Profile: Wole Soyinka Net Worth & Biography – Fulloaded
Wole Soyinka Net WorthAkinwande Oluwole Babatunde Soyinka (Yoruba: Akínwándé Olúwo̩lé Babátúndé S̩óyíinká; born 13 July 1934), known as Wole Soyinka (pronounced [wɔlé ʃójĩnká]), is a Nigerian playwright, novelist, poet, and essayist in the English language. He was awarded the 1986 Nobel Prize in Literature, the first sub-Saharan African to be honoured in that category. Soyinka was born into a Yoruba family in Abeokuta. In 1954, he attended Government College in Ibadan, and subsequently University College Ibadan and the University of Leeds in England.
Akinwande Oluwole Babatunde Soyinka
Author ,poet , playwright
Date of Birth/Age
13 July 1934
Net Worth in Naira
10,300,250,000.00 Nigerian Naira
Drama, novel, poetry
Wole Soyinka Net Worth
how much is Wole Soyinka Net Worth According to Forbes
Akinwande Oluwole Babatunde Soyinka (Yoruba: Akínwándé Olúwo̩lé Babátúndé S̩óyíinká; born 13 July 1934), known as Wole Soyinka (pronounced [wɔlé ʃójĩnká]), is a Nigerian playwright, novelist, poet, and essayist in the English language who has a total Net Worth of 25 Million Dollars
Wole Soyinka Biography
Akinwande Oluwole Babatunde Soyinka (Yoruba: Akínwándé Olúwo̩lé Babátúndé S̩óyíinká; born 13 July 1934), known as Wole Soyinka (pronounced [wɔlé ʃójĩnká]), is a Nigerian playwright, novelist, poet, and essayist in the English language. He was awarded the 1986 Nobel Prize in Literature, the first sub-Saharan African to be honoured in that category.
Wole Soyinka Net Worth In Naira
Soyinka was born into a Yoruba family in Abeokuta. In 1954, he attended Government College in Ibadan, and subsequently University College Ibadan and the University of Leeds in England. After studying in Nigeria and the UK, he worked with the Royal Court Theatre in London.
He went on to write plays that were produced in both countries, in theatres and on radio. He took an active role in Nigeria’s political history and its campaign for independence from British colonial rule. In 1965, he seized the Western Nigeria Broadcasting Service studio and broadcast a demand for the cancellation of the Western Nigeria Regional Elections.
In 1967, during the Nigerian Civil War, he was arrested by the federal government of General Yakubu Gowon and put in solitary confinement for two years
Soyinka has been a strong critic of successive Nigerian (and African at large) governments, especially the country’s many military dictators, as well as other political tyrannies, including the Mugabe regime in Zimbabwe Much of his writing has been concerned with “the oppressive boot and the irrelevance of the colour of the foot that wears it”.
During the regime of General Sani Abacha (1993–98), Soyinka escaped from Nigeria on a motorcycle via the “NADECO Route.” Abacha later proclaimed a death sentence against him “in absentia.” With civilian rule restored to Nigeria in 1999, Soyinka returned to his nation. In December 2020, Soyinka described 2020 as the most challenging year in the nation’s history. He said: “With the turbulence that characterised year 2020, and as activities wind down, the mood has been repugnant and very negative. I don’t want to sound pessimistic but this is one of the most pessimistic years I have known in this nation and it wasn’t just because of COVID-19. Natural disasters had happened elsewhere, but how have you managed to take such in their strides?”
In Nigeria, Soyinka was a Professor of Comparative literature (1975 to 1999) at the Obafemi Awolowo University, then called the University of Ife. With civilian rule restored to Nigeria in 1999, he was made professor emeritus. While in the United States, he first taught at Cornell University as Goldwin Smith professor for African Studies and Theatre Arts from 1988 to 1991 and then at Emory University, where in 1996 he was appointed Robert W.
Wole Soyinka Net Worth Forbes
Professor of the Arts. Soyinka has been a Professor of Creative Writing at the University of Nevada, Las Vegas, and has served as scholar-in-residence at NYU’s Institute of African American Affairs and at Loyola Marymount University in Los Angeles, California. He has also taught at the universities of Oxford, Harvard and Yale. Soyinka was also a Distinguished Scholar in Residence at Duke University in 2008.
