Wyniki wyszukiwania - Biblioteka Nauki

1

Life as Fiction: the Autofictional Turn in Women’s Writing of the Maghreb

100%

Ali N. N.

Lublin Studies in Modern Languages and Literature

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2016

|

tom 40

|

nr 2

DE

Der Band enthält die Abstracts ausschließlich in englischer Sprache.

EN

The twentieth century witnessed the birth of a feminine strand of autofictional writing coming from the ancient colonies, of which Fantasia: An Algerian Cavalcade, by the francophone Algerian writer Assia Djebar, and the Arabic Memory in the flesh, by the Algerian writer Ahlam Mosteghanemi, are emblematic. Whether it be in the Arabic or French language, the women writers of the Maghreb risked writing an autobiography in a culture that stresses the anonymity of women. The coming to writing for these women is often accompanied by a desire – or necessity – to revisit the collective past from a female perspective. For these women, literary writing also meant writing their stories on the palimpsest of dominant history, in order to carve their place in it. To fight the forced amnesia of historical discourse constructed by man, they must create works that give voice to the stories silenced by the totalizing male narrative. Djebar and Mosteghanemi both insist that the emancipation of women is possible only if the subaltern woman becomes subject not object of her story/history.

FR

Le numéro contient uniquement les résumés en anglais.

RU

Том не содержит аннотаций на английском языке

2

Représentations de l’absence et du manque : de La Dispersion au Livre brisé de Serge Doubrovsky

84%

Levy N.

Quêtes littéraires

|

2011

|

nr 1

111-121

EN

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.

3

Jeu de rôles : autofiction dans l’œuvre romanesque de Jean Genet

84%

Kamiński P.

Quêtes littéraires

|

2023

|

nr 13

120-130

EN

This article seeks to analyze three novels by Jean Genet: Our Lady of the Flowers (1943), Miracle of the Rose (1946) and The Thief’s Journal (1949). Its main goal is to verify how the game with discursive techniques applied by Genet allows him to create a diegetic universe inspired by his private life and, therefore, to conduct a role-playing game, undertaken for ideological and ontological purposes. In order to carry out his plan, the author takes into account not only tools related to the poetics of a literary work but also selected aspects of an autobiographical pact aiming at persuading the reader of an “apparent truth” of the literary text. The study of these elements shows that the universe in Genet’s novels is, on the one hand, inspired to a certain degree by the reality, on the other hand, used to construct a narrative space where a continuous game with the truth and falsehood is located in the foreground.

FR

Le présent article se propose d’examiner trois romans de Jean Genet : Notre-Dame-des-Fleurs (1943), Miracle de la rose (1946) et Journal du voleur (1949). Son objectif principal est de vérifier comment le jeu des techniques discursives appliquées par Genet lui permet de créer un univers diégétique inspiré par sa vie privée et de réaliser ainsi le jeu de rôles qu’il assume à des fins idéologiques et ontologiques. Pour effectuer son analyse, l’auteur prend en considération avant tout les outils liés à la poétique de l’œuvre littéraire, mais aussi les aspects choisis du pacte autobiographique visant à persuader le récepteur de la « véracité apparente » du texte littéraire. L’étude de ces éléments montre que l’univers romanesque de Jean Genet, d’une part, s’inspire à un certain degré de la réalité, d’autre part, sert à construire un espace narratif où un jeu continu entre le vrai et le faux est mis au premier plan.

4

Le thème du double dans L’histoire exécrable d’un héros brabançon de Jean Muno

83%

Bizek-Tatara R.

Romanica Wratislaviensia

|

2013

|

tom 60

141 - 148

EN

The theme of duality, omnipresent in the writing of Jean Muno, is particularly discussed in the novel L’histoire exécrable d’un héros brabançon. The duality has various features and appears in various layers, beginning with the composition of characters, spatio-temporal dimension, narration and the language. This theme is inseparably connected with the recurrent motive of absence of personal and national identity (la belgitude).

