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Journal articles on the topic 'Autofiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

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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2

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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3

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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6

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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8

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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9

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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Gontijo Rosa, Carlos. "Vicente, autoficção de Jorge Andrade." Catedral Tomada. Revista de crítica literaria latinoamericana 8, no. 14 (2020): 283–306. http://dx.doi.org/10.5195/ct/2020.438.

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This paper concentrates on the autofiction in drama, which is a very peculiar procedure much distinct of the autofiction in the novel. This is due to the scenic representation, the actor’s presence, and other intrinsic characteristics of the dramatic genre, making that the reader or the spectator views the border between fiction and reality in a very particular way. Regarding the character Vicente, present on three plays of the Brazilian playwright Jorge Andrade and who we focus on our discussion, we propose to consider it as an autofictional character, despite its status of autobiographical b

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CZYŻAK, AGNIESZKA. "Autofiction." Autobiografia 15 (2020): 93–98. http://dx.doi.org/10.18276/au.2020.2.15-07.

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13

Effe, Alexandra. "Thinking (Im)Possibilities: Cognitive Acts of Imagination and Autofictional Books." Literature 5, no. 2 (2025): 12. https://doi.org/10.3390/literature5020012.

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Autofiction often interweaves the (phenomenologically) real and the unreal. It is definitionally in some way about the author as a real-life person but also frequently features elements that are impossible by real-life standards, or at least seem highly unlikely. This article argues that autofiction provides a training ground for imaginative acts and has the potential to change our understanding of what is possible, not only in literature but also in life. This article substantiates this hypothesis by integrating models from Text World Theory, Unnatural Narratology, and a Predictive-Processing

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14

Koffeman, Maaike. "Élise Hugueny-Léger, Projections de soi. Identités et images en mouvement dans l'autofiction." European Journal of Life Writing 12 (December 18, 2023): R18—R21. http://dx.doi.org/10.21827/ejlw.12.41394.

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Playing on the double meaning of the word projection, this book explores the multiple relationships between the French literary genre of autofiction and the moving image. Élise Hugueny-Léger, a researcher of contemporary French literature and a specialist of the work of Annie Ernaux, departs from the idea that autofictional writing is a form of psychological projection, wherein a self-image is being cast onto the page. In a more literal sense, the word projection refers to the cinematic technique of showing moving images on a screen. Several francophone authors known for their autofiction have

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15

Mironescu, Doris, and Andreea Mironescu. "Maximalist Autofiction, Surrealism and Late Socialism in Mircea Cărtărescu’s Solenoid." European Journal of Life Writing 10 (July 9, 2021): RLS66—RLS87. http://dx.doi.org/10.21827/ejlw.10.37605.

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This article studies the fictionalization of late Eastern-European socialism in contemporary Romania, namely the literary projection of the 1980s in Mircea Cărtărescu’s autofictional novel Solenoid (2015). The novel is an ample, paranoid, metaphysical, and counterfactual autobiography that uses a late-communist backdrop to create a metaphorically skewed representation of the self and the world. In order to describe this narrative structure as an emergent subgenre of the postmodern maximalist novel, we coined the term ‘maximalist autofiction.’ We then discussed Cărtărescu’s option for maximalis

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Tlustý, Jan. "The Many Lives in Ota Filip’s Autobiographies." Partial Answers: Journal of Literature and the History of Ideas 23, no. 2 (2025): 269–92. https://doi.org/10.1353/pan.2025.a961658.

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Abstract: The study examines two autofictional narratives — The Seventh Autobiography (2000) and The Eight, or Unfinished Autobiography (2007) by the Czech writer Ota Filip (1930–2018). The texts were written in reaction to a media scandal as well as some traumatic events in the author’s private life. The study attempts to understand the different ways in which the two texts were received, both in the Czech context and when compared to the reactions to the German version, Der siebente Lebenslauf (2001). The cognitive-hermeneutic theory of autobiography and autofiction by Liesbeth Korthals Alte

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17

Doyle, Briohny. "Paper Dolls: Autofiction, ambivalence and resistance." Axon: Creative Explorations 14, no. 2 (2025): 1–9. https://doi.org/10.54375/001/cugqe503t9.

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Resistance and ambivalence are pivotal in the construction of autofictional texts. While critics highlight the ambiguous status of autofiction, the genre is commonly understood to deliberately destabilise reader expectations regarding truth and ‘literary selfhood’. Writers in the genre experience ambivalence toward both the status of literary protagonists, and the truth claims of memoir. They seek instead to engage readers ‘not only in the consumption of plot content (of which there is often very little) but also in the transmission of representations of life experience’ across the boundaries

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18

Belogortsev, Andrei D. "AUTOFICTION OR PSEUDO-AUTOBIOGRAPHY. GENRE SPECIFICS IN MODERN RUSSIAN LITERATURE." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 3 (2023): 23–33. http://dx.doi.org/10.28995/2686-7249-2023-3-23-33.