Wole Soyinka Net Worth
In December 2017, he was awarded the Europe Theatre Prize in the “Special Prize” category awarded to someone who has “contributed to the realization of cultural events that promote understanding and the exchange of knowledge between peoples
Wole Soyinka Early life & Career
A descendant of the rulers of Isara, Soyinka was born the second of seven children, in the city of Abẹokuta, Ogun State, in Nigeria, at that time a British Dominion. His siblings were Atinuke “Tinu” Aina Soyinka, Femi Soyinka, Yeside Soyinka, Omofolabo “Folabo” Ajayi-Soyinka and Kayode Soyinka. His younger sister Folashade Soyinka died on her first birthday. His father, Samuel Ayodele Soyinka (whom he called S.A. or “Essay”), was an Anglican minister and the headmaster of St.
Wole Soyinka Net Worth Forbes
Peters School in Abẹokuta. Having solid family connections, the elder Soyinka was a cousin of the Odemo, or King, of Isara-Remo Samuel Akinsanya, a founding father of Nigeria. Soyinka’s mother, Grace Eniola Soyinka (née Jenkins-Harrison) (whom he dubbed the “Wild Christian”), owned a shop in the nearby market. She was a political activist within the women’s movement in the local community.
She was also Anglican. As much of the community followed indigenous Yorùbá religious tradition, Soyinka grew up in a religious atmosphere of syncretism, with influences from both cultures. He was raised in a religious family, attending church services and singing in the choir from an early age; however, Soyinka himself became an atheist later in life.
His father’s position enabled him to get electricity and radio at home. He writes extensively about his childhood in his memoir Aké: The Years of Childhood (1981)
His mother was one of the most prominent members of the influential Ransome-Kuti family: she was the granddaughter of Rev. Canon J. J. Ransome-Kuti as the only daughter of his first daughter Anne Lape Iyabode Ransome-Kuti, and was therefore a niece to Olusegun Azariah Ransome-Kuti, Oludotun Ransome-Kuti and niece in-law to Funmilayo Ransome-Kuti. Among Soyinka’s first cousins once removed were the musician Fela Kuti, the human rights activist Beko Ransome-Kuti, politician Olikoye Ransome-Kuti and activist Yemisi Ransome-Kuti. His second cousins include musicians Femi Kuti and Seun Kuti, and dancer Yeni Kuti.
In 1940, after attending St. Peter’s Primary School in Abeokuta, Soyinka went to Abeokuta Grammar School, where he won several prizes for literary composition. In 1946 he was accepted by Government College in Ibadan, at that time one of Nigeria’s elite secondary schools. After finishing his course at Government College in 1952, he began studies at University College Ibadan (1952–54), affiliated with the University of London. He studied English literature, Greek, and Western history. Among his lecturers was Molly Mahood, a British literary scholar.
In the year 1953–54, his second and last at University College, Soyinka began work on “Keffi’s Birthday Treat”, a short radio play for Nigerian Broadcasting Service that was broadcast in July 1954. While at university, Soyinka and six others founded the Pyrates Confraternity, an anti-corruption and justice-seeking student organisation, the first confraternity in Nigeria.
Later in 1954, Soyinka relocated to England, where he continued his studies in English literature, under the supervision of his mentor Wilson Knight at the University of Leeds (1954–57). He met numerous young, gifted British writers. Before defending his B.A., Soyinka began publishing and working as editor for a satirical magazine called The Eagle, in which wrote a column on academic life, often criticising his university peers.
After graduating with an upper second-class degree, Soyinka remained in Leeds and began working on an MA. He intended to write new works combining European theatrical traditions with those of his Yorùbá cultural heritage. His first major play, The Swamp Dwellers (1958), was followed a year later by The Lion and the Jewel, a comedy that attracted interest from several members of London’s Royal Court Theatre. Encouraged, Soyinka moved to London, where he worked as a play reader for the Royal Court Theatre. During the same period, both of his plays were performed in Ibadan. They dealt with the uneasy relationship between progress and tradition in Nigeria.
In 1957, his play The Invention was the first of his works to be produced at the Royal Court Theatre. At that time his only published works were poems such as “The Immigrant” and “My Next Door Neighbour”, which were published in the Nigerian magazine Black Orpheus. This was founded in 1957 by the German scholar Ulli Beier, who had been teaching at the University of Ibadan since 1950.
Soyinka received a Rockefeller Research Fellowship from University College in Ibadan, his alma mater, for research on African theatre, and he returned to Nigeria. After its fifth issue (November 1959), Soyinka replaced Jahnheinz Jahn to become coeditor for the literary periodical Black Orpheus (its name derived from a 1948 essay by Jean-Paul Sartre, “Orphée Noir”, published as a preface to Anthologie de la nouvelle poésie nègre et malgache, edited by Léopold Senghor).
He produced his new satire, The Trials of Brother Jero. His work A Dance of The Forest (1960), a biting criticism of Nigeria’s political elites, won a contest that year as the official play for Nigerian Independence Day. On 1 October 1960, it premiered in Lagos as Nigeria celebrated its sovereignty. The play satirizes the fledgling nation by showing that the present is no more a golden age than was the past. Also in 1960, Soyinka established the “Nineteen-Sixty Masks”, an amateur acting ensemble to which he devoted considerable time over the next few years.
Soyinka wrote the first full-length play produced on Nigerian television. Entitled My Father’s Burden and directed by Segun Olusola, the play was featured on the Western Nigeria Television (WNTV) on 6 August 1960. Soyinka published works satirising the “Emergency” in the Western Region of Nigeria, as his Yorùbá homeland was increasingly occupied and controlled by the federal government. The political tensions arising from recent post-colonial independence eventually led to a military coup and civil war (1967–70).
With the Rockefeller grant, Soyinka bought a Land Rover, and he began travelling throughout the country as a researcher with the Department of English Language of the University College in Ibadan. In an essay of the time, he criticised Leopold Senghor’s Négritude movement as a nostalgic and indiscriminate glorification of the black African past that ignores the potential benefits of modernisation.
He is often quoted as having said, “A tiger doesn’t proclaim his tigritude, he pounces.” But in fact, Soyinka wrote in a 1960 essay for the Horn: “the duiker will not paint ‘duiker’ on his beautiful back to proclaim his duikeritude; you’ll know him by his elegant leap.” In Death and the King Horsemen he states: “The elephant trails no tethering-rope; that king is not yet crowned who will peg an elephant.”
In December 1962, Soyinka’s essay “Towards a True Theater” was published. He began teaching with the Department of English Language at Obafemi Awolowo University in Ifẹ. He discussed current affairs with “négrophiles,” and on several occasions openly condemned government censorship.
At the end of 1963, his first feature-length movie, Culture in Transition, was released. In April 1964 The Interpreters, “a complex but also vividly documentary novel”, was published in London.
That December, together with scientists and men of theatre, Soyinka founded the Drama Association of Nigeria. In 1964 he also resigned his university post, as a protest against imposed pro-government behaviour by the authorities. A few months later, in 1965, he was arrested for the first time, charged with holding up a radio station at gunpoint (as described in his 2006 memoir You Must Set Forth at Dawn) and replacing the tape of a recorded speech by the premier of Western Nigeria with a different tape containing accusations of election malpractice.
Soyinka was released after a few months of confinement, as a result of protests by the international community of writers. This same year he wrote two more dramatic pieces: Before the Blackout and the comedy Kongi’s Harvest. He also wrote The Detainee, a radio play for the BBC in London. His play The Road premiered in London at the Commonwealth Arts Festival, opening on 14 September 1965, at the Theatre Royal. At the end of the year, he was promoted to headmaster and senior lecturer in the Department of English Language at University of Lagos.
Soyinka’s political speeches at that time criticised the cult of personality and government corruption in African dictatorships. In April 1966, his play Kongi’s Harvest was produced in revival at the World Festival of Negro Arts in Dakar, Senegal. The Road was awarded the Grand Prix. In June 1965, he produced his play The Lion and The Jewel for Hampstead Theatre Club in London.
Civil war and imprisonment
After becoming chief of the Cathedral of Drama at the University of Ibadan, Soyinka became more politically active. Following the military coup of January 1966, he secretly and unofficially met with the military governor Chukwuemeka Odumegwu Ojukwu in the Southeastern town of Enugu (August 1967), to try to avert civil war. As a result, he had to go into hiding.
He was imprisoned for 22 months as civil war ensued between the Federal government of Nigeria and the Biafrans. Though refused materials such as books, pens, and paper, he still wrote a significant body of poems and notes criticising the Nigerian government while in prison.
Despite his imprisonment, in September 1967, his play The Lion and The Jewel was produced in Accra. In November The Trials of Brother Jero and The Strong Breed were produced in the Greenwich Mews Theatre in New York City. He also published a collection of his poetry, Idanre and Other Poems. It was inspired by Soyinka’s visit to the sanctuary of the Yorùbá deity Ogun, whom he regards as his “companion” deity, kindred spirit, and protector.
In 1968, the Negro Ensemble Company in New York produced Kongi’s Harvest. While still imprisoned, Soyinka translated from Yoruba a fantastical novel by his compatriot D. O. Fagunwa, entitled The Forest of a Thousand Demons: A Hunter’s Saga.
