Letter-writing

Around 1800, literary and gender discourses intersected in novel conceptualisations of friendship. Departing from a discussion of the possibility of female friendship, this paper offers a reading of Sophie von La Roche’s epistolary friendship with Julie Bondeli as it is presented in her late work Mein Schreibetisch (1799). This literary friendship, I argue, is offered as a model of female friendship that invites emulation. It thereby becomes an implicit – and only retrospectively reconstructable – beginning of a tradition of female literary friendship and authorship.

This article aims to do a number of things: in the year of the 500th anniversary of Francis I's accession it asks why there is as yet no project for a systematic edition of his letters and how this might be achieved. It goes on to examine the cultural context of the king's letter-writing and then to examine the extent of his personal participation in the composition of the many letters sent out in his name. Finally, it examines his more personal letters and draws a striking contrast between the so-called intimate letters of the literary collections and his actual autograph letters. It is hoped in this way to point towards a problematic for beginning a serious approach to the king's correspondence.

Prenant appui sur l’équivalence, théorisée par Jacques Derrida, entre la lettre ouverte et le texte publié, cet article examine les traces laissées par Michèle Rakotoson, écrivain, journaliste et grande voyageuse d’origine malgache, dans son livre-objet aux allures de carte photographique, Tana la belle (2011). Il s’agit d’examiner tout d’abord comment, de par sa composition matérielle et graphique, Tana la belle se dispose à voyager et à la fois à faire voyager. Il est ensuite montré que, la trace, chez Rakotoson, est celle de son expérience de « voyage » propre, effacée, du moins en partie, au profit de celles de voyageurs et poètes précédents à Madagascar. La trace est aussi celle de son énonciation dans Tana la belle, énonciation dont elle gomme la plupart des marques, pour faire valoir ou rendre « vivants » les propos rapportés, entre autres, d’anciens conteurs itinérants.

Solution-focused letter writing has been used to provide clients a means of connecting sessions, focusing on strengths, and working toward positive change. In addition, the therapeutic use of letter writing may help therapists themselves refocus on hope. This article details how solution-focused letter writing was used in a university-based practicum to both facilitate change with clients and train beginning therapists. Letter writing was helpful to team and therapist as well as to clients.

By attacking Epicurean philosophy repeatedly in his public writings, Cicero established himself as one of Epicurus’ most fervent critics. The remarks that he makes about Epicureanism in his letters further suggest a genuine conviction that such a philosophy had no place in Roman society. This consistency in Cicero’s statements has led most scholars to assume that Cicero could not have embraced any of the principles of the Epicurean school. This book challenges the conventional view of Cicero as someone who completely rejected Epicurean philosophy-even in his private life-because of its utilitarian character. It argues that his relationship with Pompey, Caesar, Atticus, Quintus, Terentia, and Tullia encompassed several aspects of Aristotle’s account of φιλία (love and friendship) but was, nonetheless, ultimately based on expediency, in accord with Epicurus’ conception of φιλία.

While Cicero’s statements in his public speeches and his letters to men with an active public life have been scrutinised for his lack of candour or for his tendency to exaggerate his achievements, the claims found in his letters to Atticus and to his family have not been treated with equal caution, as they tend be taken at face value. The book highlights the large number of discrepancies in his remarks and argues that, despite his anti-Epicurean statements, personal benefit played a vital role in all of his relationships.

Ancient letters had formatting and stylistic conventions that were carefully respected by their writers. This book provides the first comprehensive study of these conventions based on a wide corpus of letters surviving on their original material substrates primarily from Graeco-Roman Egypt. It elucidates and contextualises the impact of sociocultural phenomena on stylistic variations over a long period in the history of epistolary practice.

