By Mary Atlanta Cudahy
This research examines either autobiographical prose and poetry by means of girls authors so that it will outline an neglected sub-genre of autobiographical literature that's as elusively fictional because it is autobiographical. I argue for a brand new style of feminist autobiographical creation, a messy style on the middle of modernist sensibilities whereas while completely averse to them: it rejects Brecht and Eliot's exaltation of the impersonal whereas it embraces the hallmark modernist stylistics of disjuncture, fissure, and non-linearity. Critics have centred totally on how feminist autobiographical writing within the 20th century differs from conventional male autobiography with no bearing in mind the contributions it makes to our figuring out of modernism as a literary flow. I discover the modernist cult of impersonality from either the Anglo-American and German views targeting the dramatic stress among the impersonal and the private in feminist modernism. via examining extensive the reception historical past of Ingeborg Bachmann and Marieluise Fleisser, I research why and the way autobiographical writing via ladies has been thought of a lesser artwork, one synonymous with emotional outpouring unaided by means of literary sophistication.
My first bankruptcy provides an outline of scholarship on autobiography in feminist modernism and situates this writing in a traditionally trained autobiographical continuum. I identify the dynamic stress among the private and the impersonal that's precious for knowing my argument and inspire a examining of woman autobiographical writing as significant to the stylistics of modernism. Chapters and 3 examine Marieluise Fleisser's autobiographical fiction, targeting the position of autobiography within the tale, "Avantgarde." I examine the dichotomy among "mythmaking" and "truth-telling" in Fleisser's literary portrayal of Brecht, and determine Fleisser's cutting edge poetics in keeping with her adamant blurring of traditional limitations among genres. In bankruptcy 4, I discover Ingeborg Bachmann's departure from poetry, linking her flip to prose together with her becoming impulse in the direction of the "authentic" and the "real." bankruptcy 5 establishes a connection among Bachmann's prose paintings and her past due unpublished poetry. This boldly autobiographical poetry displays a wish for a extra narrative, direct exploration of non-public event divorced from the classy perfection of her released poetry.