Focusing on Hogarth’s last graphic work, The Bathos, this essay examines the ways in which the vanitas themes it represents are bound up with events that occurred towards the end of the artist’s life. Drawing on life writing (including elements of Hogarth’s autobiographical notes) that accompanied the cataloguing of his works in the years following his death, it discusses a number of controversies that drew scathing criticism of his work, his character, his politics, his ideas about English art and his standing as an artist, during his final years. Focusing on textual and visual images employed by Hogarth’s detractors to belittle him, it explores how these metaphors may be connected with the iconography he employed in The Bathos, and the extent to which the work may be ‘read’ as a representation of the artist himself, and his view of his reputation at the end of his career. Contrasting the pessimistic image Hogarth presents in his final work with the afterlife writing of his achievements by his contemporaries, it concludes with reflection on the role that his grave continues to play in celebrating his life and his status as one of the most talented and innovative artists of the eighteenth century.
{"title":"FINIS: Objects of the End of Time, Afterlife Writing and Situation of Graves","authors":"J. Wildgoose","doi":"10.21827/ejlw.9.36912","DOIUrl":"https://doi.org/10.21827/ejlw.9.36912","url":null,"abstract":"Focusing on Hogarth’s last graphic work, The Bathos, this essay examines the ways in which the vanitas themes it represents are bound up with events that occurred towards the end of the artist’s life. Drawing on life writing (including elements of Hogarth’s autobiographical notes) that accompanied the cataloguing of his works in the years following his death, it discusses a number of controversies that drew scathing criticism of his work, his character, his politics, his ideas about English art and his standing as an artist, during his final years. Focusing on textual and visual images employed by Hogarth’s detractors to belittle him, it explores how these metaphors may be connected with the iconography he employed in The Bathos, and the extent to which the work may be ‘read’ as a representation of the artist himself, and his view of his reputation at the end of his career. Contrasting the pessimistic image Hogarth presents in his final work with the afterlife writing of his achievements by his contemporaries, it concludes with reflection on the role that his grave continues to play in celebrating his life and his status as one of the most talented and innovative artists of the eighteenth century.","PeriodicalId":106040,"journal":{"name":"European Journal of Life Writing","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124679177","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article considers Thomas Gray’s use of Lucretius’ De Rerum Natura in his prolific period of writing following Richard West’s death. Gray claims himself as ‘Master Tommy Lucretius’ in reference to his Latin philosophical poem, De Principiis Cogitandi; this self-presentation as a Lucretian poet continues through his English poetry concerning West’s death. Gray’s reference to conversing with the dead in a letter to West suggests that Gray’s poetry concerning West can be considered a form of posthumous life writing in two specific senses: one as a continued memorializing West’s life by Gray, and the other as a concurrent chronicling of Gray’s grief. They reach their culmination when Gray puts his questioning of poetry as a form of memorial into action when using Lucretius’ biography, and its associations with suicide, as a model of the suicidal poetic narrator in his Elegy Written in a Country Churchyard. The Elegy marks an end to Gray’s use of Lucretius and De Rerum Natura to question the living’s responsibility for continuing a posthumous memorial of the dead after West’s death.
{"title":"‘Master Tommy Lucretius’: Thomas Gray’s Posthumous Life Writing and Conversing with the Dead in his Poetry to Richard West","authors":"J. Morland","doi":"10.21827/ejlw.9.36897","DOIUrl":"https://doi.org/10.21827/ejlw.9.36897","url":null,"abstract":"This article considers Thomas Gray’s use of Lucretius’ De Rerum Natura in his prolific period of writing following Richard West’s death. Gray claims himself as ‘Master Tommy Lucretius’ in reference to his Latin philosophical poem, De Principiis Cogitandi; this self-presentation as a Lucretian poet continues through his English poetry concerning West’s death. Gray’s reference to conversing with the dead in a letter to West suggests that Gray’s poetry concerning West can be considered a form of posthumous life writing in two specific senses: one as a continued memorializing West’s life by Gray, and the other as a concurrent chronicling of Gray’s grief. They reach their culmination when Gray puts his questioning of poetry as a form of memorial into action when using Lucretius’ biography, and its associations with suicide, as a model of the suicidal poetic narrator in his Elegy Written in a Country Churchyard. The Elegy marks an end to Gray’s use of Lucretius and De Rerum Natura to question the living’s responsibility for continuing a posthumous memorial of the dead after West’s death.","PeriodicalId":106040,"journal":{"name":"European Journal of Life Writing","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115786871","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Between 2012 and 2017, a contributor to Mumsnet, a popular parenting forum online, began recording a third-person account under the pseudonym IamtheZombie, covering first her divorce and then her experience of cancer. In January 2017, IamtheZombie died. Preserved by MumsnetHQ, the threads form a tissue of posts: a text-culture that explores para-sociality between the living and the dead. Building on existing scholarship on digital life writing, on the afterlives of digital footprints and on recent work in the fields of memory studies, computing and neurobiology, this essay offers a new interdisciplinary framework for describing relationality in life writing on illness, dying and death: cytoarchitecture.
