biography journal article

Examples of Biographical Statement and Abstract

Biographical statement.

Once articles have been selected and accepted for publication each year, authors will be asked to submit a biographical statement to be included in the Advocates’ Forum . The biographical statement should include the author(s) full name. In addition, it is also appropriate to discuss your personal history, academic program and/or field placement, and interest in the article’s subject. The biographical statement may not exceed 75 words. Below is an example taken from the 2009 volume of the Advocates’ Forum :

"Kathryn Saclarides is a second-year social administration student at the University of Chicago Crown Family School of Social Work, Policy, and Practice. She received a bachelor’s degree in anthropology and Spanish from Vanderbilt University and a master’s degree in bioethics from La Universidad Pontificia de Comillas in Madrid, Spain. Her current field placement is with the National Alliance of Latin American and Caribbean Communities (NALACC). She is interested in migration patterns, ethnic neighborhoods, and transnational communities."

The abstract should appear on the second page of your manuscript, immediately following the title page. The abstract should briefly summarize the argument advanced in your manuscript, and should be limited to no more than 100 words. For additional guidance on composing abstracts, refer to the Publication Manual of the American Psychological Association . Below is an example taken from an issue of Advocates’ Forum (Charlotte L. Hamilton, “Anti-Drug Legislation and the Rising Incarceration of Women: Recommendations for Future Sentencing Reform,” Advocates’ Forum [2005]: 33-43).

The Anti-Drug Abuse Acts of 1986 and 1988 led to a rapid increase in the number of incarcerated Americans. The rate of female incarceration has risen at a particularly high rate over the past 20 years. This article discusses the evolution of drug sentencing policy since 1986. It looks at characteristics of incarcerated women in order to understand how drug policy has influenced this population. The way women participate in the drug trade interacts with minimum sentencing laws to contribute to the rise in female incarceration. The article concludes with policy recommendations for a more equitable drug sentencing system.

Stack Exchange Network

Stack Exchange network consists of 183 Q&A communities including Stack Overflow , the largest, most trusted online community for developers to learn, share their knowledge, and build their careers.

Q&A for work

Connect and share knowledge within a single location that is structured and easy to search.

How to write a brief author biography for a journal article?

One of my papers has recently been accepted! We received an e-mail informing us that we have a short time frame in which we need to do a bunch of work to get the paper ready for publication. In particular, one of the components which we need to submit is a brief author biography for each co-author.

I have had a few papers published before, but none of these papers has required me to provide a brief author biography. What information should I include in this biography? Can someone provide a sample of his/her biography for me to use as a reference or template?

publications

9 Can't you look at author biographies from other papers in that journal ? – Raghu Parthasarathy Commented Oct 7, 2016 at 15:52
@RaghuParthasarathy Now that you mention it, that does seem to be the best approach. I wonder why I hadn't thought of that. Could you submit this comment as an answer? – I Like to Code Commented Oct 8, 2016 at 8:31
Certainly -- glad to be of help! – Raghu Parthasarathy Commented Oct 8, 2016 at 18:47

2 Answers 2

Can't you look at author biographies from other papers in that journal ?

3 This doesn't answer the question. The question asks what information should be included and you've just pointed to a resource that would allow the asker to answer their own question. IMO, this was correctly posted as a comment and shouldn't have been reposted as an answer. – David Richerby Commented Oct 8, 2016 at 19:20
2 @DavidRicherby While this isn't a real "answer", I decided to accept because other papers in the same journal is the best source of author biographies for me to copy from. – I Like to Code Commented Oct 9, 2016 at 13:48

My experience in this field is the next.

university and specialty that you graduated
your current position
scientific interests
Usualy, it have to be a very-very short version of your bio (several sentences).

You must log in to answer this question.

Not the answer you're looking for browse other questions tagged publications ..

Featured on Meta
Upcoming sign-up experiments related to tags

Hot Network Questions

Is it problematic to define the line integral in terms of infinitesimals
Forcing QGIS to export using left hand rule
Who is Maud here?
Would a PhD from Europe, Canada, Australia, or New Zealand be accepted in the US?
Voronoi mesh of a circular image
What rights does an employee retain, if any, who does not consent to being monitored on a work IT system?
Visiting every digit
What is a curate in English scone culture?
Short story about a group of astronauts/scientist that find a sentient planet that seems friendly but is not
If a reference is no longer publicly available, should you include the proofs of the results you cite from it?
I'm on a windows 10 machine and trying desperately to see when the last dns flush took place
What's the role of the transistor on power input in this schematic?
WORD REQUEST: A class for students who want to get better at a subject, aside from their public education
Rewarding the finding of zeroes of a hash function
Paris Taxi with children seats (from and to airport)
What was the submarine in the film "Ice Station Zebra"?
Who knows the tasks where the same fact is used by different parties to their advantage (at the same time, the fact itself is not initially obvious)?
What does "the dogs of prescriptivism" mean?
Differing notions of Morita equivalence for operator algebras
Are there really half-a billion visible supernovae exploding all the time?
Traveling between two Schengen Countries using a Verlustanzeige?
What happened to Slic3r?
if people are bred like dogs, what can be achieved?
How can I enable read only mode in microSD card

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.

About this Journal

Biography: An Interdisciplinary Quarterly has been an important forum for well-considered biographical scholarship for more than forty years. It features stimulating articles that explore the theoretical, generic, historical, and cultural dimensions of life writing; and the integration of literature, history, the arts, and the social sciences as they relate to biography. Each issue also offers insightful reviews, concise excerpts of reviews published elsewhere, an annual bibliography of works about biography, and listings of upcoming events, calls for papers, and news from the field. This journal is a member of the Council of Editors of Learned Journals . Sign up for alerts at: MyMUSE Alerts

published by

Available issues, table of contents, volume 46, 2023.

Volume 46, Number 2, 2023
Volume 46, Number 1, 2023

Volume 45, 2022

Volume 45, Number 4, 2022
Volume 45, Number 3, 2022
Volume 45, Number 2, 2022
Volume 45, Number 1, 2022

Volume 44, 2021

Volume 44, Number 4, 2021
Volume 44, Numbers 2&3, 2021
Volume 44, Number 1, 2021

Volume 43, 2020

Volume 43, Number 4, 2020
Volume 43, Number 3, 2020
Volume 43, Number 2, 2020

Volume 42, 2019

Volume 42, Number 4, 2019
Volume 42, Number 3, 2019
Volume 42, Number 2, 2019
Volume 42, Number 1, 2019

Volume 41, 2018

Volume 41, Number 4, Fall 2018
Volume 41, Number 3, Summer 2018
Volume 41, Number 2, Spring 2018
Volume 41, Number 1, Winter 2018

Volume 40, 2017

Volume 40, Number 4, Fall 2017
Volume 40, Number 3, Summer 2017
Volume 40, Number 2, Spring 2017
Volume 40, Number 1, Winter 2017

Volume 39, 2016

Volume 39, Number 4, Fall 2016
Volume 39, Number 3, Summer 2016
Volume 39, Number 2, Spring 2016
Volume 39, Number 1, Winter 2016

Volume 38, 2015

Volume 38, Number 4, Fall 2015
Volume 38, Number 3, Summer 2015
Volume 38, Number 2, Spring 2015
Volume 38, Number 1, Winter 2015

Volume 37, 2014

Volume 37, Number 4, Fall 2014
Volume 37, Number 3, Summer 2014
Volume 37, Number 1, Winter 2014

Volume 36, 2013

Volume 36, Number 4, Fall 2013
Volume 36, Number 3, Summer 2013
Volume 36, Number 2, Spring 2013
Volume 36, Number 1, Winter 2013

Volume 35, 2012

Volume 35, Number 4, Fall 2012
Volume 35, Number 3, Summer 2012
Volume 35, Number 2, Spring 2012
Volume 35, Number 1, Winter 2012

Volume 34, 2011

Volume 34, Number 4, Fall 2011
Volume 34, Number 3, Summer 2011
Volume 34, Number 2, Spring 2011
Volume 34, Number 1, Winter 2011

Volume 33, 2010

Volume 33, Number 4, Fall 2010
Volume 33, Number 3, Summer 2010
Volume 33, Number 2, Spring 2010
Volume 33, Number 1, Winter 2010

Volume 32, 2009

Volume 32, Number 4, Fall 2009
Volume 32, Number 3, Summer 2009
Volume 32, Number 2, Spring 2009
Volume 32, Number 1, Winter 2009

Volume 31, 2008

Volume 31, Number 4, Fall 2008
Volume 31, Number 3, Summer 2008
Volume 31, Number 2, Spring 2008
Volume 31, Number 1, Winter 2008

Volume 30, 2007

Volume 30, Number 3, Summer 2007
Volume 30, Number 2, Spring 2007
Volume 30, Number 1, Winter 2007

Volume 29, 2006

Volume 29, Number 4, Fall 2006
Volume 29, Number 3, Summer 2006
Volume 29, Number 2, Spring 2006
Volume 29, Number 1, Winter 2006

Volume 28, 2005

Volume 28, Number 4, Fall 2005
Volume 28, Number 3, Summer 2005
Volume 28, Number 2, Spring 2005
Volume 28, Number 1, Winter 2005

Volume 27, 2004

Volume 27, Number 4, Fall 2004
Volume 27, Number 3, Summer 2004
Volume 27, Number 2, Spring 2004
Volume 27, Number 1, Winter 2004

Volume 26, 2003

Volume 26, Number 4, Fall 2003
Volume 26, Number 3, Summer 2003
Volume 26, Number 2, Spring 2003
Volume 26, Number 1, Winter 2003

Volume 25, 2002

Volume 25, Number 4, Fall 2002
Volume 25, Number 3, Summer 2002
Volume 25, Number 2, Spring 2002
Volume 25, Number 1, Winter 2002

Volume 24, 2001

Volume 24, Number 4, Fall 2001
Volume 24, Number 3, Summer 2001
Volume 24, Number 2, Spring 2001
Volume 24, Number 1, Winter 2001

Volume 23, 2000

Volume 23, Number 4, Fall 2000
Volume 23, Number 3, Summer 2000
Volume 23, Number 2, Spring 2000
Volume 23, Number 1, Winter 2000

Volume 22, 1999

Volume 22, Number 4, Fall 1999
Volume 22, Number 3, Summer 1999
Volume 22, Number 2, Spring 1999
Volume 22, Number 1, Winter 1999

Volume 21, 1998

Volume 21, Number 4, Fall 1998
Volume 21, Number 3, Summer 1998
Volume 21, Number 2, Spring 1998
Volume 21, Number 1, Winter 1998

Volume 20, 1997

Volume 20, Number 4, Fall 1997
Volume 20, Number 3, Summer 1997
Volume 20, Number 2, Spring 1997
Volume 20, Number 1, Winter 1997

