To see the other types of publications on this topic, follow the link: Fictional narrative autobiography.
Journal articles on the topic 'Fictional narrative autobiography'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research 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.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
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 textAbstract:
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.
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 textAbstract:
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.
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 textAbstract:
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.”
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 textAbstract:
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.
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 textAbstract:
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.
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 textAbstract:
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.
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 textAbstract:
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.
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 textAbstract:
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.
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 textAbstract:
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.
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 textAbstract:
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.
11
Roulston, Chris. "Queer Reflections on Childhood, Boarding School, and the Nation in Rosemary Manning’s The Chinese Garden." Twentieth-Century Literature 65, no. 4 (December 1, 2019): 411–36. http://dx.doi.org/10.1215/0041462x-7995623.
Full textAbstract:
This article explores the relations among childhood innocence, queerness, and nation-building in Rosemary Manning’s boarding school narrative, The Chinese Garden (1962). Recent scholarship by Lee Edelman and Kathryn Bond Stockton has questioned the innocence we invest in the figure of the child, and how this innocence has become a precondition for generating heteronormative models of nation-building and imagined futures. Analyzing the boarding school community in The Chinese Garden, this article examines how the figure of the child is used to confirm the compulsory narrative of nation-building even as it queers the very concepts of place and belonging. In the narrative, set in 1928, the year of the publication of The Well of Loneliness, the protagonist witnesses an erotic relationship between two girls without wanting to acknowledge what is happening; it examines both the yearning for innocence and a desire for sexual knowledge within a context of repressive normalization and antihomosexual panic. The Chinese Garden is also a fictional autobiography, foregrounding Manning’s own resistance to her pre-Stonewall historical present, and her fascination with the queer past.
12
BEZZOUH, Djedjigua, and Souhila RAMDANE. "L’écriture de soi chez Malika Mokeddem : libération ou engagement ?" FRANCISOLA 3, no. 1 (July 9, 2018): 63. http://dx.doi.org/10.17509/francisola.v3i1.11892.
Full textAbstract:
RÉSUMÉ Le présent travail étudie l’écriture de soi dans les deux œuvres de Malika Mokeddem : Mes hommes et je dois tout à ton oubli. Il s’agit particulièrement d’interroger le projet autobiographique dans Mes hommes et la coïncidence du réel et du fictionnel dans Je dois tout à ton oubli, afin d’appréhender la connexité tissée dans ces deux romans. Notre étude est étayée par deux concepts théoriques de l’écriture de soi à savoir : l’autobiographe et l’autofiction. Sur le plan méthodologique, il sera question d’examiner plusieurs éléments qui font basculer le récit entre référentialité et fictionnalité. Lesquels éléments sont, d’une part, d’ordre narratif, ils révèlent la stratégie d’écriture chez M. Mokeddem. D’autre part, d’ordre thématique qui couvrent les objectifs de l’écriture de soi. Conséquemment, l’écriture de soi chez M. Mokeddem puise sa particularité à la fois des procédés usités et du réseau de significations qui relie les deux romans. Mots- clés : autobiographie, autofiction, énonciation, thèmes et objectifs, indices paratextuels. ABSTRACT. This research paper attempts to expose self writing in thetwo works of Malika Mokeddem My Men and I Owe Everything to Your forgetfulness . This study is particularly about questioning the autobiographical project in My Men and the fact and the fictional in I Owe Everything to Your forgetfulness and that to comprehend the connectedness woven in these two novels. Our study will be grounded on two theoritical concepts of self writing: the autobiography and the autofiction. From a methodological point of view, it will be a question of examining several elements that swing texts between referentiality and functionality. These elements are on one hand narrative; they reveal the writing strategy of M Mokeddem. On the other hand, that of the thematic order which covers the objectives of self writing. Consequently, Mokeddem 's self writing draws its particularity from both the commonly used processes and the network of meanings which link the two novels. Keywords: autobiography, autofiction, enunciation, themes and objectives, Paratextual indices
13
Hernáez Lerena, María Jesús. "Narrative Genres and the Administration of Consciousness : The Case of Daisy Goodwill's Rebellion." Journal of English Studies 5 (May 29, 2008): 155. http://dx.doi.org/10.18172/jes.126.
Full textAbstract:
The Stone Diaries (1993), a novel by Carol Shields, examines the strategies characters use to render their selves accountable: they turn life into an ensemble made up of historical, scientific, novelistic or biographical discourse. In contrast, Daisy Goodwill, who is the subject-matter of this fictional autobiography, remains close to the epistemology of the short story, whose potential has been described by critics as a challenge to knowledge or synthesis (Cortázar 1973; Bayley 1988; Leitch 1989, May 1994; Trussler 1996). There seems to be agreement that the only condition of coherence necessary for the short story is a pointing to the evasion of meaning in life, also that the genre allies itself to the way in which the past is attached to our memory (Kosinski 1978; Hallet 1998; Lohafer 1998; Wolff 2000). This essay will analyze the implications of its protagonist’s stance with a view to pinning down some of the ideological grounds of the novel and of the short story in their approach to the question of identity.
14
Seibel, N. E., and E. M. Shastina. "Narrative Structure of Memories in Texts of F. Werfel and A. Okopenko." Nauchnyi dialog, no. 3 (March 27, 2021): 259–75. http://dx.doi.org/10.24224/2227-1295-2021-3-259-275.
Full textAbstract:
The specificity of the narrative structure of the story, which connects the memory as an element of a fictional autobiography with the forms of a diary and a “story in a story”, which is one of the most productive in the second half of the twentieth century in German literature, is considered. Based on a fragment of the unfinished novel by F. Werfel “Sella, or the Conqueror” and the novel by A. Okopenko “Kindernatsi”, built as memories of the Anschluss and the arrival of the Nazis in Austria, the principles of organizing a multilevel system author — focalizer — actant, the purpose of which is interweaving of historical, moral and religious, moral and ethical meanings are shown. It is studied how a specific historical plot (which has a real prototypical model for the story of Werfel and an autobiographical one for Okopenko) is filled with religious and existential meanings in Werfel, becomes a reflection of the crisis of identity — a key characteristic of the Austrian mentality — in Okopenko. Particular attention is paid to artistic techniques that complicate and destroy linear narrative: duplicity, with the help of which Werfel shows different ways of solving the same moral issues, and literary editing techniques, which gives Okopenko a fragmented character to the process of recollection and allows to reveal the integrity of the author’s moral and ethical positions at the deep-semantic level.
15
MWANGI, EVAN. "I TO I IN THE NARRATIVE MIRROR: FICTIONAL AUTOBIOGRAPHY AND THE PROBLEM OF MAASAI IDENTITY IN HENRY OLE KULET'S WRITINGS." English Studies in Africa 44, no. 1 (January 2001): 13–29. http://dx.doi.org/10.1080/00138390108691298.
