Log in

Relevant bibliographies by topics / Fictional narrative autobiography

Contents

Journal articles
Dissertations / Theses
Books
Book chapters

Academic literature on the topic 'Fictional narrative autobiography'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Fictional narrative autobiography.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Fictional narrative autobiography"

1

PARK-KANG, SUNGJU. "Fictional IR and imagination: Advancing narrative approaches." Review of International Studies 41, no. 2 (September 29, 2014): 361–81. http://dx.doi.org/10.1017/s0260210514000291.

Full text

Abstract:

AbstractIn the field of International Relations (IR), narrative approaches and an alternative way of writing seem to have gained growing attention in recent scholarship. Autoethnography and autobiography can be taken as primary examples. The article aims to advance this growing scholarship by proposing the concept of fictional IR. The idea is concerned with how to use the imagination in IR. I suggest that fiction writing can become a method for dealing with lack of information and contingency surrounding it. Fictional IR is more than reading and using fiction as a reference source or vehicle for analysis. It can incorporate the employment of fiction writing in IR scholarship. One of the benefits could be to articulate sensitive and complicated problems in a more flexible and imaginative way, making the most of the power of story and imagination. It should be stressed that the focal point is to write fiction; it is not to write about fiction. To support this suggestion, the article offers a short fictional-factual story. By using imagination, creating characters, combining data with fictional narrative, or with one's own experience, I believe that more original and empathetic IR writing is possible.

APA, Harvard, Vancouver, ISO, and other styles

2

Coté, Amy. "“A Handful of Loose Beads”." Nineteenth-Century Literature 75, no. 4 (March 1, 2021): 473–94. http://dx.doi.org/10.1525/ncl.2021.75.4.473.

Full text

Abstract:

Amy Coté, “‘A Handful of Loose Beads’: Catholicism and the Fictional Autobiography in Charlotte Brontë’s Villette” (pp. 473–494) This essay considers the influence of confession as a Catholic liturgical sacrament and as a literary genre informing the fictional autobiography in Charlotte Brontë’s Villette (1853). In her earlier novel Jane Eyre (1847), Brontë used the tradition of Protestant spiritual autobiography as a literary genre focused on the individual’s spiritual development. Villette, written as it was at the height of a wave of anti-Catholic sentiment in England in the 1840s and 1850s, has understandably been read as a nationalistic rebuke of Catholicism. This essay complicates this narrative, and shows how Brontë looks to Catholic liturgical traditions, most notably the sacrament of confession, to trouble the generic conventions of the Protestant spiritual autobiography and, by extension, of fictional autobiography.

APA, Harvard, Vancouver, ISO, and other styles

3

Eriks Cline, Lauren. "Epistolary Liveness: Narrative Presence and the Victorian Actress in Letters." Theatre Survey 60, no. 2 (April 10, 2019): 237–60. http://dx.doi.org/10.1017/s0040557419000061.

Full text

Abstract:

In an influential essay on the place of autobiography in theatre history, Thomas Postlewait puts Fanny Kemble's memoirs at the crux of a historiographical problem. The literary sensibility of Kemble's work appears to Postlewait an instance of both the theatrical memoir's cultural richness and its limitations as biographical evidence: although Kemble's “epistolary mode of self-representation” gives her autobiography Records of a Girlhood “a documentary quality,” for example, even her “earliest letters reveal a calculated literary style” that signals her awareness of the “traits and conventions” of eighteenth- and nineteenth-century novels. In her consciousness of narrative trends, Kemble stands out as a particularly clear example of a general tendency in theatrical autobiographies of the period. As the nineteenth century's booming print market expanded the audience for stories about theatregoing, it also drew readers who were increasingly familiar with novelistic experiments in plotting, characterization, and point of view. This shared audience encouraged an exchange of discursive conventions across fictional and historical narratives, which makes memoirs a compelling but complicated source of historical data about nineteenth-century theatre. Indeed, the two-way influence between genres is so strong that Postlewait argues scholars “need to ask to what extent these autobiographies exist not only as historical records but as epistolary fictions.”

APA, Harvard, Vancouver, ISO, and other styles

4

Farsi, Roghayeh. "Positioning Strategies and Representation in Fictional Autobiography: The Sense of an Ending." Anglia 137, no. 1 (March 14, 2019): 84–104. http://dx.doi.org/10.1515/ang-2019-0006.