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The article is about the emergence of autofiction (pseudo-autobiography) as a new genre in modern Russian literature on the example of the works by Andrei Astvatsaturov, Sergei Dovlatov, Roman Senchin, Eduard Limonov, Zakhar Prilepin, Dmitry Danilov, Alexander Khristoforov, as well as the works by Sylvia Plath, Janet Winterson and Carl Ove Knausgor as modern foreign literature representatives of the autofiction genre in the Russian book market. The article discusses the history of the autofiction emergence from the point of view of the genre origin abroad, and from the standpoint of home liter

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Belogortsev, Andrey D. "INTERDISCIPLINARY APPROACH TO THE STUDY OF THE AUTOFICTION GENRE AS A PHENOMENON OF MODERN LITERATURE." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 3 (2023): 233–41. http://dx.doi.org/10.28995/2686-7249-2023-3-233-241.

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The article is about an issue of researching the autofiction genre as a phenomenon of modern literature. The interdisciplinary nature of the described phenomenon is substantiated, arguments are given in favor of the close relationship between literary theory, philosophy, history, psychology, sociology, narratology, ethnography, psychoanalysis in the works of the autofiction genre. Autofiction is presented as an experimental platform for obtaining new scientific knowledge in the field of various sciences. Author considers popular rules for creating works in the autofiction genre, such as demoli

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20

Gasparini, Philippe. "Autofiction vs autobiographie." Tangence, no. 97 (May 11, 2012): 11–24. http://dx.doi.org/10.7202/1009126ar.

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Toute définition de l’autofiction passe par une critique de l’autobiographie. D’emblée, Serge Doubrovsky justifia son néologisme par la nécessité de dépasser le modèle rousseauiste dont Philippe Lejeune venait de cerner la spécificité pragmatique. Désuète, ronflante et illusionniste, l’autobiographie « classique » était disqualifiée par la découverte de l’inconscient. Il était temps que le sujet prenne acte de sa fictionalité. Relisant Les mots, le narrateur du Livre brisé montre comment le récit d’enfance est « adultéré » par la démonstration dont il est le prétexte. Alain Robbe-Grillet, Raym

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21

Srikanth. "Fictionality and Autofiction." Style 53, no. 3 (2019): 344. http://dx.doi.org/10.5325/style.53.3.0344.

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Miguet, Marie. "Critique/autocritique/autofiction." Les Lettres Romanes 43, no. 3 (1989): 195–208. http://dx.doi.org/10.1484/j.llr.4.00446.

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Jones, E. H. "Genese et autofiction." French Studies 62, no. 3 (2008): 372. http://dx.doi.org/10.1093/fs/knn017.

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Srikanth, Siddharth. "Fictionality and Autofiction." Style 53, no. 3 (2019): 344–63. http://dx.doi.org/10.1353/sty.2019.0024.

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Worthington, Marjorie. "“We'll Make Magic”: Zen Writers and Autofictional Readers in A Tale for the Time Being." Genre 54, no. 1 (2021): 89–109. http://dx.doi.org/10.1215/00166928-8911524.

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Ruth Ozeki's novel A Tale for the Time Being is an autofiction—a novel whose protagonist is a characterized version of its author and thereby straddles the line between memoir and fiction. In an American literary context, autofiction is a genre dominated by white male authors. This article argues that Ozeki's approach to autofiction is vastly different from that of most of her white, male counterparts in that the author-character “Ruth” does not lay sole claim to authorial authority, but rather works collaboratively with other characters to share creative power and the responsibility that come

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Ermolin, Evgeniy A. "Autofiction as a media stratagem." Verhnevolzhski Philological Bulletin 2, no. 29 (2022): 71–79. http://dx.doi.org/10.20323/2499-9679-2022-2-29-71-79.

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The article deals with the phenomenon of autofiction, characteristic of modern culture, as a reflex of mental procedures and a creative stratagem related to a person's orientation in the modern world, as applied to the latest media practices and journalistic self-realization. Its presence is determined by the fundamental features of culture, the way of self-perception and self-determination of a modern person in the context of Postmodern culture. Autofiction is implemented both in literature and as a media practice, a phenomenon of modern journalism. Journalistic gravitation toward storytellin

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Gámez, Carlos. "Un juego de cajas chinas en Ostia. Metalepsis y autoficción en Sergio Blanco." Investigación Teatral. Revista de artes escénicas y performatividad 12, no. 20 (2021): 93–108. http://dx.doi.org/10.25009/it.v12i20.2689.