Full text
16
Uneke Enyi, Amaechi, and Edwin Chiekpezie Orji. "Lexical Cohesion in Non-fictional Narrative as Discourse: A Study of Ngugi Wa Thiong’O’s Decolonizing the Mind." International Journal of Education and Literacy Studies 7, no. 3 (July 31, 2019): 83. http://dx.doi.org/10.7575/aiac.ijels.v.7n.3p.83.
Full textAbstract:
The study was a linguistic examination of the use of lexical cohesive devices in Ngugi Wa Thiong ’O’s Decolonising the Mind- an autobiography. The study was aimed at revealing how Ngugi - an African L2 writer, deployed lexical cohesive devices to achieve cohesion and coherence and how this has contributed to the meaning of his non- fictional essay. The study was guided by the theoretical framework of Halliday’s tripartite metafunctions of language: the ideational, the interpersonal and the textual, with closer inclination to the textual metafunction that deals with text creation. Cohesion is understood in this study as a textual strategy deployed in language use to unify sentences into a text (a unified whole), that renders the speech or writing both readable and meaningful. A total of 29 excerpts, selected from relevant sections of the essay were descriptively analysed. Our analysis revealed that Ngugi made effective use of lexical cohesive devices to tie his text together, thereby succeeded in passing his message clearly to his readers. Our findings also showed a preponderant use of reiteration (near synonym) - 13 times, and repetition -8 times, by the writer, probably to achieve emphasis. Other lexical devices deployed by the writer to achieve various textual and communicative functions include: antonyms 4 times; superordinate/hyponym, 2 times; and complementaries and co-hyponym, 1 each, in crafting his essay, in which he tells a real- life story of his people, his culture and his heritage. Ngugi, by his effective use of cohesive devices along paradigmatic and syntagmatic axis, has demonstrated that an African writer can also, through the medium of biographical writing, project, not only his ideology, but also the exultation of his people, his culture and his inheritance by a skillful and near – native use of the English language. The study made a case for a systematic teaching of cohesive devices at all levels of education as that will improve reading and comprehension and the aver all communicative competence of L2 learners of English.
17
Gorelova, Olga Olegovna. "Literary-documental narrative in the fictional autobiographic novel “My Secret History” by Paul Theroux." Litera, no. 5 (May 2020): 39–49. http://dx.doi.org/10.25136/2409-8698.2020.5.32908.
Full textAbstract:
This article raises the problem of differentiation between authorial fiction and factual information in the fictional autobiographic prose that interfere with each other. The object of this research is the fictional autobiographic prose as a peculiar type of text with structure containing system codes of diverse narrative nature. The subject of this research is the characteristics and features of the literary-documental narrative in a fictional autobiographical text. The goal consists in demonstrating the dual nature of the fictional biographic prose on the example of literary-documental novel “My Secret History” (1989) by Paul Theroux. The following conclusions were formulated: 1) fictional autobiographic narrative as a variety of literary-documental narration is characterized with descriptiveness and aptitude to imitation of objectivity studying the personality of the hero; 2) the text in question contains the signs of realization of paradigms of fiction and actuality. The scientific novelty is consists in application of narratological approach towards analysis of the text, which demonstrates the specific constituting spheres associated with simultaneous implementation of the strategies of fictionalization and documental stylization of the material. It is determines that the fictional autobiographic material is characterized with subjective processing of represented data, and thus, it is essential to interpret the prose in question based on the accessible to audience contextual information (suggested authorial context and historical context).
18
King, Ben. "The Rhetoric of the Victim: Odysseus in the Swineherd's Hut." Classical Antiquity 18, no. 1 (April 1, 1999): 74–93. http://dx.doi.org/10.2307/25011093.
Full textAbstract:
This paper explores some aspects of the complex narrative strategies employed by Odysseus in his lying tale to Eumaios (Odyssey 14.192-359). Odysseus' fictional autobiography is an ethical parable, designed to commend and validate the very principles of hospitality that Eumaios most cherishes. In the tale, Zeus, god of guests, punishes those who violate hospitality and protects those who depend upon it, bringing the beggar ultimately to the worthy swineherd. In adopting the persona of the wandering immigrant or outsider (metanastês), Odysseus makes use of a conventional persona found, most significantly, in the "wisdom poetry" of Hesiod. He thereby displays mastery of a traditional mode of poetic narrative. Odysseus also makes the Cretan wanderer a hero of the Trojan War and devotes a considerable portion of his narrative to describing the beggar's "Iliadic" past. His portrait of the Cretan hero draws particularly upon the model of Achilles (and, to a lesser extent, Ajax) but is in fact a one-dimensional version of the standard Iliadic hero. Thus, in his account of the beggar's adventures, Odysseus directs a subtle critique at his Iliadic counterpart by setting up an implicit contrast between the Cretan's helplessness (amechaniê) and Odysseus' own resourcefulness. Here, too, Odysseus displays a mastery of poetic traditions, inasmuch as his narrative is informed by the traditional, epic antithesis between might (biê) and intelligence (mêtis). These conclusions help to explain two incidents in Book 14 in which Odysseus' behavior is a bit puzzling. Both Odysseus' reaction to the charge of Eumaios' guard dogs and his clumsy attempt to compose an ainos provide concrete illustrations of the "helplessness" of the Cretan beggar. Odysseus acts out the very role that he so masterfully portrays in his tale.
19
Townsend, Leslie H. "Out of Silence: Writing Interactive Women's Life Histories in Africa." History in Africa 17 (January 1990): 351–58. http://dx.doi.org/10.2307/3171824.
Full textAbstract:
It is not surprising that no distinct line demarks Mrs. Zenani's creative stories and the events of her own life. The plotting of fictional imagery sometimes gives way to the detailed depiction of, for example, a rite of passage distilled from her history. If the oral tale provides insights into history, such real life descriptions as are found in this autobiography are frequently framed by the imaginative tradition.During the summer of 1982 I lived in the predominantly Muslim city of Kano, in northern Nigeria, to study the Hausa language and to learn about women's lives—their activities, interests, and identities. Residence in Kano challenged the questions and theoretical assumptions of my research. The ‘silences’ I encountered in the field now inform questions for a methodology for the study of women's lives that acknowledges the connections between researcher, subject/s of life history research, and the eventual written analysis of their narrative histories. An underlying theme—and persistent question—is the extent to which such writing tells us more about the researcher or the narratives' subject/s.Feminist theory and methodology inform this consideration of women's life histories. Feminist scholars have focused on the inscription of meaning in women's interests in writing about women. They have assigned a central role to “women's conscious perceptions” of their lived social experience in theory construction. The specific inclusion of women's, and other groups' perceptions contributes to historians' formulation of research models and methodology. I will discuss several methodological issues before returning to the ‘silences’ of my own fieldwork.
20
Ngoshi, Hazel Tafadzwa. "‘THE HISTORICITY OF TEXTS AND THE TEXTUALITY OF HISTORY’: A NOTE ON WHY READING ZIMBABWEAN AUTOBIOGRAPHY SHOULD BE HISTORICISED." Imbizo 6, no. 2 (June 21, 2017): 12–21. http://dx.doi.org/10.25159/2078-9785/2800.
Full textAbstract:
Historical consciousness has always been at the centre of autobiographical narration and, through historical consciousness; the public experiences of narrating a subject are brought into the private act of narrating the self. There is, therefore, a thin line dividing history and fiction in autobiography and this demonstrates how autobiography is situated in history. This article argues that the demarcation of history and fiction by traditional scholars has to be revised in the wake of the realisation that the historian also makes use of metaphor and point of view in writing what is supposedly an objective ordering of events. Given this argument, the article proposes that the reading of Zimbabwean autobiography should be ahistoricised undertaking since the location of the autobiographical subject in the historical and political spectrum of Zimbabwean national experiences is critical to our understanding of the relationship between narrative and the context of its production. It further argues that the telling of one’s story in autobiography is a performance of historical identities, which makes the historicity of autobiographical texts central to our understanding of autobiographical subjects. It concludes that apprehending the historicity of a text and the textuality of history are necessary since autobiographical subjects congeal around history and the discursive background matters.
21
Peterson, Nadya L. "The Private “I” in the Works of Nina Berberova." Slavic Review 60, no. 3 (2001): 491–512. http://dx.doi.org/10.2307/2696812.
Full textAbstract:
This article aims to identify prevalent concerns and anxieties informing Berberova's works, whether designated as fiction, biography, fictionalized history, or autobiography; to observe what is hidden behind the public facade of the autobiographical self; and to determine how the fictional and the autobiographical are connected in the writer's narratives. Berberova's autobiography, as well as her fictional and biographical writings, provide a fertile ground for investigating the author's frame of reference from the point of view of her gender. A close look at the nature of autobiography, with its careful construction of a public self, offers insight into the way Berberova wants others to see her. Paying attention to the struggle for physical and spiritual survival, the focus of Berberova's writing in general, affords an understanding of what the author deems necessary in order to overcome the hardships of emigration, the challenges of failed relationships, and the hazards of being a woman writer. Berberova's connections with men and women in her life—described by herself, seen by others, reflected in her fiction—all point to a pivotal concern with the strengths and weaknesses of her own gender.
22
Rosovetskii, Stanislav. "On the Influence of Shevchenko's Autobiography on Kulish's." Actual issues of Ukrainian linguistics: theory and practice, no. 39 (2019): 37–57. http://dx.doi.org/10.17721/apultp.2019.39.37-57.
Full textAbstract:
In honor of the 200th anniversary of P. Kulish's birth, the article offers a multi-level comparison of autobiographies of two prominent Ukrainian writers of the 19th century. In the categories and concepts of modern literary criticism, the hypothesis of literary influence of T. Shevchenko on P. Kulish's perception of artistic autobiography genre is checked and confirmed. For this purpose, three texts are compared: an autograph of "Autobiography" by T. Shevchenko, deeply edited by P. Kulish for printing in "People's Reading" journal, a version of T. Shevchenko's "Autobiography" and an autobiography "My Life" by P. Kulish. The comparison is carried out at narratological, compositional, genre and intertextual levels. The historical background of the creation of each of the texts is analyzed. It is proved that the autograph of T. Shevchenko's "Autobiography" and P. Kulish's "My Life" both belong to the genre of artistic autobiography and have a compressed narrative structure. It is confirmed that T. Shevchenko didn't have extra-literary reasons for creating a third-person autobiography, unlike P. Kulish, who, moreover, was very likely to come under the literary influence of the text of T. Shevchenko and developed T. Shevchenko's narrative structure in his artistic autobiography. At the same time, it is assumed that literary influence might not be the main argument in choosing a third-person narration, since there were extra-literary reasons for keeping P. Kulish's incognito. It is noted that the text "My Life" of P. Kulish is more functional in the aspects of orientation to objectivity, emotional pressure and moderation of the author's image in literary life. Its narrative structure is compressed precisely for the sake of objectivity, addressees and consignees are implicit and difficult to isolate on each of the layers of the narrative structure precisely to mimic the non-fiction. The text of a letter to the author integrated into "My Life" is the only exception. It is concluded that hypothesis about literary influence of T. Shevchenko on P. Kulish within the genre of artistic autobiography is reliable and well-reasoned. To the author's mind, further studies should focus on finding evidence of unconscious literary influence of T. Shevchenko on P. Kulish in other genres, chances of discovering which in future are rather high.
23
الشيخ موسى, عبد الله. "من الواقع إلى الخيال ؟ أبو العنبس الصيمري وأبو الفتح الإسكندري : قراءة في مقامات بديع الزمان الهمذاني." Arabica 64, no. 1 (March 17, 2017): 28–49. http://dx.doi.org/10.1163/15700585-12341443.
Full textAbstract:
This study aims to see whether the absence of Abū l-Fatḥ al-Iskandarī, and his replacement by Abū l-ʿAnbas al-Ṣaymarī, truly moves the narrative of the Maqāmāt of al-Hamaḏānī from fiction to the allegedly factual “autobiography,” or whether, on the contrary, it confirms that the identity of the “hero” is, and whatever his name or kunya is, at least, double, which makes it impossible to distinguish the true from the false or the copy from the original. يتطلع هذا البحث إلى الوقوف على حقيقة غياب أبي الفتح الإسكندري، واستبداله، في ”المقامة الصيمرية“ للهمذاني، بأبي العنبس الصيمري : هل يعني ذلك انتقالا من السرد التخييلي إلى السرد الواقعي الذي تزعمه كل ”سيرة ذاتية“ أو تأكيد على أن هُوية ”البطل“ — مهما كان اسمه أو كنيته — هي، على الأقل، ثُنائية، فيستحيل معها التمييز بين الشخصية الحقيقية والشخصية المزيَّفة أو التفريق بين النسخة والأصل. Cette étude se propose de voir si, véritablement, l’absence d’Abū l-Fatḥ al-Iskandarī, et son remplacement par Abū l-ʿAnbas al-Ṣaymarī, fait passer le récit des Maqāmāt d’al-Hamaḏānī du fictionnel au factuel, prétendu par toute « autobiographie », ou si, au contraire, elle confirme que l’identité du « héros », quelqu’en soit le nom ou la kunya, est double, à tout le moins, ce qui rend impossible toute entreprise de distinguer la vraie de la fausse ou de séparer la copie de l’original. This article is in French.
