Academic literature on the topic 'Autofiction And Reception'

The antique ass novels create the problem if there is identity or not between author and narrator/protagonist, if it is an autobiographic text or not. The humanistic reception in Renaissance from Poggio to Sieder has to handle these problems and find one possibility to answer because they connect the ass novels to the lucianic tradition of the imaginary voyages and tall tales (Lügendichtung). Then the supposed autobiographic identity changes to what is called in modern theory of literature an autofiction.

Este artículo se centra en la judiciarización de dos autofictions: les petits de Christine Angot y Belle et bête de Marcela Iacub. Estas escandalosas novelas han sido objeto de un juicio por violación de la vida privada de los personajes identificables representados en el mismo. La ex-mujer de la compañera de Angot ha superado cínicamente la vida de Elise Bidoit. La segunda es la historia desvergonzada y provocativa de un amor efímero entre Iacub y el ex director del Fondo Monetario Internacional (FMI), Dominique Strauss-Khan. Hemos movido conjuntamente ciertos aspectos de la postura sutoral (Meizoz, 2011) y la recepción crítica (Jauss, 1990) para llevar a cabo nuestros análisis. Así, resulta que Angot e Iacub, como dos verdugos, operaban, cada uno a su manera, una cínica maniobra literaria destinada principalmente a perjudicar a sus víctimas o presas literarias. This article focuses on the judiciarization of two autofictions: Christine Angot’s Les Petits and Marcela Iacub’s Belle et Bête. These scandalous novels have each been the subject of a lawsuit for violation of the private life of the identifiable characters portrayed therein. The former cynically overexposes the life of Elise Bidoit, the ex-wife of Angot's companion. The second is the shameless and provocative story of an ephemeral love between Iacub and the former director of the International Monetary Fund (IMF), Dominique Strauss-Khan. We have jointly mobilise certain aspects of the auctorial posture (Meizoz, 2011) and the critical reception (Jauss, 1990) to carry out ours analyzes. Thus, it turns out that Angot and Iacub, as two executioners, operated, each in his own way, a cynical literary maneuver aimed primarily at harming their victims or literary preys. Le présent article porte sur la judiciarisation de deux autofictions : Les Petits de Christine Angot et Belle et Bête de Marcela Iacub. Ces romans scandaleux ont chacun fait l’objet d’un procès pour violation de la vie privée des personnages à clé qui y sont portraiturés. Le premier surexpose cyniquement la vie d’Élise Bidoit, l’ex-épouse du compagnon d’Angot. Le second est l’histoire impudique et provocante d’une liaison éphémère entre Iacub et l’ex-directeur du Fond Monétaire Internationale (FMI), Dominique Strauss-Khan. Nous avons mobilisé conjointement certains aspects de la posture auctoriale (Meizoz, 2011) et de la réception critique (Jauss, 1990) pour mener à bien nos analyses. Ainsi, il s’avère qu’Angot et Iacub, comme deux bourreaux, ont opéré, chacune à sa manière, une manœuvre littéraire cynique visant principalement à nuire leurs victimes ou proies littéraires.

The French writer of Algerian origin, Azouz Begag, has long been interested in the reception in France of those with immigrant origins. Their treatment often continues to be that reserved for the ‘visitor’, even several generations down the line. Yet these ‘outsiders’, who are not expected to ‘stay’, no longer identify with the country of their ancestors. Their life journeys become characterised by often delicate negotiations in order to be accepted. In the light of this situation, we examine three of Begag’s autofictional works. The first of these is Le Gone du Chaâba (1986), the text for which he gained celebrity. It explores the world of a young Algerian boy in France in the 1960s confronted with a Francocentric school system largely dismissive of the immigrant child. The second text, Le Marteau pique-cœur (2004) reveals an adult destabilised by the collapse of his marriage and the loss of his father, while the third, Salam Ouessant (2012), shows him on holiday with his two daughters and struggling with single status. All three texts share common concerns about reference points in life and all three are linked by numerous ‘crossings’ featuring various kinds of movement – physical, cultural, linguistic and transitional.