Full text

Abstract:

Abstract Spatial positioning strategies and social actors representation have been introduced and discussed in visual and political texts. This paper offers an analysis of these strategies in a literary text, Julian Barnes’s The Sense of an Ending. The main objectives of this study are (a) to disclose the way(s) the narrator-autobiographer positions himself and others in his life story as social actors, (b) to investigate whether these strategies can explain the involved social actors’ motivations in their interactions, and (c) to pinpoint the pros and cons of this perspective for literary analysis. The paper uses social actors representation and spatial positioning theories provided by Langacker, Hart, van Leeuwen, and Chilton along with Jahn’s notions of focalization. The analysis of Barnes’s fictional autobiography pinpoints the precision spatial positioning strategies confer on literary focalization. Simultaneously, both social actors representation and spatial positioning strategies fail to attend to the gaps the narrative has due to its symbolic overtones or ambiguous repetitions.

APA, Harvard, Vancouver, ISO, and other styles

5

Smith, Julie A. "REPRESENTING ANIMAL MINDS IN EARLY ANIMAL AUTOBIOGRAPHY: CHARLOTTE TUCKER'S THE RAMBLES OF A RAT AND NINETEENTH-CENTURY NATURAL HISTORY." Victorian Literature and Culture 43, no. 4 (August 5, 2015): 725–44. http://dx.doi.org/10.1017/s1060150315000236.

Full text

Abstract:

Animal autobiography – a first-person fictional narrative in which an animal tells its own story – emerged in the late eighteenth century as the first attempt to represent animal minds in extended narrative form. Authors of this genre were anxious to create accurate, believable animal characters, even as they afforded them human language and a habit of critical commentary. To do this, they wrote in sync with scientific understandings of animals as set out in books of natural history. A few authors are explicit about their debt to natural history, and their comments point to a broad but intended compatibility between the ideas of animal minds in animal autobiography and those in the popularized scientific discourse of the day.

APA, Harvard, Vancouver, ISO, and other styles

6

Ładuniuk, Magdalena. "“Autobiographical in Feeling But Not in Fact”: the Finale of Alice Munro’s Dear Life." Studia Anglica Posnaniensia 50, no. 2-3 (December 1, 2015): 141–53. http://dx.doi.org/10.1515/stap-2015-0029.

Full text

Abstract:

Abstract Alice Munro has always been known for reworking personal material in her stories. On numerous occasions she openly admitted to adopting some of her real experiences into her fiction, yet at the same time she declared that her writing remains fictional, not autobiographical. However, the writer’s attitude seems to have changed with the publication of Dear Life (2012), supposedly the last book in her career. In the note preceding the last four stories in the collection, she suggests that they might constitute her autobiography. This article discusses “The Eye,” “Night,” “Voices” and “Dear Life” in relation to Munro’s biography. It reflects on the narrative techniques the author uses to create the impression of authenticity and autobiographicality in the stories. It also aims to answer the question whether they should be indeed classified as Munro’s autobiography.

APA, Harvard, Vancouver, ISO, and other styles

7

CARROLL, RACHEL. "Retrospective Sex: Rewriting Intersexuality in Jeffrey Eugenides's Middlesex." Journal of American Studies 44, no. 1 (December 24, 2009): 187–201. http://dx.doi.org/10.1017/s0021875809990831.

Full text

Abstract:

This article examines the representation of intersexuality in Jeffrey Eugenides's Pulitzer Prize-winning 2002 novel Middlesex. It situates the depiction of intersexuality within the context of current scholarship on sexed identity within the field of gender and sexuality studies. It argues that while a fictional focus on ambiguously sexed identity might appear to be aligned with queer critiques of fixed categories of “sex,” Eugenides's narrative remains implicated in heteronormative assumptions. More specifically, it will explore the narrative strategies which frame Calliope Stephanides's intersexed body, focussing on the relationship between the male-identified adult Cal, “author” of this fictional autobiography, and his remembered teenage girl self. It will suggest that the retrospective logic at work in this narrative is complicit in a heteronormative temporality which reinforces the causal relationship between sex, gender and sexuality which queer theorists have sought to interrogate.