5

Le crime du comte Neville d’Amélie Nothomb ou le roman familial d’une névrosée

83%

Hastings V.

Romanica Silesiana

|

2017

|

tom 12

FR

The Crime of Count Neville is primarily a story of a complex father–daughter relationship, culminating in the attempted murder of the count’s daughter by her own father. Infanticide is inevitable for Sérieuse, which parallels the mythological story of Iphigenia. But Nothomb also develops on an extra-diegetic level, as the meta-narrative of the genesis of the Freudian Family Romance or the Novel itself. Between the concepts of “bastard” and “foundling,” this novel contains many autobiographical elements and borrows from other literary works, most noticeably from Oscar Wilde’s collection Lord Arthur Savile’s Crime.

6

Un regard sur quelques tendances dans le discours médiatique et littéraire contemporain (étude introductive)

83%

Iftimia C.

Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies

|

2020

|

tom 14

11-25

EN

The present study approaches the main thought-provoking subtopics addressed in the issue at hand from a present-day angle highlighting long-standing concepts like truth, history or literature through association with the overused and abused prefix post-. It further zooms in on the overstating, overdramatizing media discourse, on literary discourse turned self-reflexive, as well as on „politically correct‟ linguistics and translatology. The stance we take is that adopted by Philippe Muray in his writings on the tyranny of Good as fostered by never-ending contemporary festivocracy.

7

Écrire la danse, danser la vie. 'Ego tango' de Caroline de Mulder

82%

Siwek R.

Studia Romanica Posnaniensia

|

2013

|

tom 40

|

nr 4

51-56

EN

Ego tango is the debut novel by a Belgian writer, Caroline de Mulder. In 2010, it won the most significant literary award in the country. The story is set in a closed circle of the Paris tango dancers. The present study examines the original narration of the novel and the construction of the plot, which are both subordinated to the introvert nature of the tango – a dance that becomes an addiction and an obsession. De Mulder’s text is an interesting example of a theoretical problem of the “correspondence of arts,” their mutual overlapping and co-dependence; in this particular case, literature and dance. This concerns both the music and the lyrics of the tangos, which constitute and integral component of the structure of the musical piece and determine the rhythm of the story being told, its atmosphere, mood and type of the relationship between the protagonists. The novel was inspired by the personal experience of the authoress – a tango dancer and was structured in accordance with the nature and the spirit of this dance.

FR

Ego tango is the debut novel by a Belgian writer, Caroline de Mulder. In 2010, it won the most significant literary award in the country. The story is set in a closed circle of the Paris tango dancers. The present study examines the original narration of the novel and the construction of the plot, which are both subordinated to the introvert nature of the tango – a dance that becomes an addiction and an obsession. De Mulder’s text is an interesting example of a theoretical problem of the “correspondence of arts,” their mutual overlapping and co-dependence; in this particular case, literature and dance. This concerns both the music and the lyrics of the tangos, which constitute and integral component of the structure of the musical piece and determine the rhythm of the story being told, its atmosphere, mood and type of the relationship between the protagonists. The novel was inspired by the personal experience of the authoress – a tango dancer and was structured in accordance with the nature and the spirit of this dance.

8

Life Path Trajectories of Female Authors’ Artistic Projections. The Heroines of the Autofiction Novels of Olga Breininger and Oksana Vasyakina

71%

Kuhn M.

Slavia Orientalis

|

2022

|

tom LXXI

|

nr 4

9

Le Dossier M de Grégoire Bouillier ou l’épuisement du dire

71%

Jurga A.

Academic Journal of Modern Philology

|

2020

|

tom 9

283-291

EN

The writer Grégoire Bouillier publishes a remarkable book entitled Le Dossier M (two volumes, 2017 and 2018), increased by extentions on a website. This disproportionate literary enterprise offers a real reading experience that extends by pushing over the limits of the object-book. The book offers the story of the impossibility of loving and telling. The author have the ambition of saying everything. Thus, the autobiographical narrative reenvited in this monumental format provides access to the meaning through a quest for self that the reader can share.

