![]() I argue that this aesthetics is mainly motivated by the centrality of personality and the necessarily subjective perception of that personality. This paper seeks to show that the New Biography developed a specific aesthetics of the biographical subject, contributing to the politics of the modernist self in the early twentieth century. In recent years, researchers such as Max Saunders and Laura Marcus have asserted the importance of the New Biography in understanding and reassessing the status of auto/biographical forms in modernist texts. Although their appreciation of each other varied, these writers read and influenced each other’s work they formulated similar conceptualisations of biography, giving strength to Woolf’s idea of a ‘new school of biographies’ (Woolf 1927, 475). ![]() The New Biography emerged in the 1920s and 1930s under the impulse of Virginia Woolf, Lytton Strachey and Harold Nicolson. ![]()
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