By approaching letter writing as vernacular literacy practice, this paper examines how twentieth-century ordinary Lithuanians organized their letter writing practices and how these practices were embedded in their everyday life. The analysis is based on the data that comes from the Database of Private Written Lithuanian Language, developed jointly by a team of researchers working in Lithuania and the U.S.A. The analysis reveals that for many ordinary Lithuanians, letter writing was often embedded within their everyday activities in terms of time, place, domain, participants, tools and style. Even though letter writing was perceived by many writers as informal writing, references to ‘poor’ handwriting point to the complex interrelationship between vernacular and institutional literacies: informal (vernacular) writing was affected by a formally imposed understanding of ‘good’ and ‘proper’ writing.

In his first letter to the Thessalonians, Paul addressed the occasion of deaths among Christians with stock arguments of the consolatory genre, without using the typical epistolary structure associated with consolation in ancient handbooks of letter-writing. It is demonstrated that three of Seneca the Younger's letters also employed stock arguments of consolation, but did not follow the usual structure for a letter of consolation. Using Seneca's letters as a test case for what constituted pagan ideas of consolation, we highlight some compelling reasons for reading First Thessalonians as a letter of consolation, a reading that offers some new insights into the passage on the right Christian attitude towards death in  Thess .–..

Monteiro Lobato foi, segundo os historiadores do livro e das editoras no Brasil, um editor revolucionário. Essa revolução se deu em vários níveis, seja na materialidade do livro, com a adoção de capas ilustradas e coloridas, seja na maneira de vender o livro, seja na escolha dos autores editados. Com a fundação da editora, Lobato começa a ser assediado por inúmeros escritores, de nomes consagrados a alguns – até então – desconhecidos. Nesse sentido, o objetivo deste trabalho é traçar, por meio de alguns exemplos de sua correspondência ativa e passiva – com a transcrição integral de algumas cartas não publicadas –, de que maneira se configurava a relação entre os autores e o editor Monteiro Lobato, de forma que, a partir da correspondência, possamos reavaliar e redimensionar a importância do escritor taubateano no sistema literário do início do século XX.

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PhD dissertation in Art History, Department for Culture and Aesthetics, Stockholm University

The aim of this dissertation is to analyze how Nordic women artists negotiated their professional identity in painting in the 1880s, focusing on the genres of the self-portrait, the friendship image and the studio interior. It investigates how artistic identity is fashioned through self-representation, collaboration with a colleague and in interaction with the interior of the studio as a constitutive space of artistic professionalism. The dissertation asks how women artists positioned themselves in relation to the narrative that constituted the idea of the artist, how they adopted its visual tropes and eventually subverted them by offering alternative modes of representation in painting. Through three chapters, the dissertation combines the in-depth analysis of selected paintings with the examination of comprehensive archival sources, in particular the artists’ correspondence. Combining feminist theory with a performative and object-based approach, this dissertation introduces emulation, collaboration and appropriation as key strategies of the artists’ self-fashioning in painting.

The first chapter examines Julia Beck’s self-promotional strategies, studying her self-portrait from 1880 and the emulative strategies by means of which she inscribed herself into the history of her profession. The analysis of the painting’s object history allows for a reconsideration of Beck’s transnational career in France and Sweden.

Studying the friendship images of Jeanna Bauck and Bertha Wegmann and their epistolary exchange with Hildegard Thorell, the second chapter investigates the impact of community, companionship and collaboration on the artists’ careers. It introduces the friendship image as a genre category through which artists fashioned their selves in collaboration and explored a shared artistic identity in painting. When public perceptions of intimate same-sex friendships changed considerably, the artists engaged in long-term partnerships that defy any simple categorization. Such queer companionships enabled women professionals to pursue their careers in a relatively unimpeded manner. The analysis of the collaborative artistic practices of Bauck and Wegmann offers an alternative approach to authorship as mediated and dialogical, problematizing art history’s still ubiquitous focus on the individual artist and oeuvre.