10

Problematisation of Indigenisation and Alienationin the Self-Confession Prose of Milovan Danojlic

71%

Opacić Z.

Studia Slavica

|

2013

|

tom 17

|

nr 2

43-52

EN

The paper focuses on the problematisation of the sense of belonging/indigenisation in the prose of the modern Serbian writer, Milovan Danojlic. In it, the author fictionalises his own life experience in the form of lyrical records. The thematic focal point of this prose is the painstaking effort of the narrator-hero to build his own identity. Changing places of residence, the narrator is constantly faced with the cognizance that he has always been on the borderline between two worlds, ever unaffiliated and having the need to (critically) identify himself in relation to both these planes. Being on the borderline becomes the essence of his self-being, and the change in the narrative position (and the place of residence) results in the creation of different identities: personal, local, national and cultural. The feeling of estrangement and the deeply controversial, yet emotional relationship to what he considers as his own results from his childhood and a traumatic relationship with his father, which represents an obsessively recurrent topic in Danojlic’s prose. Feeling somewhat alien everywhere (identifying himself with a cactus), first in his own family, then as a farm kid in town, and finally as a member of one culture who lives in another, the narrator is faced with the paradoxical cognizance: the more he tries to escape from his homeland, the more powerfully he recognizes it in himself.

11

De la fiction d’une absence à l’autofiction d’une présence : l’écriture de la mort de la mère dans l’œuvre de Jorge Semprun

67%

Ponchon C.

Quêtes littéraires

|

2011

|

nr 1

101-110

EN

“Night has enshrouded my childhood” write Jorge Semprun. Civil War and exile have erased any trace of the childhood he spent in Madrid. What was left to the writer were only flashes of memory and an old picture of his mother. Jorge Semprun was eight years of age when his mother died of septicemia. Through writing, thirty years later, he was able to evoke her death, but how was he to tell about her absence? Between fiction and reality, five of Jorge Semprun’s novels recreate his childhood. His mother will first of all be an absence or an implicit presence behind his relating the city of his childhood. Having set the scene, ghostly characters whose identities are undefined but whose discourses become more and more outlined will appear. The mother will become a nostalgic absence. Her features, her character will be sketched out. Jorge Semprun will move forward hiding behind the multiple identities of his characters and the freedom which fiction provides him. It will be up to the last character, a fictive double of the writer, to find the last traces of a mother who has turned into a haunting presence.

12

To See Oneself Through the Eyes of Others and Through the Eyes of Books: Perspective in Bohumil Hrabal’s Autobiographical Texts

59%

Tlustý J.

Prace Filologiczne. Literaturoznawstwo

|

2018

|

nr 8(11) cz.1

85-98

EN

This study analyses the use of perspective in the autobiographical trilogy (In-House Weddings, Vita Nuova and Gaps) and the late “journalistic” texts by the Czech writer Bohumil Hrabal. The article examines Hrabal’s play with perspective on several levels: on the narrative level, Hrabal experiments with the narrative voice and focalization, and views himself through the eyes of his wife Elisˇka, who is also the narrator of the whole trilogy; this strategy allows him to gain distance from the “I-perspective” and to touch upon sensitive moments of his life (particularly auto-censorship, his relationship with the Communist authorities, and various fears). Furthermore, Elisˇka’s view clashes with the view of Hrabal as a character in the narrative world, which results in an original autobiographical polyphony; the article presents a detailed scrutiny of these perspectives with regard to time. Drawing from hermeneutics as a way of self-understanding shaped by texts and culture, the analysis of perspectivity will demonstrate that Hrabal also views himself through the eyes of books and cultural images; additionally, the article points to parallels with Hrabal’s other works, particularly Too Loud a Solitude. Finally, Hrabal’s playful use of perspective concerns the question of identity: the textual self that appears in the stream of images manifests itself in constant motion, thus unveiling the non-substantiality and openness of human identity. In this way, Hrabal’s writing about himself approximates the view of self in Eastern philosophies (esp. Buddhism and Taoism − Hrabal’s sources of inspiration) as well as contemporary cognitive approaches to the theory of autobiography (Paul John Eakin).

