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- W2005020635 abstract "In the late 1960s and early 1970s, it was common to hear young, middle-class, white Americans referring to themselves with a self-conscious sense of shared identity and common oppression that today one associates with race, class, ethnicity, or gender. The primary collective with which those young people in the 1960s identified-the generation-is now granted attention only in popular magazines and in marketing and demographic reports on the continuing economic and social impact of the baby boomers. In the field of American autobiography, studies of works by writers who identify themselves on the basis of gender, class, race, or ethnicity have been numerous, while in which the primary collective identity has been derived from the concept of the generation-works such as Raymond Mungo's Total Loss Farm: A Year in the Life (1970), Michael Rossman's The Wedding Within the War(1971), Joyce Maynard's Looking Back: Growing Up Old in the 1960s (1972), or David Harris's Dreams Die Hard: Three Men's Journey Through the Sixties (1982)-have been largely ignored. The reasons for the neglect of what I call generational autobiographies are not difficult to imagine. Whereas autobiographers often experience gender, race, ethnicity, and class affiliations radically and over the whole of their lives, one is most aware of one's membership in a generation during the coming-of-age years or the period that Erik Erikson refers to as the psychosocial moratorium, when one is first entering the arena of history, rebelling against parental institutions, and experimenting with adult identities.1 After that period, one's sense of kinship with other members of one's age group inev-" @default.
- W2005020635 created "2016-06-24" @default.
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- W2005020635 date "1992-01-01" @default.
- W2005020635 modified "2023-10-18" @default.
- W2005020635 title "Generational Theory and Collective Autobiography" @default.
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- W2005020635 doi "https://doi.org/10.1093/alh/4.1.77" @default.
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