APA, Harvard, Vancouver, ISO, and other styles

8

Abdurrahmani, Tidita. "The Impress of Memory on the Postmodern Self in Audre Lorde Bell Hooks and Rebecca Walker." European Journal of Multidisciplinary Studies 4, no. 4 (January 21, 2017): 111. http://dx.doi.org/10.26417/ejms.v4i4.p111-111.

Full text

Abstract:

The question of Self and memory is inextricably linked to the question of the representation and representability as well as to the uniqueness or iterability of the sense of the Self. Criticisms through the times suggest thinking of the sense of Self in terms of one's memory for it--not how faithfully you represent yourself, but rather how accurately you remember your past Self and how much you know about your present Self. Memory is the key element in determining the production of an autobiographical work, it is the author's memory and his sense of Self which determines how accurately he will transpose his life in front of us and correspondingly the one that decides whether autobiography will take the form of a memoir, a semi-fictional autobiography, or a completely fictionalized version of one's life. The relationship between Self and memory has initially been considered by John Locke in his "Essay Concerning Human Understanding"(1698). In his view, a person's identity comprises of whatever a person can remember from his or her past. Consequently, what the person does not remember is not part of his identity. Differing from the other critics, Locke believed that identity and selfhood have nothing to do with continuity of the body, they are rather an extension of memory. The paper delves into the postmodern autobiographical writings of three women-of -color including Audre Lorde, bell hooks and Rebecca Walker .The autobiographies in this study share the arrangement of events in the form of quilts made of accidentally stitched patches, the presentation of life as a fictional narrative and the treatment of the forgotten past as a remembrance and a revisiting. While Audre Lorde s and bell hooks accounts bring an emphasis on myth,(hooks on the construction of a dreamscape and Lorde on the arrangement of the psychological quilt of life), Rebecca Walker asserts that wishful forgetting and the conditioned amnesiac status contribute to the preservation of the fluid character of memory, its organization into dualities and the increased impermanence of the autobiographical account. The reliability of memory, together with the accuracy of life writing determines the classification of a narrative as memoir, autobiography or fictional autobiography. The autobiography criticism corpora are the ones to question the mnemonic truth and the reconciliation of the forces of signification.

APA, Harvard, Vancouver, ISO, and other styles

9

Schneiderman, Leo. "Philip Roth: The Exploration of the Self and the Writing of Fiction." Imagination, Cognition and Personality 11, no. 4 (June 1992): 317–29. http://dx.doi.org/10.2190/lr14-nclg-khdq-gdg3.

Full text

Abstract:

Using Philip Roth's writings as a basis, the present study examines the relationship between self-analysis and the writing of fiction. Insofar as Roth's novels depend heavily on introspective data, as well as the recreation of relationships and events taken from the author's direct experience, they provide valuable data concerning the links between autobiography and directed fantasy. The limitations of the confessional novel are discussed with reference to the fate of narrative and empathic characterization. Also examined are the effects of the writer's psychological conflicts on the treatment of fictional relationships and the resolution of fictional “problems”. The question of the generalizabilty and utility of the author's self-insights is raised, noting that Roth's protagonists achieve only partial insights due to defensiveness. The significance of Roth's treatment of romantic love is analyzed in the light of his difficulties in creating characters capable of idealizing love objects. These difficulties are seen in the broader context of Roth's satirical outlook, which tends toward the de-idealization of love object and of society in general. The manic qualities of Roth's satire are interpreted as depression-based, involving a sense of loss in relation to devalued love objects and their associated security system.

APA, Harvard, Vancouver, ISO, and other styles

10

Schuh, Melissa. "‘Which I Presume is Permitted, Since We Are Talking About A Writer.’ Lateness, Memory, and Imagination in Literary Autobiography." European Journal of Life Writing 9 (December 28, 2020): BE111—BE130. http://dx.doi.org/10.21827/ejlw.9.37328.

