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By G. Thomas Couser

This paintings explores the "authority" of autobiography in numerous similar senses: first, the concept autobiography is authoritative writing since it is possibly verifiable; moment, the concept that one's lifestyles is one's unique textual area; 3rd, the concept that, as a result of obvious congruence among the implicit ideology of the style and that of the country, autobiography has a different status in the United States. conscious of the new evaluations of the suggestion of autobiography as issuing from, decided by means of, or concerning a pre-existing self, Couser examines the ways that the authority of specific texts is named into question--for instance, simply because they contain pseudonymity (Mark Twain), the revision of a possibly spontaneous shape (Mary Chesnut's Civil conflict "diaries"), bilingual authorship (Richard Rodriguez and Maxine Hong Kingston), collaborative construction (Black Elk), or outright fraud (Clifford Irving's "autobiography" of Howard Hughes). Couser examines either the best way canonical autobiographers might playfully and purposely undermine their very own narrative authority and how within which minority writers' keep an eye on in their lives will be compromised. Autobiography, then, is portrayed the following as an area during which participants fight for self-possession and self-expression opposed to the limitations of language, style, and society.

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