Relevant bibliographies by topics / Autofiction

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Autofiction'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 July 2025

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Journal articles on the topic "Autofiction"

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Effe, Alexandra. "Questions of Degree: Autofiction on Spectrums from Individual to Collective and from Fiction to Reality." Biography 46, no. 4 (2023): 827–41. https://doi.org/10.1353/bio.2023.a959024.

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Abstract: This review essay shows how Hywel Dix's Autofiction and Cultural Memory (Routledge, 2023) and Fiona J. Doloughan's Radical Realism, Autofictional Narratives and the Reinvention of the Novel (Anthem Press, 2023) partake in three recent developments in autofiction studies: the exploration of the global reach of autofictional practice, the foregrounding of autofiction's often ethical orientation, and the need to consider production and reception in approaching a phenomenon difficult to pin down to textual elements alone. Taking inspiration from Dix's and Doloughan's studies, the essay d
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Bremerich, Stephanie. "Epistemic Disruptions. Autofiction and Identity Politics in Paul B. Preciado’s Can the Monster Speak? (2020) and Kim de l’Horizon’s Blutbuch (2022)." Czytanie Literatury. Łódzkie Studia Literaturoznawcze, no. 13 (December 31, 2024): 39–66. https://doi.org/10.18778/2299-7458.13.03.

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The paper examines contemporary autofictional texts about queer identities in the context of current debates on identity politics. Paul B. Preciado’s Can the Monster Speak? (2020) and Kim de l’Horizons’s Blutbuch (2022) reflect queer identities in the form of transgressive and transitory writing which blurs the boundaries between academic and fictional discourse and ultimately leads to a hybridisation of the narrative. Both texts use autofiction as a means of epistemic disruption, that is as a critical questioning of Western epistemology, especially with regard to academic discourse (Preciado)
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Fonioková, Zuzana. "The Changing Ways of Writing and Reading Autobiography and Autofiction: Self as Performance in Jan Němec’s Ways of Writing about Love." Partial Answers: Journal of Literature and the History of Ideas 23, no. 2 (2025): 249–67. https://doi.org/10.1353/pan.2025.a961657.

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Abstract: This article discusses the changing understanding and practice of autofiction in the broader cultural context of the transformations of lived reality, the media landscape, and ways of writing and reading life stories. Originally defined as an autobiographical narrative breaking the conventions of classical autobiography, autofiction and its meaning change as notions of autobiography and the autobiographical loosen. The article suggests that a signaled autofictional intent and deliberate ambiguity of framing are important markers of contemporary autofiction. The second part of the art
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CORRALES DÍAZ-PAVÓN, José. "EL NARRADOR EN LA AUTOFICCIÓN DRAMÁTICA. LOS GONDRA (TRILOGÍA), DE BORJA ORTIZ DE GONDRA." Signa: Revista de la Asociación Española de Semiótica 34 (January 8, 2025): 337–57. https://doi.org/10.5944/signa.vol34.2025.39620.

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La teoría sobre la autoficción dramática parte de la ausencia de la figura del narrador como clave para explicar las presuntas diferencias entre la autoficción narrativa y la que se escribe para el teatro. Sin embargo, la semiología del teatro y estudios de referencia como el de Abuín demuestran, a nivel teórico, lo que la escritura dramática del siglo XX evidencia: que la figura de un narrador teatral es perfectamente posible. Así, en este estudio se utilizará este concepto y el de didascalia propuesto por García Barrientos para analizar los mecanismos autoficcionales en la trilogía Los Gondr
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Stupak, Svitlana. "Playing on the Expectations: Seth’s It’s a Good Life, If You Don’t Weaken (1993–1996) as Graphic Autofiction." Anglia 141, no. 1 (2023): 117–34. http://dx.doi.org/10.1515/ang-2023-0006.