In this paper I examine how transgressive references to gender, sexuality and the body are translated in two texts by the Québécoise writer Nelly Arcan, her debut autofictional narrative Putain (2001) and her final (retroactively auto)fictional title Paradis, clef en main (2009). Throughout her oeuvre, Arcan seeks to liberate women from stereotypical frameworks of reference by asserting women’s gendered, sexual and corporeal subjectivities in previously taboo discourses on prostitution, incest, sexuality, anorexia, matrophobia and suicide. Through her candid and explicit writing style, Arcan elaborates her own specific écriture au féminin which incorporates a linguistic, thematic and physical visualization of women within her texts.These two novels have been translated into English as Whore (2005) by Bruce Benderson and Exit (2011) by David Scott Hamilton respectively. However, analysis of the target texts suggests that neither translator adopts a gender-conscious approach which compromises the specificity of Arcan's idiolect in the Anglophone context. Through a comparative analysis of examples from the source texts and translations under the categories of gender, sexuality and the body, I discuss how the translation practices work counterproductively to obfuscate Arcan’s textual visualisations of women. In terms of references to gendered identity, by removing or neutralising Arcan's grammatically feminised language in Putain, the translator obfuscates Arcan's idea of the importance gender plays in shaping maternal relationships. Similarly, in Exit, Arcan's subversive feminist wordplay is distorted resulting in women being reinserted into patriarchal frameworks of reference. My analysis on Arcan's portrayal of sexuality underlines how sexual euphemisms in the translation downplay the narrator's potential for sexual agency in Whore, while misleading translation choices for feminist neologisms relating to women's sexuality in Exit eschew Arcan's efforts to verbalise women's lived sexual realities. Lastly, inconsistency in the translation of female corporeal vocabulary distorts the neutral tone Arcan employs in Putain to ensure women's bodies are not eroticised and the translator's decision to condense references to the female body in Exit undermines the significance Arcan places on corporeal connections between women. Thereafter, I move on to consider the wider implications of the translative process such as how paratextual elements also have an impact upon Arcan's reception in the target culture. I argue that in both Whore and Exit, the paratranslators intentionally sensationalise the autofictional elements of Arcan's texts. In short, my analysis contends that through a non-gender conscious translation practice, the celebrity of Arcan is promoted in the Anglophone context but to the detriment of Arcan’s écriture au féminin.

La historia reciente de la categoría crítica autoficción sirve, en este trabajo, como punto de partida para hacer una revisión de las diversas definiciones propuestas, hasta el presente, por los estudiosos del tema y para intentar determinar lo distintivo de las prácticas literarias englobables dentro de ese concepto. Se examinan las dificultades que se presentan cuando se intenta fijar límites rígidos entre ficción, no-ficción y autoficción; se analizan algunos textos de narrativa y de poesía que podrían ser considerados “autoficciones avant la lettre”; y se propone una caracterización del fenómeno desde la perspectiva de la recepción. La hipótesis que plantea este ensayo es que el rasgo característico de la autoficción es la presencia en el texto de un lector implícito capaz de compartir la intimidad del autor.<br>The recent history of “autofiction” in literary criticism serves in this paper as a starting point to review the various definitions that scholars have proposed till the present date and to try to determine the distinctive traits of the literary practices that can be included within this concept. The difficulties that arise when one tries to set rigid boundaries between “fiction”, “non-fiction” and “autofiction” are examined, some narrative and poetry texts that could be considered “avant la lettre autofictions” are analyzed and a characterization of the phenomenon from a reception perspective is proposed. This essay hypothesizes that the defining feature of “autofiction” is the presence of an implied reader in the text that is capable of sharing the author ́s intimacy.

Submitted by Anaclaudia Mattos Villalba (anaclaudiamattosvillalba@gmail.com) on 2016-05-08T01:13:49Z No. of bitstreams: 1 Marina.pdf: 790898 bytes, checksum: e61c4dcf732181f2cddf4fe57fccb122 (MD5)<br>Approved for entry into archive by dayse paz (daysepaz@hotmail.com) on 2016-05-11T15:23:19Z (GMT) No. of bitstreams: 1 Marina.pdf: 790898 bytes, checksum: e61c4dcf732181f2cddf4fe57fccb122 (MD5)<br>Made available in DSpace on 2016-05-11T15:23:19Z (GMT). No. of bitstreams: 1 Marina.pdf: 790898 bytes, checksum: e61c4dcf732181f2cddf4fe57fccb122 (MD5) Previous issue date: 2014<br>A produção literária de Carmen da Silva (1919-1985), escritora feminista rio-grandina, revela ecos da leitura da obra da escritora e filósofa feminista francesa Simone de Beauvoir (1908-1986). Esta dissertação de mestrado propõe a leitura e interpretação das obras O sangue dos outros (1945), de S. de Beauvoir, e Sangue sem dono (1964), de C. da Silva, sob a luz de teorias tais como a estética da recepção, intertextualidade, feminismo e existencialismo, no sentido de aproximá-las, no que diz respeito aos ecos da leitura de Beauvoir feita por C. da Silva, além de propor repensar as categorias literárias a que as obras eleitas pertencem.<br>The literary work of Carmen da Silva (1919-1985), a feminist writer from Rio Grande, reveals echoes of her reading of French feminist philosopher Simone de Beauvoir’s (1908-1986) work. This master’s thesis proposes the reading and interpretation of S. de Beauvoir’s O sangue dos outros (1945) and C. da Silva’s Sangue sem dono (1964), guided by theories such as reception theory, intertextuality, feminism and existentialism, in order to relate them, concerning the echoes of the reading of Beauvoir done by Carmen da Silva, as well as it proposes rethinking literary categories to which the works belong.

Les images de soi produites par un auteur dans des romans autobiographiques peuvent, dans le contexte actuel, recouper ses représentations sur ses profils numériques, faisant apparaître une dynamique influençant la lecture des textes littéraires, la position institutionnelle de l’écrivain et la relation de ce dernier au lecteur. Nous avons voulu défendre l’idée selon laquelle, s’il n’est pas déterminant de prendre en compte la personne réelle de celui ou celle qui signe l'œuvre (y compris dans le cas d'autofictions), sa figure construite à la fois dans le discours littéraire et dans les espaces d’expression numériques brise la frontière entre texte et hors-texte.Afin d'observer les implications de la rencontre entre double virtuel et double fictionnel de l’auteur, nous nous attachons plus particulièrement aux cas de Chloé Delaume et de Tao Lin. Ce dernier sature ses textes de renvois entre sa vie, internet et son œuvre, mettant en lumière des éléments de référentialité (notamment entre personne et personnage) désormais accessibles à ce que nous nommons des lecteurs-internautes. Concernant Chloé Delaume, c’est au niveau du support de fiction que l’exploration de nouveaux médias se joue : les outils informatiques, comme une contrainte oulipienne, servent de cadre technique à partir duquel l’écriture est appelée à naître. Dans leurs approches respectives, nous nous sommes intéressée à la mise en place d’un récit de soi transmédiatique, induisant une nouvelle matrice diégétique d’une part, et de nouveaux comportements de lecture d’autre part. La curiosité du lecteur peut être nourrie par les réseaux sociaux ; or, non seulement l’accès à la vie de l’auteur reste un mirage, mais cela ne donne à ce dernier que plus d’armes pour manipuler le lecteur s’il le souhaite<br>The self-images produced by an author within autobiographical novels tend to overlap, in our digital era, his or her online representations, thus influencing the reading of the text, the institutional position of the writer and his or her relationship to the reader. More broadly, although it is not necessary to take into account the actual person producing the work of art (including in the case of autofictions), the figure he or she constructs within literary speech and digital spaces for expression breaks the boundary between text and what is located outside of the text. In order to parse what the encounter between the digital version and the literary version of the author involves, I chose to focus on the works of Chloé Delaume and Tao Lin. The latter uses material coming straight from his own social media in his novels, highlighting elements of referentiality (especially between person and persona), now available to what I call readers-internet users. As for Chloé Delaume, she explores new media through various mediums of fiction: she uses technological tools as a frame, akin to an Oulipian constraint, in order to let a specific kind of writing emerge. What interested me in their approaches is their construction of a transmedia self-narrative leading on the one hand to a new diegetic matrix and on the other to new ways of reading. The reader's curiosity can be nourished by social media; however, not only does the access to the writers' life remain an illusion, but it only gives more power to them if they wish to manipulate the reader

Cette thèse est consacrée à la réception chinoise des œuvres de Marguerite Duras, plus particulièrement à un phénomène littéraire inédit : le lien entre la réception de L’Amant et la naissance de l'autofiction chinoise. À partir de ce phénomène, nous émettons l’hypothèse selon laquelle L’Amant a joué un rôle fondamental dans l’émergence de l’autofiction chinoise. Notre démarche s’appuie sur la réception générale de L’Amant en Chine ; après avoir mis en relief le lien étroit entre L’Amant et l’éventuelle autofiction chinoise, nous réalisons une analyse concrète et détaillée sur deux autofictions chinoises et nous procédons à l’établissement générique de l’autofiction chinoise à l’aide des critères déterminant l’autofiction française. À la fin de notre étude, nous abordons un fait littéraire existant en Chine comme en France : ce sont les femmes écrivains qui se consacrent en plus grand nombre à la pratique de l’autofiction. Nous cherchons à déterminer la raison de ce fait<br>This thesis is dedicated to the Chinese reception of Marguerite Duras’publications, and more specifically to the following never before seen literary phenomenon : the bond between the reception of The Lover and the birth of the Chinese autofiction. Based on this phenomenon, we’ve put forward the hypothesis that The Lover has played a fundamental role in the emergence of the Chinese autofiction. Our process relies on the general reception of The Lover in China, therefore, after putting into focus the bond between the latter book and the hypothetical Chinese autofiction itself, we continue with the production of a thorough and concrete analysis on two Chinese autofictions, before proceeding to the generic establishment of the Chinese autofiction as a literary genre by basing ourselves on the criteria determining its French counterpart. At the end of our study, we address a literary fact existing both in China and in France : it is women writers who devote themselves in greater numbers to the practice of autofiction. We seek to determine the reason for this fact