{"title":"Cytoarchitecture: Digital Dismembering and Remembering in Cyberspace","authors":"E. Newport","doi":"10.21827/ejlw.9.36911","DOIUrl":"https://doi.org/10.21827/ejlw.9.36911","url":null,"abstract":"Between 2012 and 2017, a contributor to Mumsnet, a popular parenting forum online, began recording a third-person account under the pseudonym IamtheZombie, covering first her divorce and then her experience of cancer. In January 2017, IamtheZombie died. Preserved by MumsnetHQ, the threads form a tissue of posts: a text-culture that explores para-sociality between the living and the dead. Building on existing scholarship on digital life writing, on the afterlives of digital footprints and on recent work in the fields of memory studies, computing and neurobiology, this essay offers a new interdisciplinary framework for describing relationality in life writing on illness, dying and death: cytoarchitecture.","PeriodicalId":106040,"journal":{"name":"European Journal of Life Writing","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129999811","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Adelaide Ironside (1831–1867) is best known as the first Australian-born artist to train overseas. While her life offers a portal into Republican Sydney, Pre-Raphaelite London and Risorgimento Rome, the nature of her archive also highlights the limits of historical method and the need to employ what Virginia Woolf called ‘the biographer’s licence’ when researching and writing about subjects with problematic sources. In this article, I employ biographical license to contrast the better-known and better-documented death of the English poet John Keats (1795–1821), with the few records associated with Ironside’s death some forty years later, to speculate about the silences in her sources. There are several factors encouraging this approach. Both artists died in Rome of pulmonary tuberculosis. Both were patients of the famous doctor, Sir James Clark (1788–1870), and both died during winter in the care of the person with whom they are now buried. By situating Ironside within these broader nineteenth-century contexts, my biographical subject evolves from a shadowy historical representative of demographic and an era into a figure who is more flesh and blood than an accocount focused upon her accomplishments and acquaintances might otherwise allow.
阿德莱德·艾恩赛德(Adelaide Ironside, 1831-1867)是第一位在海外接受培训的澳大利亚出生的艺术家。虽然她的生活为我们打开了通往共和悉尼、拉斐尔前派伦敦和复兴时期罗马的大门，但她的档案也凸显了历史方法的局限性，以及在研究和写作有问题来源的主题时，使用弗吉尼亚·伍尔夫所谓的“传记作家执照”的必要性。在这篇文章中，我利用传记的许可，将英国诗人约翰·济慈(John Keats, 1795-1821)的死亡与艾恩赛德大约四十年后去世的少数记录进行对比，以推测她的资料来源中的沉默。有几个因素鼓励这种做法。两位艺术家都死于肺结核。两人都是著名医生詹姆斯·克拉克爵士(Sir James Clark, 1788-1870)的病人，都是在冬天去世的，由陪葬者照顾。通过将艾恩赛德置于更广阔的19世纪背景中，我的传记主题从一个人口统计学和一个时代的模糊历史代表演变成一个有血有肉的人物，而不是只关注她的成就和熟人。
{"title":"‘Grave-Paved Stars’: Comparing the Death of Two Artists in Nineteenth-Century Rome","authors":"Kiera Lindsey","doi":"10.21827/ejlw.9.36902","DOIUrl":"https://doi.org/10.21827/ejlw.9.36902","url":null,"abstract":"Adelaide Ironside (1831–1867) is best known as the first Australian-born artist to train overseas. While her life offers a portal into Republican Sydney, Pre-Raphaelite London and Risorgimento Rome, the nature of her archive also highlights the limits of historical method and the need to employ what Virginia Woolf called ‘the biographer’s licence’ when researching and writing about subjects with problematic sources. In this article, I employ biographical license to contrast the better-known and better-documented death of the English poet John Keats (1795–1821), with the few records associated with Ironside’s death some forty years later, to speculate about the silences in her sources. There are several factors encouraging this approach. Both artists died in Rome of pulmonary tuberculosis. Both were patients of the famous doctor, Sir James Clark (1788–1870), and both died during winter in the care of the person with whom they are now buried. By situating Ironside within these broader nineteenth-century contexts, my biographical subject evolves from a shadowy historical representative of demographic and an era into a figure who is more flesh and blood than an accocount focused upon her accomplishments and acquaintances might otherwise allow.","PeriodicalId":106040,"journal":{"name":"European Journal of Life Writing","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122359288","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This poem is a creative response to Oreet Ashery’s web-series Revisiting Genesis (2016) on show at Wellcome Collection between 30 May 2019 and 26 January 2020 as part of the exhibition Misbehaving Bodies: Jo Spence and Oreet Ashery (https://wellcomecollection.org/exhibitions/XFHHShUAAAU_pE70). The web-series is also available at http://revisitinggenesis.net. Quotation marks indicate snippets from the web-series.