Release and literary production
In October 1969, when the civil war came to an end, amnesty was proclaimed, and Soyinka and other political prisoners were freed. For the first few months after his release, Soyinka stayed at a friend’s farm in southern France, where he sought solitude. He wrote The Bacchae of Euripides (1969), a reworking of the Pentheus myth. He soon published in London a book of poetry, Poems from Prison. At the end of the year, he returned to his office as Headmaster of Cathedral of Drama in Ibadan.
In 1970, he produced the play Kongi’s Harvest, while simultaneously adapting it as a film of the same title. In June 1970, he finished another play, called Madmen and Specialists. Together with the group of 15 actors of Ibadan University Theatre Art Company, he went on a trip to the United States, to the Eugene O’Neill Memorial Theatre Center in Waterford, Connecticut, where his latest play premiered. It gave them all experience with theatrical production in another English-speaking country.
In 1971, his poetry collection A Shuttle in the Crypt was published. Madmen and Specialists was produced in Ibadan that year. Soyinka travelled to Paris to take the lead role as Patrice Lumumba, the murdered first Prime Minister of the Republic of the Congo, in the production of his Murderous Angels.
In April 1971, concerned about the political situation in Nigeria, Soyinka resigned from his duties at the University in Ibadan, and began years of voluntary exile. In July in Paris, excerpts from his well-known play The Dance of The Forests were performed.
In 1972, his novel Season of Anomy and his Collected Plays were both published by Oxford University Press. His powerful autobiographical work The Man Died, a collection of notes from prison, was also published that year. He was awarded an Honoris Causa doctorate by the University of Leeds in 1973. In the same year the National Theatre, London, commissioned and premiered the play The Bacchae of Euripides, and his plays Camwood on the Leaves and Jero’s Metamorphosis were also first published. From 1973 to 1975, Soyinka spent time on scientific studies.
[clarification needed] He spent a year as a visiting fellow at Churchill College, Cambridge University[clarification needed] 1973–74 and wrote Death and the King’s Horseman, which had its first reading at Churchill College (which Dapo Ladimeji and Skip Gates attended), and gave a series of lectures at a number of European universities.
In 1974, his Collected Plays, Volume II was issued by Oxford University Press. In 1975 Soyinka was promoted to the position of editor for Transition, a magazine based in the Ghanaian capital of Accra, where he moved for some time. He used his columns in Transition to criticise the “negrophiles” (for instance, his article “Neo-Tarzanism: The Poetics of Pseudo-Transition”) and military regimes. He protested against the military junta of Idi Amin in Uganda. After the political turnover in Nigeria and the subversion of Gowon’s military regime in 1975, Soyinka returned to his homeland and resumed his position at the Cathedral of Comparative Literature at the University of Ife.
In 1976, he published his poetry collection Ogun Abibiman, as well as a collection of essays entitled Myth, Literature and the African World. In these, Soyinka explores the genesis of mysticism in African theatre and, using examples from both European and African literature, compares and contrasts the cultures.
He delivered a series of guest lectures at the Institute of African Studies at the University of Ghana in Legon. In October, the French version of The Dance of The Forests was performed in Dakar, while in Ife, his play Death and The King’s Horseman premièred.
In 1977, Opera Wọnyọsi, his adaptation of Bertolt Brecht’s The Threepenny Opera, was staged in Ibadan. In 1979 he both directed and acted in Jon Blair and Norman Fenton’s drama The Biko Inquest, a work based on the life of Steve Biko, a South African student and human rights activist who was beaten to death by apartheid police forces. In 1981 Soyinka published his autobiographical work Aké: The Years of Childhood, which won a 1983 Anisfield-Wolf Book Award.
Soyinka founded another theatrical group called the Guerrilla Unit. Its goal was to work with local communities in analysing their problems and to express some of their grievances in dramatic sketches. In 1983 his play Requiem for a Futurologist had its first performance at the University of Ife. In July, one of his musical projects, the Unlimited Liability Company, issued a long-playing record entitled I Love My Country, on which several prominent Nigerian musicians played songs composed by Soyinka. In 1984, he directed the film Blues for a Prodigal; his new play A Play of Giants was produced the same year.
During the years 1975–84, Soyinka was more politically active. At the University of Ife, his administrative duties included the security of public roads. He criticized the corruption in the government of the democratically elected President Shehu Shagari. When he was replaced by the army general Muhammadu Buhari, Soyinka was often at odds with the military. In 1984, a Nigerian court banned his 1972 book The Man Died: Prison Notes. In 1985, his play Requiem for a Futurologist was published in London by André Deutsch.