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Abstract The article revises the well-established reading of the Canadian author and artist Seth’s first graphic novel It’s a Good Life, If You Don’t Weaken (1993–1996) as autofiction, employing a more recent theorization on autofiction and the autofictional (that is, autofictional pact and strategies of counterfactuality). Seth consciously constructs his narrative identity, exploiting generic conventions and respective social expectations, which arise at the turn of the twenty-first century in light of the rising popularity of confessional writing in American alternative comics. Within the sc
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Effe, Alexandra. "Developments in autofictional genre signals: Nouns, pronouns and authorial attachment." Language and Literature: International Journal of Stylistics 34, no. 2 (2025): 207–27. https://doi.org/10.1177/09639470251327502.

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Autofiction is characterized by ambiguation of generic conventions. While postmodern autofictional texts often explicitly comment on genre, much autofiction avant-la-lettre merges generic modes more subtly, namely through narrative structure and style. The article argues that, therefore, in the exploration of autofiction in a diachronic perspective, consideration of stylistic and narratological details is particularly important, and it outlines developments in autofiction al literature by discussing how three autofictional precursors from the mid-eighteenth to the early twentieth century creat
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Tippner, Anja. "‘How it all turned out alright’: Autofiction as Memory Form in Irena Dousková’s Novels about Childhood and Youth in Post-1968 Czechoslovakia." European Journal of Life Writing 10 (July 9, 2021): RSL41—RLS65. http://dx.doi.org/10.21827/ejlw.10.37604.

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Autofictions and memoirs about growing up in late socialism have proliferated in Czech as well as in other postsocialist Eastern European literatures. These retrospective texts are often tinged with nostalgia and infused with irony and humour. Two of the most popular texts of this genre in the Czech Republic are Irena Dousková’s autofictional books Hrdý Budžes [B. Proudew] and Oněgin byl Rusák [Onegin Was a Rusky]. The Czech author writes about growing-up in a non-conformist family dealing with everyday life in socialist Czechoslovakia. After discussing Dousková’s books as autofiction the arti
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Zhuchkova, Anna V. "Autofiction VS. “Literature оf Trauma". Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 74 (2024): 163–81. https://doi.org/10.37816/2073-9567-2024-74-163-181.

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The present paper explores the genre of autofiction in the context of autobiographical and anthropological shifts of the twentieth century. By investigating the origins and defining characteristics of autofiction, we are able to differentiate it from traditional autobiography and to recognize its similarities with women's writing comparing it with the later literary mutations such as “documentary fiction” and “literature of trauma”. While both autofiction and trauma literature deal with traumatic experiences, they differ in their representation of these events. Autofiction utilizes a symbolic
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Vashishtha, Kalrav. "Autofictional television authorship: (Para)texts of queer selves in Please Like Me and Special." Australasian Journal of Popular Culture 14, no. 1 (2025): 75–87. https://doi.org/10.1386/ajpc_00106_1.

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This article expands the literary genre of autofiction to include the televisual medium and argues that the autofictional is employed as a narrative mode in select queer television series, namely Josh Thomas’s Please Like Me (2013–16) and Ryan O’Connell’s Special (2019–21). Autofiction’s deliberate distortion of autobiographical truth by intermingling it with fictional elements becomes a method for individuals from underrepresented communities, like the queer community and people with disabilities, to write themselves and their narratives into televisual culture. This article conducts a textua
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Siary, Gérard, and Yulia Anatolievna Kosova. "“The World, More or Less” by Jean Rouaud: between novel and autofiction." RUDN Journal of Studies in Literature and Journalism 24, no. 1 (2019): 73–83. http://dx.doi.org/10.22363/2312-9220-2019-24-1-73-83.

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This article discusses theoretical approaches to autofiction - a new form of self-writing which spread in French literature from the 80s. The analysis of the autofictional device implemented in the novel “The World, More or Less” by Jean Rouaud produces evidence of the fact that the interlocking of fictionality and reality can express a subjective truth, the complexity and the unescapable dimension of the subject as I and translate an experience of life better than a factual narrative. J. Rouaud defines autofiction through an intertextual dialogue with J.-J. Rousseau’s “Confessions”, a text im
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Dissertations / Theses on the topic "Autofiction"

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Sicart, Pierre-Alexandre. "Autobiographie, roman, autofiction." Toulouse 2, 2005. http://www.theses.fr/2005TOU20007.

