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 | Autobiographical Writing Across the Disciplines: a Reader
edited by Diane P. Freedman and Olivia Frey
Duke University Press, 2003
excerpt from book cover: This book reveals the extraordinary breadth of the intellectual movement toward self-inclusive scholarship. Presenting exemplary works of criticism incorporating personal narratives, this volume bring together twenty-seven essays from scholars in literary studies and history, mathematics and medicine, philosophy, music, film, ethnic studies, law, education, anthropology, religion, and biology. Pioneers in the development of the hybrid genre of personal scholarship, the writers whose work is presented here challenge traditional modes of inquiry and ways of knowing. |
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 | The Teacher’s Body: Embodiment, Authority, and Identity in the Academy
edited by Diane P. Freedman and Martha Stoddard Holmes
State University of New York Press, 2003
excerpt from book cover: These highly personal essays from a range of academic settings explore the palpable moments of discomfort, disempowerment, and/or enlightenment that emerge when we discard the fiction that the teacher has no body. Visible and/or invisible, the body can transform both the teacher’s experience and classroom dynamics. When students think the teacher’s body is clearly marked by ethnicity, race, disability, size, gender, sexuality, illness, age, pregnancy, class, linguistic and geographic origins, or some combination of these, both the mode and the content of education can change…. The collection anatomizes these moments of embodied pedagogy as unexpected teaching opportunities and examines their apparent impact on teacher-student educational dynamics. |
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 | Millay at 100: A Critical Reappraisal
edited by Diane P. Freedman
Southern Illinois University Press, 1995
excerpt from book cover: Diane P. Freedman brings together 12 essays by critics of poetry and women's writing for a critical reappraisal of the prolific work of Edna St. Vincent Millay...this volume refocuses attention on Millay's art by asking questions central to our present concerns. What in the varied body of Millay's work speaks to use most forcefully today? Which critical perspectives most illuminate her texts? How might those approaches be challenged, extended, or reoriented? In seeking the answers to such questions, the volume's contributors illuminate the means by which Millay's early success has been slighted and misunderstood and examine issues of personality, personae, critical stature, and formal experimentation in Millay's various genres. |
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 | The Intimate Critique: Autobiographical Literary Criticism
edited by Diane P. Freedman, Olivia Frey, and Frances Murphy Zauhar
Duke University Press, 1993
excerpt from book cover: For a long time now, readers and scholars have strained against the limits of traditional literary criticism, whose precepts—above all “objectivity”—seem to have so little to do with the highly personal and deeply felt experience of literature. The Intimate Critique marks a movement away from this tradition. With their rich spectrum of personal and passionate voices, these essays challenge and ultimately breach the boundaries between criticism and narrative, experience and expression, literature and life. Grounded in feminism and connected to the race, class, and gender paradigms in cultural studies, the twenty-six contributors to this volume—including Jane Tompkins, Henry Louis Gates, Jr., Shirley Nelson Garner, and Shirley Goek-Lin Lim—respond in new, refreshing ways to literary subjects ranging from Homer to Freud, Middlemarch to The Woman Warrior, Shiva Naipaul to Frederick Douglass.
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 | An Alchemy of Genres: Cross Genre Writing by American Feminist Poet-Critics
by Diane P. Freedman
University Press of Virginia, 1992
excerpt from book cover: An Alchemy of Genres analyzes the hybrid forms women create to express multiple and conflicting identities in a culture that has long silenced persons not of the dominant gender, race, ethnicity, class, or sexual orientation. Providing a new and distinctive theoretical framework for approaching women writers and women’s writing, Diane P. Freedman seeks throughout to explore and inform not only through argument and accumulation of textual evidence but through demonstrating in her own prose style the power of the cross-genre composition practices of the writers she celebrates.
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