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PALGRAVE STUDIES IN LIFE WRITING
SERIES EDITORS: CLARE BRANT · MAX SAUNDERS
The Autofictional
Approaches, Affordances, Forms
Edited by
Alexandra Effe · Hannie Lawlor
Palgrave Studies in Life Writing
Series Editors
Clare Brant
Department of English
King’s College London
London, UK
Max Saunders
Department of English
King’s College London
London, UK
This series features books that address key concepts and subjects in life
writing, with an emphasis on new and emergent approaches. It offers spe-
cialist but accessible studies of contemporary and historical topics, with a
focus on connecting life writing to themes with cross-disciplinary appeal.
The series aims to be the place to go to for current and fresh research for
scholars and students looking for clear and original discussion of specific
subjects and forms; it is also a home for experimental approaches that take
creative risks with potent materials.
The term ‘Life Writing’ is taken broadly so as to reflect its academic,
public, digital and international reach, and to continue and promote its
democratic tradition. The series seeks contributions that address global
contexts beyond traditional territories, and which engage with diversity of
race, gender and class. It welcomes volumes on topics of everyday life and
culture with which life writing scholarship can engage in transformative
and original ways; it also aims to further the political engagement of life
writing in relation to human rights, migration, trauma and repression, and
the processes and effects of the Anthropocene, including environmental
subjects where lives may be non-human. The series looks for work that
challenges and extends how life writing is understood and practised, espe-
cially in a world of rapidly changing digital media; that deepens and diver-
sifies knowledge and perspectives on the subject; and which contributes to
the intellectual excitement and the world relevance of life writing.
The Autofictional
Approaches, Affordances, Forms
Editors
Alexandra Effe Hannie Lawlor
University of Oslo University of Oxford
Oslo, Norway Oxford, UK
© The Editor(s) (if applicable) and The Author(s) 2022. This book is an open access
publication.
Open Access This book is licensed under the terms of the Creative Commons Attribution
4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits
use, sharing, adaptation, distribution and reproduction in any medium or format, as long as
you give appropriate credit to the original author(s) and the source, provide a link to the
Creative Commons licence and indicate if changes were made.
The images or other third party material in this book are included in the book’s Creative
Commons licence, unless indicated otherwise in a credit line to the material. If material is not
included in the book’s Creative Commons licence and your intended use is not permitted by
statutory regulation or exceeds the permitted use, you will need to obtain permission directly
from the copyright holder.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this
publication does not imply, even in the absence of a specific statement, that such names are
exempt from the relevant protective laws and regulations and therefore free for general use.
The publisher, the authors and the editors are safe to assume that the advice and information
in this book are believed to be true and accurate at the date of publication. Neither the
publisher nor the authors or the editors give a warranty, expressed or implied, with respect to
the material contained herein or for any errors or omissions that may have been made. The
publisher remains neutral with regard to jurisdictional claims in published maps and
institutional affiliations.
This Palgrave Macmillan imprint is published by the registered company Springer Nature
Switzerland AG.
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
Acknowledgements
v
Contents
Part I Approaches 19
vii
viii CONTENTS
Part II Affordances 119
Part III Forms 225
Index327
Notes on Contributors
xi
xii Notes on Contributors
Fig. 9.1 “The Look of Reading (After Garret Stewart),” 2018. Digital
Self-Portrait Photograph 166
Fig. 9.2 “L’Inscription,” 2018. Digital Self-Portrait photograph 167
Fig. 9.3 “Je t’attends là, je t’attends là pendant toute ma vie,” 2020.
Digital Self-Portrait 169
Fig. 9.4 “En regardant mes peuples,” 2020. Digital Self-Portrait 170
Fig. 9.5 “Of Another Time When I Existed,” 2020. Self-portrait drawn
in smoke and charcoal on paper 172
Fig. 9.6 “I knew who I was this morning, but I’ve changed a few times
since then” (After Lewis Carroll), 2020. Digital Self-Portrait 175
Fig. 9.7 “Portrait de Madeleine” (formerly known as Portrait d’une
négresse), Marie-Guillemine Benoist, 1800. Louvre Museum,
Paris. Picture in public domain 178
Fig. 9.8 “Amour non partagé” (Unrequited Love), 2020. Digital
Self-Portrait179
Fig. 12.1 Albertina Carri, Several parallel but thematically disconnected
screens of found footage in Cuatreros232
Fig. 12.2 Víctor Erice, Workers from the Vizela Factory: Close-up of
Photograph in Vidros partidos236
Fig. 15.1 Photomontage at the beginning of chapter IX, entitled I.O.U.,
of Cahun’s Aveux non avenus. Courtesy of the Jersey Heritage
Collections294
Fig. 15.2 Photomontage at the beginning of chapter I, entitled R.C.S.,
of Cahun’s Aveux non avenus. Courtesy of the Jersey Heritage
Collections305
xvii
CHAPTER 1
A. Effe (*)
University of Oslo, Oslo, Norway
e-mail: alexandra.effe@ilos.uio.no
H. Lawlor
Exeter College, Oxford, UK
e-mail: hannie.lawlor@exeter.ox.ac.uk
Autofiction has established itself as one of the most open and lively fields in
contemporary literature. It is a complex notion to define, connected to the
author’s defiance with regard to autobiography, romans à clef, the con-
straints or illusions of transparency; a notion that is enhanced by its many
extensions even as it robustly resists the incessant attacks to which it is sub-
jected. (autofiction.org, n.d.; our translation)
*
**
*
**
E sul finire dei poema, Prudenzio esorta Onorio a por fine a quei
cruenti spettacoli con queste parole:
CAPITOLO PRIMO.
Edificazione — Dedicazione — Feste inaugurali — Medaglie
commemorative — Spese approssimative — Epigrafi.
Fig. 1ª.
Nella dedicazione dell’Anfiteatro Flavio [168], vero portento della
romana grandezza, e del quale Marziale [169] dice enfaticamente: