psychobiography

(redirected from psychobiographic)

psy·cho·bi·og·ra·phy

 (sī′kō-bī-ŏg′rə-fē)
n. pl. psy·cho·bi·og·ra·phies
1. A biography that analyzes the psychological makeup, character, or motivations of its subject: "We are given a kind of psychobiography which ultimately pictures a deeply egotistical individual, unable to tolerate anyone else's success" (Leon Botstein).
2. A character analysis.

psy′cho·bi·og′ra·pher n.
psy′cho·bi′o·graph′ic (-bī′ə-grăf′ĭk), psy′cho·bi·o·graph′i·cal (-ĭ-kəl) adj.
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.

psychobiography

(ˌsaɪkəʊbaɪˈɒɡrəfɪ)
n
(Literary & Literary Critical Terms) a biography that pays particular attention to a person's psychological development
psychobiographical adj
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014

psy•cho•bi•og•ra•phy

(ˌsaɪ koʊ baɪˈɒg rə fi, -bi-)

n., pl. -phies.
a biography that stresses childhood trauma and unconscious motives of the subject.
[1930–35]
psy`cho•bi•og′ra•pher, n.
Random House Kernerman Webster's College Dictionary, © 2010 K Dictionaries Ltd. Copyright 2005, 1997, 1991 by Random House, Inc. All rights reserved.
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Based on an extensive review of open-source journalistic reports, we examined the available psychobiographic information and histories of 43 lone wolf terrorists and have been able to differentiate four types of lone wolves: glory seekers, hero worshipers, lonely romantics, and radical altruists (Behav.
Voltaire's tormented soul; a psychobiographic inquiry.
With regard to Isabelle McClung, Leon Edel develops his psychobiographic argument in an interpretation of The Professor's House.
Numerous psychobiographic studies have been conducted to
Freud's psychobiographic take on Leonardo was a definite dead end; Heubach favored the various uncertain paths down which artists sent their audience.
The third essay, by Michael Eberle-Sinatra, is a psychobiographic reading of paratexts in Frankenstein and The Last Man, including titles, names, epigraphs, and prefaces, and suggests very schematically that Shelley struggled over the role of authorship in both novels.