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Cette thèse examine la question de l'autofiction, en trois parties. La première a pour objet de dresser un panorama de l'autofiction, en intension comme en extension, en diachronie comme en synchronie (origines littéraires et théoriques, et genres connexes). Sur la base des données ainsi réunies, la deuxième partie développe une problèmatique de l'autofiction, articulée autour des notions d'auteur et de lecteur (axe de traitement de l'information) puis de faits et de fiction (axe de l'information). Sur le modèle du Pacte autobiographique (1975) théorisé par Philippe Lejeune, nous dégageons un
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Quéinnec, Jean-Paul. "Autofiction symptomale au cinéma." Aix-Marseille 1, 2007. http://www.theses.fr/2007AIX10063.

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Dans cette recherche pragmatique sur le cinéma et l'autofiction, nous observons principalement les films de Dieutre, de Varda, Akerman, Mekas ou encore Nolot. Une approche théorique fait le point sur les écritures de soi au cinéma pour atteindre les concepts du "langage-moi' défendu par Crouzet et de "l'image-symptomale" explorée par Didi Huberman, de manière à poser l'hypothèse d'une "autofiction symptomale au cinéma". Notre approche narrative montre que le symptôme comme argument romanesque affiche la défaillance autant du héros-Je que de la structure dramatique du film. Une expérimentation
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Michineau, Stéphanie. "L' autofiction dans l'oeuvre de Colette." Le Mans, 2007. http://cyberdoc.univ-lemans.fr/theses/2007/2007LEMA3001.pdf.

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Malgré le début d’institutionnalisation dont bénéficie depuis 2003 l’autofiction, son sens est encore à l’heure actuelle sujet à polémique. Serge Doubrovsky qui est l’inventeur de cette forme littéraire - qu’en dernier ressort il appréhende comme une variante de l’autobiographie - considère Colette comme une pionnière illustrant sa conception. Notre thèse s’inscrit dans une telle perspective conceptuelle, chronologiquement paradoxale. En effet, l’examen attentif de l’œuvre de Colette nous conduit à l’inscrire globalement dans un espace autofictionnel. Colette n’a d’ailleurs jamais souscrit de
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Gasparini, Philippe. ""Est-il je ?" Roman autobiographique, autofiction." Paris 12, 2001. http://www.theses.fr/2001PA120045.

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Certains textes, qu'on a pu qualifier de romans personnels, de romans autobiographiques ou, plus recemment, d'autofictions, pretendent combiner deux contrats de narration incompatibles la feintise romanesque et le pacte autobiographique. C'est pourquoi ils distribuent, a tous les niveaux du recit, des indices contradictoires de fiction et de reference. On tente de montrer ici, a partir d'un largecorpus, que ce double affichage generique releve d'une strategie de communication deliberee. Non seulement le nom du heros, sa profession, son histoire, suggerent une identification avec l'auteur, mais
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Cervera, Marzo Karen. "Autofiction et romanesque chez Daniel Guebel." Thesis, Université Grenoble Alpes (ComUE), 2015. http://www.theses.fr/2015GREAL032.

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Dans le cadre de cette thèse, je me propose d’étudier l’œuvre de Daniel Guebel, sous l’angle du couple notionnel autofiction-romanesque. Daniel Guebel (Buenos Aires, 1956) est un écrivain reconnu dans son pays et dont l’œuvre foisonnante traverse tout le prisme de la littérature et des médias. Il est l’auteur de quinze romans, trois recueils de nouvelles et sept pièces de théâtre.La littérature argentine, depuis une vingtaine d’années, se caractérise par une puissante résurgence des pratiques autobiographiques. El Llanto (Les Larmes, 1992) de César Aira pourrait marquer le point de départ de c
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Michineau, Stéphanie Raclot Michèle. "L' autofiction dans l'oeuvre de Colette." [S.l.] : [s.n.], 2007. http://cyberdoc.univ-lemans.fr/theses/2007/2007LEMA3001.pdf.

