These artists interpret the thirty - year influence of the Vietnam War
through autobiographical experiences, narratives, and postmemories.
Not exact matches
Jiménez's compelling
autobiographical stories in Breaking
Through, sequel to The Circuit, combine dramatic social issues of poverty and prejudice in the 1950s with timeless adolescent
experiences of family tension, school, and romance.
Especially when the the stories are really
autobiographical and the author is reveling in the awesomeness of their own
experience, filtered
through educated pandering reflection and elevated, flowery word choice.
Beyond the common superficialities of the two spaces, both artists» work draws heavily upon
autobiographical elements, contradicting society's expectations of women's art and women artists,
through the communication of their most intimate
experiences.
Bringing personal
experiences (both real and imagined) into contact with broader historical, social, and political topics, his expansive practice has been described as an «
autobiographical journey
through the architecture of modern life — constantly rebuilt as it is retold.»
Downey uses the material, painterly process of image - creation to merge a history
experienced only
through books, movies, and photographs with
autobiographical memories set in the leftover landscape of that history.
Whether at trial or in an appellate courtroom, writing his own superb
autobiographical nonfiction, the best - selling Just Mercy, or in his efforts to evoke and acknowledge the historical narratives of the black
experience and our legacy of racial injustice in America
through the work of the Equal Justice Initiative, Stevenson employs well - told stories to change the shape of the world.
In essence,
through autobiographical narratives constructed in social interaction, we create personal meaning and emotional understanding of the events we have
experienced that contributes to our evolving sense of self throughout the lifespan.