24
Tiessen, Paul. "Memoir and the Re-reading of Fiction: Rudy Wiebe’s of this earth and Peace Shall Destroy Many." Text Matters, no. 1 (November 23, 2011): 201–15. http://dx.doi.org/10.2478/v10231-011-0015-6.
Full textAbstract:
Canadian novelist Rudy Wiebe's award-winning memoir, of this earth: A Mennonite Boyhood in the Boreal Forest (2006), invites readers into a warm subjective realm in which a meditative Wiebe (b. 1934) recounts his growing-up years from birth to age thirteen. As self-reflexive "rememberer," Wiebe explores the sensate freshness of a boy's ways of seeing, touching, and, not least, hearing the world. The young Wiebe lives with his parents and siblings and neighbours in an emotionally warm Christian community of 1920s immigrants to Canada who have fled from the Soviet Union in the wake of the 1917 Revolution and who struggle for economic survival in a remote corner of rural Saskatchewan during the 1930s and 1940s. But Wiebe's memoir of childhood is not only autobiography and social history; it is also a linguistic text that subtly invites readers to look beyond its textual boundaries to his earlier work. In particular, it has the effect of carrying alert readers back to the setting—at least physically and geographically if not altogether socially and culturally—of Wiebe's first novel, Peace Shall Destroy Many (1962). That early novel was a caustic work notoriously controversial especially among Mennonite readers in Canada when it appeared almost a half-century ago. The 2006 memoir—with intertextual allusion—invites readers to recall especially one layer of that early novel barely noticed by readers, a layer eclipsed and partially hidden by the dominant narrative. Specifically, it invites readers to see the virtually sinless and prelapsarian world of the idealistic young Hal Wiens whose idyllic life in the fictional spaces of Peace Shall Destroy Many goes unnoticed because it is so very much in the shadow of the doubts and tensions that inform the much larger world of his spiritually troubled older brother, nineteen-year old Thom Wiens. The memoir pushes readers into re-thinking the reception of that novel, and into finding anew beneath its severe and satiric treatment of the austere adult world the linguistic and spiritual joy of life given shape in the playful perceptions of the young Hal. The memoir becomes a stimulus for a transformational re-reading of the novel. This essay explores the two works in light of each other and of conventions that govern the two respective genres. It attempts, also, to account for the reading strategies that Wiebe's 2006 memoir proposes to readers of his first novel, and for key influences informing the two respective works.
25
FREEMAN, MARK. "Death, Narrative Integrity, and the Radical Challenge of Self-Understanding: a Reading of Tolstoy's Death of Ivan Ilych." Ageing and Society 17, no. 4 (July 1997): 373–98. http://dx.doi.org/10.1017/s0144686x97006508.
Full textAbstract:
Much contemporary theory suggests that, unlike works of biography or autobiography, human life itself is fundamentally comprised of disconnected moments and is thus devoid of literary form. People may seek to bind these moments together as narratives in the course of their efforts at self-understanding; but these narratives, it is often held, are little more than fictions or myths, impositions of form and order upon the flux of experience. In Tolstoy's Death of Ivan Ilych, we find a powerful refutation of this view. For what we see in Tolstoy's story are the grave consequences of a life lived moment to moment, without any sense of the whole. Only in the face of death could Ivan Ilych gain the requisite distance to behold the true meaning of his dismal life and only upon beholding this meaning could he see the contours of the life well-lived, that is, the life possessed of narrative integrity. By exploring the relationship between death, narrative integrity, and the radical challenge of self-understanding via the story of Ivan Ilych, the present essay seeks ultimately to identify ways in which the study of ageing might contribute to our identifying the good and virtuous life.
26
Bodenheimer, Rosemarie. "AUTOBIOGRAPHY WITHOUT BORDERS." Victorian Literature and Culture 27, no. 1 (March 1999): 317–25. http://dx.doi.org/10.1017/s1060150399271173.
Full textAbstract:
WHERE IS “Victorian autobiography” in the late 1990s? Everywhere and nowhere. Always contested as a genre, autobiography has stretched its fragile boundaries and diffused itself among the many forms of self-representation that interest contemporary critics: travel narratives, letters, journals, fiction, poetry, essays, biography. This diffusion is in many ways a fruitful development, although it raises the question of whether “Victorian autobiography” is still a meaningful category to use in describing critical work. Although I concentrate here on a number of recent books that flourish the word “autobiography” in their titles, I come to this review with a sense that some of the most vital work on Victorian self-representation may be flying under different banners.
27
YAQIN, AMINA. "Truth, Fiction and Autobiography in the Modern Urdu Narrative Tradition." Comparative Critical Studies 4, no. 3 (October 2007): 379–402. http://dx.doi.org/10.3366/e1744185408000086.
Full textAbstract:
From its various beginnings in the nineteenth century and ever since the rise of print capitalism on the Indian subcontinent, the Urdu novel has become a prime medium of expression for writers seeking to fuse the narrative traditions of both the East and the West. As a hybrid genre which took shape during the nineteenth century, the Urdu novel's early beginnings were associated with the theme of historical romance; this eventually gave way to the influence of realism in the first half of the twentieth century. By and large, the Urdu novel incorporates influences encompassing the fantastical oral storytelling tradition of the dastan or the qissa (elaborate lengthy heroic tales of adventure, magic and honour), the masnavi (a form of narrative poem), Urdu grammars, religious pamphlets and journals, and the European novel.
28
Lipscomb, Antonella. "Vers une nouvelle autobiographie: subversions et transformations du genre dans les autobiographies contemporaines françaises." Anales de Filología Francesa 27, no. 1 (November 15, 2019): 179–98. http://dx.doi.org/10.6018/analesff.380491.
Full textAbstract:
L’autobiographie est ce genre qui d’après Philippe Lejeune se définit comme un "récit rétrospectif en prose qu’une personne réelle fait de sa propre existence lorsqu’elle met l’accent sur sa vie individuelle, en particulier sur l’histoire de sa propre personnalité" (Lejeune, 1975: 14). Ce qui caractérise les autobiographies étudiées dans cet article est leur désir de se détacher, voire nier le genre adopté pour toutes les connotations négatives auxquelles ce genre est attaché. Accusée d’individualisme, égocentrisme, narcissisme, l’autobiographie est un genre difficile à assumer et ses valeurs d’authenticité et de sincérité difficiles à assurer. Attraction et répulsion sont les sentiments contradictoires éprouvés par les autobiographes examinés dans cet article par rapport au genre adopté. Des sentiments qui se manifestent par la résistance à toute définition, le désir de brouiller les frontières entre autobiographie, biographie, autoportrait, journal et fiction, et par un jeu fascinant de pronoms personnels dans la narration.