Partant du constat de l'omniprésence de Lucien dans son corpus, notre thèse se propose de dresser un panorama des autoreprésentations auctoriales dans l'ensemble de l'œuvre de Lucien de Samosate, mais dans une perspective résolument théorique. En effet, parce qu'il se constitue comme point focal de sa propre œuvre, Lucien a souvent tendance à faire l'objet d'une lecture biographique de la part de la critique. Cette thèse se donne pour objet de redonner à l'autoreprésentation de l'auteur son sens de geste poétique. En choisissant le terme de figure, auquel on donne ici un sens plus restreint qu'à celui de persona, on s'intéressera uniquement aux moments où l'auteur fait explicitement l'objet de son propre discours.La première partie de notre thèse consiste donc en une importante typologie des mises en scène de soi chez Lucien: on part des apparitions les plus explicites de l'auteur en contexte référentiel, dans le corpus oratoire ou biographique, pour traiter ensuite de la partie fictionnelle du corpus. L'un des objectifs de ce travail est en effet de redonner à Lucien sa place de pionnier dans l'invention de l'autofiction.La seconde partie de notre thèse tire les conclusions poétiques de cette typologie, en dégageant aux autoreprésentations de l'auteur une double fonction : d'abord, elles doivent dire l'individu social et intellectuel, mais dans une démarche qui transcende les genres et la séparation traditionnelle entre référentialité et fiction. Ensuite, les figures de l'auteur ont pour fonction de servir de vecteur à un message métapoétique extrêmement riche, qui va de la théorie de la fiction à celle de la réception<br>The starting point of this PhD thesis was the constatation of Lucian's omnipresence within his own corpus. This phenomenon often led critics to have an excessively biographical approach to this author. The aim of this thesis is thus to give an account of the vast scope of self-representations within Lucian's corpus, in a theoretical perspective, in order to show that the staging of the self can be seen as a poetical gesture. The first part of this work thus consists in a typology of all the auctorial self-representations that can be found within Lucian's œuvre. It ranges from the most explicit forms of authorial presence, in referential works, such as prolaliai and biographies, to the most fictional part of the corpus. The aim of this work is to establish Lucian's position as a pioneer in the invention of autofiction.The second part of this thesis draws the theoretical conclusions of this typology, by showing that authorial self-representations have two main functions : first, they help defining Lucian's social and intellectual identity, beyond generic boudaries ; second, they serve a metaliterary purpose : as vicarious surrogates, Lucian's doubles appear as a powerful means of expressing his aesthetical views

Chapter 3 develops arguments from earlier in Writing Shame around the inextricability of femininity and shame, the non-redemptive literary treatment of shame, the formal disruptions produced in the writing of shame, and the ways in which shame seeps into the contexts and processes of writing, reading and critical reception. It does this via readings of three contemporary, female-authored autofictions with a central focus on (female, heterosexual) desire and with a leaning towards literary experiment: Chris Kraus’s I Love Dick (1997), Marie Calloway’s what purpose did i serve in your life (2013) and Katherine Angel’s Unmastered (2012). All three texts are discussed as performing and reflecting on acts of self-exposure and states of vulnerability – while also, sometimes, turning that humiliation outwards. All three are read also as complicating the confessional mode via their generic mixing of fiction, memoir, essay and theory. More broadly, the chapter asks what the relationship might be between self-abasement and self-advertisement, and how these texts might work to reveal the structural – not merely personal – nature of shame, as far as women are concerned.

Chapter 4 discusses recent fiction and autofiction by canonical male authors, considering the relationship between masculinity and shame, and highlighting the persistent association between shame and femininity in works by male authors. The textual analyses of Philip Roth’s The Dying Animal (2001), Martin Amis’s The Pregnant Widow (2010), and Karl Ove Knausgaard’s My Struggle II: A Man in Love (2009/2014) suggest that, too often, men’s writing of and on shame seeks to disavow that shame, to project it onto female bodies, and/or to make of its confession a kind of heroism. The Roth and Amis novels are read as displacing male shamefulness (particularly, but not only, sexual shame) onto vulnerable female bodies – bodies that are sometimes also racially othered. The reading of Knausgaard then shows how that text, despite evincing an unusual perspicacity on the subject of masculine shame, ultimately transforms its ‘struggle’ with shame into a literary struggle for ‘authenticity’ and leaves intact the association of shamefulness and the feminine. An analysis of Knausgaard’s critical reception considers also how his positioning as (exceptional, paradigmatic, Proustian) Author counters his narrative of shame and failure with one of literary ‘greatness’, remasculinising him in the process.