13

Kandyd na Wyspach. O Emigracji Malcolma XD

59%

Gromadzka B.

Polonistyka. Innowacje

|

2022

|

nr 15

89-102

EN

The article is an attempt to situate the novel Emigracja by Malcolm XD, published in 2019, in the tradition of emigration literature and among the currents of contemporary Polish migration prose about Poles in the United Kingdom and Ireland. The novel continues the satirical and grotesque images of the fate of emigrants shown by Witold Gombrowicz and Sławomir Mrożek. Emigration is polemical towards contemporary migration literature that shows identity dilemmas in a culturally diverse reality, but its form, taken from internet genres, characterizes it.

PL

Artykuł jest próbą usytuowania, wydanej w 2019 roku, powieści Emigracja Malcolma XD w tradycji literatury emigracyjnej i wśród nurtów współczesnej polskiej prozy migracyjnej o Polakach na Wyspach. Powieść kontynuuje satyryczno-groteskowe obrazy emigracyjnych losów ukazane przez Witolda Gombrowicza i Sławomira Mrożka. Emigracja jest polemiczna wobec współczesnej literatury migracyjnej ukazującej dylematy tożsamościowe w zróżnicowanej kulturowo rzeczywistości, ale jej forma, przejęta z internetowych gatunków, jest dla niej charakterystyczna.

14

Remarks on the French Contemporary Novel / Remarques Sur Le Roman Français Contemporain

59%

Modreanu S.

Human and Social Studies

|

2013

|

tom 2

|

nr 1

73-90

EN

For the last sixty years, the French novel has sought for one or several aesthetic paths, failing to do so and sputtering into lots of individual perspectives, with an autofictional ruling pattern and with an increasing role of the media. Contemporary novel seems to have forgotten or not to care anymore about being a privileged means to question and to understand the world.

15

Fikčnost ve faktuálním vyprávění : případ fikčních metaautobiografií

59%

Fonioková Z.

Česká literatura (Czech Literature)

|

2018

|

tom 66

|

nr 6

841-869

EN

This study focuses on the issues surrounding texts that refer to an author’s life while deliberately including fictionality within the autobiographical testimony, i.e. via autofiction and fictional meta-autobiography. The fictional elements in this kind of writing often serve as a tool for self-reflection. Using specific narrative techniques, for example, these works comment on the issue of autobiographical memory, the epistemological (in)accessibility of the past, and the narrative construction of identity. This study endeavours to link the reflections of contemporary narratologists on fictional and non-fictional narration with an analysis of autofictional and meta-autobiographical works. The first section deals briefly with the issue of fictionality, presenting the rhetorical theory (of H. S. Nielsen, J. Phelan and R. Walsh), which enables us to perceive fictionality outside fiction as a component of factual communication about the real world. The following section focuses on the meta-autobiographical text Montauk by the Swiss author Max Frisch: it illustrates the method of including fictionality in an autobiographical text as a way to reflect on remembering, and on the possibilities of depicting one’s own life and creating one’s own I by writing. This analysis is linked to a brief excursus into narrative construction in autobiographical narration, primarily in connection with personal identity. The next section of the article briefly summarizes the differencs between classial autobiographies and contemporary self-reflectively inclined autobiographies and autofictions. It presents the category of fictional meta-autobiographies, which it includes in the broader framework of autofictional texts, and presents an (incomplete) summary of the many definitions and forms of autofiction. This is followed by an analysis of the second example of fictional metaautobiography, A Heartbreaking Work of Staggering Genius by American author Dave Eggers, which ironically deconstructs the convention of autobiographical writing. The conclusion of the study points out the differences in the way fictionality is included in the works presented, forming the basis for a division of fictional meta-autobiographies in accordance with the kind of reading instructions which they present to readers: Montauk represents works that help the reader to switch between a fictional and an autobiographical interpretation method by indicating which parts or aspects are invented and which stay true to real events; on the other hand, texts like A Heartbreaking Work of Staggering Genius provide relatively few indications to help readers distinguish fictional elements and identify authentically autobiographical moments.

