autobiographical writing
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Author(s):  
Álvaro LUQUE AMO

En la teoría literaria sobre escritura autobiográfica y autoficcional ha predominado cierta confusión en el empleo de las etiquetas y solamente en los últimos años parece haberse generalizado una distinción definitiva entre ambos discursos narrativos. Este artículo tiene como objetivo establecer un recorrido de la evolución experimentada por la dicotomía autobiografía / autoficción. Para ello parto de los orígenes de lo autoficcional, analizo la evolución de este debate y finalmente me centro en las últimas publicaciones de relevancia. La intención es dar a conocer nuevas ideas, todavía poco discutidas en el ámbito hispánico, que desarrollan y amplían los planteamientos de autores asentados en este campo de estudio.    Abstract: In the literary theory on autobiographical writing and autofiction, there has been a certain degree of confusion in the use of labels; only recently, a clear distinction has been drawn between them both. This article aims to establish a path of evolution for the dichotomy autobiography / autofiction. I will start from the origins of autofiction, will later analyse the evolution of the theoretical debate, and will finally focus on the latest relevant publications. Therefore, the article will make known new ideas, still little discussed in the Hispanic sphere, which develop and extend the approaches of authors based in this field of study.


Author(s):  
Martina Wagner-Egelhaaf

AbstractThis chapter explores the advantages of understanding the autofictional as a flexible matrix with scalable parameters. It puts forward five theses: (1) The fact that so many scholars have tried to work with the term “autofiction” indicates an obvious need for the “autofictional” to grasp what is vibrant between life and text. (2) The autofictional is a scalable and latent dimension in all autobiographical writing. Therefore, autofiction is not a separate genre in addition to autobiography and the novel. (3) Imagination and the use of the supernatural may support autobiographical reference. (4) Autofiction produces real-life effects. (5) Autofiction oscillates between fictionality and factuality. Although it brings one or other aspect to the foreground, all of them persist and continue to, more or less, resonate together.


Porównania ◽  
2021 ◽  
Vol 27 (2) ◽  
pp. 77-99
Author(s):  
Vladimír Barborík

This study focuses on how two kinds of memory: historical and personal are reflected in a section of Slovak literature of the past two decades. A variety of autobiographical genres and biographically-stylised fictional prose draw on personal memory, and history, is the domain of historical genres, particularly the novel. After the 1990s, the present was deemed important and historical presentations of the past were parodiedin the prose of Peter Pišťanek and Igor Otčenáš. At the beginning of the new millennium, however, prose portraying and reflecting on the past reappeared. Memory- based writing which is concerned with an individual situated within history, or outside of it, is more persuasive. Memory-based writing is used in different forms of autobiographical writing: within fiction it takes a form of biographical stylisation (e. g. Vilikovský, Kopcsay and Rozner). In the past ten to fifteen years, there has been a renewed interest in history in Slovak literature, mainly in pre-1989 history (e. g. Rankov, Krištúfek and Lavrík), which had been mistreated in pre-1989 Slovak literature, and later there was no interest in it or it was even rejected in the 1990s.During that time, historical memory was exploited to meet societal requirement. Silvester Lavrík was an exception—he was able to marry the two basic approaches to the past (personal history and historical) in a form of a dispute between them.


2021 ◽  
Author(s):  
◽  
Oliver Kavanagh Penno

<p>The “Christopher Isherwood” character first appears in Lions and Shadows (1938), Christopher Isherwood’s lightly fictionalised autobiography. Its foreword claims that “Isherwood” is merely a “guinea-pig” and asks us to read Lions and Shadows “as a novel” (xv). In the foreword to Goodbye to Berlin (1939), the author distances himself from his namesake once again: “‘Christopher Isherwood’ is a convenient ventriloquist’s dummy, nothing more” (np). This thesis examines Christopher Isherwood’s relationship with the “Christopher Isherwood” character in five texts: Lions and Shadows, Goodbye to Berlin, Prater Violet (1945), Down There on a Visit (1962), and Christopher and His Kind (1976). In doing so, I attempt to answer the question, ‘what happens when Christopher Isherwood gives his name to the narrator of his fiction?’  The second paragraph of Goodbye to Berlin begins, “I am a camera with its shutter open, quite passive, recording, not thinking” (1). The critical consensus is that this paragraph is indicative of a namesake narrator who acts as a detached observer, withholding judgment, existing only as a vessel through which the story can be told. I maintain, however, that as Isherwood and “Isherwood” have the same name, we are compelled to compare and contrast the two. Isherwood’s biographer, Peter Parker, claims that “Isherwood liked to imagine himself his own creation” (np). Through his construction of “Isherwood,” Isherwood creates a self – one that does not pre-exist his texts.  Isherwood’s novels anticipate a new kind of autobiographical writing, transparent and aware in their fictionality, four decades before it is formally recognised as a genre; while contemporary writers all over the world are now publishing autofiction more than ever before, there was a writer, alone the English island in the 1930s who preceded them all. His name, and his character, is Christopher Isherwood.</p>


