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'Some life-writing critics have pointed to a paradox in Australian autobiography: that of memoir writers paying tribute to their subjects in ways which those subjects would not understand or agree with. In this article, I focus on one facet of this paradox, looking at how various styles of communication are represented in autobiographies. What happens when a highly articulate autobiographer attempts to represent the communicative style of a subject who does not share or value the autobiographer's discursive style? This article surveys a variety of strategies which autobiographers have used, some of which are open to the possibility of valuing a minimalist style of communication, while others condemn it as inarticulate and inexpressive. These varying attitudes connect to a broader cultural debate in Australia. In this debate, an older rural style of communication, which values minimal verbal communication and emotional inexpressivity, is pitted against a more recent urban-based style of communication, which values emotional expressivity and expansive commentary. Intriguingly, this rural speech style (seemingly the antithesis of the autobiographer's art) is represented and valued as an art form by some Australian autobiographers.' -- Publication abstract.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Last amended 29 Nov 2007 11:58:55
Subjects:
- A Fine and Private Place 2000 single work autobiography
- Shadow of Doubt : My Father and Myself 2003 single work autobiography
- I Can Jump Puddles 1955 single work autobiography
- Romulus, My Father 1998 single work biography
- With Dew on My Boots : A Childhood Revisited 1997 single work autobiography
- Flaws in the Glass : A Self-Portrait 1981 single work autobiography
- Inside Outside : Life Between Two Worlds 1992 single work autobiography
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