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Published: 10 March 2023

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1

King, Nicola. "Structures of Autobiographical Narrative: Lisa Appignanesi, Dan Jacobson, W.G. Sebald." Comparative Critical Studies 1, no. 3 (October 2004): 265–77. http://dx.doi.org/10.3366/ccs.2004.1.3.265.

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2

Baum, Devorah. "Writing Memories: A Jewish Quarterly Conversation with Eva Hoffman and Lisa Appignanesi." Jewish Quarterly 60, no. 3-4 (October 2, 2013): 31–35. http://dx.doi.org/10.1080/0449010x.2013.855420.

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3

André, Willian, and Lara Luiza Oliveira Amaral. "A vida íntima entre as paredes de vidro: uma análise dos diários de Maura Lopes Cançado, Alejandra Pizarnik e Sylvia Plath / Intimate life inside the walls of glass: an analysis of journals by Maura Lopes Cançado, Alejandra Pizarnik and Sylvia Plath." O Eixo e a Roda: Revista de Literatura Brasileira 28, no. 4 (December 5, 2019): 395. http://dx.doi.org/10.17851/2358-9787.28.4.395-426.

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Resumo: Partindo de algumas considerações de Leonor Arfuch, Philippe Lejeune e Michel Blanchot sobre a “escrita íntima” relacionada à produção de diários, este artigo tem por objetivo central tecer uma análise comparativa entre os diários de três escritoras: Maura Lopes Cançado, Alejandra Pizarnik e Sylvia Plath. Colocando essas produções lado a lado, intencionamos mostrar algumas características comuns, tanto com relação à forma – como a recorrência à linguagem lírica –, quanto com relação aos conteúdos: relatos de angústias, tentativas de suicídio, experiências de internamento em hospitais psiquiátricos e o medo da loucura (tema que investigamos com o auxílio de Lisa Appignanesi). Esperamos, com essa proposta, não apenas contribuir para a sistematização dos estudos sobre diários de escritoras que se dedicaram ao ofício da literatura, mas, principalmente, considerando os casos específicos aqui em foco, apontar possíveis especificidades da escrita íntima que lida diretamente com experiências de tratamento psiquiátrico e suicídio.Palavras-chave: diários; escrita íntima; loucura.Abstract: Considering some reflections by Leonor Arfuch, Philippe Lejeune and Maurice Blanchot on the “intimate writing” related to the production of diaries, this article aims at building a comparative analysis between the journals by three writers: Maura Lopes Cançado, Alejandra Pizarnik and Sylvia Plath. By placing these productions side by side, we intend to show some common characteristics, related to form – as the recurring lyrical language – as well as to content: accounts of anguish, suicide attempts, hospitalization in psychiatric asylums and the fear of madness (subject we investigate with Lisa Appignanesi’s support). We hope to contribute to a systematization of studies about journals of writers who have dedicated themselves to literature, and, mainly, due to the specific cases we are focusing here, to point possible specificities of the intimate writing that deals directly with experiences of psychiatric treatment and suicide.Keywords: journals; intimate writing; madness.
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4

Griffin, Malcolm P., and Peter D. Taylor. "Science and Scientists: Where are We Going?Science and Beyond.Steven Rose , Lisa Appignanesi." Quarterly Review of Biology 62, no. 1 (March 1987): 52–55. http://dx.doi.org/10.1086/415269.

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5

Noonan, Caitriona. "Book Review: Lisa Appignanesi (ed.), Free Expression is No Offence. London, Penguin, 2005." Media, Culture & Society 29, no. 4 (July 2007): 697–98. http://dx.doi.org/10.1177/0163443707078431.

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6

WEBSTER, BRENDA. "An Interview with Lisa Appignanesi, Author ofMad, Bad and Sad: Women and the Mind Doctors." Women's Studies 38, no. 7 (September 16, 2009): 791–98. http://dx.doi.org/10.1080/00497870903155972.

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7

Kella, Elizabeth. "Suspect Survival: Matrophobia in Postmemory Generational Writing." American, British and Canadian Studies 33, no. 1 (December 1, 2019): 89–117. http://dx.doi.org/10.2478/abcsj-2019-0017.

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Abstract Family and kinship carry special significance to Holocaust survivors and their descendants. In autobiographies and family memoirs, writers of what Marianne Hirsch terms the postmemory generation employ different narrative strategies for coming to terms with the ways in which the Holocaust has marked their identities and family ties. This article focuses on women’s writing of the postmemory generation, examining three works in English by daughters of survivors in the UK, the US, and Canada, written during the 1990s. It investigates the narrative strategies used by Anne Karpf, Helen Fremont, and Lisa Appignanesi to represent maternal sexual agency and vulnerability in a survival context. It suggests that these representations are strongly influenced by matrophobia and matrophilia, defined as the conflicting dread of becoming and desire to be one’s mother, which are themselves strongly conditioned by Holocaust history, particularly the gendered history of vulnerability among women in open hiding during the war1.
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8

Hogan, Susan. "Mad, Bad and Sad: a history of women and the mind doctors from 1800 to the present LISA APPIGNANESI." Women's History Review 21, no. 1 (February 2012): 164–66. http://dx.doi.org/10.1080/09612025.2011.632925.