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Ioannidou, Stavrini. "Autofiction à la grecque : Greek autobiographical fiction (1971-1995)." Thesis, King's College London (University of London), 2013. https://kclpure.kcl.ac.uk/portal/en/theses/autofiction-a-la-grecque(e49e9d11-4a6d-481e-bc1d-0e76615c8743).html.

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This thesis examines the emergence and development of Greek ‘autofiction’ from 1971 until 1995, through the selected works of six writers: Kostas Tachtsis, Melpo Axioti, Vassilis Vassilikos, Vassilis Alexakis, Yiannis Kiourtsakis and Michel Fais. I have chosen to employ the term ‘autofiction’ (first introduced in 1977 by the French novelist and critic, Serge Doubrovsky) in order to define a specific type of autobiographical fiction that also discusses the process of writing. In autofiction, the extratextual author is identified with the narrator and a main character, who is a writer that explo
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Fusaro, Anaïs. "Mourning, writing, (self-)transformation : the autofiction of Serge Doubrovsky." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/15583.

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This thesis investigates the capacity of mourning to transform one's life into writing. Since mourning impacts each individual in a very unique way, its effect in the field of life-writing is incommensurable. In this respect, the changes brought about in the 20th century by the works of Serge Doubrovsky are remarkable: through the exploration of his eight autofictions (word which he coined in 1977) in addition to his six essays on literature, this study demonstrates how his experience of mourning has challenged and redefined the borders of autobiography. This investigation starts with the obse
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Dulovic, Husein <1994&gt. "The Prism Between Two Worlds Ben Lerner and Autofiction." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21630.

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This thesis analyzes the recent literary trend known as autofiction, which occupies a liminal space between fiction and nonfiction. Frequently, this phenomenon is characterized by the shared name of the protagonist and the author of the text. This work investigates that connection through the works of Ben Lerner and his three novels — Leaving the Atocha Station, 10:04, and The Topeka School — which together share the essential elements of autofiction and thus provide a particular way of reading and interpreting the text. The first part of this thesis provides a history of autofiction and expla
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Bourhane-Maoulida, Ahamada. "Fiction et autofiction antillaises : la poétique énonciative de Patrick Chamoiseau." Thesis, La Réunion, 2013. http://www.theses.fr/2013LARE0010/document.

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Notre réflexion consiste à analyser, sur le plan narratologique et énonciatif, la fiction et l'autofiction de Patrick Chamoiseau. Le rôle de l'écrivain y est démultiplié. Il instaure le doute dans la caractérisation générique de son œuvre, résolument digressive et paratextuelle. Il s'efforce de donner à lire un dire narratif créole dans une poétique du compromis- l'oraliture – où l'écrit et l'oral se télescopent, où une esthétique plus personnelle se débat dans une esthétique plus dominante. La mise en scène de la parole des personnages est le lieu d'une négociation scripturaire, littéraire :
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Books on the topic "Autofiction"

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Dix, Hywel, ed. Autofiction in English. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-89902-2.

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Golub, Spencer. A Philosophical Autofiction. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-05612-4.

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Jean-Louis, Jeannelle, Viollet Catherine, and Grell Isabelle 1969-, eds. Genèse et autofiction. Academia-Bruylant, 2007.

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Colonna, Vincent. Autofiction & autres mythomanies littéraires. Tristram, 2004.

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Effe, Alexandra, and Arnaud Schmitt. Autofiction, Emotions, and Humour. Routledge, 2022. http://dx.doi.org/10.4324/9781003356295.