16

Autofikcja we współczesnym komiksie włoskim. Przypadek Toffola i Gipiego

59%

Wielgosz A.

Autobiografia. Literatura. Kultura. Media

|

2019

|

tom 12

|

nr 1

195-209

EN

The article analyses two works belonging to the genre of autofiction in contemporary Italian comics: Pasolini by Davide Toffolo from 2012 and La Mia Vita Disegnata Male (LMVDM) by Gipi. According to Gillian Whitlock, an American researcher of autobiographical texts, in comic books the author always has to draw themselves, creating their own “graphic avatar”. Consequently, cartoon autobiographies rarely aspire to realism, and representation becomes inseparable from manipulation. Gipi in LMVDM decides to tell two parallel stories, using a completely different graphic style for each of them. He tells a retrospective, oneiric story about his childhood and youth, using simple, offhand drawings (the title of this comic book can be translated as “My badly drawn life”). On the other hand, with the help of watercolours typical of his previous comic books, he develops an adventure narrative about a poet imprisoned on a pirate ship. Paradoxically, in this comic book, real events are presented like fiction or dreams, while fantastic events are rendered in a more realistic style. Pasolini by Davide Toffolo tells the story of the multiple meetings between two characters who, due to chronology, could have never met: the book’s author, Davide Toffolo, and the renowned Italian writer and director, Pier Paolo Pasolini. The author uses a realistic drawing style to capture these unbelievable events. This is another example of the blurring of the boundary between fiction and reality. According to Raffaele Donnarumma, autofiction is characterised by the fact that the author, hero and narrator are the same person, but events that are recognizable as having happened are mixed with events that clearly never happened. In the graphic novel, the issue of probability and improbability of events is further complicated by the fact that the figure of the author/hero/narrator is represented by a drawing which, in itself, distances this medium from seemingly realistic representation. In addition, the authors of the autobiographical comics discussed in this article decide to play with different graphic styles in order to further blur the boundary between fiction and reality.

PL

W artykule przeanalizowane zostają dwa dzieła będące przykładem autofikcji we współczesnym włoskim komiksie: Pasolini Davidego Toffola z 2012 roku i La Mia Vita Disegnata Male (LMVDM) Gipiego. W komiksach autor zawsze musi narysować siebie samego, stworzyć swój „awatar graficzny”, a – co za tym idzie – komiksowe autobiografie rzadko dążą do realizmu, a reprezentacja nierozłącznie wiąże się w nich z manipulacją. Gipi w LMVDM decyduje się na opowiedzenie dwóch paralelnych historii, używając dla każdej nich zupełnie odmiennego stylu graficznego. Pasolini Davidego Toffola opowiada o wielokrotnych spotkaniach dwóch postaci, które ze względu na czas życia nie mogły nigdy się zetknąć: sobie samym i słynnym włoskim pisarzu i reżyserze Pierze Paolu Pasolinim. Jest to kolejny przykład zacierania granicy między fikcją a rzeczywistością. W powieści graficznej kwestię prawdopodobieństwa i nieprawdopodobieństwa wydarzeń komplikuje fakt, że postać autora/bohatera/narratora jest przedstawiona poprzez rysunek, który sam w sobie oddala to medium od pozorów realistycznej reprezentacji. Dodatkowo, autorzy komiksów autobiograficznych omawianych w tym artykule decydują się na granie różnymi stylami graficznymi w celu dalszego zacierania granicy między fikcją a rzeczywistością.