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9

Drewniak, Dagmara. "From Poland to Canada: Memories of Communist Poland and Migration to Canada in Three Texts by Polish-Born Migrant Women Writers." Porównania 32, no. 2 (December 30, 2022): 119–37. http://dx.doi.org/10.14746/por.2022.2.7.

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Canadian ethnic literature has been dominated by testimonies of migrant experience for a long time. Writers of Eastern European extraction, such as Janice Kulyk Keefer, Eva Hoffman, Eva Stachniak, Lisa Appignanesi or Elaine Kalman Naves to mention just a few, have contributed to the vast body of Canadian migrant literature, giving voice to the quandaries of white, invisible minority migration. As it turns out, the latest texts published by Polish-born Canadian women writers also address the issues of migration and the memory of Communist Poland, which the writers left in the 1980s and early 1990s. The aim of this paper is to look at three selected texts: Giant (2012) by Aga Maksimowska, Lemons (2017) by Kasia Jaronczyk and Was It Worth It. Columbus in Jeans (2019) by Liliana Arkuszewska, all of which are debut novels, and discuss their perception and rendition of Communist Poland, which the authors left behind physically and simultaneously struggled to free from mentally. The narratives chosen for this study, despite substantial differences, bear certain similarities in their treatment of Poland as well as become important commentaries on the status of migrant discourses in North America.
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10

Adshead, Gwen. "Trials of Passion: Crimes in the Name of Love and Madness By Lisa Appignanesi. Virago Press. 2014. £16.59 (hb). 448 pp. ISBN 9781844088744." British Journal of Psychiatry 210, no. 2 (February 2017): 169–70. http://dx.doi.org/10.1192/bjp.bp.115.178384.

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11

Zucconi, Laura M. "Mad, Bad, and Sad: Women and the Mind Doctors. By Lisa Appignanesi. (New York, N.Y.: W. W. Norton, 2008. Pp. ix, 540. $29.95.)." Historian 72, no. 2 (June 1, 2010): 492–94. http://dx.doi.org/10.1111/j.1540-6563.2010.00267_69.x.

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12

Lauteslager, Max. "Lisa Appignanesi (2008). Mad, bad and sad. A history of women and the mind doctors from 1800 to the present. Londen: Virago. 593 pp., € 17,95." Tijdschrift voor Psychotherapie 35, no. 5 (October 2009): 378–80. http://dx.doi.org/10.1007/bf03080517.

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13

Abel, Kathryn. "Mad, Bad and Sad: The History of Women and the Mind Doctors from 1800 to the Present By Lisa Appignanesi. Virago. 2008. £20.00 (hb). 560pp. ISBN: 9781844082339." British Journal of Psychiatry 194, no. 2 (February 2009): 194–95. http://dx.doi.org/10.1192/bjp.bp.108.050773.

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14

Drewniak, Dagmara. "Memory and Forgetting in Lisa Appignanesi’S the Memory Man." Studia Anglica Posnaniensia 47, no. 4 (December 1, 2012): 163–75. http://dx.doi.org/10.2478/v10121-012-0017-5.

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AbstractThe aim of this paper is to look at Lisa Appignanesi’s novel The memory man ([2004] 2005), which won the 2005 Holocaust Literature Award, and examine the patterns of remembering and forgetting as indispensable aspects conducive to the formation of Jewish identity. The main character of the book, Bruno Lind, a Holocaust survivor and a scientist dealing professionally with the complicated neurological issues of remembering and losing memory, tries to recollect his war memories during a journey to the places of his youth which are at the same time the sites of his and his family’s trauma. The Holocaust, change of identities, the war memories and finally the stay at the DP camps and escape to Canada return to Bruno Lind’s mind in order to be passed onto the next generation and remembered. This article shows Appignanesi’s novel as an important contribution to the discussion on the role of memory in Jewish identity.
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15

Pellicer-Ortín, Silvia. "“The Ghost Language Which Passes between the Generations”: Transgenerational Memories and Limit-Case Narratives in Lisa Appignanesi’s Losing the Dead and The Memory Man." Humanities 9, no. 4 (November 2, 2020): 132. http://dx.doi.org/10.3390/h9040132.

