Claudia Jacobi: Proust dixit? Réceptions de La Recherche dans l’autofiction de Serge Doubrovsky, Carmen Martín Gaite et Walter Siti.

Author(s):  
Sandra Issel-Dombert
2011 ◽  
pp. 111-121
Author(s):  
Nurit Levy

Author and academic, Serge Doubrovsky is an important figure in contemporary French literature. His numerous publications foretell the emergence of a new literary concept, positioning him in the domain of post-modernism with the emergence of auto-fiction. From The Dispersion to The Broken Book, the auto-fiction unfolds in a jerky narrative while the genesis of the work revolves around a profound sense of lack and absence that the writer tries to fill through his writing. The experience of World War II left a life long indelible mark on the writer’s own identity and brings forth the creation of this hybrid autobiography that aims at tearing down ge-neric and literary boundaries. Letters and words are used to confront what is missing in his life in a transgressing style that describes the violence of this experience. In this way, Doubrovsky leaves a trace of his existence, transforming his life into a novel – a work of fiction – and by giving space to imagination when telling his own story.


2012 ◽  
Vol 85 (6) ◽  
pp. 1197-1198
Author(s):  
Cécile Hanania
Keyword(s):  

Symbolon ◽  
2021 ◽  
Vol 22 (1) ◽  
pp. 167-183
Author(s):  
Eugénie Péron-Douté

The purpose of this paper is to comment on the emergence of autofiction genre and its meaning. Beginning with a comparative analysis of this genre and the autobiographical one we will show the lack a stability of its definition since the 1970’s until dawn of the 21st century. This neologism, created by Serge Doubrovsky in 1969 shall be rebuilt by the author himself in 1977. Doubrovsky shall hence define that concept for a period of twenty years without achieving to fix all the issues concerning that very word. Beyond the more or less accepted combination of deconstructed narration, split subject and links to the psychoanalysis, autofiction genre appears to contain a performative potential. We will question about how and in which way autofiction parts itself from autobiography, showing it is from the beginning intrinsically performative


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