17

Det individuella möter det kollektiva. Självbiografiskt stoff i barndomsskildringar från det svenska folkhemmet

48%

Żmuda-Trzebiatowska M.

Folia Scandinavica Posnaniensia

|

2011

|

tom 13

32-49

EN

The subject of the article are autobiographical threads present in Swedish stories about childhood and adolescence published after 1986 that form part of the narrative pertaining to the origins, evolution and decline of the Swedish welfare state (folkhemmet). With reference to such concepts as autobiographical pact, autobiographical novel and auto-fiction, the author discusses the various ways six contemporary Swedish writers (PC Jersild, Kjell Johansson, Susanna Alakoski, Jonas Gardell and Lena Andersson) use their biographies. Special focus is given to the notion of how a cogitation upon individual fate becomes universal when placed in a social context. Another problem analysed by the author is the significance of autobiographical threads for building relationships between the writer and the reader and for the reception of a literary text.

18

Powieść "В Советском Союзе не было аддерола" Olgi Breininger z perspektywy autofikcji

48%

Stryjakowska A.

Przegląd Rusycystyczny

|

2020

|

nr 3 (171)

RU

Цель данной статьи состоит в анализе романа Ольги Брейнингер как поля конструирования идентичности автора. В качестве методологического фундамента была принята категория автофикции, понимаемая как орудие самопознания и самостановления. Анализ литературного материала помещен в контекст внелитературной деятельности автора, которая воспринимается не как твердая биографическая информация, но как очередная, рядом с творчеством, платформа самостановления. Интерпретация романа концентрируется на главной героине, испытывающей кризис идентичности, вызванный хроническим перфекционизмом и чувством искоренения. Рассуждениям подвергнуты, между прочим, совершаемые героиней операции памяти, играющие ключевую роль в понимании экзистенциального хаоса. В качестве существенного приема отмечено конструирование повествования как голоса поколения, что направлено на преодоление чувства одиночества.

EN

The aim of the article is to analyze Olga Breininger’s novel as a field for constructing the author’s identity. The category of autofiction, regarded as a tool of self-understanding and self-creation, has been chosen as the methodological foundation. The analysis of the literary text is embedded in the context of the author's non-literary activity, understood here not as biographical information, but as another (next to the fiction works) platform of self-creation. The interpretation of the novel focuses on the protagonist who experiences an identity crisis caused by chronic perfectionism and a sense of uprooting. Attention is given, among others, to the main character’s memory operations, which play a key role in understanding her existential chaos. Creating the story as a generation's voice is considered as an important device, aimed at overcoming the feeling of loneliness.

PL

Celem artykułu jest analiza powieści Olgi Breininger jako pola konstruowania tożsamości autorki. Metodologiczny fundament dociekań stanowi kategoria autofikcji, rozumiana jako narzędzie samopoznania i autokreacji. Analizę materiału literackiego osadzono w kontekście pozaliterackiej działalności autorki, która pojmowana jest nie jako pewna informacja biograficzna, lecz kolejna, obok twórczości, platforma konstruowania siebie. Interpretacja powieści koncentruje się na protagonistce, doświadczającej kryzysu tożsamości, spowodowanego chronicznym perfekcjonizmem i poczuciem wykorzenienia. Rozważania dotyczą, między innymi, dokonywanych przez bohaterkę operacji pamięci, które odgrywają kluczową rolę w zrozumieniu odczuwanego chaosu egzystencji. Za istotny zabieg literacki uznano konstruowanie narracji jako głosu pokolenia, co wolno rozumieć jako próbę przezwyciężenia poczucia samotności.

19

Honza Krejcarová: Existentialistische Zusammenhänge (Violette Leduc, Jean Genet)

42%

Galmiche X.