Volume 19, 1996

Volume 19, Number 4, Fall 1996
Volume 19, Number 3, Summer 1996
Volume 19, Number 2, Spring 1996
Volume 19, Number 1, Winter 1996

Volume 18, 1995

Volume 18, Number 4, Fall 1995
Volume 18, Number 3, Summer 1995
Volume 18, Number 2, Spring 1995
Volume 18, Number 1, Winter 1995

Volume 17, 1994

Volume 17, Number 4, Fall 1994
Volume 17, Number 3, 1994
Volume 17, Number 2, Spring 1994
Volume 17, Number 1, Winter 1994

Volume 16, 1993

Volume 16, Number 4, Fall 1993
Volume 16, Number 3, Summer 1993
Volume 16, Number 2, Spring 1993
Volume 16, Number 1, Winter 1993

Volume 15, 1992

Volume 15, Number 4, Fall 1992
Volume 15, Number 3, Summer 1992
Volume 15, Number 2, Spring 1992
Volume 15, Number 1, Winter 1992

Volume 14, 1991

Volume 14, Number 4, Fall 1991
Volume 14, Number 3, Summer 1991
Volume 14, Number 2, Spring 1991
Volume 14, Number 1, Winter 1991

Volume 13, 1990

Volume 13, Number 4, Fall 1990
Volume 13, Number 3, Summer 1990
Volume 13, Number 2, Spring 1990
Volume 13, Number 1, Winter 1990

Volume 12, 1989

Volume 12, Number 4, Fall 1989
Volume 12, Number 3, Summer 1989
Volume 12, Number 2, Spring 1989
Volume 12, Number 1, Winter 1989

Volume 11, 1988

Volume 11, Number 4, Fall 1988
Volume 11, Number 3, Summer 1988
Volume 11, Number 2, Spring 1988
Volume 11, Number 1, Winter 1988

Volume 10, 1987

Volume 10, Number 4, Fall 1987
Volume 10, Number 3, Summer 1987
Volume 10, Number 2, Spring 1987
Volume 10, Number 1, Winter 1987

Volume 9, 1986

Volume 9, Number 4, Fall 1986
Volume 9, Number 3, Summer 1986
Volume 9, Number 2, Spring 1986
Volume 9, Number 1, Winter 1986

Volume 8, 1985

Volume 8, Number 4, Fall 1985
Volume 8, Number 3, Summer 1985
Volume 8, Number 2, Spring 1985
Volume 8, Number 1, Winter 1985

Volume 7, 1984

Volume 7, Number 4, Fall 1984
Volume 7, Number 3, Summer 1984
Volume 7, Number 2, Spring 1984
Volume 7, Number 1, Winter 1984

Volume 6, 1983

Volume 6, Number 4, Fall 1983
Volume 6, Number 3, Summer 1983
Volume 6, Number 2, Spring 1983
Volume 6, Number 1, Winter 1983

Volume 5, 1982

Volume 5, Number 4, Fall 1982
Volume 5, Number 3, Summer 1982
Volume 5, Number 2, Spring 1982
Volume 5, Number 1, Winter 1982

Volume 4, 1981

Volume 4, Number 4, Fall 1981
Volume 4, Number 3, Summer 1981
Volume 4, Number 2, Spring 1981
Volume 4, Number 1, Winter 1981

Volume 3, 1980

Volume 3, Number 4, Fall 1980
Volume 3, Number 3, Summer 1980
Volume 3, Number 2, Spring 1980
Volume 3, Number 1, Winter 1980

Volume 2, 1979

Volume 2, Number 4, Fall 1979
Volume 2, Number 3, Summer 1979
Volume 2, Number 2, Spring 1979
Volume 2, Number 1, Winter 1979

Volume 1, 1978

Volume 1, Number 4, Fall 1978
Volume 1, Number 3, Summer 1978
Volume 1, Number 2, Spring 1978
Volume 1, Number 1, Winter 1978

Additional Information

Additional materials.

Indexing/Abstracting
Advertising Information

Special Issues

Additional Issue Materials

Editorial Board -- Volume 43, Number 1, 2020
Editorial Board -- Volume 42, Number 4, 2019
Editorial Board -- Volume 42, Number 3, 2019
Editorial Board -- Volume 42, Number 2, 2019
Editorial Board -- Volume 42, Number 1, 2019
Editorial Board -- Volume 41, Number 4, Fall 2018
Editorial Board -- Volume 41, Number 3, Summer 2018
Editorial Board -- Volume 41, Number 2, Spring 2018
Editorial Board -- Volume 41, Number 1, Winter 2018
Editorial Board -- Volume 40, Number 4, Fall 2017
Editorial Board -- Volume 40, Number 3, Summer 2017
Editorial Board -- Volume 40, Number 2, Spring 2017
Editorial Board -- Volume 40, Number 1, Winter 2017
Editorial Board -- Volume 39, Number 4, Fall 2016
Editorial Board -- Volume 39, Number 3, Summer 2016
Editorial Board -- Volume 39, Number 2, Spring 2016
Editorial Board -- Volume 39, Number 1, Winter 2016
Editorial Board -- Volume 38, Number 4, Fall 2015
Editorial Board -- Volume 38, Number 3, Summer 2015
Editorial Board -- Volume 38, Number 2, Spring 2015
Editorial Board -- Volume 38, Number 1, Winter 2015
Editorial Board -- Volume 37, Number 4, Fall 2014
Editorial Board -- Volume 37, Number 3, Summer 2014
Editorial Board -- Volume 37, Number 2, Spring 2014
Editorial Board -- Volume 37, Number 1, Winter 2014
Editorial Board -- Volume 36, Number 4, Fall 2013
Editorial Board -- Volume 36, Number 3, Summer 2013
Editorial Board -- Volume 36, Number 2, Spring 2013
Editorial Board -- Volume 36, Number 1, Winter 2013
Editorial Board -- Volume 35, Number 4, Fall 2012
Editorial Board -- Volume 35, Number 3, Summer 2012
Editorial Board -- Volume 35, Number 2, Spring 2012
Editorial Board -- Volume 35, Number 1, Winter 2012
Editorial Board -- Volume 34, Number 4, Fall 2011
Editorial Board -- Volume 34, Number 3, Summer 2011
Editorial Board -- Volume 34, Number 2, Spring 2011
Editorial Board -- Volume 34, Number 1, Winter 2011
Editorial Board -- Volume 33, Number 4, Fall 2010
Editorial Board -- Volume 33, Number 3, Summer 2010
Editorial Board -- Volume 33, Number 2, Spring 2010
Editorial Board -- Volume 33, Number 1, Winter 2010
Editorial Board -- Volume 32, Number 4, Fall 2009
Editorial Board -- Volume 32, Number 3, Summer 2009
Editorial Board -- Volume 32, Number 2, Spring 2009
Editorial Board -- Volume 32, Number 1, Winter 2009
Editorial Board -- Volume 31, Number 4, Fall 2008
Editorial Board -- Volume 31, Number 3, Summer 2008
Editorial Board -- Volume 31, Number 2, Spring 2008
Editorial Board -- Volume 31, Number 1, Winter 2008
Editorial Board -- Volume 30, Number 4, Fall 2007
Editorial Board -- Volume 30, Number 3, Summer 2007
Editorial Board -- Volume 30, Number 2, Spring 2007
Editorial Board -- Volume 30, Number 1, Winter 2007
Editorial Board -- Volume 29, Number 4, Fall 2006
Editorial Board -- Volume 29, Number 3, Summer 2006
Editorial Board -- Volume 29, Number 2, Spring 2006
Editorial Board -- Volume 29, Number 1, Winter 2006
Editorial Board -- Volume 28, Number 4, Fall 2005
Editorial Board -- Volume 28, Number 3, Summer 2005
Editorial Board -- Volume 28, Number 2, Spring 2005
Editorial Board -- Volume 28, Number 1, Winter 2005
Editorial Board -- Volume 27, Number 4, Fall 2004
Editorial Board -- Volume 27, Number 3, Summer 2004
Editorial Board -- Volume 27, Number 2, Spring 2004
Editorial Board -- Volume 27, Number 1, Winter 2004
Editorial Board -- Volume 26, Number 4, Fall 2003
Editorial Board -- Volume 26, Number 3, Summer 2003
Editorial Board -- Volume 26, Number 2, Spring 2003
Editorial Board -- Volume 26, Number 1, Winter 2003
Editorial Board -- Volume 25, Number 4, Fall 2002
Editorial Board -- Volume 25, Number 3, Summer 2002
Editorial Board -- Volume 25, Number 2, Spring 2002
Editorial Board -- Volume 25, Number 1, Winter 2002
Editorial Board -- Volume 24, Number 4, Fall 2001
Editorial Board -- Volume 24, Number 3, Summer 2001
Editorial Board -- Volume 24, Number 2, Spring 2001
Editorial Board -- Volume 24, Number 1, Winter 2001
Editorial Board -- Volume 23, Number 4, Fall 2000
Editorial Board -- Volume 23, Number 3, Summer 2000
Editorial Board -- Volume 23, Number 2, Spring 2000
Editorial Board -- Volume 23, Number 1, Winter 2000

Project MUSE Mission

Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide. Forged from a partnership between a university press and a library, Project MUSE is a trusted part of the academic and scholarly community it serves.

2715 North Charles Street Baltimore, Maryland, USA 21218

+1 (410) 516-6989 [email protected]

Now and Always, The Trusted Content Your Research Requires

Built on the Johns Hopkins University Campus

University of Hawai'i Press

Biography: An Interdisciplinary Quarterly

Editors: Craig Howes, Cynthia Franklin, L. Ayu Saraswati, John Zuern, Center for Biographical Research, University of Hawai‘i.

Individual Subscriptions

Institutional subscriptions, additional information.

For over forty years, Biography has been an important forum for well-considered biographical scholarship. It features stimulating articles that explore the theoretical, generic, historical, and cultural dimensions of life writing; and the integration of literature, history, the arts, and the social sciences as they relate to biography. Each issue also offers insightful reviews, concise excerpts of reviews published elsewhere, an annual bibliography of works about biography, and listings of upcoming events, calls for papers, and news from the field.

Subscribe to the digital edition to gain access to the complete content on Project MUSE .

This journal is a member of the Council of Editors of Learned Journals (CELJ).

Sponsor: Center for Biographical Research , University of Hawai‘i

Book Series: Biography Monographs

Read Online:

Editorial Board

Cynthia G. Franklin , Center for Biographical Research ( CBR ), University of Hawai‘i

Craig Howes , Center for Biographical Research ( CBR ), University of Hawai‘i

L. Ayu Saraswati , Women, Gender, and Sexuality Studies, University of Hawaiʻi

John David Zuern , Center for Biographical Research ( CBR ), University of Hawai‘i

Managing Editor

Paige Rasmussen, University of Hawai‘i

Book Review Editor

Caroline Zuckerman, University of Hawaiʻi

Recent Articles

Editors' Note Posted on Wednesday May 29, 2024

Exvangelical (De)conversion Narratives and the Religious Politics of Spiritual Autobiography Posted on Wednesday May 29, 2024

Psychoanalytic Readings of the Soul: The Birth of Psychography and the New Strategies of Psycholiterary Portraiture Posted on Wednesday May 29, 2024

"With Its Shadows Dominating the Brightness": Jamaica Kincaid's My Brother and the Subjects of AIDS History Posted on Wednesday May 29, 2024

Between Genre and Medium: Hilda Tablet, Henry Reed's Fictional Metabiography for Radio Posted on Wednesday May 29, 2024

"Beyond the Front, Specificity Is Abandoned": Illustrating Backgrounds in Alison Bechdel's Fun Home Posted on Wednesday May 29, 2024

Testimonial Imperative, Collective Autobiography, and Individual Stories of #MeToo on Twitter Posted on Wednesday May 29, 2024

Biobibliographical Studies of Georgian Writers Posted on Wednesday May 29, 2024

Imagining Gender in Biographical Fiction ed. by Julia Novak and Caitríona Ní Dhúill (review) Posted on Wednesday May 29, 2024

Text and Image in Women's Life Writing: Picturing the Female Self ed. by Valérie Baisnée-Keay et al. (review) Posted on Wednesday May 29, 2024

The Photographer as Autobiographer by Arnaud Schmitt (review) Posted on Wednesday May 29, 2024

The Human Rights Graphic Novel: Drawing it Just Right by Pramod K. Nayar (review) Posted on Wednesday May 29, 2024

New Forms of Self-Narration: Young Women, Life Writing and Human Rights by Ana Belén Martínez García (review) Posted on Wednesday May 29, 2024

Transnational Perspectives on Artists' Lives ed. by Marleen Rensen and Christopher Wiley (review) Posted on Wednesday May 29, 2024

False Summit: Gender in Mountaineering Nonfiction by Julie Rak (review) Posted on Wednesday May 29, 2024

Global Biographies: Lived History as Method ed. by Laura Almagor, Haakon A. Ikonomou, and Gunvor Simonsen (review) Posted on Wednesday May 29, 2024

Life Writing in the Posthuman Anthropocene ed. by Ina Batzke, Lea Espinoza Garrido, and Linda M. Hess (review) Posted on Wednesday May 29, 2024

Autobiography, Memory and Nationhood in Anglophone Africa by David Ekanem Udoinwang and James Tar Tsaaior (review) Posted on Wednesday May 29, 2024

Oral Forms of Nigerian Autobiography and Life Stories by Adetayo Alabi (review) Posted on Wednesday May 29, 2024

Dreams of Archives Unfolded: Absence and Caribbean Life Writing by Jocelyn Fenton Stitt (review) Posted on Wednesday May 29, 2024

Autobiography as Indigenous Intellectual Tradition: Cree and Métis âcimisowina by Deanna Reder (review) Posted on Wednesday May 29, 2024

Minor Salvage: The Korean War and Korean American Life Writings by Stephen Hong Sohn (review) Posted on Wednesday May 29, 2024

Negotiating Racial Politics in the Family: Transnational Histories Touched by National Socialism and Apartheid by Barbara Henkes (review) Posted on Wednesday May 29, 2024

Dead Men Telling Tales: Napoleonic War Veterans and the Military Memoir Industry, 1808–1914 by Matilda Greig (review) Posted on Wednesday May 29, 2024

Material Ambitions: Self-Help and Victorian Literature by Rebecca Richardson (review) Posted on Wednesday May 29, 2024

Speculative Biography: Experiments, Opportunities and Provocations ed. by Donna Lee Brien and Kiera Lindsey (review) Posted on Wednesday May 29, 2024

Our Hearts Are Restless: The Art of Spiritual Memoir by Richard Lischer (review) Posted on Wednesday May 29, 2024

Magical Habits by Monica Huerta (review) Posted on Wednesday May 29, 2024

The Art of Identification: Forensics, Surveillance, Identity ed. by Rex Ferguson, Melissa M. Littlefield, and James Purdon (review) Posted on Wednesday May 29, 2024

Single Issues
International Year in Review: Annual Bibliography
M4BL and the Critical Matter of Black Lives
Asian American Hip-Hop Musical Auto/Biographies
Interviewing as Creative Practice
On Prince: A Labor of Love, Loss and Freedom
General Issue
Caste and Life Narratives
Indigenous Conversations about Biography
The Verse Biography
Pricing Guide

All prices are indicated in U.S. dollars. Canadian customers must include 5% GST (automatically included at checkout). All prices shown are exclusive of any taxes.

Payment must be included with all orders. We accept payment by U.S. dollar checks drawn on a U.S. bank and made payable to the University of Hawaii Press. We also accept payment by Visa or MasterCard. If paying by credit card please include the card number, expiration date, cardholder name and billing address. If you wish to pay by bank transfer, please contact us for bank details. No refunds will be made except for erroneous duplicate orders.

PRINT SUBSCRIPTIONS – GENERAL INFORMATION

Subscription start.

Print subscriptions start from the first issue of the calendar year and are effective for the entire volume year. Subscriptions may be entered retroactively. Unless otherwise requested, subscriptions will start with the current year’s volume.

Shipping / Postage

All prices shown include standard delivery in the U.S.A. Additional postage will be charged at checkout for print orders mailed outside the U.S.A. Priority Mail option at additional cost is available at checkout. Please contact customer service for other shipping options.

Single Issues / Back Issues

Single-issues of current print volumes may be ordered. Print issues older than two years are available in limited supply and may be purchased at a discounted rate. Please fill out a single-issue order form .

Bookstores/Classroom Use

Bulk-rate discounts for one-time print orders are 20% on 10-19 copies and 30% on 20 or more copies. Postage charges are NOT discountable. All sales are final, we do not accept return of journal issues. Please contact customer service to order bulk copies.

INDIVIDUAL ORDER INFORMATION

Individual rates apply to subscriptions and single issue orders for individual (personal) use. You must provide a first name, last name, and telephone number.

Online access

When you place your order for online access (electronic subscription), you will receive an emailed receipt that includes an activation code and a link to this page: https://associations.press.jhu.edu/uhp/

Please enter your activation code and register on the site to gain access to the journal content.

A FAQ is available here: https://faq.press.jhu.edu/uhp

We are pleased to partner with the Johns Hopkins University Press and Project MUSE to provide online access to subscribers.

INSTITUTIONAL ORDER INFORMATION

Institutional rates apply to subscriptions and single issue orders for Institutional / Organizational use and paid for by libraries, universities, schools, societies, government offices, departments, businesses and the like. If you are ordering on behalf of your institution, please include the institution name.

Online access and Print + Online orders

Institutions may order electronic subscriptions or print + electronic through our hosting partner Project MUSE: http://muse.jhu.edu/about/order/single_title_options.html

You may contact Project MUSE at [email protected] .

SUBSCRIPTION CLAIMS

Claims for non-receipt of issues will be honored at no charge within 180 days of the original ship date. Thereafter, the single copy rate will be charged for replacement. No more than one free replacement per issue will be allowed. Credits for non-receipt are not offered.

SUBSCRIPTION AGENTS

Please see our current title listing and rate sheet. We offer an agency discount of 5% off the institutional subscription rate. We do not offer discounts on single issue orders or postage. New agents must provide the URL of their business website or submit their initial correspondence on official company letterhead.

Please contact customer service at:

Journals Department, University of Hawai‘i Press, 2840 Kolowalu Street, Honolulu, HI 96822

Tel. 1-808-956-8833; Fax 1-808-988-6052

Toll-free (U.S. & Canada) Tel. 1-888-UHPRESS; Fax 1-800-650-7811

e-mail: [email protected]

Author Guidelines

Unsolicited submissions to Biography are welcome. Texts should be double-spaced and approximately 5,000 to 10,000 words in length, including bibliography and endnotes. Biography is now using the eighth edition of the Modern Language Association (MLA) reference and works cited system. Authors are welcome to submit their essays to Biography following MLA’s guidelines, or they can use another style and reference system with which they are more comfortable. Please include a 50-word abstract and a biographical note of one or two sentences. All copyrights are held by the Biographical Research Center unless other arrangements are agreed upon.

Biography follows a policy of double-anonymous submissions . Authors should email their essays to [email protected] without their names appearing anywhere on or in the document. Until a final decision is reached, the identity of the author will not be revealed to outside readers or our acquisition editors.

If an author is unable to anonymize their work without significantly interfering with their argument , they ought to include in a cover note to the managing editor with the submission a message stating that anonymizing the text was not possible. Biography will not be able to conduct double-anonymous peer review for these texts under these circumstances, but the managing editor will maintain a single-anonymous review, where the names of the text’s readers will be protected.

Inquiries are welcome. Please address questions about book reviews to our Book Review editor, Caroline Zuckerman at [email protected] .

Send all editorial correspondence to Biography via the following: Email: [email protected]

Tel: (808) 956-3774

Center for Biographical Research University of Hawaii 1960 East-West Road Biomed B104 Honolulu, Hawaii 96826

Articles appearing in Biography are indexed and/or abstracted in:

Canada in Context, 09/1981-

Clarivate Analytics– Arts & Humanities Citation Index Current Contents Web of Science

De Gruyter Saur– Dietrich’s Index Philosophicus IBZ – Internationale Bibliographie der Geistes- und Sozialwissenschaftlichen Zeitschriftenliteratur Internationale Bibliographie der Rezensionen Geistes- und Sozialwissenschaftlicher Literatur

EBSCOhost– Academic Search Alumni Edition, 1/1/2001- Academic Search Complete, 1/1/2001- Academic Search Elite, 1/1/2001- Academic Search Premier, 1/1/2001- Academic Search: Main Edition, 1/1/2001- Advanced Placement Source, 1/1/2001- America: History and Life, 1/1/1978- Current Abstracts, 1/1/2001- Historical Abstracts (Online), 1/1/1978- Literary Reference Center, 1/1/2001- Literary Reference Center Plus, 1/1/2001- Literary Reference Center: Main Edition, 10/1/2004- MainFile, 1/1/2001- MLA International Bibliography (Modern Language Association) Poetry & Short Story Reference Center, 1/1/2001- TOC Premier (Table of Contents), 1/1/2001-

