Titlebook: Biography; Fiction, Fact and Fo Ira Bruce Nadel Book 1984 Ira Bruce Nadel 1984 biography.fiction.literary theory.literature

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Cees Leijenhorst,Piet Steenbakkerscquainted 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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Biography as a Profession,cquainted 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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https://doi.org/10.1007/1-4020-2598-Xof 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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https://doi.org/10.1007/1-4020-2598-Xcts, 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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Representation in Early Husserl,of others, mostly of other writers, the author’s choice, treatment and analysis of subject tends to follow a pattern of idealization, revision and rejection. The reason is simple. In most cases the writer’s subject is a literary figure who directly or indirectly has had an influence on his work. The

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