The final chapter inquires the function of the studio in Nordic women painters’ (mediated) self-representation, exploring the charged juxtaposition of figure and space in selected studio scenes. Long before Virginia Woolf coined the phrase of “a room of one’s own”, Nordic women painters appropriated the studio space as a site of professional self-fulfillment and artistic self-staging. The liminal position of the studio as a hybrid space between the public and the private is examined, offering new insights into women’s transgressions of the supposedly separate spheres. As a transitional space, the studio facilitated women artists’ appropriation and renegotiation of the idea of the artist. It is argued that Hanna Hirsch-Pauli and Venny Soldan-Brofeldt employed the genre of the friendship image to stage a paragone between painting and sculpture in their studio in Paris, whereas Eva Bonnier alluded to the myth of Pygmalion in an interior in which dramatic light effects render her sculpture alive. Asta Nørregaard’s self-portrait from 1883 is read as a self-conscious appropriation of the romantic ideal of the artist as a solitary genius.

Open access fulltext available on diva-portal.org

Le présent article s’intéresse à la duchesse de Châtillon (1627-1695) et à son apparente absence de maîtrise des conventions épistolaires, dans sa correspondance protocolaire avec Louis XIV et ses principaux secrétaires d’État.
Aujourd’hui quasi oubliée, Mme de Châtillon a pourtant été la cheville ouvrière du traité de Celle avec le Brunswick-Lunebourg en 1679, à une époque où les femmes n’avaient aucune influence politique. L’étude de ce personnage subversif permet donc de démontrer que les femmes ont été plus que de simples figurantes dans le domaine politique. Mon argumentation s’appuie
particulièrement sur les bévues formelles qu’elle commet dans ses lettres. Son abondante
utilisation des post-scriptum, bien que parfois délibérée, montre pour l’essentiel un manque de structure dans ses écrits. Or, malgré le poids de l’étiquette dans la société louis-quatorzienne et son fort impact sur la mise en forme des lettres protocolaires, la Couronne ne lui tient nulle rigueur de ces manquements au protocole. L’analyse d’extraits de la correspondance inédite de cette éminente aristocrate du Grand Siècle nous permet donc d’examiner l’importance des normes épistolaires en fonction du genre de l’épistolier et leurs éventuelles répercussions.

It is the purpose of this paper to assess some of these external-based statements about Canadian English on the basis of real-time internal data. It will be shown, while in many cases the external statements fulfill their purpose and represent a convenient shortcut to verifiable results, in other cases they may be far off, leaving us with a somewhat distorted picture of language use in early Canada.

Revisiting Richardson's _Pamela_ as a site of "spatial formalism," this essay maintains that the notion of the domestic interior as a setting conducive to psychological interiority requires further materialist analysis.  The interiority of _Pamela_ hinges less on characters' emotions than on its ability to move between different spatial interiors, from the of-cited interiors of domestic architecture to the interiors of spaces that initially register as objects, such as women's detachable pockets as well as books and letters.  Ultimately, Pamela lays claim to her selfhood through effecting a dynamic whereby her movable possessions--her letters and her pockets in particular--become spatial territories of the self that challenge the authority of land ownership conferred to her social superiors.  She effects, in other words, a shift in social relations as defined by property as well as by marriage through her ability to transform the interiority afforded by her everyday possessions into a movable estate of the self.

The author analyzes letters written by prisoners, detainees, and their relatives to authorities of the communist Yugoslavia. Today, these letters are being kept as archival material, and the author has analyzed the material of several archives in Belgrade and Zagreb. By using content and discourse analysis, it is revealed who were the authors of these letters, what was being asked for in the letters and in which way, and to which addresses were the authors reaching out to, as well as what was the attitude of authorities towards individuals addressing them in letters. With this paper, the author endeavors to present values of the aforementioned historical sources for researching social history and history of everyday life of the communist Yugoslavia, as well as the functionality of the historical-anthropological approach to research of history of the second half of the 20th century. In the appendix, the author provides several letters, mostly in the form of facsimiles.

The agreement between letter writers to stay in touch, irrespective of the time and space that will keep them apart, presumably calls for an interpersonal contract that has both a ritual and symbolic meaning. The epistolary agreement is an interpersonal contract between potential correspondents who have consented to continue their contact in an indirect manner, through letter writing. The paper argues that the promise to correspond was, and still is, a kind of epistolary, social contract that substantiates the imaginary dialogue over distance. The eighteenth-century epistolary narratives under discussion show that, with their letters, epistolers kept a promise not only to write back but also to gratify recipients' curiosity of the world at large. As it was considered rhetorically closer to the art and practice of oral conversation, letter writing was also viewed as proof of friendship.