Full text

Abstract:

In Summertime, a fictional biographer, Mr Vincent, conducts interviews with contemporaries of the novelist J.M. Coetzee for a biography of the late author. However, every claim made about the late Coetzee by the characters in Summertime is composed by the author himself, so the hidden, yet obvious presence of the novelist gives the book’s supposedly biographical outlook an autobiographical twist. Summertime’s Coetzee is distinctly both alive and dead. I propose to analyse works such as Summertime as literary autobiographies that employ narrative strategies otherwise found in fiction in order to creatively explore lateness, belatedness, and a sense of ending with regard to their writing life. Performative contradiction, as a deliberate stylistic manifestation of paradoxical contradictions, is a result of such narrative strategies. This enables a portrayal of memory and sincerity in autobiography that acknowledges the fraught nature of these notions. Drawing on autobiographical writing by novelists, such as Coetzee, Philip Roth, and Günter Grass, this article analyses the use of tense and fictionality to create performative contradiction. It shows how the novelist’s memory and imagination engage with the ever-present possibility of death to subvert traditional ideas of lateness as well as perceived limitations to the temporality of autobiographical writing.

APA, Harvard, Vancouver, ISO, and other styles

More sources

Dissertations / Theses on the topic "Fictional narrative autobiography"

1

Hendrickson, Ruth Ann. "Narrative strategies of erotic fictional autobiography /." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487592050228985.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Le, Roux Marike. "Narrating an unstable memory : a postmodern study of fictional pasts in the (auto/bio)graphic novel." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/79942.

Full text

Abstract:

Thesis (MA)--Stellenbosch University, 2013.
ENGLISH ABSTRACT: To write a life story the auto/biographer must reflect upon the past that was once experienced. When presented with this task of depending on memory and narrative, the auto/biographer often finds himself/herself in the position of creating and imagining, rather than reflecting or presenting the past as it was lived. Fragmentation, forgetfulness, selection, (re)construction and imagination are often inextricably connected to Memory which results in the reliance on an unstable memory to access the past. This dissertation explores how postmodern auto/biographies, specifically the (auto/bio)graphic novel, acknowledges the difficulty of writing about the past when concerned with truth. The (auto/bio)graphic novel disrupts the notion of truth by blurring the boundaries between fact and fiction, resulting in a hybrid form where text and image, reality and imagination co-exist to create new, and often more significant pasts (that can serve the present).
AFRIKAANSE OPSOMMING: Om ‘n lewensverhaal te skryf, reflekteer die outo/biograaf op dít wat eens geleef was in die verlede. Deur hierdie proses, wat ‘n afhanklikheid van die geheue behels, vind die outo/biograaf homself/haarself gereeld in ‘n situasie waar hy/sy ontwerp en verbeel, eerder as om die verlede weer te gee soos dit beleef was. Fragmentasie, vergeetagtigheid, selektering, (her)konstruering en verbeelding is soms onskeibaar van Geheue wat dui op die afhanklikheid van ‘n onstabiele geheue in die skryf- en illustreer-prosesse van ‘n outo/biografie. Hierdie verhandeling ondersoek hoe postmoderne outo/biografieë, spesifiek die (outo/bio)grafiese roman, bewus is van die kwessies rondom die skryf van die verlede in verhouding tot waarheid. Die (outo/bio)grafiese roman ontwrig die idee van waarheid deur die grense tussen feit en fiksie te ondermyn. Gevolglik onstaan ‘n hibriede vorm van outo/biografie waar teks en beeld, realiteit en verbeelding gekombineer word om nuwe en meer beduidende verledes te skep (wat so ook die hede op nuwe maniere kan dien).
mlb2013

APA, Harvard, Vancouver, ISO, and other styles

3

King, Nicola. "The narrative representation of memory in recent fiction and autobiography." Thesis, University of Southampton, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297018.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Lepesant-Hayat, Jeannine. "Fiction narrative et autobiographie dans l'oeuvre d'Albert Camus et de Jules Roy." Université de Marne-la-Vallée, 1999. http://www.theses.fr/1999MARN0040.

Full text

Abstract:

Deux amis, Albert Camus et Jules Roy se sont intérrogés sur leur identité d'écrivains barbares, nés en Algérie, puis exilés en France. Le double héritage de l'hellénisme et du christianisme méditerranéen a fait d'eux des humanistes qui doutent. Chacun d'eux s'efforce de répondre à la question + qui suis-je ? ; soit dans des oeuvres ou la fiction se mêle à la confidence, soit dans des autobiographies. Leur engagement personnel antitotalitaire dans les conflits politiques et militaires du vingtième siècle les a conduits à une pratique de l'autobiographie parfois implicite, qui vaut autant comme témoignage collectif que comme testament individuel. Albert Camus a disparu, un écho de son récit de vie inachevé retentit dans l'autobiographie de Jules Roy, qui s'est toujours déclaré le disciple d'Albert Camus
Albert Camus and Jules Roy, two friends, both pondered on their identities as barbarian writers, as both were born in Algeria and exiled to France. Influenced by a dual heritage of hellenism and mediterranean christianism, they became humanists, but doubting humanists. Each of them endeavoured to answer the question + who am I? ; either in works where fiction mingles with confessions, or in autobiographies. Their personal antitotalitarian commitment during the political and military conflicts of the twentieth century led them to use the autobiography in a somewhat implicit way, that can be read both as a collective testimony and as an individual will. With Albert Camus gone, an echo of his incompleted life's tale can be heard in the autobiography of Jules Roy, who always professed to be the disciple of Albert Camus

APA, Harvard, Vancouver, ISO, and other styles

5

Dantzler, Camille Ciara. "Exchange of Fictions: Exploring the Intersections of Gendered Self-narration and Testimonio Representations on the Rwandan Genocide." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343847882.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Knight, Rebecca Louise. "Remembering the socialist past : narratives of East German and Soviet childhood in German and Russian fiction and autobiography since 1990/1." Thesis, University of Exeter, 2012. http://hdl.handle.net/10036/4305.

Full text

Abstract:

This study compares German memory of life in the German Democratic Republic with Russian memory of life in the Soviet Union, as represented and created within fictional and autobiographical narratives of childhood, published since the collapse of each regime. The chosen texts are, to varying degrees, fictionalized and/or autobiographical. A comparison between German and Russian narratives is particularly interesting because the socialist past is remembered very differently in each country’s public discourse and culture. An examination of narratives about childhood allows for a complex relationship between the post-socialist present and the socialist past to emerge. I study the texts and their reception, in conjunction with an analysis of the dominant ways of remembering the socialist past circulating within German and Russian society and culture. This allows the analysis to go beyond a straightforward comparison between the representations of the socialist past in the two groups of texts, to also explore how those representations are interpreted and received. It also demonstrates how the surrounding memory cultures appear to be producing quite different approaches to representing memories of broadly similar socialist childhood experiences. Chapter 1 explores the role of literary texts in revealing and shaping both individual and collective memory with a review of relevant research in the field of memory studies. Chapter 2 draws on existing scholarship on post-socialist memory in German and Russian society and culture in order to identify dominant trends in the way the socialist past has been remembered and represented in the two countries since 1990/1. The analysis in Chapters 3 and 4 reveals a more detailed picture of the complexities and ambiguities inherent in looking back at childhood under socialist rule through the example of the chosen texts, and in the ways they are received by critics and by readers (in reviews posted online). I demonstrate that, in line with the surrounding memory cultures, questions of how the socialist past should be remembered are a more central concern in the German texts and their reception than in the Russian texts and reception. I show, however, that the nature of the Soviet past is often portrayed indirectly in the Russian texts and I explore how critics and readers respond to these portrayals.

APA, Harvard, Vancouver, ISO, and other styles

7

Bourhane-Maoulida, Ahamada. "Fiction et autofiction antillaises : la poétique énonciative de Patrick Chamoiseau." Thesis, La Réunion, 2013. http://www.theses.fr/2013LARE0010/document.

Full text

Abstract:

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 : les énoncés mettent en relief le mariage heuristique de la fiction et de la diction, mais aussi de leur interaction intime avec des implicites énonciatifs – au sens bakhtinien de la théorie énonciative – qui traduisent le propre engagement idéologique de l'auteur. Chamoiseau tente d'extraire de sa narration polyphonique un sujet indemne des affres du présent et de l'Histoire. Il le construit par une parole, anodine et sérieuse, qui use de tout un spectre identitaire, pour se dire et dire la communauté. Les échanges prolifèrent ainsi à l'intérieur du rêve, de l'imaginaire, des histoires ou des mémoires que ses textes engendrent
Our thinking is to analyze, through narratology utterance, fiction and fictionalized autobiography of the writer Patrick Chamoiseau. Its role is multiplied. He creates doubt in characterization of generic text, a strongly digressive and paratextual text. He tries to give a reading to a narrative creole telling in a poetic compromise – the oralture – where written and oral collide, where a more personal aesthetic struggles in a more dominant one. The staging of the characters ‘speech is the place of a scriptural and literary negotiation: the statements highlight the marriage of heuristic fiction and diction, but also their intimate interaction which implicit enunciation – in a Bakhtinian sense of the theory of enunciation – that reflect the author's specific ideological commitment. In his polyphonic narration, Chamoiseau attempts to retrieve a subject free from horrors of the present and History. He built this subject with a trivial and serious word which uses a spectrum of identity, to say and tell the community. Exchanges proliferate inside the dreams, imagination, stories or memories that his lyrics create

