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The Phenomenology of Autobiography
Taking a fresh look at the state of autobiography as a genre, The Phenomenology of Autobiography: Making it Real takes a deep dive into the experience of the reader. Dr. Schmitt argues that current trends in the field of life writing have taken the focus away from the text and the initial purpose of autobiography as a means for the author to communicate with a reader and narrate an experience. The study puts autobiography back into a communicational context, and putting forth the notion that one of the reasons why life writing can so often be aesthetically unsatisfactory, or difficult to distinguish from novels, is because it should not be considered as a literary genre, but as a modality with radically different rules and means of evaluation. In other words, not only is autobiography radically different from fiction due to its referentiality, but, first and foremost, it should be read differently.
The Photographer as Autobiographer
This book explores hybrid memoirs, combining text and images, authored by photographers. It contextualizes this sub-category of life writing from a historical perspective within the overall context of life writing, before taking a structural and cognitive approach to the text/image relationship. While autobiographers use photographs primarily for their illustrative or referential function, photographers have a much more complex interaction with pictures in their autobiographical accounts. This book explores how the visual aspect of a memoir may drastically alter the reader's response to the work, but also how, in other cases, the visual parts seem disconnected from the text or underused. Arnaud Schmitt is a Full Professor at the University of Bordeaux, France. He has published two books and multiple articles on autofiction and autobiography.
The Autofictional
This open access book offers innovative and wide-ranging responses to the continuously flourishing literary phenomenon of autofiction. The book shows the insights that are gained in the shift from the genre descriptor to the adjective, and from a broad application of “the autofictional” as a theoretical lens and aesthetic strategy. In three sections on “Approaches,” “Affordances,” and “Forms,” the volume proposes new theoretical approaches for the study of autofiction and the autofictional, offers fresh perspectives on many of the prominent authors in the discussion, draws them into a dialogue with autofictional practice from across the globe, and brings into view texts, forms, and media that have not traditionally been considered for their autofictional dimensions. The book, in sum, expands the parameters of research on autofiction to date to allow new voices and viewpoints to emerge.
Reading the Contemporary Author
Reading the Contemporary Author brings together leading scholars in cultural theory, literary criticism, stylistics, narratology, comparative literature, and autobiography studies to interrogate how we read the contemporary author in public and cultural life, in life writing, and in literature.
The Story of "Me"
Autofiction, or works in which the eponymous author appears as a fictionalized character, represents a significant trend in postwar American literature, when it proliferated to become a kind of postmodern cliché. The Story of “Me” charts the history and development of this genre, analyzing its narratological effects and discussing its cultural implications. By tracing autofiction’s conceptual issues through case studies and an array of texts, Marjorie Worthington sheds light on a number of issues for postwar American writing: the maleness of the postmodern canon—and anxieties created by the supposed waning of male privilege—the relationship between celebrity and authorship, the in...
Autofiction
This book examines themes of exile, mobility, and identity in contemporary autofictional narratives written in French by women writers from across the francophone world. It reads exile in light of both gender and literary genre, arguing that autofiction gives women the space to reconfigure their exile on their own terms.
Daniel Mendelsohn’s Memoir-Writing
This volume of eight essays written by French scholars analyzes Daniel Mendelsohn's first three volumes of nonfiction (The Elusive Embrace, 1999; The Lost, 2006; and An Odyssey, 2017) and includes an illustrated interview (2019) in which Mendelsohn tackles various aspects of his work as a literary and cultural critic, as a professor of classical literature, as a translator, and as a memoirist. The essay discussing The Elusive Embrace (1999) argues that, in addition to offering a subtle reflection on sexual identity and genres, Mendelsohn’s first volume already broadens his topic and patiently weaves links between ancient and present times, feeding his meditation with his knowledge of Greek...
Playful Memories
This volume examines the blending of fact and fiction in a series of cultural artefacts by post-dictatorship writers and artists in Argentina, many of them children of disappeared or persecuted parents. Jordana Blejmar argues that these works, which emerged after the turn of the millennium, pay testament to a new cultural formation of memory characterised by the use of autofiction and playful aesthetics. She focuses on a range of practitioners, including Laura Alcoba, Lola Arias, Félix Bruzzone, Albertina Carri, María Giuffra, Victoria Grigera Dupuy, Mariana Eva Perez, Lucila Quieto, and Ernesto Semán, who look towards each other's works across boundaries of genre and register as part of the way they address the legacies of the 1976-1983 dictatorship. Approaching these works not as second-hand or adoptive memories but as memories in their own right, Blejmar invites us to recognise the subversive power of self-figuration, play and humour when dealing with trauma.
Autoethnography in the 21st Century, Volume II
Autoethnography in the 21st Century offers interpretive, analytic, interactive, performative, experiential, and embodied forms of autoethnography from around the globe. Volume II, Genealogy, Memory, Media, Witness examines hybrid ethnographic life-writing genres, including genealogical memoir, cultural autotheory, and family narrative. Contributors actively blur the distinction between emic and etic classifications of ethnographic experience to position themselves as both the active bearers of and critical witnesses of culture to produce and analyze expressive rather than data-driven depictions of selfhood and culture that emerge in the spaces between traditionally self-effacing scientific methods and literary narrative. It features autobiographical and anthropological poetics, autotheory, and fieldwork grounded in Trinidad, Jordan, Mexico, Italy, Australia, Canada, Scotland, Egypt, Turkey, and the United States. The book will be of interest to students and researchers in the fields of critical autoethnography, communication, cultural and gender studies, and other related disciplines. The chapters in this book were originally published as a special issue of Life Writing.
L'épuisement du biographique?
Pourquoi penser le biographique? N'est-il pas épuisé? Le siècle passé semble l'avoir vidé de son contenu et de sa substance et l'a réduit à un état d'affaiblissement presque complet dans le domaine des sciences sociales comme dans celui de la critique littéraire. L'enjeu de cet ouvrage est d'affirmer que le biographique déborde la biographie et de considérer le biographique comme une condition du retour de la biographie au moyen de son dépassement. Cet ouvrage rassemble des travaux abordant ...