The Finnish painter Ellen Thesleff (1869−1954) is one of the most famous female
painters in Scandinavian art history. During her stay in Florence, Italy, at the beginning
of the twentieth century, she became acquainted with the British theater
personality and artist (Edward) Gordon Craig (1872−1966). Their correspondence
from the first half of the century is a part of European cultural history and art criticism;
they write, among other things, about painting and graphics, literature and
theater. Of linguistic importance is that the original letters preserved for posterity
contain traces of many European languages: not only German, which is a central
language in the correspondence, but also French, Italian, and English.
The focus of this paper is the coexistence of languages in the multilingual
correspondence—about 200 dated and 60 undated letters—kept at the National
Library of France in Paris. In this paper, microfilms are used instead of the original
material, and the selection of letters is limited to twenty-five. The particular interest
lies in Ellen Thesleff as a multiliterate, writing individual, and her choices of and
switches between different languages. My study shows that Thesleff used a variety
of languages when writing letters. This can, for example, be seen from the perspective
of the personal nature and the communicative function of the personal letters,
where the “self” of the writer is present. In a way, multilingualism has among other
things an emotional function for her: one could, for instance, argue that it was used
as a kind of “secret writing” or language play between Thesleff and Craig.

Der Dichter Gottfried August Bürger (1747-1794), den meisten Lesern wohl vor allem als Verfasser einer Version der Geschichten des Barons von Münchhausen bekannt, 1 erhält derzeit eine sorgfältig erarbeitete Ausgabe seiner Briefwechsel in mehreren Bänden (fünf sind geplant), die eine deutli-che Verbesserung gegenüber einer bereits im 18. Jahrhundert gedruckten vierbändigen Ausgabe bringt. Der erste Band erschien 2015 und wurde in IFB ausführlich besprochen, so daß hier nicht mehr auf alle dort schon an-gesprochenen Aspekte eingegangen werden muß. 2 Erfreulicherweise disku-tiert der Herausgeber Ulrich Joost in diesem vorliegenden Band auch die in verschiedenen Rezensionen gemachten Verbesserungs-oder Ergänzungs-vorschläge, was für denjenigen Leser, der sich für so etwas interessiert, immer aufschlußreich ist. Bürgers Briefwechsel war zwar schon vorher recht gut bekannt, aber es tauchten doch auch gegenüber älteren Ausgaben immer wieder neue Briefe auf und auch ein verändertes Verständnis davon, was überhaupt als Brief gelten kann, führte zu einer Erweiterung des druckbaren Materials. Im vor-1

Ryčkov A., „Ни на кого надеи не маю, толко на милосердного Бога да на вашу милость“. The Letters from Lithuanian Nobility to the Scribe of the Grand Duke of Lithuania, Jonas Bogdanaitis Sapiega, [1507]–[1515].

This article presents eight letters from the Lithuanian nobility addressed to one of the founders of the Sapiega family (scribe of the Grand Duke of Lithuania Jonas Bogdanaitis (Иван Богданович Сапега)) from the beginning of the 16th century. The material is currently stored in two archives: in the National Archives of Sweden and in the Archive of the Russian Academy of Sciences of St. Petersburg Institute of History. The content of the letters helps to comprehend practices of political communication which allowed the scribes of the Grand Duke of Lithuania to accumulate power and employ it to propel themselves up the social ladder.

