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The Situation and the Story: The Art of Personal Narrative (review)

The Situation and the Story: The Art of Personal Narrative (review) 06-reviews 12/9/03 6:49 AM Page 719 Reviews 719 other to itself but also because it is constituted by multiple and heteronomous relations” (255). This project is reminiscent of Womanhouse in the way that the personal is made political and public through collaboration. Despite its flaws, this volume embraces new genres for inclusion in, and raises questions for, the increasingly slippery category of autobiography. The range and number of artists included in the volume is impressive, and I am glad to have been introduced to those I did not know or had registered as peripheral figures. The volume introduced me, for instance, to Claude Cahun’s self-portraits depicting the “performance” of self-starvation, photo- graphs that Georgiana Colvile argues are structured by anorexia (270). It moves artists that have been treated as footnotes in literary history to the foreground, such as Elsa Baroness von Freytag-Loringhoven, the “Original Dada,” the model for the Duchess of Broadback from Berlin in Djuna Barnes’s Nightwood (298). The artists included in the volume are a fascinating and compelling col- lection, and I expect to dip into this volume in the future. The editors wise- ly see the potential for new courses suggested by their book. As a http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Biography University of Hawai'I Press

The Situation and the Story: The Art of Personal Narrative (review)

Biography , Volume 26 (4) – Jan 8, 2004

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Publisher
University of Hawai'I Press
Copyright
Copyright © 2003 Biographical Research Center.
ISSN
0162-4962
eISSN
1529-1456

Abstract

06-reviews 12/9/03 6:49 AM Page 719 Reviews 719 other to itself but also because it is constituted by multiple and heteronomous relations” (255). This project is reminiscent of Womanhouse in the way that the personal is made political and public through collaboration. Despite its flaws, this volume embraces new genres for inclusion in, and raises questions for, the increasingly slippery category of autobiography. The range and number of artists included in the volume is impressive, and I am glad to have been introduced to those I did not know or had registered as peripheral figures. The volume introduced me, for instance, to Claude Cahun’s self-portraits depicting the “performance” of self-starvation, photo- graphs that Georgiana Colvile argues are structured by anorexia (270). It moves artists that have been treated as footnotes in literary history to the foreground, such as Elsa Baroness von Freytag-Loringhoven, the “Original Dada,” the model for the Duchess of Broadback from Berlin in Djuna Barnes’s Nightwood (298). The artists included in the volume are a fascinating and compelling col- lection, and I expect to dip into this volume in the future. The editors wise- ly see the potential for new courses suggested by their book. As a

Journal

BiographyUniversity of Hawai'I Press

Published: Jan 8, 2004

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