Field Of Biography Research Articles

LIFE AND SCIENTIFIC-PEDAGOGICAL ACTIVITY OF A BOTANIST, SCIENCE HISTORIAN, AND PEDAGOGUE, PROFESSOR DMYTRO OLEKSANDROVYCH BAIKOV (1818-1884)

Problem. Professor of Zoology and Botany D. O. Baikov worked at several educational institutions in Odesa: Odesa (Novorossiysk) University (1865-1866), Richelieu Lyceum (1850-1865), Odesa Institute of Noble Maidens (1854-1868), Gymnasium of Richelieu Lyceum (1850-1854), 2nd Municipal Girls' School (1854-1868). His life and activities have been covered in many biographical articles, but the information provided is either inaccurate or conflicting. As an example, none of the authors provide the dates and places of his birth, death or burial. Objective. The aim of our study was to clarify the basic biographical data and the results of the scientific-pedagogical activity of Professor D. O. Baikov. Main results. Based on the study of archival and official printed documents of the 19th and early 20th centuries, the main dates of the life and activity of Professor Dmytro Oleksandrovych Baikov, who headed the Department of Zoology and Comparative Anatomy of Odesa (Novorossiysk) University, were established. His role in the development and formation of higher and women's education in Odesa in the second half of the 19th century is shown. Conclusions. For the first time, the main dates of the life and scientific-pedagogical activity of Professor D. O. Baikov were documented – 25(13).10.1818 – 22(10).09.1884; for the first time, 12 units of storage of three state archives and 9 printed documents that were previously unknown to the scientist's biographers and specialists in the field of biography were introduced into scientific circulation; arguments were provided for reconsidering some conclusions regarding the activities of Professor D. O. Baikov in educational institutions of various types.

Narration of Imam Hanash bin Abdullah Al-Sanani in the great classes of Ibn Saad ... Study and analysis

The research deals with the narrations of Imam Hanash bin Abdullah Al-Sanani (may God have mercy on him) in the book of the Great Classes of Ibn Saad, and the value of these narrations in form and subject lies in the abundance of their material, and if they are Its importance, and published from the book of Tabaqat by Ibn Saad, it will change the image in the minds of students of knowledge about its value among the followers.Also, by producing a paper represented by historical issues from the masterpieces of our huge Islamic heritage, so perhaps we will have done some duty, serving knowledge, in pursuit of reward and reward from God Almighty. The researchers adopted the analytical method and the descriptive method in this study, and they reached conclusions that can be summarized by saying that these narrations represent a basic foundation in the field of biography and history for ancient and modern scholars, and the outcome of those who wrote about the life of Hanash al-San`ani over the ages and the diversity of places is that he has This Imam Al-Tabi'i held a high position in the novel and its arts, and he has a reputation in other sciences.

