Titlebook: Biography; Fiction, Fact and Fo Ira Bruce Nadel Book 1984 Palgrave Macmillan, a division of Macmillan Publishers Limited 1984 biography.fic

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dictator

https://doi.org/10.1007/978-3-030-67036-8of my concern over the lack of critical discussion of biography among readers at the same time as the importance and publication of biography has dramatically increased. The need to understand the literary techniques and strategies of biography parallels its emergence today as perhaps the most popul

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Popper and the Quantum Controversycquainted with the nature of their task, or very negligent about the performance’. Their sense of composition was at worst uninformed, at best slapdash as they ‘imagine themselves writing a life when they exhibit a chronological series of actions or preferments’. So little do they

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Representation in Early Husserl,cts, incidents, relationships and settings that a biographer encounters frequently overwhelms his effort at reconstruction. Forced to select, balance, evaluate and at times suppress aspects of his subject’s life, the biographer is often frustrated in his attempt to unify individual experiences in an

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https://doi.org/10.1007/1-4020-2598-Xvariety of styles of biographical expression this seems an impossibility. However, a theory of biography based on language, narration and myth provides a possible model. More specifically, I believe that an analysis of the function of tropes, the forms of narrative, and the nature of myth in biograp

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Representation in Early Husserl,ence, along with objectivity and detail, would isolate biography from art. Fifty-three years later, however, Leon Edel perceived a new future for biography precisely because of the way it has adapted the new social sciences, especially anthropology and psychology, to writing lives. The result, he st

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Cees Leijenhorst,Piet Steenbakkers object, not from its mere presence. Relations not facts establish significance. Biography also recognizes the importance of this quality as it becomes more aware of the value of narrative design, structure and style, as well as the position of the reader and the subject in the text. Elizabeth Gaske

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