Elsevier BV– Scopus, 1999-, 1986-1988, 1984, 1980-1982, 1978

Gale– Academic OneFile, 01/2000- Advanced Placement Fine Arts and Music, 09/1981- Book Review Index Plus CPI.Q (Canadian Periodical Index), 01/2000- Expanded Academic ASAP, 12/2000- Fine Arts and Music Collection, 09/1981- General OneFile, 01/2000- General Reference Center, 09/1981- General Reference Center Gold, 09/1981- General Reference Centre International, 9/1981- InfoTrac Custom, 12/2000- InfoTrac Junior Edition, 03/2012- InfoTrac Student Edition, 06/1985- MLA International Bibliography (Modern Language Association) Pop Culture Collection, 09/1981- Popular Magazines, 12/2000- Research In Context, 01/2000- Science in Context, 09/1981- Student Resources in Context, 09/1981-

National Periodical Library– Guide to Social Work, Social Science and Religion in Periodical Literature (Online)

OCLC– ArticleFirst, vol.15, no.3, 1992-vol.34, no.2, 2011 Electronic Collections Online, vol.20, no.2, 1997-vol.34, no.2, 2011

ProQuest– Art, Design & Architecture Collection, 1/1/1996- Arts & Humanities Database, 1/1/1996- Arts Premium Collection, 1/1/1996- International Bibliography of the Social Sciences, Core Literary Journals Index Full Text MLA International Bibliography (Modern Language Association) Periodicals Index Online, 1/1/1978-10/1/2000 Professional ProQuest Central, 01/01/1996- ProQuest 5000, 01/01/1996- ProQuest Central, 1/1/1996- Research Library, 01/01/1996- STEM Database, 1/1/1996-

Our warehouses are closed for annual inventory, June 13–30. Web orders can resume July 1, 2024. Mahalo for your patience. Dismiss

On Sale (Web orders only)
Latest Catalogs
New Releases
Forthcoming Books
Books in Series
Publishing Partners
Journals A-Z
Our History
Our Mission
What We Publish
Desk and Exam Copy Policy
Hawai‘i Bookstores
Online Resources
Press Policies
Employment Opportunities
News and Events
Customer Service
Journals: Subscriptions
Rights and Permissions
Frequently Asked Questions
Email the Press
Join our Distribution
Write a Review
East West Export Books
Join Our List

Privacy Overview
Cookie Policy

University of Hawaiʻi Press Privacy Policy

What information do we collect.

University of Hawaiʻi Press collects the information that you provide when you register on our site, place an order, subscribe to our newsletter, or fill out a form. When ordering or registering on our site, as appropriate, you may be asked to enter your: name, e-mail address, mailing 0address, phone number or credit card information. You may, however, visit our site anonymously. Website log files collect information on all requests for pages and files on this website's web servers. Log files do not capture personal information but do capture the user's IP address, which is automatically recognized by our web servers. This information is used to ensure our website is operating properly, to uncover or investigate any errors, and is deleted within 72 hours. University of Hawaiʻi Press will make no attempt to track or identify individual users, except where there is a reasonable suspicion that unauthorized access to systems is being attempted. In the case of all users, we reserve the right to attempt to identify and track any individual who is reasonably suspected of trying to gain unauthorized access to computer systems or resources operating as part of our web services. As a condition of use of this site, all users must give permission for University of Hawaiʻi Press to use its access logs to attempt to track users who are reasonably suspected of gaining, or attempting to gain, unauthorized access.

WHAT DO WE USE YOUR INFORMATION FOR?

Any of the information we collect from you may be used in one of the following ways:

To process transactions

Your information, whether public or private, will not be sold, exchanged, transferred, or given to any other company for any reason whatsoever, without your consent, other than for the express purpose of delivering the purchased product or service requested. Order information will be retained for six months to allow us to research if there is a problem with an order. If you wish to receive a copy of this data or request its deletion prior to six months contact Cindy Yen at [email protected].

To administer a contest, promotion, survey or other site feature

Your information, whether public or private, will not be sold, exchanged, transferred, or given to any other company for any reason whatsoever, without your consent, other than for the express purpose of delivering the service requested. Your information will only be kept until the survey, contest, or other feature ends. If you wish to receive a copy of this data or request its deletion prior completion, contact [email protected].

To send periodic emails

The email address you provide for order processing, may be used to send you information and updates pertaining to your order, in addition to receiving occasional company news, updates, related product or service information, etc. Note: We keep your email information on file if you opt into our email newsletter. If at any time you would like to unsubscribe from receiving future emails, we include detailed unsubscribe instructions at the bottom of each email.

To send catalogs and other marketing material

The physical address you provide by filling out our contact form and requesting a catalog or joining our physical mailing list may be used to send you information and updates on the Press. We keep your address information on file if you opt into receiving our catalogs. You may opt out of this at any time by contacting [email protected].

HOW DO WE PROTECT YOUR INFORMATION?

We implement a variety of security measures to maintain the safety of your personal information when you place an order or enter, submit, or access your personal information. We offer the use of a secure server. All supplied sensitive/credit information is transmitted via Secure Socket Layer (SSL) technology and then encrypted into our payment gateway providers database only to be accessible by those authorized with special access rights to such systems, and are required to keep the information confidential. After a transaction, your private information (credit cards, social security numbers, financials, etc.) will not be stored on our servers. Some services on this website require us to collect personal information from you. To comply with Data Protection Regulations, we have a duty to tell you how we store the information we collect and how it is used. Any information you do submit will be stored securely and will never be passed on or sold to any third party. You should be aware, however, that access to web pages will generally create log entries in the systems of your ISP or network service provider. These entities may be in a position to identify the client computer equipment used to access a page. Such monitoring would be done by the provider of network services and is beyond the responsibility or control of University of Hawaiʻi Press.

DO WE USE COOKIES?

Yes. Cookies are small files that a site or its service provider transfers to your computer’s hard drive through your web browser (if you click to allow cookies to be set) that enables the sites or service providers systems to recognize your browser and capture and remember certain information. We use cookies to help us remember and process the items in your shopping cart. You can see a full list of the cookies we set on our cookie policy page. These cookies are only set once you’ve opted in through our cookie consent widget.

DO WE DISCLOSE ANY INFORMATION TO OUTSIDE PARTIES?

We do not sell, trade, or otherwise transfer your personally identifiable information to third parties other than to those trusted third parties who assist us in operating our website, conducting our business, or servicing you, so long as those parties agree to keep this information confidential. We may also release your personally identifiable information to those persons to whom disclosure is required to comply with the law, enforce our site policies, or protect ours or others’ rights, property, or safety. However, non-personally identifiable visitor information may be provided to other parties for marketing, advertising, or other uses.

CALIFORNIA ONLINE PRIVACY PROTECTION ACT COMPLIANCE

Because we value your privacy we have taken the necessary precautions to be in compliance with the California Online Privacy Protection Act. We therefore will not distribute your personal information to outside parties without your consent.

CHILDRENS ONLINE PRIVACY PROTECTION ACT COMPLIANCE

We are in compliance with the requirements of COPPA (Children’s Online Privacy Protection Act), we do not collect any information from anyone under 13 years of age. Our website, products and services are all directed to people who are at least 13 years old or older.

ONLINE PRIVACY POLICY ONLY

This online privacy policy applies only to information collected through our website and not to information collected offline.

YOUR CONSENT

By using our site, you consent to our web site privacy policy.

CHANGES TO OUR PRIVACY POLICY

If we decide to change our privacy policy, we will post those changes on this page, and update the Privacy Policy modification date. This policy is effective as of May 25th, 2018.

CONTACTING US

If there are any questions regarding this privacy policy you may contact us using the information below. University of Hawaiʻi Press 2840 Kolowalu Street Honolulu, HI 96822 USA [email protected] Ph (808) 956-8255, Toll-free: 1-(888)-UH-PRESS Fax (800) 650-7811

More information about our Cookie Policy

Search this site Search this site Site search
Faculty and Staff
CBR Newsletter
People of the Center
Visiting Scholars

Biography: An Interdisciplinary Quarterly

Biography Hawaiʻi DVDs
Biography Monographs
Brown Bag Biography
Past Brown Bag Events
Biography Prize
Recent Theses and Dissertations
Current Postings
Archived Postings
Publications by List Members
Summit Information

Center for Biographical Research

For four decades, Biography: An Interdisciplinary Quarterly has explored the theoretical, generic, historical, cultural, and practical dimensions of life writing. Once a year, a formal, guest-edited special issue explores a topic of emerging critical interest, including most recently Graphic Medicine, guest edited by Erin La Cour and Anna Poletti. Biography also publishes insightful reviews and an annual bibliography of works about life writing. Our newest feature, the International Year in Review, invites contributors from around the world to produce concise essays on some of the most influential publications in biography, autobiography, memoir, and other forms of life writing, offering personal perspectives on global trends in the field.

Submission Guidelines

Unsolicited submissions to Biography are welcome. Texts should be double-spaced and approximately 2,500 to 9,500 words in length, including works cited lists and endnotes. Biography is now using the eighth edition of the Modern Language Association (MLA) reference and works cited system. Authors are welcome to submit their essays to Biography following MLA’s guidelines, or they can use another style and reference system with which they are more comfortable. Please include a 50-word abstract and a biographical note of one or two sentences. All copyrights are held by the Biographical Research Center unless other arrangements are agreed upon.

If you are unable to anonymize your work without significantly interfering with your argument, please include in a cover note to the managing editor with your submission a message stating that anonymizing your text was not possible. We will not be able to conduct double-anonymous peer review for your text under these circumstances, but the managing editor will maintain a single-anonymous review, where the names of your text’s readers will be protected.

Biography does not consider simultaneous submissions. Submissions sent to Biography should not be under consideration by any other publisher. Because we ask you to wait until we have made a decision about your piece, we aim to send final decisions to authors within four months from the original submission date. We also ask that authors send us a single submission at a time.

Inquiries are welcome. Send all editorial correspondence to Biography at [email protected] . Please address questions about book reviews to our Book Review Editor at [email protected].

Copyright to essays and reviews appearing in Biography are held by the Biographical Research Center, unless otherwise stated. Authors are free to post and/or republish their individual pieces in their institutional repositories or other publications as they see fit. We ask that authors ensure that Biography is credited as the first publisher, and that authors let us at Biography know about their republications.

Biography only obtains permission to publish images in its own print and online formats. Republication of articles with images will require the author to seek out formal permission to republish these images.

How to Write a Good Academic Biography (Part 2)

Writing an academic biography is part of many academic activities. Whether your paper is accepted in a journal or you’re asked to present your findings at a conference, you will be required to submit a biography. How would you begin writing? How long should it be? What should you include? The following article is in continuation of the article ‘ How to Write a Good Academic Biography–Part 1’ .

In a short biography, you will be limited to just a few sentences or a short paragraph. It is important that you include just the basic information about yourself. One of the main objectives of a biography is to emphasize your accomplishments. This will provide the reader with an overall idea of your background. This information need not be too detailed. Additionally, a biography is written in the “third person.” This means that you should avoid using “I” and present yourself as though you are reading someone else’s biography. The sentences below provide examples of the appropriate format.