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Degl'innocenti, Valeria. Livre de Valeria: Autofiction. Editions Le Fennek, 2019.

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Mignatte, Ernest. Ma tante d'Amérique: Autofiction. Metropolis, 2001.

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Colonna, Vincent. Autofiction & autres mythomanies littéraires. Tristram, 2004.

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Genon, Arnaud. Autofiction: Pratiques et théories : articles. Mon petit éditeur, 2013.

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Centre national du livre (France), ed. Autofiction: Une aventure du langage. Seuil, 2008.

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Book chapters on the topic "Autofiction"

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Effe, Alexandra, and Hannie Lawlor. "Introduction: From Autofiction to the Autofictional." In Palgrave Studies in Life Writing. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-78440-9_1.

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AbstractThe introduction takes as its starting point autofiction’s continuing resistance to a consensus definition and suggests that this has to do with the ad-hoc invention of the term but also with the fact that autofictional texts tend to challenge and transform generic conventions. The chapter proposes embracing the slipperiness of the concept by purposefully extending its scope to encompass a wide range of autofictional phenomena. These include the diverse affordances of the autofictional as an aesthetic strategy and a theoretical lens and the many shapes it can take as it interacts with
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Wagner-Egelhaaf, Martina. "Of Strange Loops and Real Effects: Five Theses on Autofiction/the Autofictional." In Palgrave Studies in Life Writing. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-78440-9_2.

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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 refere
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Menn, Ricarda, and Melissa Schuh. "The Autofictional in Serial, Literary Works." In Palgrave Studies in Life Writing. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-78440-9_6.

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AbstractThis chapter approaches serial literary autofictions as a distinct variant of autofictional writing. While discussions of life writing often focus on male authors, the chapter redresses this imbalance by considering women writers, specifically the works of Dorothy Richardson, Doris Lessing, and Rachel Cusk. The approach is new in exploring the autofictional in serial, literary works, and tracing connections across an author’s oeuvre. Such a focus leads to an extended understanding of autofiction and the autofictional as challenging autobiographical unity and coherence. The chapter dist
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Schmitt, Arnaud. "“The Pragmatics of Autofiction”." In Palgrave Studies in Life Writing. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-78440-9_5.

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AbstractThe aim of this chapter is to compare the pragmatics of autofiction in Ben Lerner’s 10:04 and Siri Hustvedt’s Memories of the Future, two authors who, in dissimilar but also very similar ways, use autofictional strategies to refer to their personal lives and background without playing the autobiographical game “by the rules.” Focusing on how pragmatically they both create a sense of autofiction, a distinction will be established between primary criteria and secondary ones, essential signals without which an autofictional text cannot be identified as such and “enhancers” meant to streng
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James, Alison. "The Fictional in Autofiction." In Palgrave Studies in Life Writing. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-78440-9_3.

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AbstractAutofiction and theories of fiction seem to be at odds. Whereas the notion of autofiction capitalizes on a postmodern consensus regarding the fictional status of self-narration, recent theoretical approaches to fiction and fictionality have reaffirmed the distinction between fictional and nonfictional narratives. It is possible to move beyond this impasse, however, by drawing on narratological and rhetorical theories of fictionality to describe the precise forms and degrees of fictionality and fictionalization discernable in works received as autofiction. Different configurations of th
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Schlick, Yaël. "Autofiction." In Metafiction. Routledge, 2022. http://dx.doi.org/10.4324/9781003180951-6.

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Ferreira-Meyers, Karen, and Bontle Tau. "Visual Autofiction: A Strategy for Cultural Inclusion." In Palgrave Studies in Life Writing. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-78440-9_9.

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AbstractVisual autofiction can be seen as a storytelling method used by contemporary visual artists to initiate cultural inclusion within a field that has historically favored Western narratives and excluded many others. This chapter, which builds on theoretical reflections on autofiction, contends that contemporary artists endeavor to be culturally included in broad, decolonized visual narratives, through the use of innovative visual autofictional methods to represent their experiences. In the case of South African visual artist Bontle Tau, autofiction is used as a strategy to construct a mul
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Kasza, Justyna Weronika. "Autofiction and Shishōsetsu: Women Writers and Reinventing the Self." In Palgrave Studies in Life Writing. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-78440-9_13.