Augustine’s fifteenth epistle is a short missive written to Romanianus, his patron and friend from childhood. The letter is essentially bipartite. The first half concerns realia, especially the material upon which the letter itself is written. The second half of the letter is an exhortation to contemplation, including direct quotation from the Aeneid. Romanianus must have shared some good news with his friend, as Augustine encourages him to consider the value and dangers of his earthly success in a paragraph containing Christian, philosophical, and pagan reminiscences. The threat of death looms over this section of the letter, which ends with a curious line about the risk of bees drowning in their own honey. This article offers a philological interpretation of the letter’s first paragraph and examines previous scholarship that has used Ep. 15 as fodder for arguments about late antique letter-writing materials. Augustine’s literary quotations and allusions in the second half of the letter will be analyzed in the context of Romanianus’ personal career, with some speculation as to the content of the trigger letter that prompted Augustine to write Ep. 15. Finally, a source will be suggested for the aphoristic bee story that serves as the letter’s closing image.

The article aims to provide an overview of Samuel Richardson’s social networks, with a special focus on the stylistic features of epistolary exchanges between the novelist and other members of his circles. In the light of the social network theory, which investi-gates linguistic variations and changes influenced by discourse communities, the present research paper mainly concerns aspects related to register, and investigates the influence of Richardson’s ‘dramatic style’ upon the members of his epistolary networks, as well as the interpersonal involvement strategies he deploys with regard to the addressee and his/her discourse

Resumen: Rastrear las huellas de la oralidad en épocas pretéritas resulta paradójico pues, para hacerlo, solo disponemos de textos cuya base material es de naturaleza escrita. Sin embargo, tanto las propuestas teóricas que distinguen entre el medio y la concepción (Koch y Oesterreicher) como el análisis de algunos textos no literarios permiten acercarse con eficacia a la lengua de la inmediatez en el pasado. En este trabajo, después de esbozar el marco en el que se inserta la investigación histórica del español hablado, presentaremos una selección de materiales no literarios del siglo XVI-cartas de particulares a Indias, actas de la Inquisición y relatos de viajes de españoles a China-para evidenciar en ellos distintos rasgos de la "palabra viva".
Palabras clave: Oralidad; siglo XVI; cartas desde Indias; actas de la Inquisición; viajes de españoles a China

454 S. : Ill. ; 24 cm.-ISBN 978-3-11-020040-9 : EUR 99.95 [#0047] Briefkultur ist etwas, das durch die starke Verbreitung elektronischer Medien deutlichen Veränderungen unterworfen ist. Die Möglichkeit, zu jeder Zeit zu telefonieren oder E-Mails auszutauschen, macht das Schreiben von Briefen zu einer besonderen Sache, zumal von Briefen, die mit der Hand geschrie-ben werden. Vor allem Liebesbriefe aber, so scheint es, bedürfen dieser persönlichen Note. Liebesbriefe sind jedenfalls ein hochinteressantes kultu-relles Phänomen, dem nachzugehen in verschiedener Hinsicht lohnt. Wie die Herausgeber betonen, ist eine Prognose, die das Ende der Liebesbrief-kultur voraussagt, voreilig, möglicherweise werden wir es mit einem Funkti-ons-und Gestaltwandel zu tun bekommen, der die Überlebenskraft des Lie-besbriefes zu erweisen vermag. Der literaturwissenschaftliche Ansatz des vorliegenden Bandes, der auch für alle diejenigen interessant ist, die sich mit "Fragen der Sozial-, Mentalitäts-und Geschlechtergeschichte, der Medialität und Intertextualität" in anderen Disziplinen befassen, versucht, dem Phänomen anhand vieler Beispiele nachzuspüren, das eng mit der empfindsamen Literatur des 18. Jahrhun-derts verbunden zu sein scheint. Das Spektrum der Liebeskorresponden-zen, die hier vorgestellt und gedeutet werden, ist beachtlich und reicht vom 18. Jahrhundert bis zur Gegenwart, wenn man die Liebesbriefkommunikati-on durch SMS u.ä., die im letzten Artikel behandelt wird (Annette Simonis), mit einbezieht. Die Artikel werden in drei großen Teilen zusammengestellt, die mit 1. Wunschbild, 2. Inszenierungen und 3. Transformationen über-schrieben sind. Inwieweit die Zuordnung der Aufsätze zu diesen Kategorien stichhaltig ist, sei hier dahingestellt. Erstaunlich ist, daß kaum Briefwechsel in literarischen Texten Beachtung finden-Franz Meiers Aufsatz über Sa-muel Richardsons Pamela, der eine Art dekonstruktive Lesart bietet, stellt gewissermaßen die Ausnahme von der Regel dar. Die meisten Briefwech-sel, die hier berücksichtigt werden, sind tatsächlicher, nicht fiktionaler Natur. So finden sich Diskussionen der Briefwechsel von Eva König und Lessing (Irmela von der Lühe), eine Erörterung der Liebesbriefkultur im Kreise Jean Pauls (Jörg Paulus), der Liebesbriefe Friedrich Wilhelms II. von Preußen an Wilhelmine Enke (Conrad Wiedemann), von Wilhelm von Humboldt an Ca-roline von Dacheröden (Cord-Friedrich Berghahn), von Therese von Bache-racht und Karl Gutzkow (Barbara Potthast), von Bismarck und Johanna von Puttkamer (Roman Lach), Dietrich Bonhoeffer und Maria von Wedemeyer (Konrad Stock) im ersten Teil. Im zweiten Teil werden die Liebesbriefe Ga