29
Stremlau, Tonya M. "Narrating Deaf Lives: "Is It True?" Fiction and Autobiography." Sign Language Studies 7, no. 2 (2007): 208–11. http://dx.doi.org/10.1353/sls.2007.0013.
Full text
30
Roesler, Layla M. "En d'une Métaphysique Parodique: Beckett lecteur de Descartes redux." Samuel Beckett Today / Aujourd'hui 24, no. 1 (December 1, 2012): 155–69. http://dx.doi.org/10.1163/18757405-024001010.
Full textAbstract:
I argue in this paper for a momentary return to a Cartesian prism, which can help to provide a more complete understanding of the absent first person singular of . Beckett, in equating the autobiography of the with fiction, dismantles Descartes's to reveal the presence of an unsayable first person hidden behind the 'I' which is the product of the . The narrative structure of is predicated on this non- subject as it is enacted through the characters of the text.
31
SCHERMERHORN, CALVIN. "Arguing Slavery's Narrative: Southern Regionalists, Ex-slave Autobiographers, and the Contested Literary Representations of the Peculiar Institution, 1824–1849." Journal of American Studies 46, no. 4 (March 1, 2012): 1009–33. http://dx.doi.org/10.1017/s002187581100140x.
Full textAbstract:
AbstractIn the twenty-five years before 1850, southern writers of regional literature and ex-slave autobiographers constructed a narrative of United States slavery that was mutually contradictory and yet mutually influential. That process involved a dynamic hybridization of genres in which authors contested meanings of slavery, arriving at opposing conclusions. They nevertheless focussed on family and the South's distinctive culture. This article explores the dialectic of that argument and contends that white regionalists created a plantation-paternalist romance to which African American ex-slaves responded with depictions of slavery's cruelty and immorality. However, by the 1840s, ex-slaves had domesticated their narratives in part to sell their works in a literary marketplace in which their adversaries’ sentimental fiction sold well. Scholars have not examined white southern literature and ex-slave autobiography in comparative context, and this article shows how both labored to construct a peculiar institution in readers’ imagination. Southern regionalists supplied the elements of a pro-slavery argument and ex-slave autobiographers infused their narratives with abolitionist rhetoric at a time in which stories Americans told about themselves became increasingly important in the national political crisis over slavery extension and fugitive slaves. It was on that discursive ground that the debates of the 1850s were carried forth.
32
Lembeck, Karl-Heinz. "Geschichte zwischen Erinnerung und Phantasie / History between Memory and Fantasy." Gestalt Theory 39, no. 2-3 (November 27, 2017): 215–34. http://dx.doi.org/10.1515/gth-2017-0016.
Full textAbstract:
Summary This article refers on a recent discussion with the question of the relationship between individual memory and collective history. It is claimed a constitutive role of memory in history. This thesis is examined on the basis of the question according to the value of the autobiography as a historical source. It is shown here that a reference to the collective history is already guaranteed in the relationship between memory and narrative. Four observations shall justify the arguments, they concern (i) the role of intuition in historical narrative, (ii) the relationship between historical actor and his deeds, (iii) the transcendence of memory, and (iv) the role of fiction in the historical narrative. The last observation leads at the end on the role of fantasy in the historical memory.
33
Mercier, Andrée. "Poétique du récit contemporain : négation du genre ou émergence d’un sous-genre?" Dossier 23, no. 3 (August 29, 2006): 461–80. http://dx.doi.org/10.7202/201384ar.
Full textAbstract:
Résumé Depuis 1980, on a pu recenser au Québec la publication de plus de deux cents récits, c'est-à-dire d'ouvrages qui portent de façon explicite l'indication générique « récit » sur leur page couverture. L'article propose de retracer les traits constitutifs de cet ensemble (la poétique du récit contemporain), dont le processus d'autonomisation amorcé dès le milieu des années soixante aboutirait vers les années quatre-vingt à une conscience générique plus nette. Capable de recouvrir autobiographie et fiction, formes brèves et longues, poésie et narrativité, le récit semble marqué par l'hybridité et les préoccupations de la littérature contemporaine. À cela s'ajoute toutefois un parcours historique qui dégage un pacte de lecture et un rapport à la subjectivité faisant du récit un genre, depuis longtemps lié à l'expression de soi et à la quête existentielle. N'ayant jamais constitué un ensemble générique « fort », l'état présent du récit apparaît sans doute provisoire. L'examen mené ici conduit tout de même à le soustraire de la stricte série des fictions narratives.
34
Faraone, Mario. "Images and Reflections of the Spiritual Self in Christopher Isherwood’s Narratives." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 4, no. 3 (December 10, 2010): 303–22. http://dx.doi.org/10.1558/post.v4i3.303.
Full textAbstract:
Throughout his life, Christopher Isherwood explored his sense of himself through a range of different genres of writing: autobiography, letters and journals, and fiction. The polysemic image of the mirror plays a major role in the structuring of his novels and other writings. Through the figure of the mirror, the writer signals many nearly imperceptible yet significant changes over time. This article explores this image in a range of Isherwood’s writings, and argues that, through its deployment, the artist very often questions himself about the dichotomy between appearance and reality. The presence of the mirror in the early writings assumes modalities which are distinct from those belonging to the conversion period to Vedanta, the Hindu-oriented philosophy and religion.
35
Delvallée, Ellen. "Clément Marot élève de Jean : le modèle des récits de formation allégoriques." Topiques, études satoriennes 4 (January 26, 2021): 1–17. http://dx.doi.org/10.7202/1074718ar.
Full textAbstract:
When Clément Marot tells how his father taught him to be a poet, in L’Enfer, the epistle « Au Roy » from La Suite and L’Eglogue au Roy, soubs les noms de Pan, & Robin, his account often gets fictional. Actually, this twisting of the autobiographic truth corresponds to the rewriting of topoi taken from allegorical initiation narratives. Marot draws on these topoi for a rhetorical purpose – when he defends himself or asks for goods – but also for an aesthetic one – for the poet uses them to redefine his art and the very exercise of the profession of court poet.
36
Singh, Jaspal Kaur. "Negotiating Ambivalent Gender Spaces for Collective and Individual Empowerment: Sikh Women’s Life Writing in the Diaspora." Religions 10, no. 11 (October 28, 2019): 598. http://dx.doi.org/10.3390/rel10110598.