{"title":"Life After Life","authors":"K. Giaxoglou","doi":"10.21827/ejlw.9.36921","DOIUrl":"https://doi.org/10.21827/ejlw.9.36921","url":null,"abstract":"This poem is a creative response to Oreet Ashery’s web-series Revisiting Genesis (2016) on show at Wellcome Collection between 30 May 2019 and 26 January 2020 as part of the exhibition Misbehaving Bodies: Jo Spence and Oreet Ashery (https://wellcomecollection.org/exhibitions/XFHHShUAAAU_pE70). The web-series is also available at http://revisitinggenesis.net. Quotation marks indicate snippets from the web-series.","PeriodicalId":106040,"journal":{"name":"European Journal of Life Writing","volume":"353 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133865070","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Death? Oh. Aye. Uh. I disarm, ease the tension, bring the laughter. We both take a deep breath of this air thick and stilted with death-talk. I recount the cycles of atoms that started the research, disguising the root of all of this: my own grief. ‘I am the researcher of cycles of death and grief continually stuck in cycles of death and grief’ is perhaps not the best clearer of the air. It is only after the fact that this has all finally revealed itself. This work began with death, continued through deaths, and ends with life. Returning to the poetry of grief with tears running down my face: '[…] look back on these tears, also, which, stricken with love, I pour out in memory of you; this is all I can do, while my only wish is to mourn at your tomb and address these empty words to your silent ashes.'
{"title":"We all got Poetry and Life is Rich","authors":"J. Morland","doi":"10.21827/ejlw.9.36935","DOIUrl":"https://doi.org/10.21827/ejlw.9.36935","url":null,"abstract":"Death? Oh. Aye. Uh. I disarm, ease the tension, bring the laughter. We both take a deep breath of this air thick and stilted with death-talk. I recount the cycles of atoms that started the research, disguising the root of all of this: my own grief. ‘I am the researcher of cycles of death and grief continually stuck in cycles of death and grief’ is perhaps not the best clearer of the air. It is only after the fact that this has all finally revealed itself. This work began with death, continued through deaths, and ends with life. Returning to the poetry of grief with tears running down my face: '[…] look back on these tears, also, which, stricken with love, I pour out in memory of you; this is all I can do, while my only wish is to mourn at your tomb and address these empty words to your silent ashes.'","PeriodicalId":106040,"journal":{"name":"European Journal of Life Writing","volume":"291 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116112629","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores the narrative and metalinguistic devices used by two Nenets writers, Nikolaj Vylka and Anton Pyrerka, in the auto/ biographical novels they wrote in the Soviet Union in the 1930s. Focusing on narrator roles and voices, the article argues that despite the overarching programme of socialist realism, the writers creatively used available linguistic resources to build Socialist plots and frames in their novels. However, their choices differ considerably, reflecting their divergent ideas about the relationship between pre- and post-Soviet Nenets culture.