"The Absolute Genre": The Year in France

"The Absolute Genre"The Year in France Joanny Moulin (bio) The field of biography in France elicits a notable degree of reflection on genre, which is expressed either implicitly, by the prolixity and diversity of sometimes experimental productions, or explicitly in at least two books published in 2019 with very different, if not radically opposite, approaches to the question: Pascal Quignard's La vie n'est pas une biographie and Dominique Bona's Mes vies secrètes. Quignard's argument against "biographical narration" is that "On ne saurait faire un tissu si continu de ses désirs, ni des actions où ils se projettent ou qu'ils inventent, qu'il puisse passer pour vraisemblable" [One cannot make of one's desires, or of the actions into which they project themselves or which they invent, a fabric so continuous as to pass for verisimilar] (21). On the whole, Quignard is repeating the argument presented by Pierre Bourdieu in his 1986 essay "The Biographical Illusion." Furthermore, in Quignard's view, "Les rêves sont encore vivants, non les phrases" [Dreams are still alive, sentences are not] (20). Such a statement, as well as the affirmation of a "being" that would be different from "life," implies a surprising rejection of both psychoanalysis and the philosophy of deconstruction, which, to be convincing, would demand a much more serious philosophical effort than this. A great number of the most noteworthy biographical productions in France this year run against the grain of Quignard's thesis. Chief among them, Bona's Mes vies secrètes is an autobiography of a prominent woman biographer, in which she explains how she came to opt for life writing against the advice of her mentors, and her plaidoyer for biography expresses a radically different vision of the genre. For Bona, inasmuch as it is a work of literature, biographical writing at its best is not primarily a mimetic, but a hermeneutic process, by which the writer and readers together seek to imagine, over and beyond mere words, what it must have been like to live such a life. Conversely, because we are born and live in worlds that are always already inhabited by previously created forms, there is great insight in Oscar Wilde's apothegm: "Life imitates Art far more than Art imitates Life" (39). Likewise, Denis Demonpion argues that Michel Houellebecq composes his life like a novel in the new and augmented version of his 2005 biography, [End Page 69] Houellebecq: La biographie d'un phénomène. The novelist has abundantly spread lies about the facts of his own life, but he also cultivates ambiguity between his fictional characters and himself, between his narrators and his own figure as implied author. This very ambiguity is a crucial ingredient of his succès de scandale, for Houellebecq is a satirist, more Juvenalian than Horacian, always aiming to press where it hurts to denounce what he sees as the vices and errors of a French society far gone, in his eyes, on the road of inexorable decadence. No wonder he has more detractors than admirers in his own country. Jean-Marie Gleize's Denis Roche: éloge de la véhémence is certainly more significant in the debate implicitly raised by Quignard's La vie n'est pas une biographie, for Roche paradoxically seems to give credence to Quignard and to prove him wrong at the same time. Having all but proclaimed the death of poetry in La Poésie est inadmissible, Roche had this "vehemence" that also made him shift constantly from one genre to the other, and from literature to photography and back, as if he was permanently fretting lest he might get trapped in the discursiveness of one artistic form. A comparable example may be found in the figure of the Dadaist writer Jacques Rigaut, whose integral nihilism led him to put an end to his own life at the age of thirty-one. Jean-Luc Bitton's biography, Jacques Rigaut: le suicidé magnifique, is the kind that Rigaut himself wouldn't have liked, because it is too long. And indeed, Rigaut's life was one long self-abandonment to the death wish, with a final leap into...

Рецензия на книгу: Балакин А.Ю. Разыскания в области биографии и творчества И.А. Гончарова

Рецензия на книгу: Балакин А.Ю. Разыскания в области биографии и творчества И.А. Гончарова

Love Among the Archives: Writing the Lives of Sir George Scharf, Victorian Bachelor by Helena Michie and Robyn Warhol

Reviewed by: Love Among the Archives: Writing the Lives of Sir George Scharf, Victorian Bachelor by Helena Michie and Robyn Warhol Amanda Kotch (bio) Helena Michie and Robyn Warhol. Love Among the Archives: Writing the Lives of Sir George Scharf, Victorian Bachelor. Edinburgh UP, 2015, 246 pp. ISBN 978-147440662, $34.95. who is sir george scharf? On a bad day, for Victorianists Helena Michie and Robyn Warhol, he is "the most boring man in the world" (6). For the rest of us—a group that may include scholars of Victorian literature and culture, historians, art critics, archivists, and avid readers of biography and biographical metafiction—he is the first director of London's National Portrait Gallery (NPG). Does this titled position, which led to Scharf being appointed a Commander of the Most Excellent Order of the British Empire, differentiating him from his father George Scharf, the German immigrant artist whose vocation the NPG website lists as "miniature painter, draughtsman and lithographer," make Sir George any less boring? Possibly. Although the biography of such a person may be categorized as niche, there are a number of reasons to write a life of Sir George Scharf. Michie and Warhol mention some of these, including Scharf's contributions to portrait identification and display techniques, for example. But out of the authors' self-professed limitations of training—both are literary critics—comes something more ambitious and expansive. Despite its entrenchment in Victorian literary scholarship, Love Among the Archives belongs to the ever-expanding category of experimental life writing, distinguished by the refusal of prescriptive narratives and the embrace of narrative twists, turns, and surprises. Michie and Warhol's book neatly undresses three characteristic plots in nineteenth-century fiction—the romance plot, the family [End Page 517] romance, and the search for vocation—as the plots enable and inform their experience of working with Scharf's archive. Although the specific application of these plots will be most interesting to scholars of nineteenth-century literature, those reading and working more broadly in the field of biography will appreciate the book's attention to everyday details that might otherwise fall into obscurity, resisting narrative altogether. A torn piece of waistcoat, a blotch on a letter, a meticulously preserved set of dinner menus—these things all come to life and have their place in the authors' search for a subject who refuses complete knowability. Love Among the Archives deftly employs three temporal modes to bring Scharf's experiences to life: story time, discourse time, and archive time (52). A story, as Michie and Warhol point out, links events through causation, and Scharf's diaries seldom provide evidence for why certain entries appear side by side, and even less evidence for what Scharf might have been feeling when he recorded them. Story time, as such, follows the narrative(s) that the authors have imagined and constructed for Scharf, based on what they intuit from their own experiences with his papers; it is not linear or chronological. Those needing a more organized chronology can look to the vita provided before the preface, which is divided into the seven decades of Scharf's life (as with the book as a whole, the vita does not end with Scharf's death, but unlike the book, the vita ends with the relocation of the NPG collection to its current space, and thus asserts Scharf's professional legacy). The vita merges Michie and Warhol's story time observations with events that might structure a more chronologically driven account of Scharf's life, such as Charles Dickens's private visit to the NPG in 1861. Next to events such as these are story time occurrences like "the piano wars," a set of occasions where Scharf attempts to drown out a neighbor's loud piano-playing with noisemaking of his own. Reading the vita emphasizes how story time events signify within the archivists' reconstruction of Scharf's Victorian bachelor world, rather than on their own terms—on Scharf's terms, that is. Discourse time refers to recursive moments in Scharf's diaries and letters, including daily records, mentions of memorial anniversaries, and summaries of annual expenditures and professional accomplishments. The third category, archive time, encompasses...