Starting with the basic information about yourself and include the following:

Full name: How often do you write your full name? There could be others with the same name and you want to distinguish yourself from them.
Position: Your position at your academic institute lets the audience know more about your background and interests. If you are a graduate student, it will be impressive that you have been asked to present your research or that you have been published.
Institution: It is important that you acknowledge your organization or institution.

This information should be presented in a prose format in the actual academic biography, not bulleted as here. For example, the piece might begin with the following sentence:

“Joseph Tiberius Schmoe is a doctoral candidate at the University of Minnesota.”

You can follow this introductory sentence with information about the main areas of your research. For example:

“Mr. Schmoe conducted research on the social structure of the Bonobo monkeys ( Pan paniscus ) in the Congo Basin of Central Africa.”

After these introductory sentences, you can add other details, such as how long you’ve been studying the species. You can add a hypothesis and how your research differs from that of others. You might also include some research milestones.

Short academic biographies are usually about 35–50 words. However, long biographies can range from 100 to 400 words. These would include more detail and the context would be different. For example, in a longer biography, you might include the following:

Academic degrees
Specific academic projects
Awards and/or honors
Published pieces
Personal interests

Longer academic biographies can be used on a personal website or be a part of the job application. This is usually not the format for conferences and seminars.

Know Your Audience

Although you must limit your biographical information, you can still gear it towards the audience or reader. Keep in mind the following three specifications:

Your audience: Who is going to read your biography? Are they conference attendees or funding sources?
The context: Will the biography be printed in a journal or in a conference proceeding? Will it be posted on a university or corporate website? Wil it be shared in events such as disciplinary conventions. Read biographies of your peers for reference.
The purpose: Why are you being asked for a biography? Are you meeting with other researchers in the same field? Are you meeting with clients or funders?

These three main points will help you choose the information that would be most relevant to those reviewing it. It will also help you create a specific writing tone or style for that audience.

What Not to Do

You don’t have much space to write about yourself so make it count. Be sure that you are succinct and relevant. The following should be heeded:

Avoid using humor. In short biographies, there is no space for it but be careful with it even in long biographies. You can include some humorous stories aside from your biographical information on your webpage.
Avoid very personal information. This is especially important at a conference. Your first impression is important and you want people to remember you for your accomplishments. Be professional.
Avoid providing too much information. Present the information concerning your current position, research, or employment. Information about your past, such as high school, is not necessary.

Remember to keep your writing somewhat formal.

A colleague of yours is asked for a biography for a conference in her field of study. She has attended several prestigious universities and has conducted many research studies. She was also a Peace Corps volunteer and a medic for Doctors without Borders. She would like to list all of these details because she believes that they are important. How would you advise her?

Rate this article Cancel Reply

Your email address will not be published.

Enago Academy's Most Popular Articles

Manuscripts & Grants
Reporting Research

How to Write a Good Academic Biography (Part 1)

When your journal article gets accepted or you are preparing for a public presentation, you…

Sign-up to read more

Subscribe for free to get unrestricted access to all our resources on research writing and academic publishing including:

2000+ blog articles
50+ Webinars
10+ Expert podcasts
50+ Infographics
10+ Checklists
Research Guides

We hate spam too. We promise to protect your privacy and never spam you.

I am looking for Editing/ Proofreading services for my manuscript Tentative date of next journal submission:

What would be most effective in reducing research misconduct?

Games & Quizzes
History & Society
Science & Tech
Biographies
Animals & Nature
Geography & Travel
Arts & Culture
On This Day
One Good Fact
New Articles
Lifestyles & Social Issues
Philosophy & Religion
Politics, Law & Government
World History
Health & Medicine
Browse Biographies
Birds, Reptiles & Other Vertebrates
Bugs, Mollusks & Other Invertebrates
Environment
Fossils & Geologic Time
Entertainment & Pop Culture
Sports & Recreation
Visual Arts
Demystified
Image Galleries
Infographics
Top Questions
Britannica Kids
Saving Earth
Space Next 50
Student Center
Introduction
Psychological
Firsthand knowledge
Reference collections
Character sketches
Informative biography
Critical biography
“Standard” biography
Interpretative biography
Fictionalized biography
Fiction presented as biography
“Special-purpose” biography
Letters, diaries, and journals
Memoirs and reminiscences
Formal autobiography
Specialized forms of autobiography
Middle Ages
Renaissance
17th and 18th centuries
19th century
20th century
Other literatures
Biographical literature today

Our editors will review what you’ve submitted and determine whether to revise the article.

Literary Devices - Biography
Humanities LibreTexts - Biographical and Background Information
Academia - Theoretical Discussions of Biography
The British Academy - What is biography?
biography - Children's Encyclopedia (Ages 8-11)
biography - Student Encyclopedia (Ages 11 and up)
Table Of Contents

biography , form of literature , commonly considered nonfictional, the subject of which is the life of an individual. One of the oldest forms of literary expression, it seeks to re-create in words the life of a human being—as understood from the historical or personal perspective of the author—by drawing upon all available evidence, including that retained in memory as well as written, oral, and pictorial material.

Biography is sometimes regarded as a branch of history , and earlier biographical writings—such as the 15th-century Mémoires of the French councellor of state, Philippe de Commynes , or George Cavendish’s 16th-century life of Thomas Cardinal Wolsey —have often been treated as historical material rather than as literary works in their own right. Some entries in ancient Chinese chronicles included biographical sketches; imbedded in the Roman historian Tacitus ’s Annals is the most famous biography of the emperor Tiberius ; conversely , Sir Winston Churchill ’s magnificent life of his ancestor John Churchill, first duke of Marlborough , can be read as a history (written from a special point of view) of Britain and much of Europe during the War of the Spanish Succession (1701–14). Yet there is general recognition today that history and biography are quite distinct forms of literature. History usually deals in generalizations about a period of time (for example, the Renaissance), about a group of people in time (the English colonies in North America), about an institution (monasticism during the Middle Ages). Biography more typically focuses upon a single human being and deals in the particulars of that person’s life.

Both biography and history, however, are often concerned with the past, and it is in the hunting down, evaluating, and selection of sources that they are akin. In this sense biography can be regarded as a craft rather than an art: techniques of research and general rules for testing evidence can be learned by anyone and thus need involve comparatively little of that personal commitment associated with art.

A biographer in pursuit of an individual long dead is usually hampered by a lack of sources: it is often impossible to check or verify what written evidence there is; there are no witnesses to cross-examine. No method has yet been developed by which to overcome such problems. Each life, however, presents its own opportunities as well as specific difficulties to the biographer: the ingenuity with which the biographer handles gaps in the record—by providing information, for example, about the age that casts light upon the subject—has much to do with the quality of the resulting work. James Boswell knew comparatively little about Samuel Johnson ’s earlier years; it is one of the greatnesses of his Life of Samuel Johnson LL.D. (1791) that he succeeded, without inventing matter or deceiving the reader, in giving the sense of a life progressively unfolding. Another masterpiece of reconstruction in the face of little evidence is A.J.A. Symons ’ biography of the English author and eccentric Frederick William Rolfe , The Quest for Corvo (1934). A further difficulty is the unreliability of most collections of papers, letters, and other memorabilia edited before the 20th century. Not only did editors feel free to omit and transpose materials, but sometimes the authors of documents revised their personal writings for the benefit of posterity , often falsifying the record and presenting their biographers with a difficult situation when the originals were no longer extant .

The biographer writing the life of a person recently dead is often faced with the opposite problem: an abundance of living witnesses and a plethora of materials, which include the subject’s papers and letters, sometimes transcriptions of telephone conversations and conferences, as well as the record of interviews granted to the biographer by the subject’s friends and associates. Frank Friedel, for example, in creating a biography of the U.S. president Franklin D. Roosevelt , had to wrestle with something like 40 tons of paper. But finally, when writing the life of any person, whether long or recently dead, the biographer’s chief responsibility is vigorously to test the authenticity of the collected materials by whatever rules and techniques are available. When the subject of a biography is still alive and a contributor to the work, the biographer’s task is to examine the subject’s perspective against multiple, even contradictory sources.

Gale In Context: Biography

Meet The People Who Made History

ACCESS KEY INFORMATION ON INFLUENTIAL FIGURES Built on a foundation of more than 600,000 biographical entries, Gale In Context: Biography covers international figures from all time periods and areas of study.

LOCATE TRUSTED CONTENT WITH EASE Over 5,000 curated biography pages on contemporary and historical figures that are continually updated, merging authoritative reference content with periodicals and multimedia.

FIND THE RIGHT CONTENT WITH QUALITY SEARCHES Search for people by name, occupation, nationality, ethnicity, birth/death dates and places, or gender, as well as by keyword and full text.

NAVIGATE EFFORTLESSLY ACROSS ARTICLES A similar user experience for all Gale products allows users to spend more time with content and less time learning navigation and tools.

Provide an Accessible, Efficient Platform

PLATFORM TOOLS Accommodate learners with on-demand article translation into 50 languages and ReadSpeaker text-to-speech technology into more than 20 languages.

SEARCH FUNCTIONS Researchers can search by Lexile range or find content based on basic, intermediate, and advanced levels of complexity.

CITATION TOOLS Integrated directly into the user’s workflow, MLA, APA, Chicago, and Harvard style citations are supported. Formatted citations can be easily imported from single or multiple documents to services like EasyBib or NoodleTools.

HIGHLIGHTS AND NOTES Organize, save, and share highlights and annotations within content.

MASTER WORKFLOW Expand access and increase discovery by integrating Gale resources into your learning management system. Add to that the power of Google Workspace for Education and Microsoft 365 tools, which enable users to easily share, save, and download content— including highlights and notes.

PART OF THE AWARD-WINNING GALE IN CONTEXT SUITE The Gale In Context suite of student databases meets the needs of today’s learners with a user-friendly, mobile-responsive design. Eye-catching, engaging, topical resources provide current, authoritative, media-rich content that seamlessly integrates with curriculum-aligned materials that span core subject areas.

GET THE MOST VALUE OUT OF YOUR INVESTMENT Gale In Context: For Educators gives teachers the power to amplify the rich content within Gale In Context: Biography in their classrooms.

When used in conjunction with For Educators , teachers can:

Access prebuilt lesson plans for resources with differentiation tools and quizzes to check for student understanding.
Use curation tools to collect a variety of resources into lesson folders, making it easier to pair Gale In Context: Biography content with other contextual Gale content or outside materials and links that might be useful.
Customize assignments to embed instructions, writing prom

FEATURED RESEARCH

“I saw a way that I could collaborate with my colleagues more efficiently and get resources to students and make it more effective and personalized for their learning.” –Teacher, Central York High School, Pennsylvania

Look Inside

Additional Details

Subjects covered.