Soyinka was awarded the Nobel Prize for Literature in 1986, becoming the first African laureate. He was described as one “who in a wide cultural perspective and with poetic overtones fashions the drama of existence”. Reed Way Dasenbrock writes that the award of the Nobel Prize in Literature to Soyinka is “likely to prove quite controversial and thoroughly deserved”.
He also notes that “it is the first Nobel Prize awarded to an African writer or to any writer from the ‘new literatures’ in English that have emerged in the former colonies of the British Empire.” His Nobel acceptance speech, “This Past Must Address Its Present”, was devoted to South African freedom-fighter Nelson Mandela. Soyinka’s speech was an outspoken criticism of apartheid and the politics of racial segregation imposed on the majority by the Nationalist South African government. In 1986, he received the Agip Prize for Literature.
In 1988, his collection of poems Mandela’s Earth, and Other Poems was published, while in Nigeria another collection of essays entitled Art, Dialogue and Outrage: Essays on Literature and Culture appeared. In the same year, Soyinka accepted the position of Professor of African Studies and Theatre at Cornell University. In 1990, a third novel, inspired by his father’s intellectual circle, Isara: A Voyage Around Essay, appeared. In July 1991 the BBC African Service transmitted his radio play A Scourge of Hyacinths, and the next year (1992) in Siena (Italy), his play From Zia with Love had its premiere. Both works are very bitter political parodies, based on events that took place in Nigeria in the 1980s. In 1993 Soyinka was awarded an honorary doctorate from Harvard University.
The next year another part of his autobiography appeared: Ibadan: The Penkelemes Years (A Memoir: 1946–1965). The following year his play The Beatification of Area Boy was published. In October 1994, he was appointed UNESCO Goodwill Ambassador for the Promotion of African culture, human rights, freedom of expression, media and communication.
In November 1994, Soyinka fled from Nigeria through the border with Benin and then to the United States. In 1996 his book The Open Sore of a Continent: A Personal Narrative of the Nigerian Crisis was first published. In 1997 he was charged with treason by the government of General Sani Abacha.
The International Parliament of Writers (IPW) was established in 1993 to provide support for writers victimized by persecution. Soyinka became the organization’s second president from 1997 to 2000. In 1999 a new volume of poems by Soyinka, entitled Outsiders, was released. That same year, a BBC-commissioned play called Document of Identity aired on BBC Radio 3, telling the lightly-fictionalized story of the problems his daughter’s family encountered during a stopover in Britain when they fled Nigeria for the US in 1997; her baby was born prematurely in London and became a stateless person.
His play King Baabu premièred in Lagos in 2001, a political satire on the theme of African dictatorship. In 2002 a collection of his poems, Samarkand and Other Markets I Have Known, was published by Methuen. In April 2006, his memoir You Must Set Forth at Dawn was published by Random House. In 2006 he cancelled his keynote speech for the annual S.E.A. Write Awards Ceremony in Bangkok to protest the Thai military’s successful coup against the government.
In April 2007, Soyinka called for the cancellation of the Nigerian presidential elections held two weeks earlier, beset by widespread fraud and violence. In the wake of the attempting bombing on a Northwest Airlines flight to the United States by a Nigerian student who had become radicalised in Britain, Soyinka questioned the British government’s social logic in allowing every religion to openly proselytise their faith, asserting that it iwas eing abused by religious fundamentalists, thereby turning England into, in his view, a cesspit for the breeding of extremism. He supported the freedom of worship but warned against the consequence of the illogic of allowing religions to preach apocalyptic violence.
In August 2014, Soyinka delivered a recording of his speech “From Chibok with Love” to the World Humanist Congress in Oxford, hosted by the International Humanist and Ethical Union and the British Humanist Association. The Congress theme was Freedom of thought and expression: Forging a 21st Century Enlightenment. He was awarded the 2014 International Humanist Award. He served as scholar-in-residence at NYU’s Institute of African American Affairs.
Soyinka opposes allowing Fulani herdsmen the ability to graze their cattle on open land in southern, Christian-dominated Nigeria and believes these herdsmen should be declared terrorists to enable the restriction of their movements
Soyinka has been married three times and divorced twice. He has children from his three marriages. His first marriage was in 1958 to the late British writer Barbara Dixon, whom he met at the University of Leeds in the 1950s. Barbara was the mother of his first son, Olaokun. His second marriage was in 1963 to Nigerian librarian Olaide Idowu, with whom he had three daughters – Moremi, Iyetade (deceased), Peyibomi – and a second son, Ilemakin. Soyinka married Folake Doherty in 1989.