Derdini Tuna ya Döken Şair Âşik Çelebi ve Tuna Kasidesi nin Anlam Dünyası

A
ik Celebi (d.1572) is an Balkan originated author and poet who made an important contribution to the Turkish literature history in the field of biography with his essay, Me
â'iru'
-u'arâ. After having a good education, he worked as clerk and kadi (judge) in various places in Anotalia and Balkans. During his official work, he also wrote and translated essays. Known as an writer in Turkish literature, A
ik Celebi also wrote poems and organized a Divan (collected poems). Beside his divan, he also included some poems in his biographic essay, Me
â'iru'
-u'arâ . In this paper analyzed the reasons for writing the Tuna Kasidesi and its meaning along with providing information about the life of the poet.

Biography and Scholarship: A Reply to Professor Young

Biography and Scholarship: A Reply to Professor Young

Writing Women's Lives: One Historian's Perspective

From the start, biography played a vibrant and significant part in the growth of women's history, especially American women's history, as a well-respected and popular field within the historical profession. The insistence of feminist biographers that the personal is political, and that attention must be paid to the daily lives of their subjects as well as to their more public achievements, continues to ripple through the field of biography as a whole. To talk about biography is also to talk about the biographer, for the precise reason that behind every biography lies autobiography—that special spark that draws the biographer to the subject in the first place and the interaction that unfolds as the project moves forward (or stalls, as often happens). As feminist theory reminds us, the personal element is relevant to the broader intellectual agenda.

Gendering Historiography 7-9 November 2007, Hamburg.

Over the last thirty years gender has become a fairly respected category within history, spanning a broad range of research and generating a wealth of studies, especially in the Anglo-American context. However, there have been far fewer attempts – especially in Germany – to discuss the influence of gender on historiography, on the historical canon and on writing history in general. The international conference ‘Gendering Historiography’ was designed to fill this gap in research, exploring and examining the history of historiography in novel ways. It addressed the inclusion and exclusion of gender in historiography, in national canons and in several sub-disciplines of history, especially the field of biography. Furthermore, it looked at the gendered boundaries between academic and non-academic history. The conference was made possible by the support of the German Research Foundation (DFG) and the University of Hamburg. It was hosted in the Aby Warburg House in Hamburg, which...

Joel Barlow, de Redding (1754) à Zarnowiec (1812) : rêves cosmopolitiques et cauchemars tyranniques d'un Américain de bonne volonté

This article belongs to the new field of biography as history. Far from restricting itself to the narrative account of Joel Barlow’s life and works, it tries to capture the various facets of this man with all the contradictions which were inherent in his character and fate, and which he shared with his Enlightenment contemporaries. As happened with a large number of great political actors in the history of mankind, Barlow’s background, as well as his rather mediocre “genius”, raises the essential question of how and why such an ordinary man achieved so singular a role in the extraordinary history of his time, to the point of finding himself right in the eye of the Napoleonic cyclone which eventually killed him.