View Title List

Other Resources

Explore Nationwide Research Study
View Success Story
View Brochure (Schools)
View Brochure (Public)
Watch Video
See More ELA Resources
See More Social Studies Resources

Platform Features & Tools

Translation tools.

ReadSpeaker text-to-speech technology, and on-demand text translation into over 50 languages.

Workflow Tools

Google Workspace for Education and Microsoft 365 tools enable users to share, save, and download content—including highlights and notes. Learn More

Citation Tools

Integrated directly into the user’s workflow, formatted citations can be easily imported from single or multiple documents to services like EasyBib or NoodleTools. MLA-, APA-, and Chicago-style citations are supported.

Reviews & Testimonials

“We emphasize that one of the most important skills students need when they leave here is the ability to effectively search and find high-quality research resources, and Gale’s databases are an essential component of this skill set.” Jennifer Sawyer, Library Media Technician, San Luis Obispo High School

"This database will help teacher librarians ensure that subjects are available, up-to-date, and interesting to students." Library Media Connection

Virginia Magazine of History & Biography

The VMHB is one of your member benefits A free print subscription to the VMHB is included with Virginia Museum of History & Culture membership at the Sustainer, Patron, and 1831 Society* levels. Members at our general levels receive a digital copy and can choose to add an annual print subscription for $12 (not tax-deductible). Interested in upgrading your membership? Click here.

*Donors whose annual gifts total $1,000 or more are recognized as members of the 1831 Society (our founding year).

Not a member but need access to a past issue for research?

Please note that the Virginia Magazine of History & Biography does not publish fiction, poetry, genealogy, family history, or work that has appeared or will elsewhere in substantially the same form.

Current Issue

Submitting an Article
Publications Awards

Advertise with Us

Contact Graham T. Dozier, Publications Managing Editor and Virginius Dabney Editor of the Virginia Magazine of History & Biography at [email protected] or 804.342.96 40.

Hours & Admission
Tickets & Tours
Directions & Parking
Accessibility
Current Exhibitions
Upcoming Exhibitions
Traveling Exhibitions
Past Exhibitions
Rentals at Virginia House
Venues for Large & Small Events
Venues for Meetings & Educational Events
Facility Rentals Inquiry Form
Livestreams & Recordings
America's 250th
Notable Dates in Virginia History
Explore Topics
Field Trip Request Form
HistoryConnects K-12 Program Catalog
HistoryConnects FAQ
Primary Source of the Month Bundle
Group Tours FAQ
Adult Virtual Programs
Professional Development
Collections in the Classroom
Educational Videos
Linking to Our Past
Resources for Teachers
Transportation
Urbanization
Industrialization
Jim Crow to Civil Rights
Contest Information
Special Awards & Results
Topic Ideas
VHD Online Research Resources
Become a VHD Judge
Prepare for Your Library Visit
Ask a Question About Our Collections
Fee-Based Research
Make An Appointment to View Photographs & Museum Objects
Image Request/ Photo Order Form
Order Photocopies & Digital Reproductions
Bruton Parish Church
Christ Church
Christ Church-Lancaster
Fincastle Presbyterian Church
University of Virginia Pavilion Gardens
Washington and Lee University
Adam Thoroughgood House
Bacon's Castle
Belle Grove
Belmont, Gari Melchers Home and Studio
Kent-Valentine House
Mary Washington House
Point of Honor
Gunston Hall
Smith's Fort Plantation
Stratford Hall
Woodlawn Plantation
Burwell-Morgan Mill
Mary Washington Monument
St. John's Mews
Woodrow Wilson Presidential Library
Confederate Memorial Literary Society (CMLS) Image Collection
Major Business Record Collections at the Virginia Historical Society
Services of the RBHC
Basic Virginia business and economic history bibliography and online resources
Articles & Book Reviews
Essays & Lectures
Guidelines for Acquisitions
Unknown No Longer: A Database of Virginia Slave Names
Donating to the Collections
Recipes Remade
Share Your Story
Finding Aids for Manuscripts & Archives
Virginia's Civil War: A Guide to Manuscripts at the Virginia Historical Society
Civil War in Virginia Published & Primary Sources
Documenting Women's Lives
Guide to African American Manuscripts
Index to African American material in the broadside collection
Index to African American material in the sheet music collection
About the Project
How To Use This Guide
Manuscript Collections for the Environmental History Resources Guide
Other Related Collections for the Environmental History Resources Guide
Searching for People
Looking for a Place or Property
Looking for a Business or Organization
Research Support
Recommended Online Resources
Current VMHB Issue
Advertising Rates
Leadership Memberships
Gift Memberships
Corporate Partnership & Sponsorship
Gifts of Appreciated Securities
Virginia Historical Society Gift Calculator
Planning Your Legacy
Tax Information & Charitable Accountability
Host An Event
Browse Products
Purchase a Gift Certificate

Have a language expert improve your writing

Run a free plagiarism check in 10 minutes, generate accurate citations for free.

Knowledge Base
Citing sources
What Is an Annotated Bibliography? | Examples & Format

What Is an Annotated Bibliography? | Examples & Format

Published on March 9, 2021 by Jack Caulfield . Revised on August 23, 2022.

An annotated bibliography is a list of source references that includes a short descriptive text (an annotation) for each source. It may be assigned as part of the research process for a paper , or as an individual assignment to gather and read relevant sources on a topic.

Scribbr’s free Citation Generator allows you to easily create and manage your annotated bibliography in APA or MLA style. To generate a perfectly formatted annotated bibliography, select the source type, fill out the relevant fields, and add your annotation.

An example of an annotated source is shown below:

Instantly correct all language mistakes in your text

Upload your document to correct all your mistakes in minutes

Annotated bibliography format: apa, mla, chicago, how to write an annotated bibliography, descriptive annotation example, evaluative annotation example, reflective annotation example, finding sources for your annotated bibliography, frequently asked questions about annotated bibliographies.

Make sure your annotated bibliography is formatted according to the guidelines of the style guide you’re working with. Three common styles are covered below:

In APA Style , both the reference entry and the annotation should be double-spaced and left-aligned.

The reference entry itself should have a hanging indent . The annotation follows on the next line, and the whole annotation should be indented to match the hanging indent. The first line of any additional paragraphs should be indented an additional time.

In an MLA style annotated bibliography , the Works Cited entry and the annotation are both double-spaced and left-aligned.

The Works Cited entry has a hanging indent. The annotation itself is indented 1 inch (twice as far as the hanging indent). If there are two or more paragraphs in the annotation, the first line of each paragraph is indented an additional half-inch, but not if there is only one paragraph.

Chicago style

In a Chicago style annotated bibliography , the bibliography entry itself should be single-spaced and feature a hanging indent.

The annotation should be indented, double-spaced, and left-aligned. The first line of any additional paragraphs should be indented an additional time.

Prevent plagiarism. Run a free check.

For each source, start by writing (or generating ) a full reference entry that gives the author, title, date, and other information. The annotated bibliography format varies based on the citation style you’re using.

The annotations themselves are usually between 50 and 200 words in length, typically formatted as a single paragraph. This can vary depending on the word count of the assignment, the relative length and importance of different sources, and the number of sources you include.

Consider the instructions you’ve been given or consult your instructor to determine what kind of annotations they’re looking for:

Descriptive annotations : When the assignment is just about gathering and summarizing information, focus on the key arguments and methods of each source.
Evaluative annotations : When the assignment is about evaluating the sources , you should also assess the validity and effectiveness of these arguments and methods.
Reflective annotations : When the assignment is part of a larger research process, you need to consider the relevance and usefulness of the sources to your own research.

These specific terms won’t necessarily be used. The important thing is to understand the purpose of your assignment and pick the approach that matches it best. Interactive examples of the different styles of annotation are shown below.

A descriptive annotation summarizes the approach and arguments of a source in an objective way, without attempting to assess their validity.

In this way, it resembles an abstract , but you should never just copy text from a source’s abstract, as this would be considered plagiarism . You’ll naturally cover similar ground, but you should also consider whether the abstract omits any important points from the full text.

The interactive example shown below describes an article about the relationship between business regulations and CO 2 emissions.

Rieger, A. (2019). Doing business and increasing emissions? An exploratory analysis of the impact of business regulation on CO 2 emissions. Human Ecology Review , 25 (1), 69–86. https://www.jstor.org/stable/26964340

An evaluative annotation also describes the content of a source, but it goes on to evaluate elements like the validity of the source’s arguments and the appropriateness of its methods .

For example, the following annotation describes, and evaluates the effectiveness of, a book about the history of Western philosophy.

Kenny, A. (2010). A new history of Western philosophy: In four parts . Oxford University Press.

Here's why students love Scribbr's proofreading services

Discover proofreading & editing

A reflective annotation is similar to an evaluative one, but it focuses on the source’s usefulness or relevance to your own research.

Reflective annotations are often required when the point is to gather sources for a future research project, or to assess how they were used in a project you already completed.

The annotation below assesses the usefulness of a particular article for the author’s own research in the field of media studies.

Manovich, Lev. (2009). The practice of everyday (media) life: From mass consumption to mass cultural production? Critical Inquiry , 35 (2), 319–331. https://www.jstor.org/stable/10.1086/596645

Manovich’s article assesses the shift from a consumption-based media culture (in which media content is produced by a small number of professionals and consumed by a mass audience) to a production-based media culture (in which this mass audience is just as active in producing content as in consuming it). He is skeptical of some of the claims made about this cultural shift; specifically, he argues that the shift towards user-made content must be regarded as more reliant upon commercial media production than it is typically acknowledged to be. However, he regards web 2.0 as an exciting ongoing development for art and media production, citing its innovation and unpredictability.

The article is outdated in certain ways (it dates from 2009, before the launch of Instagram, to give just one example). Nevertheless, its critical engagement with the possibilities opened up for media production by the growth of social media is valuable in a general sense, and its conceptualization of these changes frequently applies just as well to more current social media platforms as it does to Myspace. Conceptually, I intend to draw on this article in my own analysis of the social dynamics of Twitter and Instagram.

Before you can write your annotations, you’ll need to find sources . If the annotated bibliography is part of the research process for a paper, your sources will be those you consult and cite as you prepare the paper. Otherwise, your assignment and your choice of topic will guide you in what kind of sources to look for.

Make sure that you’ve clearly defined your topic , and then consider what keywords are relevant to it, including variants of the terms. Use these keywords to search databases (e.g., Google Scholar ), using Boolean operators to refine your search.

Sources can include journal articles, books, and other source types , depending on the scope of the assignment. Read the abstracts or blurbs of the sources you find to see whether they’re relevant, and try exploring their bibliographies to discover more. If a particular source keeps showing up, it’s probably important.

Once you’ve selected an appropriate range of sources, read through them, taking notes that you can use to build up your annotations. You may even prefer to write your annotations as you go, while each source is fresh in your mind.