Slovo a smysl - Word & Sense

|

2017

|

tom 14

|

nr 28

88-95

EN

The attractiveness of Honza Krejcarová’s literary work is partially due to its fragmentary character and its role in the development of underground literature. From this point of view, it is difficult to compare to her the famous and scandalous authors of the French existentialist generation, in particular Jean Genet, cult author of France from the end of the Second World War until the decolonization, or Violette Leduc, who stood out as a name mattering in the initiation of the young generations to homosexual literature and one of the founders of self-fiction. In spite of all these differences, the kinship of the texts of these ‘unruly childrenʼ, at the same time ‘enfants martyrsʼ and ‘enfants prodigesʼ, with those, contemporaries, of Krejcarová is striking. The texts of their two more famous commentators, Jean-Paul Sartre for the first one and Simone de Beauvoir for the second one, helps to understand how the myth of these authors was born in a time fascinated by the principle of pleasure up to the death drive.

20

Hermann Lenz und der Eugen Rapp-Zyklus als Narrativierung des literarischen Feldes der Bundesrepublik?

42%

Voß T.

Convivium. Germanistisches Jahrbuch Polen

|

2021

111-129

PL

Choć Hegel w swych wykładach z estetyki pisał już na początku XIX w. – w związku z powszechną merkantylizacją i urynkowieniem kultury – o śmierci sztuki, twórczynie i twórcy przetrwali na szczęście do dziś dnia. Parateksty i wywiady świadczą o próbach utwierdzenia swojej autorskiej pozycji. Nawet w uwarunkowaniach postrukturalistycznych, postsubjektywnych i postprawdy chodzi o przyciąganie uwagi poprzez autoprezentację w przestrzeni publicznej i gromadzenie kapitału symbolicznego, ewentualnie kształtowanie tych procesów w toku narracji – na potrzeby rynku (sztuki) lub po prostu jedynie dla siebie. W tym kontekście rodzi się również refleksja na temat pola literackiego oraz tworzy narracja o nim i o produkcji literackiej. Artykuł prezentuje ten fenomen na przykładzie powieści HERMANNA LENZA. Dzięki konfrontacji z życiem literackim udało się LENZOWI ożywić autonomiczność i świadomość autorskości.

EN

Faced with the omnipresent economization and market regulation of the artistic field, Hegel had already discussed the death of art in the early 19th century in his Vorlesungen über die Ästhetik; yet the artist was hardly dead, and remains alive today. Paratexts and interviews show artists’ attempts at self-creation – in many contexts, including post-structural, post-subjective and post-factual. The goal is to attract attention through self-presentation in public and gathering symbolic capital – for the sake of the market, or the artist himself, alternatively to transform these processes into semi-fictional narratives. The fact that reflection is always present in the literary sphere is analyzed in HERMANN LENZ’S novels revolving around the literary business. By confronting literary life, LENZ was able to reanimate the sense of autonomy and awareness of authorship.

DE

Mag Hegel angesichts der allumfassenden Ökonomisierung und Marktregulation des künstlerischen Feldes in seinen Vorlesungen über die Ästhetik bereits im frühen 19. Jahrhundert vom Tod der Kunst gesprochen haben, Künstler und Künstlerinnen sind bis heute zum Glück noch nicht gestorben bzw. verschwunden. Paratexte und Interviews zeigen Versuche sich auch unter poststrukturalistischen, postsubjektiven und postfaktischen Vorzeichen auktorial durchzusetzen und auf dem Markt, aber doch auch ganz klar für sich, Aufmerksamkeit über die Auto-Präsentation in der Öffentlichkeit als Anhäufung von symbolischem Kapital zu produzieren bzw. diese Prozesse als Narrative auszugestalten. Dass sich dabei auch immer eine Reflexionsebene gegenüber dem literarischen Feld ergibt, ja letzteres und damit den Literaturbetrieb zum Narrativ werden lässt, wird anhand von HERMANN LENZ Literaturbetriebsromanen genauer herausgearbeitet. Durch die Auseinandersetzung mit dem Literaturbetrieb ist es LENZ möglich, die Inszenierung und Selbstbehauptung von Autorschaft und Autorschaftsbewusstsein zu reanimieren.