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AbstractThis chapter explores the shared characteristics, both in terms of thematic concerns and narrative structures and strategies, of autofiction and the distinct Japanese form of the I-novel, shishōsetsu. Focusing on the works of three contemporary Japanese writers, Kanai Mieko, Sagisawa Megumu, and Mizumura Minae, it examines the narrative strategies applied by female authors to redefine the self. The chapter focuses on the traits shared by shishōsetsu and autofiction: the ambiguity of first-person narratives such as the semantics of “I” within the text; the interdependence of author, nar
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Egendal, Helle. "Multilingual Autofiction: Mobilizing Language(s)?" In Palgrave Studies in Life Writing. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-78440-9_8.

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AbstractThis chapter argues that in postmigrant literature published since the 1990s, a new mode has emerged that traverses different countries and cultures: multilingual autofiction. The chapter explores the aesthetic scope and political potential of this autofictional mode for the negotiation of an author’s multilingual identities, with reference to case studies from Germany, Sweden, and Denmark: Feridun Zaimoğlu’s Kanak Sprak: 24 Misstöne vom Rande der Gesellschaft (Kanak Sprak: 24 Discordant Notes from the Margin of Society) (1995) Jonas Hassen Khemiri’s Ett öga rött (One Eye Red) (2005),
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Gibbons, Alison. "Reading Celebrity Autofiction." In The Routledge Companion to Narrative Theory. Routledge, 2022. http://dx.doi.org/10.4324/9781003100157-29.

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Conference papers on the topic "Autofiction"

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Landry, Vincent. "Autofiction théorique queer : mélange dans le(s) genre(s)." In Action radicale, sujet radical : racines, représentations, symboles et créations = Radical action, radical subject : roots, representations, symbols and creations. Éditions de l'Université de Sherbrooke, 2015. http://dx.doi.org/10.17118/11143/8374.

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Gabriel, Rami. "Impossible Autofiction : The Other Side of the Wind and Orson Welles." In Impossible fictions / Fictions impossibles. Fabula, 2023. http://dx.doi.org/10.58282/colloques.11124.

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Biggs, Heidi. "Fabulating Bog Girl: Queer Entanglements of Body and Land Histories in More-than-Human AutoFiction and Design." In CHI 2025: CHI Conference on Human Factors in Computing Systems. ACM, 2025. https://doi.org/10.1145/3706598.3714067.

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Okubo, Miki. "AUTOFICTION OR WRITING ABOUT ONE’S SELF: AESTHETIC ELEMENTS IN NEW LITERATURE – CONSIDERED THROUGH THE ANALYSIS OF HERVÉ GUBERT’S WORKS." In New Semiotics. Between Tradition and Innovation. IASS Publications, 2015. http://dx.doi.org/10.24308/iass-2014-142.

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CRISTEA-ENACHE, Daniel. "Andrei Codrescu: a plural identity poet. The return of the romanian, jewish, american writer to the romanian language poetry." In "Educaţia multiculturală, spaţiu formativ pentru educaţia valorilor". Conferinţa ştiinţifică naţională cu participare internaţională. Ion Creangă Pedagogical State University, 2024. https://doi.org/10.46727/c.emc-2023.p3-7.

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The political exile problem may cross paths or not with the plural identity of some Romanian writers who decided once to live in another country and write in another language. This article falls under this thematic illustrating the return of the American writer Andrei Codrescu to his first language, found again after an enriched experience as a writer in another language; perceived as fresh and expressive. Compared to other Romanian writers going through a de familiarization process, Andrei Codrescu on the other hand has the revelation of the freshness of Romanian language, the language he use
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