In 2014, he revealed his battle with prostate cancer
What is Biography
A biography, or simply bio, is a detailed description of a person's life. It involves more than just the basic facts like education, work, relationships, and death; it portrays a person's experience of these life events. Unlike a profile or curriculum vitae (résumé), a biography presents a subject's life story, highlighting various aspects of their life, including intimate details of experience, and may include an analysis of the subject's personality.
Biographical works are usually non-fiction, but fiction can also be used to portray a person's life. One in-depth form of biographical coverage is called legacy writing. Works in diverse media, from literature to film, form the genre known as biography.
An authorized biography is written with the permission, cooperation, and at times, participation of a subject or a subject's heirs. An autobiography is written by the person themselves, sometimes with the assistance of a collaborator or ghostwriter.
At first, biographical writings were regarded merely as a subsection of history with a focus on a particular individual of historical importance. The independent genre of biography as distinct from general history writing, began to emerge in the 18th century and reached its contemporary form at the turn of the 20th century.
One of the earliest biographers was Cornelius Nepos, who published his work Excellentium Imperatorum Vitae ("Lives of outstanding generals") in 44 BC. Longer and more extensive biographies were written in Greek by Plutarch, in his Parallel Lives, published about 80 A.D. In this work famous Greeks are paired with famous Romans, for example the orators Demosthenes and Cicero, or the generals Alexander the Great and Julius Caesar; some fifty biographies from the work survive. Another well-known collection of ancient biographies is De vita Caesarum ("On the Lives of the Caesars") by Suetonius, written about AD 121 in the time of the emperor Hadrian.
In the early Middle Ages (AD 400 to 1450), there was a decline in awareness of the classical culture in Europe. During this time, the only repositories of knowledge and records of the early history in Europe were those of the Roman Catholic Church.
Hermits, monks, and priests used this historic period to write biographies. Their subjects were usually restricted to the church fathers, martyrs, popes, and saints. Their works were meant to be inspirational to the people and vehicles for conversion to Christianity (see Hagiography). One significant secular example of a biography from this period is the life of Charlemagne by his courtier Einhard.
In Medieval Islamic Civilization (c. AD 750 to 1258), similar traditional Muslim biographies of Muhammad and other important figures in the early history of Islam began to be written, beginning the Prophetic biography tradition. Early biographical dictionaries were published as compendia of famous Islamic personalities from the 9th century onwards.
They contained more social data for a large segment of the population than other works of that period. The earliest biographical dictionaries initially focused on the lives of the prophets of Islam and their companions, with one of these early examples being The Book of The Major Classes by Ibn Sa'd al-Baghdadi. And then began the documentation of the lives of many other historical figures (from rulers to scholars) who lived in the medieval Islamic world
By the late Middle Ages, biographies became less church-oriented in Europe as biographies of kings, knights, and tyrants began to appear. The most famous of such biographies was Le Morte d'Arthur by Sir Thomas Malory. The book was an account of the life of the fabled King Arthur and his Knights of the Round Table. Following Malory, the new emphasis on humanism during the Renaissance promoted a focus on secular subjects, such as artists and poets, and encouraged writing in the vernacular.
Giorgio Vasari's Lives of the Artists (1550) was the landmark biography focusing on secular lives. Vasari made celebrities of his subjects, as the Lives became an early "bestseller". Two other developments are noteworthy: the development of the printing press in the 15th century and the gradual increase in literacy.
Biographies in the English language began appearing during the reign of Henry VIII. John Foxe's Actes and Monuments (1563), better known as Foxe's Book of Martyrs, was essentially the first dictionary of the biography in Europe, followed by Thomas Fuller's The History of the Worthies of England (1662), with a distinct focus on public life.
Influential in shaping popular conceptions of pirates, A General History of the Pyrates (1724), by Charles Johnson, is the prime source for the biographies of many well-known pirates.
A notable early collection of biographies of eminent men and women in the United Kingdom was Biographia Britannica (1747-1766) edited by William Oldys.
The American biography followed the English model, incorporating Thomas Carlyle's view that biography was a part of history. Carlyle asserted that the lives of great human beings were essential to understanding society and its institutions.
While the historical impulse would remain a strong element in early American biography, American writers carved out a distinct approach. What emerged was a rather didactic form of biography, which sought to shape the individual character of a reader in the process of defining national character.