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El ensayo analiza la tercera de las autoficciones de Sergio Blanco (Montevideo, 1971), Ostia (2015). La obra se estudia desde la teoría narratológica, definiendo la diégesis de la pieza y las otras historias presentes en el texto. El trabajo tiene como objetivo general analizar cómo la metalepsis se convierte en autoficción, provocando un efecto estético en el receptor. Para ello es necesario describir la presencia de una retórica de la memoria, que se expresa a través de la memoria prostética, y determinar cómo la ironía de carácter crea un pacto de mentira con el público. A set of chin

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Dix, Hywel. "Autofiction, Colonial Massacres and the Politics of Memory." University of Bucharest Review. Literary and Cultural Studies Series 9, no. 1 (2020): 10–22. http://dx.doi.org/10.31178/ubr.9.1.2.

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: I argue that the emerging genre of autofiction provides a number of useful techniques and methods by which postcolonial writers engage with the politics of memory in their depiction of a number of largely forgotten brutalities committed by the European imperial powers during the colonial era. More specifically, two of the elements of autofictional practice that have been of particular interest to postcolonial writers are its capacity to mediate between individual and collective forms of memory on the one hand; while also radically destabilizing notions of absolute truth and authenticity on t

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Kim, Annabel L. "Exofiction as Autofiction: Contemporary French Fiction's Identity Crisis." New Literary History 55, no. 2 (2024): 175–94. http://dx.doi.org/10.1353/nlh.2024.a938857.

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Abstract: In the context of contemporary French literature's turn toward the real, exofiction (fictionalized biography, roughly speaking) is often considered the antithesis to autofiction, its much better known and more visible literary cousin. Where autofiction is accused of being a narcissistic, navel-gazing form of writing, exofiction, as its prefix indicates, is framed as being turned outward, toward the world of history and the world of others, free from the self-enclosed reflexivity associated with autofiction. In this article, I take up the exofictions of three well-known contemporary F

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Zeh, Miriam. "Elsewhere in Elsewhen—Autofiction as Utopia." Utopian Studies 30, no. 1 (2019): 127–35. http://dx.doi.org/10.5325/utopianstudies.30.1.127.

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ABSTRACT In contrast to “autobiography,” which is aligned with authenticity and truthfulness, “autofiction” addresses the fictional aspects of literary self-designs: “Fiction of strictly real events and facts,” that is how Serge Doubrovsky defined the term, which has since been established in the recent debate on autobiography. The conference “Elsewhere in Elsewhen- Autofiction as Utopia,” convened by the WWU Münster, Germany, and the RU Nijmegen, The Netherlands, in March 2018, explored the intersection between utopia as “impulse,” “method” or “consciousness” and autofiction as literary self-

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Jordan, S. "Autofiction in the Feminine." French Studies 67, no. 1 (2012): 76–84. http://dx.doi.org/10.1093/fs/kns235.

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Spear, Thomas C. "Autofiction and national identity." Sites: The Journal of Twentieth-Century/Contemporary French Studies revue d'études français 2, no. 1 (1998): 89–105. http://dx.doi.org/10.1080/10260219808455928.

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Altashina, Veronika. "L’UN CONTRE L’AUTRE, OR ECHOLALIA IN SERGE DOUBROVSKY’S AUTOFICTION." Lomonosov Journal of Philology 48, no. 1, 2025 (2025): 213–24. https://doi.org/10.55959/msu0130-0075-9-2025-48-01-17.

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The article analyzes the linguistic specificity of Serge Dubrovsky’s (1928–2017) autofiction Fils (1977). It was in relation to the genre and language features of this text that the author proposed his neologism — autofiction, which is currently widely used both in practice and in theory. According to the founder himself, autofiction presupposes absolute factual accuracy of the author’s life, in particular, complete homonymy of the author, the narrator and the hero, and the fictionality of the presentation. The writer creates his special language —“antilanguage” where English inclusions play a

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LEE, Chae-young. "La Vagabonde(1910) de Colette: une possibilité de l'autofiction et sa signification." Societe d'Etudes Franco-Coreennes 103 (December 31, 2023): 131–61. http://dx.doi.org/10.18812/refc.2023.103.131.

