The context of decolonization thus created certain parallels between the criticism of colonialism and the literary criticism of travel literature. The need for assessing the legacy of colonialism also motivates the study of its advent in Early Modern texts. The insistence placed upon origins, and upon first contact, in turn, is one of the many places where the study of travel narratives interacts with the discipline of anthropology.
The second part of the article is about the ambivalence involving, on one hand, the advent of research on travel literature, and on the other, its difficulties in precisely defining its object, or its refusal to do so. The definition of the object appears to be less crucial than its rehabilitation or its historicization.
The third part of the article presents a selection of critical discourses, questionings, and stakes, linked to travel literature: Certes, tous les voyageurs ne sont pas Lamartine. Cartier, Sagard, Lahontan, Charlevoix, etc. He specializes in travel literature, the subject of his doctoral thesis and several articles, and is interested in the different ways in which travel narratives circulate on the crossroads of book history, the history of ideas and the history of literary forms.
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He works on exoticism and the literature of contact of the fifteenth and sixteenth centuries. Christine Angot's determination to leave her reader in doubt, the consequences of which are analysed by Gill Rye, 43 violently challenges the specifically gendered pacts of trust that have underpinned much women's writing and reading.
Rye shows how Angot's reader is caught up in limit-testing accounts that probe the various ways readers consume autobiographical subjects. Angot's aggressive stance is at one end of a fertile spectrum of new practices that are bringing readers and writers repeatedly to renegotiate the terms of their encounter. This renegotiation does not, however, imply loss of the rich connectivity attained through women's self-narrative.
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The sense of fracture and self-estrangement inherent in autofiction surfaces in specific ways in women's articulations of culturally hybrid identities. What emerges from these studies is a sense of the enrichment of women's self-narrative by postcolonial theories and non-Western perspectives on subjectivity, authorship, writing, history, and memory. Autofiction is seen to be linked to promoting individual and social change and to constructing identity in situations of tension and in locations outside metropolitan France.
It is precisely the study of what cultures beyond the Franco-French literary scene have been making of autofiction that was the subject of the second conference on the field at Cerisy-la-Salle 16—23 July As a practice of the subject, autofiction exceeds the boundaries of discipline and media. Several critics have explored how Sophie Calle's mixed-media life narratives probe connections between autobiography and fictional scripts.
The potential of photography within autofiction is explored in a recent cluster of self-narrative works by Ernaux, Laurens, Marie NDiaye, and Anne Brochet, each consisting of a written narrative haunted by embedded photographs, each questioning the status of analogue photography as evidence that might lead to the self.
Women's autofictional practices in French, then, are visual and intermedial as much as written. Where traditional autobiography was seen by feminist critics as uncongenial to women, autofiction has proved singularly propitious. Women have played a significant role in shaping its evolution across media, but its fertility for feminine subjects remains under-theorized. Analysis of individual practitioners is scattered over a range of critical works where gender is seldom a central analytic thread and where links to the broader history of women's self-narrative are made only patchily.
There is a need for more concerted study of individual practitioners and also, more broadly, of the formal and thematic features that have become dominant in women's self-narrative in French since autofiction displaced autobiography. Oxford University Press is a department of the University of Oxford.
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- Tourism and Migration: New Relationships between Production and Consumption (GeoJournal Library).
- Der Seehund (German Edition).
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Close mobile search navigation Article navigation. Autofiction in the Feminine Shirley Jordan. For exploration of the cusp between autofiction and earlier self-narrative experiment see Claire Boyle, Consuming Autobiographies: Legenda, , esp. See also Les Nouvelles Autobiographies [see n.
Presses universitaires de Rennes, , pp. Bordas, , pp. Autobiographical and Biographical Forms , i: Fitzroy Dearborn, , pp. Serge Doubrovsky, Fils Paris: Doubrovsky was responding to a challenge set by generic criteria established in Philippe Lejeune's seminal Le Pacte autobiographique Paris: Tristram, ; Philippe Gasparini, Est-il je?
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Roman autobiographique et autofiction Paris: A conference at Nanterre in produced Autofictions et cie [see n. Presses universitaires de Lyon, Rodopi, , pp. Academia-Bruylant, , pp.
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Essays on Autobiography, Biography and Literature , ed. Palgrave Macmillan, , pp. Presses universitaires Blaise Pascal, The sole essay on a woman writer in Autofiction et cie [see n. Boyle's observation that feminist autobiography scholarship has been slow to engage with new forms of self-writing Consuming Autobiographies [see n. The following landmark publications analyse women's writing around the turn of the millennium and contain case studies of autofictional works: