Of Strange Loops and Real Effects: Five Theses on Autofiction/the Autofictional

Wagner-Egelhaaf, Martina

doi:10.1007/978-3-030-78440-9_2

Cited by 4 publications

(1 citation statement)

References 5 publications

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“…Developed for literature, the term autofiction (synonymous with self-fiction) gained traction and spread to other fields, namely the audiovisual art forms. Its singularity is generally acknowledged, although the theorists agree to disagree on a definition (Vilain, 2020;Wagner-Egelhaaf, 2022;Effe and Lawlor, 2022;Ferreira-Meyers, 2015;James, 2022, among others). This undecidability is the result of autofiction's resistance to conventions and its permanent mutation (Effe and Lawlor 5), wherefore its application to several narrative modalities, including documentary, seems perfectly adequate.…”

Section: Speculum: the I That Reflects Itselfmentioning

confidence: 99%

Self-representation and Intermediality in The Metamorphosis of Birds (Catarina Vasconcelos, 2020).

Chinita

2023

Ekphrasis

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The Metamorphosis of Birds (Catarina Vasconcelos, 2020, Portugal) is a hybrid non-fiction film in which the director represents herself and the members of her immediate family, who are an extension of her, in an intermedial and deliberately lyrical fashion. Starting with Bill Nichols's performative modality of documentary, the article will shed light on how the metaphorical network that links mother (roots and growth), father (life and death) and birds (freedom and creativity) in the film is developed in connection to the filmmaker and her existence, in a profoundly personal and intimate manner. This performative autobiographical stance exists midway between the real and the fictional, i.e., in fully autofictional territory. Permeated with autobiographical details but resorting to imagination, the film seems to be a combination of both "biographical" and "specular" autofiction according to Luz Elena Herrera Zamudio (2007), presupposing lyricism, on the one hand, and reversibility between the real and the imaginary, on the other. Mirroring is the core performative act which demonstrates that the creator is an integral part of her work (film as text) and vice versa.

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Section: Speculum: the I That Reflects Itselfmentioning

confidence: 99%

Self-representation and Intermediality in The Metamorphosis of Birds (Catarina Vasconcelos, 2020).

Chinita

2023

Ekphrasis

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Det är nu det vänder: Il gusto della malinconia e il dovere della felicità nel romanzo En svensk kändis di Alma Kirlić

Calvani

2023

AnnOc

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Scandinavian second-generation writers provide evidence of the social impact of migration and multiethnicity. Yet the Swedish literary market seems preferably to target writers of African or Middle Eastern descent, perhaps benefiting from the rifts that the non-whiteness issue generates in people. On the other hand, the Yugoslav diaspora, nowadays celebrated as a model of positive integration, is often ignored in the literary context. In her novel, Alma Kirlić questions the supposedly happy outcome of the Yugoslavs’ arrival in Sweden. Relying on the ‘melancholic migrant’ metaphor, this study aims to further explore Sweden’s post-migrant condition by providing new points of reference.

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Unsettling German Memory Culture: The Role of Archives in Natascha Wodin’s Sie kam aus Mariupol

Eigler

2023

Seminar: A Journal of Germanic Studies

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In Sie kam aus Mariupol (2017), Natascha Wodin reconstructs her Ukrainian family history with special focus on her mother’s experience as a forced labourer in Nazi Germany and the debilitating effects of continued discrimination in postwar Germany. Wodin’s powerful narrative draws attention to a traumatized woman whose short life coincided with violent upheavals in twentieth-century Ukrainian, Russian, and German history. Based on approaches in memory studies and the archival turn, this article argues that several archives play a central role in this autofictional text: an urban archive of Mariupol that both documents and counteracts the repeated destruction of the city over the course of the twentieth and twenty-first centuries, a collection of familial documents from Ukraine and Russia located primarily through online searches, and an archive that details the role of forced labour in Germany during the Second World War. The archive on forced labour challenges us to contemplate the kind of forgetting that has accompanied the public commemoration of the victims of Nazi Germany. Overall, Sie kam aus Mariupol exemplifies the role of literature, in particular autofictional texts of the postgeneration, in intervening in discourses on collective memory.

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Of Strange Loops and Real Effects: Five Theses on Autofiction/the Autofictional

Cited by 4 publications

References 5 publications

Self-representation and Intermediality in The Metamorphosis of Birds (Catarina Vasconcelos, 2020).

Self-representation and Intermediality in The Metamorphosis of Birds (Catarina Vasconcelos, 2020).

Det är nu det vänder: Il gusto della malinconia e il dovere della felicità nel romanzo En svensk kändis di Alma Kirlić

Unsettling German Memory Culture: The Role of Archives in Natascha Wodin’s Sie kam aus Mariupol

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