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This article aims to uncover the tensions and connections between Lisa Appignanesi’s autobiographical work Losing the Dead (1999) and her novel The Memory Man (2004) and to point out that, in spite of belonging to different genres, they share several formal, thematic, and structural features. By applying close-reading and narratological tools and drawing on relevant theories within Trauma, Memory, and Holocaust Studies, I would like to demonstrate that both works can be defined as limit-case narratives on the grounds that they blur literary genres, fuse testimonial and narrative layers, include metatextual references to memory and trauma, and represent and perform the transgenerational encounter with traumatic memories. Moreover, Appignanesi’s creations will be contextualised within the trend of hybrid life-writing narratives developed by contemporary British-Jewish women writers. Accordingly, these authors are contributing to the expansion of innovative liminal autobiographical and fictional practices that try to represent what it means to be a Jew, a migrant, and an inheritor of traumatic experiences in the post-Holocaust world. Finally, I launch a further reflection on the generic hybridisation characterising those contemporary narratives based on the negotiation of transgenerational memories, which will be read as a fruitful strategy to problematize the conflicts created when the representation of the self and (family) trauma overlap.
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16

Pellicer-Ortín, Silvia. ""Oblivion is a kind of blessing": Memory Journeys in Lisa Appignanesi's The Memory Man." Caliban, no. 60 (December 1, 2018): 81–100. http://dx.doi.org/10.4000/caliban.4321.

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17

Besemeres, Mary. "The Family in Exile, Between Languages: Eva Hoffman's Lost in Translation; Lisa Appignanesi's Losing the Dead, Anca Vlasopolos's No Return Address." a/b: Auto/Biography Studies 19, no. 1-2 (January 2004): 239–48. http://dx.doi.org/10.1080/08989575.2004.10815331.

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18

Hornung, Alfred. "Return Visits: The European Background of Transcultural Life Writing." European Journal of Life Writing 2 (March 26, 2013): T10—T24. http://dx.doi.org/10.5463/ejlw.2.50.

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In this article I read autobiographies by East Europeans who immigrated to Canada in connection with the Second World War as examples of transcultural life writing. My focus on the representation of return visits of these loyal Canadian citizens to their country of origin after 1989 reveals the underlying intention of relating the experience of life in a multicultural democratic society to the emergence of a new political consciousness in Eastern Europe. In my analysis I distinguish four types of concerns which try to bridge the past of their childhood experiences with the formation of a transcultural life in the 21st century: 1. Anna Porter’s return visit to Hungary for family reunion and an encounter with history in The Storyteller; 2. Modris Eksteins’s political motivation in Walking Since Daybreak as a historian who revisits his birthplace in Latvia as well as the stages of his displacement in German refugee camps for research on the history of the war years; 3. Janice Kulyk Keefer’s private driving tour of the Ukraine and Poland and the discovery of new political realities in Honey and Ashes; 4. Lisa Appignanesi’s search for the traces of the Holocaust in her native Poland in Losing the Dead. These reconnections with an earlier life from the Canadian perspective in transcultural life writings can be likened to the recent discussions of the constitution of transnational societies in a cosmopolitan world.
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19

"Science and Beyond. Steven Rose and Lisa Appignanesi. 1986. 204 pages. Index. ISBN: 0-631-14483-8. Hard cover $24.95." Bulletin of Science, Technology & Society 6, no. 4 (August 1986): 390–91. http://dx.doi.org/10.1177/027046768600600446.

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20

"Lisa Appignanesi and John Forrester. Freud's Women. London: Weidenfeld and Nicholson, 1992. 563 pp. $30.00 (cloth) (Reviewed by Edwin Wallace)." Journal of the History of the Behavioral Sciences 32, no. 2 (April 1996): 203–4. http://dx.doi.org/10.1002/1520-6696(199604)32:2<203::aid-jhbs2300320210>3.0.co;2-m.

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21

"Freud's Women: Family, Patients, Followers, Lisa Appignanesi and John Forrester. 1993. Basic Books, New York, NY. 544 pages. ISBN: 0-465-02563-3. $30.00." Bulletin of Science, Technology & Society 14, no. 3 (June 1994): 176. http://dx.doi.org/10.1177/027046769401400312.

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22

""The Satanic Verses," the "Fatwa," and Its Aftermath: A Review ArticleThe Satanic Verses. Salman RushdieSalman Rushdie: Sentenced to Death. William J. WeatherbyThe Rushdie File. Lisa Appignanesi , Sara MaitlandThe Rushdie Affair: The Novel, the Ayatollah, and the West. Daniel Pipes." Library Quarterly 61, no. 4 (October 1991): 429–43. http://dx.doi.org/10.1086/602397.

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