An annotated bibliography is an assignment where you collect sources on a specific topic and write an annotation for each source. An annotation is a short text that describes and sometimes evaluates the source.

Any credible sources on your topic can be included in an annotated bibliography . The exact sources you cover will vary depending on the assignment, but you should usually focus on collecting journal articles and scholarly books . When in doubt, utilize the CRAAP test !

Each annotation in an annotated bibliography is usually between 50 and 200 words long. Longer annotations may be divided into paragraphs .

The content of the annotation varies according to your assignment. An annotation can be descriptive, meaning it just describes the source objectively; evaluative, meaning it assesses its usefulness; or reflective, meaning it explains how the source will be used in your own research .

A source annotation in an annotated bibliography fulfills a similar purpose to an abstract : they’re both intended to summarize the approach and key points of a source.

However, an annotation may also evaluate the source , discussing the validity and effectiveness of its arguments. Even if your annotation is purely descriptive , you may have a different perspective on the source from the author and highlight different key points.

You should never just copy text from the abstract for your annotation, as doing so constitutes plagiarism .

Cite this Scribbr article

If you want to cite this source, you can copy and paste the citation or click the “Cite this Scribbr article” button to automatically add the citation to our free Citation Generator.

Caulfield, J. (2022, August 23). What Is an Annotated Bibliography? | Examples & Format. Scribbr. Retrieved June 24, 2024, from https://www.scribbr.com/citing-sources/annotated-bibliography/

Is this article helpful?

Jack Caulfield

Other students also liked, evaluating sources | methods & examples, how to find sources | scholarly articles, books, etc., hanging indent | word & google docs instructions, scribbr apa citation checker.

An innovative new tool that checks your APA citations with AI software. Say goodbye to inaccurate citations!

‘Biography: Rock Legends’: Twisted Sister’s Dee Snider Gets Candid About Toxic Relationships with Bandmates & Wife

Portrait of American Heavy Metal singer Dee Snider, of the group Twisted Sister, as he poses backstage at the Rosemont Horizon, Rosemont, Illinois, December 21,1984.

A&E Biography has your backstage pass to stories behind the biggest icons who have transcended the genre. Next up in the “Rock Legends” series is Twisted Sister frontman Dee Snider , who started as a high school choir boy before truly finding his voice and becoming one of the larger-than-life figures of the 1980s.

The show-stopping performer’s success was born out of rejection from record companies and naysayers including his own dad. Snider turned frustration into inspiration. It fueled the band’s anthem “We’re Not Gonna Take It.” The hit song turned glam metal on its ear during the early days of MTV . Twisted Sister was launched into superstardom thanks to its best-selling record Stay Hungry, which also included “I Wanna Rock.” With big hair, spandex, colorful makeup, and platform shoes, Snider, founder Jay Jay French, and the rest of the group blazed a trail all their own.

The band was so big in this era that Metallica was opening for them on tour. They even had a cameo in Pee-wee’s Big Adventure . Of course, the Biography installment doesn’t just tap into Snider’s highs but lows too. He hit rock bottom at one point declaring bankruptcy and answering phones at an office job. There were also history-making moments like speaking out against censorship during the Parents Music Resource Center (PMRC) Senate hearing and rocking sold-out crowds. The proud New Yorker has been through it all.

Ahead of the premiere, Snider opens up about his journey.

What does it mean for not only you but also your peers to get the spotlight through Biography ?

Dee Snider: It’s great to have a light shined on what we do as hard rock legends. Hard rockers and heavy metal guys, we’re down and dirty. We have some tales to tell. It’s nice A&E tipping the hat, showing respect, and appreciating the tens of millions of records we’ve sold and tens of millions of people we’ve performed for in our careers.

You’ve been around a long time, but in the doc, you’re sitting in a rather empty garage with just a couple of boxes. Was that your house they filmed you in?

You know what? You’re focusing on the wrong thing [laughs]. I’m impressed you noticed that. We made the big move about 10 years ago from the house where we raised our family, which meant getting rid of stuff. We had just moved into that house. We’re moving again because we’re always moving. It’s very organized. Plus, I’ve had so many reality shows, not full biographies like this one, but things where they wanted to see memorabilia, growing up Twisted. I had to go through it and be more organized. It’s weird because here I am in this big beautiful house and they have me on a folding chair in the garage. They could’ve filmed me in my dungeon! It would have been so much better.

Along with yourself, we also see others like bandmate Jay Jay French featured. You and he go back to some hard moments the band faced. What was it like revisiting some of those dark periods?

I hope the bio reflects how manicly driven I was. The more rejection I got, the angrier and more intense, more focused, I became. I also became a very difficult person to deal with. Looking back, I know how awful I was to my bandmates. I was just an angry miserable person because I felt like the world was against me. I’m having success, but that was what drove me. It wasn’t about sex, drugs, and rock and roll. It was about you can’t stop us. I wrote every song. I was mad at the world. When I finally broke through, I was mad they didn’t let me through sooner.

I was a real a-hole in the ‘80s, and I lost everything, I got humbled I came back and went into different fields of radio, TV, movies, acting, Broadway, and writing books. I had some self-realization and reunited with the band. It was 9/11, which was a really good reason to reunite. It wasn’t money. It was just what can we do to help as New Yorkers. That was the only reason we got together. It got us past their hatred of me, and I was past my hatred of them, but they didn’t know I had grown and matured. It took them a while to see Dee was not the same guy he was. That was the reason I wanted to reunite. I told the guys that when you tell the stories to be honest. I was not a nice guy. I made their lives miserable. I wanted them to speak freely about that because I deserved that. I worked hard to get my excrement together and be a better person. Suzette, my wife of 48 years, helped get me there.

Suzette is featured in the doc. I love the story she tells of how you met.

She was at a bar with seven people in it. She got a phony proof ID when she was 15. She came to see the girl group. And it was us.

What’s the secret of how you made your relationship work for so long?

In 48 years, we’ve had our share of problems. I was an a-hole in the 1980s. We’ve been to marriage counseling and thank God we made it through. When we met with the marriage counselor for the first time on the first day, he said, “The only difference between couples that stay together and couples that divorce is couples that stay together don’t accept divorce as an option.” We already had kids. We wanted to figure this out. The two of us weren’t accepting divorce as an option. Once you take divorce off the table, you have to work it out. Thank God we did. Relationships have ups and downs, but 48 years later she is my partner in crime, my best friend. She is amazing. We’re amazing together.

There are many cautionary tales of your counterparts falling into drugs and alcohol. That never was you. How did you escape all that?

Thank God I never did drugs or drank. My poison, drug of choice is caffeine. I drink a lot of coffee. So much so, and this is true, Twisted Sister threatened to fire me from the band for being too caffeinated. These were guys where one had cocaine up their nose while the other guy had a beer in his hand at 10 in the morning. I said, “Wait a second. You alcoholics and drug attics have a problem with my coffee driving?” They were like, “Yeah man, you’re driving us crazy.” Suzette comes from a family that has suffered from drug addiction. She never drank or did drugs. The two of us had that in common. We were the oddballs that didn’t participate in that stuff. It takes that issue off the table. That’s not to say there weren’t other problems like an ego so big that it destroyed the band. I became a megalomaniac.

After so many years of being told no, once people started saying yes, I was consumed by the power of it all. It’s power baby. The one person who didn’t say yes to me all the time? Suzette, which is why we nearly broke up. It becomes a drug. Power is a drug. It killed my career. By the early 1990s, I had lost everything whereas in the 2000s I was back in action.

This comes out after “We’re Not Gonna Take It” just turned 40. It’s amazing how the song still resonates. How is it for you to see its staying power?

It wasn’t by design. I wrote the song myself and was very sure not to make it specific. I wanted people to put their situations into the song. I remember there was a review in the Village Voice . “Twisted Sister, “We’re Not Going to Take It Anymore” from Atlantic Records. What from whom?” Then they left a big blank space before the next review just to make a point that they were dismissing the song. I was screaming at the paper, “That’s the point!” It’s your what for your who. The song has become more than I ever thought. It has become internationally known. I agree with some of the causes it supports and other times I don’t. That is free speech and the design of the song. For people to put their frustration into the song. I wish QAnon didn’t use it as their go-to, but I’m not going to censor them on that because I’m a First Amendment guy. I fought censorship.

There was a point where you were everywhere. I still look back at seeing you on Pee-wee’s Big Adventure . How was it being on set for that and working with the late Paul Reubens ?

Doing Pee-wee’s Big Adventure was a life changer for me and not for the reasons you would think. I met Paul at an MTV New Year’s Eve party. We saw each other backstage. We had mutual admiration. This was when Paul was a college circuit comedy club guy. He asked us to do a cameo. Being on that set, with Tim Burton by the way. That was his first major picture. Watching insanity come to life. Having just done the Twisted Sister music videos, which were insanity brought to life, I got thinking I wanted to write movies and screenplays.

I started to learn how to write. I’ve written screenplays, shows, and theatrical shows. My new company Defiant Artists will soon be making a major announcement. I’m teaming up with a major Hollywood studio to do three to five movies a year starting next year. It all started on that set. That day watching Pee-wee being chased by Santa and Godzilla I believe and going, “Man I can think of anything and someone can bring it to life.”

What do you think the legacy of Twisted Sister will be?

The world reduces everything to one sentence…Twisted Sister is we’re not gonna take it. They didn’t take it. That will be on the tombstone. You’re lucky you’re remembered for anything. What I like about the Biography is that it shows that I was a frontman, first and foremost. You get to see me in action. Being a frontman is different than being a singer. Different jobs. The frontman is a guy who engages the audience, connects the audience, and makes adjustments to bring the audience in. One of the things they show in the Biography is me challenging 35,000 people to a fight. The audience was stunned because they could see on my face I was serious. They started laughing and thought, “This Yank is crazy. We like crazy.” This was in England. It was a game-changer. That was me being a frontman, doing what needed to be done to listen to the band.

A&E '60 Days In': Utah Sheriff on Season 9 Dramas & Undercover Missions

What is the state of rock today?

Guys out there who shall remain nameless… Gene Simmons . Gene, leave your mansion and go out to a club, festival, or theater with younger bands. Not the 1980s old band festivals. My kids have dragged me out to these places. There is passion, talent, and heart. Audiences know every word. You know what? These musicians have very little hope of making a living doing it. They are doing it purely for the love. I wanted to be rich and famous. That’s why I wanted to be a rock star. I did. Most won’t become rich or famous but have a love and passion to do it. Heavy metal, rock-and-roll, is alive and well. You’re not maybe seeing it like you used to, but there are some great bands out there.

Biography: Rock Legends , Sundays, 9/8c, A&E

Biography: Dee Snider

Benefits to Registering & Following

(It's free!)