APA, Harvard, Vancouver, ISO, and other styles

8

Edholm, Roger. "The written and the unwritten world of Philip Roth : fiction, nonfiction, and borderline aesthetics in the Roth books." Doctoral thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-25014.

Full text

Abstract:

This thesis examines five books by the American author Philip Roth commonly referred to as the “Roth Books,” which are The Facts: A Novelist’s Autobiography(1988), Deception (1990), Patrimony: A True Story (1991), Operation Shylock: A Confession (1993), and The Plot Against America (2004). These books, held together by the author’s proper name, are often viewed as texts that conflate fiction and nonfiction or demonstrate the “fictionality” of all factual narrative accounts in compliance with well-known postmodernist and poststructuralist theories. Contrary to this view, I argue that a valid understanding of the Roth Books demands that we acknowledge that these works represent a series of quite different ways for the author to transform his own life into written form, a creative act which is manifested in both fictional and nonfictional writing. In the attempt to argue this view, I turn to a field of study where the question about criteria for distinguishing fictional from nonfictional narrative literature has occupied a prominent place: narrative theory. However, my theoretical and methodological point of departure does not align itself with the “standard” paradigm in narrative theory with its origin in classical, structuralist narratology. Rather, the thesis promotes a pragmatic and rhetorical perspective which is argued to better account for how we read and make sense of different narrative texts. In opposition to standard narrative theory, where all narratives are considered to adhere to the same model of communication, I argue in favour of a view where narrative fiction and narrative nonfiction are conceived as distinct communicative practices. I open the thesis by showing that Roth’s books contribute to the discussion on how to distinguish fictional from nonfictional narrative texts (Chapter 1). I then continue by approaching the distinction between fiction and nonfiction in general theoretical terms (Chapter 2). And in what follows (Chapters 3-5), I present a reading where the Roth Books are juxtaposed against each other. This reading demonstrates how these texts, although in some sense related, because of their divergent qualities and differing intentions still communicate differently with their readers, inviting a readerly attention that is dissimilar from one work to the other.

APA, Harvard, Vancouver, ISO, and other styles

9

Dávalos, Patrícia Miranda. "Ficção e autobiografia: uma análise comparativa das narrativas de Thomas Bernhard." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8144/tde-03032010-121929/.

Full text

Abstract:

A partir da comparação do primeiro volume autobiográfico do escritor austríaco Thomas Bernhard, Die Ursache. Eine Andeutung (1975), com o romance Auslöschung. Ein Zerfall (1986), o qual simula, de certo modo, o gênero autobiográfico, procura-se observar como os mesmos complexos temáticos são configurados nos dois casos e como as diferenças encontradas se relacionam com as diferentes intenções ligadas aos textos, bem como aos diferentes momentos de escrita. É possível notar como a ficção possibilita ao autor mais liberdade para experimentar formalmente, bem como para intensificar o ataque desenvolvido contra suas origens, ao passo que na autobiografia, apesar de também apresentar um viés crítico acentuado, o fazer de forma mais sóbria, ocupando-se com questões de verossimilhança e autenticidade próprias do gênero. Além disso, este trabalho tenta mostrar como a ficção, surgida na mesma época da autobiografia, pode ser lida como uma espécie de comentário a esta.
This work deals with the comparison of the first autobiographical volume of the Austrian writer Thomas Bernhard, Die Ursache. Eine Andeutung (1975), with his novel Auslöschung. Ein Zerfall (1986), which has some characteristics of the autobiographical genre. The comparison intends to show how the same themes are configured in both cases and how the differences can be related to the different intentions and different moments of writing. Being noted as fiction allows the author more freedom to experiment formally and to intensify the attack he developed against his origins, while in the autobiography, although it also has a strong critical aspect, he puts his arguments in a restrained way, dealing with issues of verisimilitude and authenticity, which are typical for this genre. Furthermore, this text will try to analyse how the novel, written in the same context as the autobiography, completes it and functions like a kind of remark to the autobiographical work.