2021 ◽  
Author(s):  
◽  
Oliver Kavanagh Penno

<p>The “Christopher Isherwood” character first appears in Lions and Shadows (1938), Christopher Isherwood’s lightly fictionalised autobiography. Its foreword claims that “Isherwood” is merely a “guinea-pig” and asks us to read Lions and Shadows “as a novel” (xv). In the foreword to Goodbye to Berlin (1939), the author distances himself from his namesake once again: “‘Christopher Isherwood’ is a convenient ventriloquist’s dummy, nothing more” (np). This thesis examines Christopher Isherwood’s relationship with the “Christopher Isherwood” character in five texts: Lions and Shadows, Goodbye to Berlin, Prater Violet (1945), Down There on a Visit (1962), and Christopher and His Kind (1976). In doing so, I attempt to answer the question, ‘what happens when Christopher Isherwood gives his name to the narrator of his fiction?’  The second paragraph of Goodbye to Berlin begins, “I am a camera with its shutter open, quite passive, recording, not thinking” (1). The critical consensus is that this paragraph is indicative of a namesake narrator who acts as a detached observer, withholding judgment, existing only as a vessel through which the story can be told. I maintain, however, that as Isherwood and “Isherwood” have the same name, we are compelled to compare and contrast the two. Isherwood’s biographer, Peter Parker, claims that “Isherwood liked to imagine himself his own creation” (np). Through his construction of “Isherwood,” Isherwood creates a self – one that does not pre-exist his texts.  Isherwood’s novels anticipate a new kind of autobiographical writing, transparent and aware in their fictionality, four decades before it is formally recognised as a genre; while contemporary writers all over the world are now publishing autofiction more than ever before, there was a writer, alone the English island in the 1930s who preceded them all. His name, and his character, is Christopher Isherwood.</p>


2021 ◽  
pp. 619-643
Author(s):  
Soledad Díaz Alarcón

Este trabajo que se enmarca en los estudios sobre literatura femenina de origen magrebí (literatura beur, literatura francófona femenina y su recepción) explora el imaginario femenino de femme issue de l’immigration construido por escritoras francesas contemporáneas y de finales del XX. En él se analiza la construcción identitaria de la mujer de origen norteafricano a través de sus narraciones y de su expresión: escritura autobiográfica, usos particulares de la lengua francesa (argot y oralidad), los espacios privado y público, posicionamientos de sus protagonistas (aceptación, fingimiento, huida o desarraigo) a través de las cuales las autoras vehiculan sus denuncias. Cierra el estudio una valoración del reconocimiento editorial y la recepción de esta literatura por parte de la crítica. This work explores the female imagery of Franco-Maghrebi women writers who published their works in the 1980s and 1990s and those who came after. It analyses the identity construction of a group marked by ethnic duality through their expression and their narratives in which they stake their claims: autobiographical writing, particular uses of the French language (slang and orality), the private and public spaces and the stances of their protagonists (acceptance, pretense, flight or uprooting). The study ends with an assessment of the editorial recognition and reception of this literature by critics. Cette étude explore l'imaginaire féminin des écrivaines Franco-Maghrébines qui ont publié leurs œuvres dans les années 1980-1990 et de leurs continuatrices. Elle analyse la construction identitaire d’un collectif marqué par la dualité ethnique à travers son expression et ses récits, où les écrivaines véhiculent leurs dénonciations : autobiographie, usage particulier de la langue française (argot et oralité), espaces privés et publics et les positions de leurs protagonistes (acceptation, faux-semblant, fuite ou déracinement). L'étude comprend une évaluation de la reconnaissance éditoriale et de la réception de cette littérature par la critique.


2021 ◽  
Author(s):  
Céline Roussel

This paper aims at exploring the autobiographical writing of blind, deaf-blind or partially sighted people from a sociopoetical perspective. It contends the following idea: for the authors to be considered, the first-person text opens up a space which allows them to refuse and deconstruct the conception of blindness shared by sighted persons. This literary process, from which the construction of a counter-discourse that can even go as far as subversion emerges, gives the author the opportunity to reappropriate his or her blindness beyond the imaginary, the myths and the fancies deriving from what is commonly understood and depicted as an impairment and a deprivation. Focusing on the fundamental concept of “préjugé de la cécité” (“prejudice of blindness”) developed by the French blind intellectual Pierre Villey, the article shall furthermore demonstrate that this common imaginary and these collective social representations are deeply rooted in culture and literature: They turn out to be an archetype one cannot easily avoid, inhabiting autobiographical texts and taking the form of stereotyped associations. This archetype is nevertheless swiftly challenged and deconstructed by the autobiographer’s writing, therefore leaving room for a representation of blindness from an internal point of view, based on individual experience and nurtured by everyday life. This paper thus argues that autobiographical space and textuality display a discursive power that the author can use as he or she wishes, in order to dismantle stereotypes and transform collective and social representations of blind people and blindness.


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