "Bonsanti Contemporary Archive" of the Scientific Literary Cabinet G.P. Vieusseux of Florence. From the unpublished documents, carefully filed by Francesca Bartolini, the figure of an intellectual among the most significant of the Italian twentieth century emerges, always present in the cultural debates of the time and passionate and responsive towards the literary and theatrical world. Thanks to the many voices which intertwine different countries and ages, we can reconstruct life starting from the years of Hermeticism, to which he was close in his early youth, find traces of the sixteen years spent in Brazil, retrace the last Italian decades, in which he simultaneously exercised the activities of reviewer, director and theatrical author, essayist, literary critic, historian of literature, university professor, poet and director of the Academy of Dramatic Art "Silvio D'Amico". The names that recur are numerous and authoritative, even of senders of Lusitanian and Hispanic culture, testifying to the authoritative presence of Jacobbi on the European scene. Some of these important names are Murilo Mendes, Jorge Amado, Ricardo Cassiano and, among the Italians, Italo Calvino, Alessandro Parronchi, Vasco Pratolini, Salvatore Quasimodo, Vittorio Sereni and Elio Vittorini. In the appendix that closes the volume, the transcription of some letters dealing with writing, criticism, friendship and commitment is proposed.
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The African-Jamaican Aesthetic explores the ways in which diasporic African-Jamaican writers employ cultural referents aesthetically in their literary works to challenge dominant European literary discourses; articulate concerns about racialization and belonging; and preserve and enact cultural continuities in their new environment(s). The creative works considered provide insight into how local and indigenous Caribbean knowledges are both changed by the transfer to new, diasporic locales and reflect a unified consciousness of African-Jamaican roots and culture. The works surveyed also reveal significant connections with a ‘past’ Africa. Indeed, Africa is treated as a central source of aesthetic influence in these writers’ expression of local cultures and indigenous knowledges. Aspects covered include language (Jamaican Patwa), religion, folklore, music, and dance to identify the continuities in an African-Jamaican aesthetic, which is understood here as an ongoing dialogue of cultural memory between the Caribbean, Africa, and diasporic spaces. Writers discussed include Claude McKay, Una Marson, Louise Bennett, Afua Cooper, Lillian Allen, Linton Kwesi Johnson, Benjamin Zephaniah, Lillian Allen, Jean ‘Binta’ Breeze, Makeda Silvera, and Joan Riley
Aesthetics, African. --- Authors, African. --- Authors, Jamaican --- Aesthetics.
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Maureen Seaton traces the emergence of her identity in quick, droll, often surprising sketches. She finds herself alternately in the company of winos, swingers, and drag kings; in love with Jesus H. Christ and a butch named Mars; in charge of two children (her own!); writing stories that shrink painfully to poems; and unable to reckon how she landed in any of these predicaments. In her passage from near-nun to suburban mom to woke woman, she shakes herself out of a sloshed stupor and delights in the spree.
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