Emergence of the genre
The first modern biography, and a work which exerted considerable influence on the evolution of the genre, was James Boswell's The Life of Samuel Johnson, a biography of lexicographer and man-of-letters Samuel Johnson published in 1791.
While Boswell's personal acquaintance with his subject only began in 1763, when Johnson was 54 years old, Boswell covered the entirety of Johnson's life by means of additional research.
it an important stage in the development of the modern genre of biography, it has been claimed to be the greatest biography written in the English language. Boswell's work was unique in its level of research, which involved archival study, eye-witness accounts and interviews, its robust and attractive narrative, and its honest depiction of all aspects of Johnson's life and character - a formula which serves as the basis of biographical literature to this day.
Biographical writing generally stagnated during the 19th century - in many cases there was a reversal to the more familiar hagiographical method of eulogizing the dead, similar to the biographies of saints produced in Medieval times. A distinction between mass biography and literary biography began to form by the middle of the century, reflecting a breach between high culture and middle-class culture. However, the number of biographies in print experienced a rapid growth, thanks to an expanding reading public. This revolution in publishing made books available to a larger audience of readers. In addition, affordable paperback editions of popular biographies were published for the first time. Periodicals began publishing a sequence of biographical sketches.
Autobiographies became more popular, as with the rise of education and cheap printing, modern concepts of fame and celebrity began to develop. Autobiographies were written by authors, such as Charles Dickens (who incorporated autobiographical elements in his novels) and Anthony Trollope, (his Autobiography appeared posthumously, quickly becoming a bestseller in London), philosophers, such as John Stuart Mill, churchmen – John Henry Newman – and entertainers – P. T. Barnum.
The sciences of psychology and sociology were ascendant at the turn of the 20th century and would heavily influence the new century's biographies. The demise of the "great man" theory of history was indicative of the emerging mindset. Human behavior would be explained through Darwinian theories. "Sociological" biographies conceived of their subjects' actions as the result of the environment, and tended to downplay individuality.
The development of psychoanalysis led to a more penetrating and comprehensive understanding of the biographical subject, and induced biographers to give more emphasis to childhood and adolescence. Clearly these psychological ideas were changing the way biographies were written, as a culture of autobiography developed, in which the telling of one's own story became a form of therapy. The conventional concept of heroes and narratives of success disappeared in the obsession with psychological explorations of personality.
British critic Lytton Strachey revolutionized the art of biographical writing with his 1918 work Eminent Victorians, consisting of biographies of four leading figures from the Victorian era: Cardinal Manning, Florence Nightingale, Thomas Arnold, and General Gordon. Strachey set out to breathe life into the Victorian era for future generations to read. Up until this point, as Strachey remarked in the preface, Victorian biographies had been "as familiar as the cortège of the undertaker", and wore the same air of "slow, funereal barbarism." Strachey defied the tradition of "two fat volumes ... of undigested masses of material" and took aim at the four iconic figures. His narrative demolished the myths that had built up around these cherished national heroes, whom he regarded as no better than a "set of mouth bungled hypocrites". The book achieved worldwide fame due to its irreverent and witty style, its concise and factually accurate nature, and its artistic prose.
In the 1920s and '30s, biographical writers sought to capitalize on Strachey's popularity by imitating his style. This new school featured iconoclasts, scientific analysts, and fictional biographers and included Gamaliel Bradford, André Maurois, and Emil Ludwig, among others. Robert Graves (I, Claudius, 1934) stood out among those following Strachey's model of "debunking biographies." The trend in literary biography was accompanied in popular biography by a sort of "celebrity voyeurism", in the early decades of the century. This latter form's appeal to readers was based on curiosity more than morality or patriotism. By World War I, cheap hard-cover reprints had become popular. The decades of the 1920s witnessed a biographical "boom."
The feminist scholar Carolyn Heilbrun observed that women's biographies and autobiographies began to change character during the second wave of feminist activism. She cited Nancy Milford's 1970 biography Zelda, as the "beginning of a new period of women's biography, because "[only] in 1970 were we ready to read not that Zelda had destroyed Fitzgerald, but Fitzgerald her: he had usurped her narrative." Heilbrun named 1973 as the turning point in women's autobiography, with the publication of May Sarton's Journal of a Solitude, for that was the first instance where a woman told her life story, not as finding "beauty even in pain" and transforming "rage into spiritual acceptance," but acknowledging what had previously been forbidden to women: their pain, their rage, and their "open admission of the desire for power and control over one's life."
In recent years, multimedia biography has become more popular than traditional literary forms. Along with documentary biographical films, Hollywood produced numerous commercial films based on the lives of famous people. The popularity of these forms of biography have led to the proliferation of TV channels dedicated to biography, including A&E, The Biography Channel, and The History Channel.