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Parmi les oeuvres de Colette, Lo, Naissance du jour(1928) est généralement considérée comme la première autofiction. Malgré cela, cette étude émet l'hypothèse que La, Vagabonde(1910) de Colette pourrait être une autofiction. En effet, c'est une oeuvre qui mélange la fiction et le récit autobiographique. Nous supposons également que de nombreuses caractéristiques de l'autofiction se retrouvent dans cet ouvrage, bien que le nom de ‘l'auteur’ et celui du ‘narrateur et du protagoniste’ soient différents. Pour examiner la possibilité que ce roman soit une autofiction, nous envisagerons d'abor

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Masschelein, Anneleen. "Against Autofiction: The French Resistance to Autofiction from Gérard Genette to Julia Kristeva." American Book Review 43, no. 2 (2022): 37–41. http://dx.doi.org/10.1353/abr.2022.0041.

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Louis, Marain Mokoko Akongo. "Flora Nwapa's Women are Different : Autofiction ?" International Journal of Arts and Social Science 4, no. 6 (2023): 315–22. https://doi.org/10.5281/zenodo.7747695.

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The purpose of this article is to investigate whether Flora Nwapa’s Women are Different is an autofiction or a mere product of imagination. To carry out the research, the work has been divided into three sections. In the first section entitled definitions of terms, there have been definitions of terms such as biography, autobiography, fiction, and autofiction. In the second section whose title is Flora Nwapa’s school life, there has been the investigation of the school life depicted in the novel under scrutiny and the author’s school life painted in her biography by Marie Ume

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Effe, Alexandra. "Yvonne Delhey, Rolf Parr and Kerstin Wilhelms (eds.), Autofiktion als Utopie // Autofiction as Utopia." European Journal of Life Writing 10 (December 6, 2021): R10—R15. http://dx.doi.org/10.21827/ejlw.10.38169.

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This volume, emerging from a conference, brings into conversation research on the two title-words autofiction and utopia. It focuses on what the introduction defines as the point of convergence of these genres or writing modes: the desire to shape reality according to one’s individual vision, which, the editors note, can serve as critical commentary on society (1). In exploring this intersection, the volume takes up an important strand in the discussion on autofiction, namely the one about its potential functions both for individual authors and for society more broadly. Autofiction has been ar

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Péron-Douté, Eugénie. "L’autofiction, un genre performatif." Symbolon 22, no. 1 (2021): 167–83. http://dx.doi.org/10.46522/s.2021.01.15.

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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 subje

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Gibbons, Alison. "Rev. of Autofiction in English." a/b: Auto/Biography Studies 35, no. 3 (2020): 793–96. http://dx.doi.org/10.1080/08989575.2020.1766215.

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Gibbons, Alison. "Reading Autofiction: The Cognitive Turn." American Book Review 43, no. 2 (2022): 32–36. http://dx.doi.org/10.1353/abr.2022.0040.

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Orlando, Valérie K. "Transgressing the Real and the Fictional in Fatima Mernissi's Autofiction. Dreams of Trespass : Tales of a Harem Girlhood." Expressions maghrébines 24, no. 1 (2025): 121–36. https://doi.org/10.1353/exp.2025.a961951.

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Abstract: Dreams of Trespass: Tales of a Harem Girlhood (1994) by Fatima Mernissi blends childhood memories (1944–1949) with Morocco's nationalist movement and path to independence. The narrative intertwines personal anecdotes with historical shifts, illustrating women's gradual emancipation from patriarchal traditions like seclusion and veiling. This essay examines Mernissi's work as autofiction , where the author-feminist merges reality and fiction to depict a girl's coming of age amid Morocco's sociopolitical transformations. By straddling memoir and invention, Mernissi crafts a layered acc

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Alcaraz León, María José. "El lector ante la autoficción." Thémata Revista de Filosofía, no. 63 (2021): 61. http://dx.doi.org/10.12795/themata.2021.i63.05.

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Al menos desde que, en la década de los 70 del pasado siglo, surgiera el término “autoficción”, las cuestiones sobre cómo ha de entenderse este género o qué posibilidades de exploración de la subjetividad permite esta forma narrativa han dado lugar a un sostenido intercambio crítico en revistas académicas, simposios, ensayos, etc. En este trabajo abordaré algunas cuestiones relacionadas con el tipo de apreciación que parece exigida por este género a la luz de su doble compromiso con lo que, siguiendo a P. Lejeune (1975), se conocen como los pactos ficcional y autobiográfico. Palabras clave: Au

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Victoria, Sorina-Maria. "Ego-grafii lirice – de la iluzia autobiografică la crochiul autoficțional." Comunicare interculturală și literatură 27, no. 1 (2022): 116–24. https://doi.org/10.35219/cil.2020.1.12.