Full textAbstract:
In order to examine gender and identity within Sikh literature and culture and to understand the construction of gender and the practice of Sikhi within the contemporary Sikh diaspora in the US, I analyze a selection from creative non-fiction pieces, variously termed essays, personal narrative, or life writing, in Meeta Kaur’s edited collection, Her Name is Kaur: Sikh American Women Write About Love, Courage, and Faith. Gender, understood as a social construct (Butler, among others), is almost always inconsistent and is related to religion, which, too, is a construct and is also almost always inconsistent in many ways. Therefore, my reading critically engages with the following questions regarding life writing through a postcolonial feminist and intersectional lens: What are lived religions and how are the practices, narratives, activities and performances of ‘being’ Sikh imagined differently in the diaspora as represent in my chosen essays? What are some of the tenets of Sikhism, viewed predominantly as patriarchal within dominant cultural spaces, and how do women resist or appropriate some of them to reconstruct their own ideas of being a Sikh? In Kaur’s collection of essays, there are elements of traditional autobiography, such as the construction of the individual self, along with the formation of communal identity, in the postcolonial life writing. I will critique four narrative in Kaur’s anthology as testimonies to bear witness and to uncover Sikh women’s hybrid cultural and religious practices as reimagined and practiced by the female Sikh writers.
37
Ríos Romero, Francisco. "Marcel Schwob, illusionniste de vies." Anales de Filología Francesa 27, no. 1 (November 15, 2019): 291–310. http://dx.doi.org/10.6018/analesff.380881.
Full textAbstract:
Este artículo aborda los aspectos teóricos de la biografía y la autobiografía, géneros con aspiraciones históricas y contenidos testimoniales, y su fusión con otros géneros literarios como la novela, el cuento, el ensayo lo que ha engendrado otras modalidades como la bioficción o la autoficción. Esta división entre el contenido referencial y el imaginario así como la imposibilidad de determinar muchas veces donde está la realidad o la ficción en los relatos biográficos ha producido un debate entre diferentes escritores y críticos que ha favorecido en nuestros días el interés por estas obras de carácter biográfico. Un gran número de escritores que cultivan esta literatura tienen a un autor del siglo XIX, Marcel Schwob como uno de los escritores que más ha influido en esta literatura al fusionar en sus biografías realidad y ficción. Tomando como eje central la obra de este autor, este articulo trata de mostrar cómo muchas de las actuales características del género fueron desarrolladas por este autor. This article has as subject the theoretical aspects about biography and autobiography, genres connected with the history and with factual contents, and their fusion with other literary genres as the roman, the tales or the essay and how this fusion has generated other modes like the biofiction and autofiction. This division between factual or imaginary contents and the impossibility to determine where it’s the reality or the fiction in the biographical stories has produced a debate among several writers and critics that benefits nowadays the interest in the biographical literature. Many writers of biographical narrative think that Marcel Schwob, an author of XIX century, is one of more influencer writers in this literature for combining fiction and reality in his biographical compositions. By taking as main subject the works of this author, this article shows that many actual characteristics of biographical narrative have been exposed for this author. This article has as subject the theoretical aspects about biography and autobiography, genres connected with the history and with factual contents, and their fusion with other literary genres as the roman, the tales or the essay and how this fusion has generated other modes like the biofiction and autofiction. This division between factual or imaginary contents and the impossibility to determine where it’s the reality or the fiction in the biographical stories has produced a debate among several writers and critics that benefits nowadays the interest in the biographical literature. Many writers of biographical narrative think that Marcel Schwob, an author of XIX century, is one of more influencer writers in this literature for combining fiction and reality in his biographical compositions. By taking as main subject the works of this author, this article shows that many actual characteristics of biographical narrative have been exposed for this author.
38
Banchenko, Aleksandra. "The Poetic Concept of Art of L.F. Dostoevskaya." Dostoevsky and world culture. Philological journal, no. 3 (2020): 270–91. http://dx.doi.org/10.22455/2619-0311-2020-3-270-291.
Full textAbstract:
L.F. Dostoevskaya’s oeuvre consists of short stories and two novels, together with a biography of F.M. Dostoevsky. Her fiction is perceived by researchers as largely autobiographical; her book about F.M. Dostoevsky as a father is considered the least reliable source of biography. Therefore a mixture of genres can be considered: her prose displays features of the poetics of autobiography; her documentary contains fiction, while the author’s discourse dominates the character of the book. This article discusses some features of the poetics of fiction and the documentary prose of L.F. Dostoevskyaya. Dostoevskaya’s works suggest that the narrator is close to the author, since in some works the narrator is an autobiographical narrator named Lyubov Feodorovna. This article presents elements of a narratological analysis of her oeuvre of novels and short stories; this can help the reader trace the connections between the perspectives of the protagonists and narrators. In some narrative structures, the positions of the protagonists and narrators become equivalent due to the extra-narrative roles of the latter. The article also provides a partial analysis of the main themes and motifs of her prose, indicating their connection to the work of F.M. Dostoevsky. In particular, we discuss the connection between Dostoevskaya’s prose and her father’s unfinished novel ‘Netochka Nezvanova’. Taken as a single text, the prose of the great writer’s daughter demonstrates features of the Bildungsroman.
39
Levy, Nurit. "Représentations de l’absence et du manque : de La Dispersion au Livre brisé de Serge Doubrovsky." Quêtes littéraires, no. 1 (December 30, 2011): 111–21. http://dx.doi.org/10.31743/ql.4651.
Full textAbstract:
Author and academic, Serge Doubrovsky is an important figure in contemporary French literature. His numerous publications foretell the emergence of a new literary concept, positioning him in the domain of post-modernism with the emergence of auto-fiction. From The Dispersion to The Broken Book, the auto-fiction unfolds in a jerky narrative while the genesis of the work revolves around a profound sense of lack and absence that the writer tries to fill through his writing. The experience of World War II left a life long indelible mark on the writer’s own identity and brings forth the creation of this hybrid autobiography that aims at tearing down ge-neric and literary boundaries. Letters and words are used to confront what is missing in his life in a transgressing style that describes the violence of this experience. In this way, Doubrovsky leaves a trace of his existence, transforming his life into a novel – a work of fiction – and by giving space to imagination when telling his own story.
40
Kusek, Robert. "Upheavals of Emotions, Madness of Form: Mary M. Talbot’s and Bryan Talbot’s Dotter of Her Father’s Eyes and a Transdiegetised (Auto)Biographical Commix." Prague Journal of English Studies 4, no. 1 (July 1, 2015): 107–21. http://dx.doi.org/10.1515/pjes-2015-0007.