Six literary lives: the shared impiety of Adams, London, Sinclair, Williams, Dos Passos, and Tate

Whittemore continues to build upon his reputation in field of biography with Six Literary Lives in which he attempts to deepen our understanding of six major American writers. Whittemore's subjects - Henry Adams, Jack London, Upton Sinclair, William Carlos Williams, John Dos Passos, and Allen Tate - were writers of widely diverse talents and interests. However, Whittemore says, they all shared a climate of thought, a 19th-century view, now unfashionable, of literature's role in our culture. Although each biography could stand alone, Whittemore focuses on ideas - literary, scientific, cultural - that united these six literary lives and emphasizes shared impiety. The book is an experiment in group biography with an ideological base. Using as a foundation American culture before World War II, which Daniel Bell described as the end of ideology, Whittemore introduces these biographies with a discussion of intellectual climate these writers shared. There is also a supplementary essay on three naturalists - Charles Darwin, Henry David Thoreau, and Gerard Manley Hopkins - who shared similarly impious mind-sets. Six Literary Lives reasserts values of character and art that have been belittled or attacked in late 20th century. The six figures studied here were all aggressive individuals ill at ease with solidarity. Their personal relations were slight, yet their common underlying stance, in relation to their culture illuminates both that culture and, by comparison, our own.

Notes on the Uses of Psychoanalysis for Biography

It is the dual aim of this presentation to explore the scope and to define the limits of what psychoanalysis can offer to the field of biography. In pursuit of these goals emphasis is placed upon the influence of the writer's emotional attachment to his subject, which, despite intensive psychoanalytic training and experience, may compromise his objectivity and contaminate his narrative. In addition, attention is drawn to psychological issues in the life of the creative artist which may play a decisive role both in determining the quality of his work and in stimulating its production.

Comparative Biography as Political History: Huey Long and Father Coughlin

I S THE TASK OF THE BIOGRAPHER synonymous with the task of the historian? The answer, of course, depends on our definition of historical inquiry. If we assume that the study of history involves simply the reconstruction of the past, the illumination of human experience in all its variety and nuance, then the study of any individual is a contribution to historical understanding. But there is another, broader conception of the historian's task: the belief that the purpose of scholarship is not simply to reveal the past, but to explain it; to make connections and identify transformations; to look at the individual pieces of history in terms of how they fit into a larger pattern. By that definition, the connection between biography and history becomes less clear, and all historians engaged in biographical inquiry must grapple with an important question: how does the study of individual lives illuminate the larger history of a society or an era? There is no additional question facing those historians whose excursions into the field of biography take them into the lives of more than one person: what can they study of several lives, juxtaposed against one another, teach us that an ordinary biography, or another mode of analysis, can not? My own work in the field of what some have called comparative biography' has forced me to confront both these questions and has led me to answers that have discomfited some traditional biographers but that suggest, I believe, several avenues for enhancing the connection between the study of individuals and the illumination of the larger patterns of the past.

Lydia Maria Child: Biographer

LITERARY historians today recognize Lydia Maria Child as one of the earliest American novelists and magazine editors, but they have tended to overlook her pioneer efforts in the field of biography.1 Although Maria Child aspired to literary heights, she never attained this goal, for she employed her writing primarily as a means of promoting humanitarian reform. Thus most of her work became propaganda tracts rather than artistic creations. One of the first causes in which she displayed an interest was the improvement of women's education. In 1829 she wrote:

The Life of Sir Alexander Fleming.

To make medical biography or any biography accord with the truth and at the same time be a worthy literary effort is supremely difficult. Perhaps this is especially true of medical autobiography. A few medical biographies or autobiographies have become classics. One calls to mind Daniel Drake's "Letters" to his children, Cushing's "Life" of Osler, Gross' "Autobiography," Mrs. Hope's "Life" of Dr. Hope, Trudeau's "Autobiography," and Zinnser's "As I Remember Him." Others can add their own favorites. Maurois' "Life of Sir Alexander Fleming" is sure to take its position in the first rank of classics of medical biography. Here is the happy conjunction of an altogether worthy subject and a writer who ranks as a genius in the field of biography. Gerard Hopkins' translation is so smooth that scarcely a French idiom is distinguishable. André Maurois, whose "Lives" of Byron, Chateaubriand, George Sand, Victor Hugo, and others are accepted as