APA, Harvard, Vancouver, ISO, and other styles

10

Villena, Garrido Francisco. "Discursividades de la autoficción y topografías narrativas del sujeto posnacional en la obra de Fernando Vallejo." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117467762.

Full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Books on the topic "Fictional narrative autobiography"

1

Plantagenet, Anne. The last rendezvous. New York: Other Press, 2009.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

2

Ira, Wood, ed. So you want to write: How to master the craft of fiction and the personal narrative. Wellfleet, Mass: Leapfrog Press, 2001.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

3

The limits of autobiography: Trauma and testimony. Ithaca, N.Y: Cornell University Press, 2000.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

4

The narrative forms of Southern community. Baton Rouge: Louisiana State University Press, 1999.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

5

Vision voiced: Narrative viewpoint in autobiographical writing. New York: P. Lang, 1991.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

6

Merete, Mazzarella. Att berätta sig själv: Inspirationsbok för den som vill skriva om sitt liv. Helsingfors]: Schildts & Söderströms, 2013.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

7

Frederick, Douglass. Narrative of the Life of Frederick Douglass. New York: Penguin USA, Inc., 2009.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

8

Frederick, Douglass. Narrative of the life of Frederick Douglass. New York: Dover Publications, 1995.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

9

Ich-Entwürfe im hybriden Raum: Das Algerische Quartett von Assia Djebar. Frankfurt am Main: Peter Lang, 2008.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

10

Making history: The biographical narratives of Robert Penn Warren. Baton Rouge: Louisiana State University Press, 2000.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Book chapters on the topic "Fictional narrative autobiography"

1

Fuchs, Anne. "Narrating Resistance to the Third Reich: Museum Discourse, Autobiography, Fiction and Film." In Phantoms of War in Contemporary German Literature, Films and Discourse, 109–60. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230589728_5.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Phelan, James. "Dual Focalization, Retrospective Fictional Autobiography, and the Ethics of Lolita." In Narrative and ConsciousnessLiterature, Psychology and the Brain, 129–45. Oxford University Press, 2003. http://dx.doi.org/10.1093/acprof:oso/9780195140057.003.0007.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Price, Leah. "It-Narrative and the Book as Agent." In How to Do Things with Books in Victorian Britain. Princeton University Press, 2012. http://dx.doi.org/10.23943/princeton/9780691114170.003.0005.

Full text

Abstract:

This chapter argues that the most productive overlap between recent book-historical scholarship and the longer tradition of bibliographically themed life writing lies not in their common interest in human subjects, but rather in their shared attention to the circulation of things. Analytical bibliographers have shown that books accrue meaning not just at the moment of manufacture, but through their subsequent uses: buying and selling, lending and borrowing, preserving and destroying. A history of the book that took that whole range of transactions as building blocks could usefully borrow its formal conventions from the “it-narrative”: a fictional autobiography in which a thing traces its travels among a series of richer and poorer owners.

APA, Harvard, Vancouver, ISO, and other styles

4

Harrison, Andrew. "Historiography and Life Writing." In The Edinburgh Companion to D. H. Lawrence and the Arts, 103–15. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474456623.003.0009.

Full text

Abstract:

This chapter opens by situating Lawrence’s engagement with historiography in relation to early twentieth-century debates about the status of history as an art or a science. It examines Lawrence’s school textbook Movements in European History, showing how he incorporated the contemporary graphic and scientific approaches in his narrative to articulate a distinctive epochal approach to history. It then explores Lawrence’s innovative engagement with life writing as an historiographical form, demonstrating Lawrence’s contribution to the issues raised by the modernist ‘New Biography’. It traces his reflections on, and experiments in, fictional autobiography, autobiography (taking account of his late essays and the poem ‘A Life History in Harmonies and Discords’), biography (the ‘Memoir of Maurice Magnus’) and auto/biografiction.

APA, Harvard, Vancouver, ISO, and other styles

5

Hewitt, Elizabeth. "The Slave as System." In Speculative Fictions, 195–257. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198859130.003.0005.