CD-ROM and online biographies have also appeared. Unlike books and films, they often do not tell a chronological narrative: instead they are archives of many discrete media elements related to an individual person, including video clips, photographs, and text articles. Biography-Portraits were created in 2001, by the German artist Ralph Ueltzhoeffer. Media scholar Lev Manovich says that such archives exemplify the database form, allowing users to navigate the materials in many ways. General "life writing" techniques are a subject of scholarly study.
In recent years, debates have arisen as to whether all biographies are fiction, especially when authors are writing about figures from the past.
President of Wolfson College at Oxford University, Hermione Lee argues that all history is seen through a perspective that is the product of one's contemporary society and as a result, biographical truths are constantly shifting. So, the history biographers write about will not be the way that it happened; it will be the way they remembered it. Debates have also arisen concerning the importance of space in life-writing.
Daniel R. Meister in 2017 argued that:
Biography Studies is emerging as an independent discipline, especially in the Netherlands. This Dutch School of biography is moving biography studies away from the less scholarly life writing tradition and towards history by encouraging its practitioners to utilize an approach adapted from microhistory.
Biographical research is defined by Miller as a research method that collects and analyses a person's whole life, or portion of a life, through the in-depth and unstructured interview, or sometimes reinforced by semi-structured interview or personal documents. It is a way of viewing social life in procedural terms, rather than static terms. The information can come from "oral history, personal narrative, biography and autobiography” or "diaries, letters, memoranda and other materials".
The central aim of biographical research is to produce rich descriptions of persons or "conceptualise structural types of actions", which means to "understand the action logics or how persons and structures are interlinked". This method can be used to understand an individual's life within its social context or understand the cultural phenomena.
There are many largely unacknowledged pitfalls to writing good biographies, and these largely concern the relation between firstly the individual and the context, and, secondly, the private and public. Paul James writes:
The problems with such conventional biographies are manifold. Biographies usually treat the public as a reflection of the private, with the private realm being assumed to be foundational. This is strange given that biographies are most often written about public people who project a persona. That is, for such subjects the dominant passages of the presentation of themselves in everyday life are already formed by what might be called a ‘self-biofication’ process.
What is Net Worth
Net worth is the value of all the non-financial and financial assets owned by an individual or institution minus the value of all its outstanding liabilities. Since financial assets minus outstanding liabilities equal net financial assets, net worth can also be conveniently expressed as non-financial assets plus net financial assets. It can apply to companies, individuals, governments or economic sectors such as the sector of financial corporations or to entire countries
Net worth in business is also referred to as equity. It is generally based on the value of all assets and liabilities at the carrying value which is the value as expressed on the financial statements. To the extent items on the balance sheet do not express their true (market) value, the net worth will also be inaccurate. On reading the balance sheet, if the accumulated losses exceed the shareholder's equity, net worth becomes negative.
Net worth in this formulation does not express the market value of a firm; a firm may be worth more (or less) if sold with a going concern.
Net worth vs. debt is a significant aspect of business loans. Business owners are required to "trade on equity" in order to further increase their net worth.
For individuals, net worth or wealth refers to an individual's net economic position: the value of the individual's assets minus liabilities. Examples of assets that an individual would factor into their net worth include retirement accounts, other investments, home(s), and vehicles. Liabilities include both secured debt (such as a home mortgage) and unsecured debt (such as consumer debt or personal loans). Typically intangible assets such as educational degrees are not factored into net worth, even though such assets positively contribute to one's overall financial position.
For a deceased individual, net worth can be used for the value of their estate when in probate.
Individuals with considerable net worth are described in the financial services industry as high-net-worth individuals and ultra high-net-worth individuals.
In personal finance, knowing an individual's net worth can be important to understand their current financial standing and give a reference point for measuring future financial progress.
Balance sheets that include all assets and liabilities can also be constructed for governments. Compared with government debt, a government's net worth is an alternative measure of the government's financial strength. Most governments utilize an accrual-based accounting system in order to provide a transparent picture of government operational costs.
Other governments may utilize cash accounting in order to better foresee future fiscal events. The accrual-based system is more effective, however, when dealing with the overall transparency of a government's spending. Massive governmental organizations rely on consistent and effective accounting in order to identify total net worth.
A country's net worth is calculated as the sum of the net worth of all companies and individuals resident in this country, plus the government's net worth. As for the United States, this measure is referred to as the financial position, and totaled $123.8 trillion as of 2014