Em dez cartas e cinco anos de correspondência (1919-23), Monteiro Lobato (1882-1948) traça a
Alberto Rangel (1871-1945) – que, membro do corpo diplomático brasileiro, vivia então na França
–, com pinceladas de vários matizes, um retrato do Brasil. Desde o convite a Rangel para colaborar
na Revista do Brasil, formulado na primeira carta, de 06 de janeiro de 1919, passando pelas
discussões em torno dos artigos a serem publicados naquele periódico, até a derradeira mensagem,
de 09 de junho de 1923, Lobato desenvolve a tese de que “o Brasil é uma delícia... de longe” – alusão
óbvia à condição de exilado voluntário de Rangel. Pretende-se, assim, analisar essa correspondência
– depositada no Arquivo Nacional, no Rio de Janeiro –, apontando como Lobato retrata
o país como o “Grande Opilado”, maneira como alcunha o Brasil em carta de 09 de abril de 1919.

Detailed examination of the letters of Edward I reveals them to be powerful and sophisticated political tools.

As formulaic in appearance as they are abundant in the archives, it is easy to underestimate the power of the letters generated by medieval governments, but these acts of communication were more than mere containers of information. Operating at the intersection of the spoken and the written, the performed and the observed, they produced a discourse that maximized royal authority and promoted solidarity between sender and recipient.
This book situates letters within medieval theories of composition and habits of reception, to argue that even mundane letters of governance were rhetorical texts. It focuses on the example of Edward I of England, whose rhetorical prowess was noted, often critically, by contemporaries. It shows how the king's correspondence varied in tone, vocabulary and structure across his reign and between recipients, revealing an  unexpected dynamism of political discourse. Moving between historical context and close readings of individual letters, this volume identifies letter-writing as an art through which the king and his government attempted to negotiate and mould relationships with political communities and diplomatic interlocutors alike.

Les lettres d’écrivains, de la seconde moitié du XIXe siècle jusqu’à nos jours, constituent un lieu de tension ou d’échange – elles forment l’espace d’une négociation « moderne » – entre privé et public. Tel est le postulat que nous explorons dans le dossier « Entre public et privé : lettres d’écrivains depuis le XIXe siècle » en nous penchant sur les lettres inédites échangées entre Georges Hérelle et ses amis, Romain Rolland et Louise Cruppi, ainsi que sur les correspondances publiées d’Émile Zola et d’Any Duperey et Nina Vidrovitch et, enfin, sur des « lettres » jamais envoyées, de réflexion ou d’hommage, signées par Pascale Roze et Linda Lê. Les écrits qui nous intéressent ici, dans la mesure où ils permettent à leurs auteurs de faire entendre leurs préoccupations à la fois intimes, sentimentales et sociales ou politiques, montrent qu’à l’époque moderne et contemporaine, la lettre d’écrivain, qu’elle soit publiée ou non, est un lieu d’exposition, souvent aussi de dissimulation, où l’auteur cherche à renégocier son identité et ses relations, son langage et sa position, dans le champ littéraire ou professionnel comme dans la vie affective.