Full textAbstract:
Abstract In 2012, Mary M. Talbot and Bryan Talbot joined the likes of Richard Ellmann, Gordon Bowker and Michael Hastings and in their graphic memoir Dotter of Her Father’s Eyes (2012) offered a new re-telling of James Joyce’s life, focusing, in particular, on the difficult relationship between the great Irish writer, and his daughter Lucia. However, the story of a complicated emotional bond between Joyce and Lucia was only a framework for an autobiographical coming-of age narrative about Mary M. Talbot herself and her violent relationship with James S. Atherton, a celebrated Joycean scholar and her very own “cold mad feary father”. Following Martha C. Nussbaum’s conception about cognitive and narrative structure of emotions postulated in Love’s Knowledge (1990) and Upheavals of Thoughts (2001), this article wishes to argue in favour of an organic connection between the volume’s thematic concerns and its generic affiliation. In other words, it discusses how a specific class of emotions pertaining to Lucia’s gradual mental disintegration can be adequately told only in a specific literary form, i.e. in a transdiegetised “commix”, an (auto)biographical account which occupies a threshold space between a comic and a novel, fiction and non-fiction, biography and autobiography, words and pictures.
41
Korthals Altes, Liesbeth. "Actes de cadrage, narratologie et herméneutique — à propos de l’indétermination énonciative dans Sujet Angot de Christine Angot." Arborescences, no. 6 (September 23, 2016): 94–120. http://dx.doi.org/10.7202/1037506ar.
Full textAbstract:
Cet article présente une discussion théorique et méthodologique au sujet des façons dont nous faisons sens de brouillages des voix narratives et de cadrages génériques (autobiographie, biographie, fiction, autofiction) dans un texte littéraire. Le roman Sujet Angot de Christine Angot sert d’exemple afin d’illustrer la diversité des interprétations suscitées par les constructions narratives qui problématisent leur énonciation – et leurs valeurs. Attentive aux actes de cadrage (« framing » - Goffman) à l’oeuvre dans la lecture, l’approche métaherméneutique défendue dans cet article observe aussi les régimes de valeurs liés aux actes de classification (Boltanski et Thévenot) afin d’illustrer les bénéfices potentiels – pour l’éducation et pour la vie civile – d’une prise en compte réflexive des divers cadres conceptuels qui informent la lecture littéraire.
42
Kragh, Ulrich Timme. "Chronotopic Narratives of Seven Gurus and Eleven Texts: A Medieval Buddhist Community of Female Tāntrikas in the Swat Valley of Pakistan." Cracow Indological Studies 20, no. 2 (December 31, 2018): 1–26. http://dx.doi.org/10.12797/cis.20.2018.02.02.
Full textAbstract:
Modern South Asian women’s writing wells up to the stirring surface of contemporary literature in now globally recognizable forms of fiction and memoir, inter alia, the novel, the poem, the biography, the autobiography. Yet, beneath these topmost layers of colonial and post-colonial literary tides flow undercurrents of precolonial women’s writing, often in radically other figurations of lettered expression. Even further down than the familiar temporal strata of the Vaiṣṇavite and Śaivite religious poetry written by the dozen authoresses ranging from Muktābāi to Rūpa Bhavānī between the thirteenth and eighteenth centuries, there exists another place in the deep, like an underwater lake, of a much older women’s writing penned by Tantric women gurus. The majority of this archaic Buddhist literature streamed out of the Swat valley in Pakistan, a locality for no less than seven known female gurus, who lived, taught, or wrote there between the eighth and eleventh centuries. After a short prologue on Swat and its recent history, the essay surveys eleven female-authored medieval Tantric works, which range in genre from ritual treatises, meditation practice-texts, and mystic poems, to literary forms that even seem evocative of contemporary women’s gendered voices: spiritual biography and autobiography empowered by a place.
43
López-Pellisa, Teresa. "El síndrome de Narciso y el autor como avatar postorgánico en las narrativas del futuro: Carmen Boullosa y Álex Rivera." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 27 (January 3, 2017): 147. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2017271546.
Full textAbstract:
En este artículo se reflexiona sobre las posibilidades de las narrativas del futuro a partir de tres textos de ciencia ficción: El cielo de la Tierra (1997) y La novela perfecta (2006) de Carmen Boullosa, y la película Sleep Delaer (2008) de Álex Rivera. Estos autores proponen narraciones de realidad virtual en las que el autor es el protagonista de una autobiografía multimedia que le permite exhibir sus vivencias en la Red (síndrome de Narciso). Y los lecto-usuarios se conectan a los avatares de estos autores para vivir en primera persona sus narraciones. El lenguaje literario se transforma en un lenguaje polisensorial proponiendo otro tipo de literatura ¿del futuro? This article reflects on the possibilities of future narratives from three science fiction texts: El cielo de la Tierra (1997) and La novela perfecta (2006) by Carmen Boullosa, and the film Sleep Delaer (2008) by Álex Rivera. These authors propose stories of virtual reality in which the author is the protagonist of a multimedia autobiography that allows him to exhibit his experiences on the Net (Narcissus syndrome). And the lecto-users connect to the avatars of these authors to live their stories in first person. Literary language is transformed into a polisensorial language proposing another type of literature ¿from the future?
44
Shсhedrina, Nellya M. "Autobiography and Self-Reflection in Alexander Solzhenitsyn’s “The GULAG Archipelago”." Proceedings of Southern Federal University. Philology 2021, no. 1 (March 30, 2021): 124–34. http://dx.doi.org/10.18522/1995-0640-2021-1-124-134.
Full textAbstract:
“The GULAG Archipelago” is based on historical and autobiographical material. Autobiography is a key feature of the works of Alexander Solzhenitsyn. This style trait manifests itself in the plot, composition, is expressed in the ways of self-reflection, methods of self-identification, in the functions and role of the author-narrator. The retrospective component, as well as the identity of the author and the narrator, the identity of the author and the character, are of fundamental importance. The type of narration chosen by Solzhenitsyn for “The Archipelago” opened up inexhaustible possibilities of fictional and documentary prose as a genre that conceals a way of correlating autobiographical and factual material. At the same time, the author was also a witness to what was happening and conveyed the details, the spirit of his time. Solzhenitsyn’s autobiography is special: it is not only the use of the facts of the writer’s biography, it is the desire to convey their thoughts as a result of the experience through the psychological experiences, thoughts and feelings of the author. The writer draws a spiritual rebirth of a person in the labor camp, reveals moments of repentance, the development of spiritual stoicism. Hard labor elevated Solzhenitsyn and became the highest point from which the most important stages of his life can be counted.
45
Block, James E. "Narratives of Reversal: Fiction of the Young Republic and the Crisis of Liberation." Prospects 25 (October 2000): 1–33. http://dx.doi.org/10.1017/s0361233300000569.