{"title":"Voice and Frames in the Soviet Nenets’ Auto/Biographies","authors":"Karina Lukin","doi":"10.21827/ejlw.9.36307","DOIUrl":"https://doi.org/10.21827/ejlw.9.36307","url":null,"abstract":"This article explores the narrative and metalinguistic devices used by two Nenets writers, Nikolaj Vylka and Anton Pyrerka, in the auto/ biographical novels they wrote in the Soviet Union in the 1930s. Focusing on narrator roles and voices, the article argues that despite the overarching programme of socialist realism, the writers creatively used available linguistic resources to build Socialist plots and frames in their novels. However, their choices differ considerably, reflecting their divergent ideas about the relationship between pre- and post-Soviet Nenets culture.","PeriodicalId":106040,"journal":{"name":"European Journal of Life Writing","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125790005","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores how several novelists in the first half of the twentieth century, including James Agee, Jack London, George Orwell, and John Steinbeck, portrayed other, often marginal, real lives in works of reportage and documentary writing—terms variously defined and utilised by critics and practitioners, but seen here as hybrid, intersecting forms of life writing. It argues that such work has an extremely artful element of verbal portraiture of real-life people, often in dialogue with photography. The process of writing and witnessing reportage work differs substantially from that of fiction. Focusing on certain factors key to the portraiture in reportage—including unfamiliarity, representativeness, standpoint, and objectivity—the article analyses these writers’ treatment of them. The extent to which these writers revealed their documentary or reportorial role to their subjects, or disguised it, is also considered. Moving between international, cultural, political and social contexts, and deeply informed by chance and accident, early twentieth century reportage emerges as a highly interactive, volatile, and intersubjective space in its portraiture of others, nonetheless defined finally by the writer’s point of view.
{"title":"The Writer as Reporter: Portraiture in Literary Reportage and Documentary Writing","authors":"Jerome Boyd Maunsell","doi":"10.21827/ejlw.9.36305","DOIUrl":"https://doi.org/10.21827/ejlw.9.36305","url":null,"abstract":"This article explores how several novelists in the first half of the twentieth century, including James Agee, Jack London, George Orwell, and John Steinbeck, portrayed other, often marginal, real lives in works of reportage and documentary writing—terms variously defined and utilised by critics and practitioners, but seen here as hybrid, intersecting forms of life writing. It argues that such work has an extremely artful element of verbal portraiture of real-life people, often in dialogue with photography. The process of writing and witnessing reportage work differs substantially from that of fiction. Focusing on certain factors key to the portraiture in reportage—including unfamiliarity, representativeness, standpoint, and objectivity—the article analyses these writers’ treatment of them. The extent to which these writers revealed their documentary or reportorial role to their subjects, or disguised it, is also considered. Moving between international, cultural, political and social contexts, and deeply informed by chance and accident, early twentieth century reportage emerges as a highly interactive, volatile, and intersubjective space in its portraiture of others, nonetheless defined finally by the writer’s point of view.","PeriodicalId":106040,"journal":{"name":"European Journal of Life Writing","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114180978","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The note of My Poyln was written as an introduction to a planned photography book regarding a Jewish past that is cleansed from its erstwhile meaning, desolated, and mourned. The thrust to research and photograph a former time grew slowly, over many years. My reading of the Holocaust is one of grief about the denial of the past (and a more humane future) and the lost cross-ethnic, rich culture. That theme I follow in writing and photography—next to my more normal concerns relating to more mundane matters—see: www.4mat.ch.
My Poyln的笔记是作为一本计划中的摄影书的介绍而写的，这本书讲述了犹太人的过去，它从过去的意义中被净化，荒凉和哀悼。多年来，研究和拍摄前一段时间的推动力增长缓慢。我对大屠杀的解读是一种对过去(以及更人道的未来)的否认和对跨种族、丰富文化的失落的悲伤。这是我在写作和摄影中所遵循的主题，仅次于我对更平凡的事情的更正常的关注，请参阅:www.4mat.ch。
{"title":"My Poyln","authors":"Marcel Herbst","doi":"10.21827/ejlw.9.36309","DOIUrl":"https://doi.org/10.21827/ejlw.9.36309","url":null,"abstract":"The note of My Poyln was written as an introduction to a planned photography book regarding a Jewish past that is cleansed from its erstwhile meaning, desolated, and mourned. The thrust to research and photograph a former time grew slowly, over many years. My reading of the Holocaust is one of grief about the denial of the past (and a more humane future) and the lost cross-ethnic, rich culture. That theme I follow in writing and photography—next to my more normal concerns relating to more mundane matters—see: www.4mat.ch.","PeriodicalId":106040,"journal":{"name":"European Journal of Life Writing","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133552873","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Jon Savage, This Searing Light, The Sun and Everything Else: Joy Division The Oral History; Stephen Morris, Record Play Pause: Confessions of a Post-Punk Percussionist. Volume 1","authors":"D. Kersten","doi":"10.21827/ejlw.8.35694","DOIUrl":"https://doi.org/10.21827/ejlw.8.35694","url":null,"abstract":"","PeriodicalId":106040,"journal":{"name":"European Journal of Life Writing","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131676343","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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