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In this article we intend to cross the borders of fiction, reconsidering the notion of autofiction, initially applied only to prose defining the textual ambivalence caused by the constant shift between autobiography and fiction, revealed as interchangeable concepts. Our aim is to extend the category of autofictionality also in the lyrical universe and reassess concepts like (auto)referentiality, intentionality and authorship, trying to shed some light on this blurry need for self-expression stated by a autofictional I. According to Roland Barthes, in poetry the author hides himself under the m

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Lipscomb, Antonella. "L’imaginaire d’images: une réflexion sur la photographie chez Barthes, Duras et Guibert." Çédille, no. 18 (2020): 565–91. http://dx.doi.org/10.25145/j.cedille.2020.18.23.

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The aim of this paper is to analyse the relationship between autobiography, pho-tography and autofiction in a selection of 20th century French autobiographies, such as Roland Barthes par Roland Barthes by Roland Barthes, L’Amant by Marguerite Duras, L´Image fantôme by Hervé Guibert. I will examine the complex relationship these auto-biographers maintain with the photographic portraits they choose to integrate or simply allude to in their autobiographies and show how the conflict between textual and visual images of the self reinforce the fine line between autobiography and autofiction.

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Castagnès, Gilles. "« Qu'est-ce que c'est que cette histoire? »: l'autofiction selon Delphine de Vigan dans Rien ne s'oppose à la nuit et D'après une histoire vraie." Nottingham French Studies 58, no. 1 (2019): 1–13. http://dx.doi.org/10.3366/nfs.2019.0232.

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This article studies the narrative strategies employed in two works by Delphine de Vigan that are presented as ‘novels’, Rien ne s'oppose à la nuit and D'après une histoire vraie. Although the two books belong to the same autobiographical genre, the tools they employ are very different: while the first appears more as an autobiographical narrative under the cover of autofiction, the second fully belongs to this last literary category as conceptualized by Doubrovsky and exploits, in effect, all its resources. Beyond these two texts, the article also examines a number of general problems pertain

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Delangue, Henri. "Autobiographie ou autofiction chez Amélie Nothomb ?" Çédille 10 (April 1, 2014): 129. http://dx.doi.org/10.21071/ced.v10i.5555.

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En su obra Poética, Aristóteles usa la palabra mimèsis para describir las artes imitativas, es decir, las diferentes formas poéticas y la representación de la realidad en la literatura. Sin embargo, con la crítica literaria del siglo XX, los autores comenzaron a analizar la literatura tomándola como punto de partida de sus análisis, dejando así el mundo referencial fuera de este análisis. Esta separación de los dos mundos ha conducido inevitablemente al cuestionamiento de la autobiografía ya que si la literatura es separada de su referente, es decir, del mundo real, ¿qué identidad se debe dar

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Garcia, Mar. "L’étiquette générique autofiction: us et coutumes." Çédille 5 (April 1, 2009): 146. http://dx.doi.org/10.21071/ced.v5i.5405.

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La autoficción se ha convertido en el catalizador teórico a partir del que se examinan cuestiones de largo alcance como la redistribución permanente de las fronteras de la ficción o el proceso de autoficcionalización generalizada propio de la sociedad postmoderna. El objetivo de este artículo es ofrecer una diagnosis del debate teórico actual en torno a la autoficción con tal de determinar los usos de la misma como etiqueta genérica así como los límites de esta ambigua categoría. Más allá de los criterios estrictamente estilísticos y textuales o incluso de la naturaleza paradójica del plano pr

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Amiryan, T. N. "DANIEL PENNCAC: FROM DETECTIVE TO AUTOFICTION." Human Being: Image and Essence. Humanitarian Aspects, no. 3 (2020): 98–118. http://dx.doi.org/10.31249/chel/2020.03.07.

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The article considers the evolution of autobiographical prose by Daniel Pennac, which is characterized by the transition from his earlier novels (1970-1990s) to the metanarrative essay «Reads like a novel» (1992), autobiographical novel «School Blues» (2007), and autofictional works such as «Le Journal d’un corps» (2012) and «La Loi du rêveur» (2020). The current article focuses on the literature and means of fictionalization of his own biography, which becomes the central figure and topic for multi-genre writings of the author.

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Little, J. P. "Autofiction and Cheikh Hamidou Kane'sL'aventure ambigu�." Research in African Literatures 31, no. 2 (2000): 71–90. http://dx.doi.org/10.2979/ral.2000.31.2.71.

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Zeh. "Elsewhere in Elsewhen—Autofiction as Utopia." Utopian Studies 30, no. 1 (2019): 127. http://dx.doi.org/10.5325/utopianstudies.30.1.0127.

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