Es gilt hier wieder ein editorisches Großprojekt anzuzeigen und zu preisen, wie es sie in den letzten Jahren immer wieder gab und auch hoffentlich wei-terhin geben wird. Denn auch wenn manche Briefwechsel, darunter auch der von Christian Heinrich Boie (1744-1806) und Luise Mejer (1746-1786), vor langer Zeit schon einmal partiell vorgelegt wurden, 1 bietet die 1 Ich war wohl klug, daß ich dich fand : Heinrich Christian Boies Briefwechsel mit Luise Mejer 1777-1785 / hrsg. von Ilse Schreiber.-München : Biederstein, 1961.-514 S.-2. durchges. und erw. Aufl.-1963.-523 S.-Zuletzt: Ich war wohl klug, daß ich dich fand : Heinrich Christian Boies Briefwechsel mit Luise Mejer 1777-1785 / hrsg. von Ilse Schreiber.-Nachdr. d. 2., durchges. u. erw. Aufl.-München : Beck, 1980.-523 S.-ISBN 3-406-05403-X.-Zu dieser Ausga-be heißt es S. 74 des editorischen Berichts im Kommentarband (Bd.4): " Es han-delt sich hier um eine äußerst unzuverlässige Auswahlausgabe, die Textkontami-nationen und erfundene Datierungen enthält. Zum Beispiel ist in dieser Ausgabe für das Jahr 1777 der fragmentarische Zustand der Vorlage in keiner Weise kennt-lich gemacht worden. Statt dessen und darüber hinaus sind offensichtlich unter-schiedliche Briefe zu einem Schreiben unter einem Datum zusammengesetzt und Datierungen nach eigenem Gutdünken vergeben worden. " Damit fällt diese ältere Ausgabe, die sicher viele Germanisten noch in ihrem Regal haben und bisher den Briefwechsel der beiden in Buchform präsent hielt, für die weitere wissenschaftli-che Nutzung aus.

[The following is an edited excerpt from the introduction]:

Family is central to my arts practise.
Both sets of grandparents migrated to Australia in the 1950s.
Their desire for a better life drove them to build a modest life for their family from the land. Like other recently arrived migrants, they immersed themselves in the familiar and clung to the traditions and customs of their homeland...

This paper is a thesis submitted in partial fulfillment of the requirements of the degree of Bachelor of Visual Arts (Honours)
School of Visual Arts & Design, Faculty of Humanities and Social Sciences, La Trobe University, Bundoora, Victoria, 3086
Australia

O objetivo desta tese e identificar e analisar o ?Lobato das cartas?, ou seja, o processo de construcao da imagem de Monteiro Lobato em sua correspondencia ativa. Ha, assim, o Lobato familiar, o escritor e o editor, o dos Estados Unidos, o do ferro e do petroleo, o da prisao e o das criancas. Essa imagem, porem, varia nao so segundo circunstâncias de tempo e de lugar mas tambem em funcao do destinatario. Palavras-chave: Lobato, Monteiro, 1882-1948 ? Correspondencia ? Critica e interpretacao, Cartas brasileiras ? Sec. XX ? Historia e critica Abstract

Routledge Auto/Biography Studies Life writing, in its various forms, does work that other forms of expression do not; it bears on the world in a way distinct from imaginative genres like fiction, drama, and poetry; it acts in and on history in significant ways. Memoirs of illness and disability often seek to depathologize the conditions that they recount. Memoirs of parents by their children extend or alter relations forged initially face to face in the home. At a time when memoir and other forms of life writing are being produced and consumed in unprecedented numbers, this book reminds readers that memoir is not mainly a "literary" genre or mere entertainment. Similarly, letters are not merely epiphenomena of our "real lives." Correspondence does not just serve to communicate; it enacts and sustains human relationships. Memoir matters, and there's life in letters. All life writing arises of our daily lives and has distinctive impacts on them and the culture in which we live.