Full text

Abstract:

This chapter concentrates on the relationship between eighteenth-century political economic theory and chattel slavery in the Americas. It begins by explaining how British, French, and American economic theorists asserted the inefficiency of slave labor even as the institution was sustained within the global market. This orthodox belief in the incompatibility between the free market and the legalization of slavery was crucial both to abolitionism and economic liberalism, inoculating capitalism from the moral degradations of slaveholding and slave trading. A very different economic argument emerges in the narratives of Black Atlantic authors who construct their life stories as “it-narratives,” precisely designed to reveal the mutualism between the global capital economy and the slave trade. The chapter provides close readings of the narratives of James Albert Ukawsaw Gronniosaw, Venture Smith, and Boyrereau Brinch, emphasizing their work as economic treatises and not autobiography.

APA, Harvard, Vancouver, ISO, and other styles

6

Roy, Wendy. "Autobiography As Critical Practice in The Stone Diaries." In Carol Shields, Narrative Hunger, and the Possibilities of Fiction, edited by Edward Eden and Dee Goertz. Toronto: University of Toronto Press, 2003. http://dx.doi.org/10.3138/9781442672758-007.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Hoydis, Julia. "Realism for the post-truth era: politics and storytelling in recent fiction and autobiography by Salman Rushdie." In Fact and Fiction in Contemporary Narratives, 32–51. Routledge, 2021. http://dx.doi.org/10.4324/9781003167204-3.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Smethurst, James, and Jay Watson. "The Street Ran through Cities: Faulkner and the Early African American Migration Narrative." In Faulkner and the Black Literatures of the Americas. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496806345.003.0002.

Full text

Abstract:

For the most part, when the topic of Faulkner and African American literature is discussed, the intellectual conversation is primarily concerned with the undeniable influence of Faulkner’s fiction on black novelists. However, this chapter focuses on the major impact of the African American migration novel in the early Jim Crow era on Faulkner’s work, particularly Light in August and Absolom, Absolom! While the peripatetic, rootless, and often mixed-race characters of such novels by black authors as Pauline Hopkins’s Contending Forces, Paul Laurence Dunbar’s The Sport of the Gods, James Weldon Johnson’s The Autobiography of an Ex-Colored Man, Jean Toomer’s Cane, and Nella Larsen’s Quicksand informs the creation of the protagonists/speakers of much modernist U.S. fiction and poetry; it is in Faulkner’s work, with possible exception of Gertrude Stein’s “Melanctha,” that one sees the clearest adaptation of the characters and cultural geography of the early black migration narrative.

APA, Harvard, Vancouver, ISO, and other styles

9

Harvey, Doug. "Jack Kirby at Cal State Northridge." In Comic Art in Museums, 361–64. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0042.

Full text

Abstract:

This chapter includes a 2015 review of Comic Book Apocalypse: The Graphic World of Jack Kirby at California State University Northridge by Los Angeles based writer and artist Doug Harvey, providing a detailed look at the exhibition. This chapter discusses narrative in exhibitions, full issues of Kamandi: The Last Boy on Earth #14 and Thor #155 on display and the stories behind them, Kirby’s painting Dream Machine, examples of work from every period in Kirby’s lengthy career, touching on genre forays into romance, war, occult, westerns, espionage, autobiography, and science fiction. Image: Dream Machine painting by Jack Kirby

APA, Harvard, Vancouver, ISO, and other styles

10

Carretta, Vincent. "Revisiting Olaudah Equiano, or Gustavus Vassa." In Britain's Black Past, 45–60. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621600.003.0004.

Full text

Abstract:

The backlash against challenging the origin story of Olaudah Equiano, author of the influential autobiography The Interesting Narrative of Olaudah Equiano, or Gustavus Vassa, the African. Written by Himself, is the subject of this chapter by Vincent Carreta. Since first being published in 1789, the text has achieved canonical status as a rare first-hand account of an African-born person describing the horrors of the Middle Passage and slavery. Interesting Narrative was successfully appropriated political propaganda by abolitionists to help end the transatlantic slave trade and abolish slavery. After revealing archival documents calling Equiano’s birth in Africa into question, Caretta describes the firestorm of criticism he faced, including threats of assault, from some scholars. He suggests that the unwillingness of some scholars to confront the possibility that Equiano may have lied about his birthplace is too high stakes as it opens the door to questioning how much of Interesting Narrative is fiction and how much work that relies on the text may require reexamination.

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!