Election 2024
Entertainment
Newsletters
Photography
Personal Finance
AP Investigations
AP Buyline Personal Finance
AP Buyline Shopping
Press Releases
Israel-Hamas War
Russia-Ukraine War
Global elections
Asia Pacific
Latin America
Middle East
Election Results
Delegate Tracker
AP & Elections
Auto Racing
2024 Paris Olympic Games
Movie reviews
Book reviews
Financial Markets
Business Highlights
Financial wellness
Artificial Intelligence
Social Media

‘Hawaii Five-0’ fan favorite and former UFC fighter Taylor Wily dies at 56

FILE - Actor Taylor Wily, also known as Teila Tuli, gestures to fans after throwing out the ceremonial first pitch before a baseball game between the Seattle Mariners and Texas Rangers in Seattle on June 14, 2014. Wily, an actor known for his roles on “Hawaii Five-0” and “Magnum P.I,” has died at 56. (AP Photo/Elaine Thompson, File)

Copy Link copied

LOS ANGELES (AP) — Taylor Wily, a former sumo wrestler who became known for his role as confidential informant Kamekona Tupuola on both “Hawaii Five-0” and “Magnum P.I,” has died, his friend and a “Hawaii Five-0” producer both said Friday. He was 56.

“Hawaii Five-0” executive producer Peter M. Lenkov confirmed his death to The Associated Press and shared multiple tributes to the actor on Instagram , writing “I am devastated. Heartbroken” in a caption of a photo of the two.

KITV 4 , based in Honolulu, was the first to report Wily’s death on Thursday. Additional details about the cause remain unknown. TV and radio personality Lina Girl Langi said on the show “Island Life Live” that she announced the news “with a heavy heart,” as Wily was a friend.

Lenkov, Wily’s longtime friend and collaborator, shared a second post later on Thursday with a video montage featuring photos and clips with Wily. He wrote, “You charmed me into making you a regular… on the show… and in my life. You were family. And I will miss you every day, brother.”

In an additional statement to the AP, Lenkov said it was hard to describe how “special” Wily was and lauded the actor for his skills.

“Despite the fact that a lot of his ‘Hawaii Five-0’ and ‘Magnum’ scenes featured his comedy skills, he was an incredible dramatic actor, as well,” Lenvok said. “I had developed a script a couple years back and wrote him a role and was hoping to put him in my next project. I just wanted to keep him close… not just as a friend, but as an artist. Devastated I won’t get that opportunity.”

Wily played Kamekona on “Hawaii Five-0” from 2010 through 2020 and became a fan-favorite. He continued in the same role with the reboot of “Magnum P.I.” and made a memorable appearance as a hotel worker in the 2008 comedy “Forgetting Sarah Marshall.”

Before he began acting, Wily, born Teila Tuli, was a well-known sumo wrestler and UFC 1 fighter. He became the first knockout victim in UFC history in 1993 when opponent Gerard Gordeau’s kick knocked a tooth clear out of Wily’s mouth, ending the fight after just 26 seconds.

Wily is survived by his wife, Halona, and their two children.

IMAGES

2017 How to write Author Biography for Journal
🏷️ How to write a journal article example. How to Write a Journal: 13
How to write a journal article review. 8 Key Steps for Writing a
Annotated Bibliography Journal Example Apa
Annotated Bibliography Journal Example Apa
Tips for Writing a Biographical Sketch (With Examples)

VIDEO

William Joseph Whelan: Pioneering Biochemist
What is a Person?
Memories
Muzzlers, Guzzlers, and CARL PANZRAM?!!
A Moment of Silence for Memorial Day I Let's Be Frank I History Podcast
Snatching Lighting Part 2 I Let's Be Frank I History Podcast

COMMENTS

Biography
Biography is an important forum for well-considered biographical scholarship. It features stimulating articles that explore the theoretical, generic, historical, and cultural dimensions of life-writing; and the integration of literature, history, the arts, and the social sciences as they relate to biography.
How To Write A Good Academic Biography
An academic biography is a concise description of a researcher and his career which is mostly used as an introduction to a conference or public event. This article discusses some important tips on writing an academic bio. ... When your journal article gets accepted or you are preparing for a public presentation, you will often be asked for a ...
Examples of Biographical Statement and Abstract
Biographical Statement Once articles have been selected and accepted for publication each year, authors will be asked to submit a biographical statement to be included in the Advocates' Forum. The biographical statement should include the author(s) full name. In addition, it is also appropriate to discuss your personal history, academic program and/or field placement, and interest in the ...
How to write a brief author biography for a journal article?
In particular, one of the components which we need to submit is a brief author biography for each co-author. I have had a few papers published before, but none of these papers has required me to provide a brief author biography. ... Can't you look at author biographies from other papers in that journal? - Raghu Parthasarathy. Commented Oct 7 ...
a/b: Auto/Biography Studies
The Autobiography Society. a/b: Auto/Biography Studies is the official journal of The Autobiography Society (a 501 (C)3 nonprofit organization). Society membership includes an individual subscription to the print journal and access to its full online archive. Membership is £22/€29/$35 annually.
Project MUSE
Biography. Biography: An Interdisciplinary Quarterly has been an important forum for well-considered biographical scholarship for more than forty years. It features stimulating articles that explore the theoretical, generic, historical, and cultural dimensions of life writing; and the integration of literature, history, the arts, and the social ...
Biography: An Interdisciplinary Quarterly
ISSN: 0162-4962. E-ISSN: 1529-1456. Frequency: Quarterly. SHARE: For over forty years, Biography has been an important forum for well-considered biographical scholarship. It features stimulating articles that explore the theoretical, generic, historical, and cultural dimensions of life writing; and the integration of literature, history, the ...
How to write your academic biography
PO Box 28 ST LEONARDS NSW 1590. [email protected]. An academic biography is a concise, informative paragraph that highlights your professional identity, research interests, and significant accomplishments. It's a crucial component of your academic presence, often required when proposing conference papers, contributing to edited ...
Biography: An Interdisciplinary Quarterly
About. For four decades, Biography: An Interdisciplinary Quarterly has explored the theoretical, generic, historical, cultural, and practical dimensions of life writing. Once a year, a formal, guest-edited special issue explores a topic of emerging critical interest, including most recently Graphic Medicine, guest edited by Erin La Cour and Anna Poletti.
Biography (journal)
Biography. (journal) Biography: An Interdisciplinary Quarterly is an international, academic journal that provides a forum for biographical scholarship. Its articles explore the theoretical, generic, historical, and cultural dimensions of life-writing; and the integration of literature, history, the arts, and the social sciences as they relate ...
10 Tips: How to Write a Biography for a Journal Article
Writing a biography for a journal article requires careful research, organization, and attention to detail. 2. Choose a Subject. The first step in writing a biography is selecting a subject. Choose someone who has made significant contributions in their field or has an interesting life story. Consider the relevance of the person to your journal ...
Journal of Medical Biography: Sage Journals
Journal of Medical Biography. Impact Factor: 0.3 5-Year Impact Factor: 0.3. This peer reviewed international quarterly publication focuses on the lives of people in or associated with medicine, those considered legendary as well as the less well known. The journal includes much original research about figures from … | View full journal ...
How to Write a Good Academic Biography (Part 2)
Avoid very personal information. This is especially important at a conference. Your first impression is important and you want people to remember you for your accomplishments. Be professional. Avoid providing too much information. Present the information concerning your current position, research, or employment.
Author Biographies, 2021
Priya Jaikumar is professor and chair of the Department of Cinema and Media Studies at the University of Southern California, Los Angeles. She is author of Cinema at the End of Empire (Duke, 2006) and Where Histories Reside: India as Filmed Space (Duke, 2019), winner of the 2021 BAFTSS Best Monograph Award. Kajri Jain.
How to Write a Biography: 6 Tips for Writing Biographical Texts
Whether you want to start writing a biography about a famous person, historical figure, or an influential family member, it's important to know all the elements that make a biography worth both writing and reading. Biographies are how we learn information about another human being's life. Whether you want to start writing a biography about ...
Biography
biography, form of literature, commonly considered nonfictional, the subject of which is the life of an individual.One of the oldest forms of literary expression, it seeks to re-create in words the life of a human being—as understood from the historical or personal perspective of the author—by drawing upon all available evidence, including that retained in memory as well as written, oral ...
What is a biography?
A biography is an account of the special and important events in a person's life (not to be confused with bibliography, which is a listing of books and articles on a topic). Biographies may be brief and cover only basic information about a person's life such as dates of birth and death, education and vocation.
The Virginia Magazine of History and Biography
Established in 1893 and published continuously since then, the Virginia Magazine of History and Biography is the quarterly journal of the Virginia Historical Society, a privately supported and endowed educational institution headquartered in Richmond, Virginia. The journal publishes peer-reviewed articles and edited primary documents on all aspects and time periods of Virginia history and ...
Biography Database: Journals, Articles, & More
Built on a foundation of more than 640,000 biographical entries, Gale In Context: Biography covers international figures from all time periods and areas of study. Over 4,800 portal pages on contemporary and historical figures merging authoritative reference content with periodicals and multimedia. Search for people based on name, occupation ...
JSTOR Home
Harness the power of visual materials—explore more than 3 million images now on JSTOR. Enhance your scholarly research with underground newspapers, magazines, and journals. Explore collections in the arts, sciences, and literature from the world's leading museums, archives, and scholars. JSTOR is a digital library of academic journals ...
2017 How to write Author Biography for Journal
GENERAL STEPS Few things are generally included while writing a biography for a journal: Author full name Qualification and academic history Current status and position (technical and academic) Awards and achievements Research field/article interest Picture (if required) 2. WORDS COUNT Although, it is limited or according to the demand.
Virginia Magazine of History & Biography
Established in 1893, the Virginia Magazine of History & Biography (VMHB), the quarterly journal of the Virginia Museum of History & Culture, publishes articles and book reviews on Virginia and southern history.. The VMHB is one of your member benefits A free print subscription to the VMHB is included with Virginia Museum of History & Culture membership at the Sustainer, Patron, and 1831 ...
What Is an Annotated Bibliography?
Published on March 9, 2021 by Jack Caulfield . Revised on August 23, 2022. An annotated bibliography is a list of source references that includes a short descriptive text (an annotation) for each source. It may be assigned as part of the research process for a paper, or as an individual assignment to gather and read relevant sources on a topic.
'Biography: Rock Legends': Twisted Sister's Dee Snider Gets Candid
A&E Biography has your backstage pass to stories behind the biggest icons who have transcended the genre. Next up in the "Rock Legends" series is Twisted Sister frontman Dee Snider, who ...
Taylor Wily, a former UFC fighter and actor dies at 56
Wily played Kamekona on "Hawaii Five-0" from 2010 through 2020 and became a fan-favorite. He continued in the same role with the reboot of "Magnum P.I." and made a memorable appearance as a hotel worker in the 2008 comedy "Forgetting Sarah Marshall."