|Item type||Home library||Collection||Class number||Status||Date due||Barcode||Item reservations|
|Long loan||London College of Communication Main collection||Printed books||778.92 ADA (Browse shelf (Opens below))||Issued||29/11/2021||54145559|
Enhanced descriptions from Syndetics:
On the surface, the use of photography in autobiography appears to have a straightforward purpose: to illustrate and corroborate the text. But in the wake of poststructuralism, the role of photography in autobiography is far from simple or one-dimensional. Both media are increasingly self-conscious, argues Timothy Adams, and combining them intensifies rather than reduces the complexity and ambiguity of each taken separately.
Focusing on works by Paul Auster, Maxine Hong Kingston, Sheila Ortiz Taylor, Sandra Ortiz Taylor, N. Scott Momaday, Michael Ondaatje, Reynolds Price, Eudora Welty, Wright Morris, and Edward Weston, Adams explores the ways in which text and image can interact with and reflect on one another. Photography may stimulate, inspire, or seem to document autobiography, he demonstrates, but it may also confound verbal narrative. Conversely, autobiography may mediate, motivate, or even take the form of photography. Because both media exist on the border between fact and fiction, Adams argues, they often undercut just as easily as they reinforce each other. Exploring the interrelations between photography and autobiography uncovers an inherent tendency in both to conceal as much as they reveal.
Bibliography: pages 267-290. - Includes index.
Introduction: I Am a Camera -- pt. I. Writing the Picture: Autobiographies with Few or No Photographs. 1. Camera Obscura: Paul Auster. 2. Sojourner Truth: Maxine Hong Kingston. 3. Case History: Sheila Ortiz Taylor and Sandra Ortiz Taylor -- pt. II. Collage: Autobiographies That Combine Words and Photographs. 4. We Have All Gone into the World of Light: N. Scott Momaday. 5. Available Light: Michael Ondaatje. 6. A Life Lived like Water: Reynolds Price -- pt. III. Picturing the Writing: Autobiographies by Photographers. 7. Every Feeling Waits upon Its Gesture: Eudora Welty. 8. Mirror without a Memory: Wright Morris. 9. Still Life Writing: Edward Weston. Conclusion: We Are Not Our Own Light: Self-Portraiture and Autobiography.
Table of contents provided by Syndetics
- Preface (p. xi)
- Acknowledgments (p. xxiii)
- Introduction: I Am a Camera (p. 1)
- Part I. Writing the Picture: Autobiographies with Few or No Photographs
- 1 Camera Obscura: Paul Auster (p. 25)
- 2 Sojourner Truth: Maxine Hong Kingston (p. 40)
- 3 Case History: Sheila Ortiz Taylor and Sandra Ortiz Taylor (p. 57)
- Part II. Collage: Autobiographies That Combine Words and Photographs
- 4 We Have All Gone into the World of Light: N. Scott Momaday (p. 81)
- 5 Available Light: Michael Ondaatje (p. 103)
- 6 A Life Lived like Water: Reynolds Price (p. 131)
- Part III. Picturing The Writing: Autobiographies by Photographers
- 7 Every Feeling Waits upon Its Gesture: Eudora Welty (p. 151)
- 8 The Mirror without a Memory: Wright Morris (p. 176)
- 9 Still Life Writing: Edward Weston (p. 205)
- Conclusion. We Are Not Our Own Light: Self-Portraiture and Autobiography (p. 225)
- Notes (p. 243)
- Works Cited (p. 267)
- Index (p. 291)