Full textAbstract:
The intellectual legacy of the American Revolution has cast a long shadow over the study of American fiction. Its enduring narrative of a “nation conceived in liberty” as an “asylum for freedom,” reinforced most recently in Eric Foner's book The Story of American Freedom, perpetuates the conviction of an American commitment to liberation. The early secular models of individualism, Robinson Crusoe, Franklin's Autobiography, and Crévecoeur, promised an uncomplicated release from Old World constraints to the opportunities of a mobile and open society. This expectation of a new and higher individualism, either in democratic society or as often in a space of Edenic openness, until recently shaped our understanding of the culture of the early republic and its literature. As F. O. Matthiessen wrote in his classic work on the writers of the American Renaissance, “They felt that it was incumbent upon their generation to give fulfillment to the potentialities freed by the Revolution, to provide a culture commensurate with America's political opportunities.” Beginning in the 1980s, critics challenging the depth of revolutionary ideology have questioned its influence on the writings of the period. With roots in feminism, reader response theory, postcolonialism, and popular culture, these writers have emphasized in Jane Tompkins's term the “cultural ‘work’” this fiction was “designed to do” in shaping the nascent society.
46
Staniskyte, Jurgita. "Treading the Borderline." Nordic Theatre Studies 26, no. 1 (October 1, 2018): 32–43. http://dx.doi.org/10.7146/nts.v26i1.109732.
Full textAbstract:
Duringthesecond decadeof theIndependence, i.e. at thebeginningof thetwenty-first centurythe increasing number of performances trying to escape the tradition of anti-mimeticrepresentation and to re-engage with reality appeared on the Lithuanian theatre stage.Fragments of everyday reality, ?real?personalities onstage, autobiographic narratives, historicdocuments, authentic spaces were becoming increasingly popular, allowing some critics toproclaim theeagerly awaited ?return to realism?. However, acloser analysisof thistendency ofcontemporary Lithuanian theatre can lead one to believe that such performances do notdemonstratetheurgeto return to thetraditional notion of realist representation, but rather toplayfully flirt with reality and its reception in the fictional world of theatre. In the light oftheoretical and practical revisions of the concepts of reality and its representation, youngLithuanian theatrecreatorsarenot somuch interested in truthful representation of reality, butrather in a performative investigation of processes of representation and their effects onaudience perception. One might add that while engaging with the codes of reality or ?real?material onstage, contemporary Lithuanian artists try to dismantle the binary oppositionbetween realistic representation and anti-realistic playfulness, which dominated the symbolicmentality of modern Lithuanian theatre. Various forms of playing with reality and fiction onthe Lithuanian theatre stage, their underlying principles and wider cultural implications ofsuch games are the object of investigation of this article. A comparative analysis ofperformances from Lithuania and Estonia will help to highlight the specific character ofLithuanian theatre as well as to define the patterns of playing with reality present on thepost-Soviet Lithuanian stage.
47
HERTRAMPF, MARINA ORTRUD M. "Literary negotiations of hybrid identity: French narratives on young female Romani migrants in France - A case study." Romani Studies 30, no. 2 (December 1, 2020): 201–15. http://dx.doi.org/10.3828/rs.2020.10.
Full textAbstract:
The article deals with the identity formation and coming-of-age processes of Romani girls who have migrated from Romania to France. First, some more general reflections on the identity formation processes of young women in diasporic Roma communities are made. In this context, identity hybridization processes are described with Bhabha’s “third space” concept. Following this, the literary staging of such identity negotiations will be examined using the example of two selected French narratives: the fictional life story Gadji! (2008) by the non-Romani writer Lucie Land on the one hand and the semi-autobiographal Je suis Tzigane et je le reste (I´m a Gypsy and I remain one, 2014) by Anina Ciuciu (and co-authored by the non-Romani journalist Frédéric Veille) on the other. At the same time, the question will be asked whether and which differences can be observed between the presentation from an external viewpoint or that of a self-perspective and how these differences should be interpreted.
48
Leonard, Karen. "Sandhya Shukla. India Abroad: Diasporic Cultures of Postwar America and England. Princeton, N.J.: Princeton University Press, 2003." Comparative Studies in Society and History 47, no. 3 (July 2005): 670–72. http://dx.doi.org/10.1017/s001041750524029x.
Full textAbstract:
Sandhya Shukla has written a highly interdisciplinary comparison of Indian diasporic cultures in Britain and the United States. Specializing in Anthropology and Asian American Studies, she is particularly strong on historical and literary text analysis. She says, “The relational aspects of a range of texts and experiences, which include historical narratives, cultural organizations, autobiography and fiction, musical performance and films, are of paramount importance in this critical ethnography” (20). Contending that the Indian diaspora confronts “a simultaneous nationalism and internationalism,” she is celebratory about India and “formations of Indianness,” and uses phrases like “amazing force” and “wildly multicultural” (17). Her exploration shows “the tremendous impulse to multiple nationality that Indianness abroad has made visible” (14) and, “the amazing persistence of Indian cultures in so many places” (22).
49
Yankovskaya, L. S. "Autobiography or Autopsychology? To the Issue of the Author’s Presence in the Fiction Narration." Izvestiya of Saratov University. New Series. Series: Philology. Journalism 18, no. 1 (2018): 87–91. http://dx.doi.org/10.18500/1817-7115-2018-18-1-87-91.
Full text
50
Chakraborty, Sanchayita Paul, and Dhritiman Chakraborty. "Bengali Women’s Writings in the Colonial Period: Critique of Nation, Narration, and Patriarchy." Zeitschrift für Anglistik und Amerikanistik 66, no. 1 (March 28, 2018): 19–34. http://dx.doi.org/10.1515/zaa-2018-0004.
Full textAbstract:
Abstract Critical engagements like the first autobiography written by a Bengali woman, Rasasundari Devi, and the non-fictions by Kailashbasini Devi, Krishnabhabini Das, and other women writers in the second half of the nineteenth century contested the imagined idealization of the Hindu domesticity and conjugality as spaces of loveableness and spiritual commitment. They criticized coercion in child-marriages and the forceful injunctions of the Hindu scriptures on both married and widowed women. Such rhetoric of quasi empowerment needs to be disaggregated to perpetuate issues of ‘double colonization,’ ‘dual-hold’ in feminism in India. The question is whether there can be any grounds of women’s agency in the Indian tradition. Eurocentric critiques are ill-equipped to politicize all modalities of a culture of social exclusion in Hindu imaginaries. Henceforth, as questions of equality, emancipation, and empowerment are fiercely debated in the public domain in contemporary India, we need to argue how immanent dissenting woman subjectivity can originate to counteract multiple patriarchies formed in Indian immediacies.