This volume examines innovative intersections of life-writing and experimental fiction in the 20th and 21st centuries, bringing together scholars and practicing biographers from several disciplines (Modern Languages, English and Comparative Literature, Creative Writing). It covers a broad range of biographical, autobiographical, and hybrid practices in a variety of national literatures, among them many recent works: texts that test the ground between fact and fiction, that are marked by impressionist, self-reflexive and intermedial methods, by their recourse to myth, folklore, poetry, or drama as they tell a historical character’s story. Between them, the essays shed light on the broad range of auto/biographical experimentation in modern Europe and will appeal to readers with an interest in the history and politics of form in life-writing: in the ways in which departures from traditional generic paradigms are intricately linked with specific views of subjectivity, with questions of personal, communal, and national identity. The Introduction of this book is open access under a CC BY 4.0 license via link.springer.com.

"An Experiment in Autobiography" was first published in 1934. Within it, Wells recounts his childhood, school days, struggle to make money, his eventual literary success, and latter occupation as a prophet of socialism. A fascinating and unique look into the life and mind of this seminal author, "An Experiment in Autobiography" will appeal to all who have read and loved the works of H. G. Wells. Contents include: "47 High Street, Bromley, Kent", "Up Park and Joseph Wells (1827-1910)", "Sarah Wells at Atlas House (1855-1880)", "A Broken Leg and Some Books and Pictures (1874)", "Mr. Morley's Commercial Academy (1874-1880)", "Puerile View of the World (1878-79)", Mrs. Wells, Housekeeper at Up Park (1880-1893)", "First Start in Life-Windsor (Summer 1880)", et cetera. Herbert George Wells (1866 - 1946) was a prolific English writer who wrote in a variety of genres, including the novel, politics, history, and social commentary. Today, he is perhaps best remembered for his contributions to the science fiction genre thanks to such novels as "The Time Machine" (1895), "The Invisible Man" (1897), and "The War of the Worlds" (1898). Many vintage books such as this are becoming increasingly scarce and expensive. We are republishing this book now in an affordable, modern, high-quality edition complete with a specially commissioned new biography of the author.

The effective design of scientific experiments is critical to success, yet graduate students receive very little formal training in how to do it. Based on a well-received course taught by the author, Experimental Design for Biologistsfills this gap. Experimental Design for Biologistsexplains how to establish the framework for an experimental project, how to set up a system, design experiments within that system, and how to determine and use the correct set of controls. Separate chapters are devoted to negative controls, positive controls, and other categories of controls that are perhaps less recognized, such as “assumption controls†and “experimentalist controls†. Furthermore, there are sections on establishing the experimental system, which include performing critical “system controls†. Should all experimental plans be hypothesis-driven? Is a question/answer approach more appropriate? What was the hypothesis behind the Human Genome Project? What color is the sky? How does one get to Carnegie Hall? The answers to these kinds of questions can be found in Experimental Design for Biologists. Written in an engaging manner, the book provides compelling lessons in framing an experimental question, establishing a validated system to answer the question, and deriving verifiable models from experimental data. Experimental Design for Biologistsis an essential source of theory and practical guidance in designing a research plan.

There has been a significant growth in autobiographical documentary films in recent years. This innovative book proposes that the filmmaker in her dual role as maker and subject may act as a cultural guide in an exploration of the social world. It argues that, in the cinematic mediation of memory, the mimetic approach in the construction of documentary films may not be feasible, and memory may instead be evoked elliptically through hybrid strategies such as critical realism and fictional enactment. Recognizing that identity is formed by history and what ‘goes on’ in the world, the book charts the historical trajectory of the British independent filmmaking movement from the mid-1970s to the present growth of new online distribution outlets and new media through digital technologies and social media.