Feu est un recueil photo-textuel autofictionnel dans lequel j’ai revisité des souvenirs amoureux suite à un incendie qui a tout rasé. À travers de brefs épisodes, j’ai tâché de transmettre les différentes émotions éprouvées pendant le deuil et de mettre en avant mon obsession pour le feu et mon ancien compagnon. Le ressassement égocentrique de souvenirs amène à un profond mal-être, puis se résorbe un peu lorsque vient une ouverture aux autres, mais demeure inachevé. Les photographies servent à illustrer le texte, à donner une autre dimension à l’autobiographie. Elles participent aussi à l’exposition de la solitude. En plus de certains intertitres qui font un clin d’œil à l’œuvre de Sophie Calle, je me suis inspirée de certains de ses traits caractéristiques. Sophie Calle: Soi en négatif est un essai portant sur la performance de soi. Il y est question de pacte autobiographique, d’intertextualité, d’altérité, de deuil et d’absence. Je tente d’esquisser comment elle s’y prend pour s’exposer. Non seulement elle exploite les aspects négatifs de sa vie et de celle des autres, mais elle se révèle par des intermédiaires, que ce soit d’autres personnes ou des documents. Ses mots et ses photos développent en quelque sorte la vie contenue dans ses archives personnelles. Lorsqu’elle s’expose, l’art dépasse la littérature, le cinéma, l’entrevue et la photographie pour devenir une performance de soi, en négatif. / Feu is an autofictional photo-text collection in which I revisited memories from a past relationship after a fire destroyed everything. Among a serie of short episodes, I tried to transmit the different emotions felt while mourning and to show my obsession for both the fire and my ex companion. I kept turning over souvenirs in a self-centered way until it lead to a deep emotional uneasiness. It started resorbing the moment an opening to others was made, but never ended. Pictures are used to illustrate the words as well as to participate in the exposure of loneliness. In addition to a few sub-headings relating my project to Sophie Calle’s work, I tempted to recuperate some of her characteristic traits. Sophie Calle: Soi en négatif is an essay about the self-performance. It involves an autobiographic contract between the performer and the public, a network of intertextuality and in this case, specific concepts like otherness, mourning and absence. I tried to show how she managed to expose herself by the negative. Not only does she take advantage of the most painful negative moments of her life and the ones of others, but she also reveals herself only through documents or others. In a way, her words and her photos develop her life contained into her personal archives. When she exposes herself, art blows way beyond literature, cinema, interviews and photography to because a self-performance, in negative.

Ce mémoire porte sur la réception, par des lectrices de la génération X, de cinq oeuvres autofictionnelles écrites par les auteures québécoises Marie-Sissi Labrèche ( Borderline 2000 et La brèche 2003), Nelly Arcan (Putain 2001 et Folle 2004) et Mélikah Abdelmoumen (Le dégoût du bonheur 2001), lesquelles appartiennent à cette même génération. Leurs récits ont suscité un certain engouement public et obtenu un écho considérable dans la sphère médiatique et dans le milieu de la recherche universitaire. Les observateurs notent, de façon générale, que les narratrices autodiégétiques, alter ego des auteures, sont brutalement imparfaites, névrosées, mal dans leur peau, sexuellement soumises, assujetties aux désirs des hommes, et qu'elles ne parviennent pas à s'épanouir comme êtres humains, mais surtout, comme femmes. D'une part, les héroïnes rompent avec les représentations largement véhiculées dans les médias et dans la littérature québécoise contemporaine. D'autre part, leur profil correspond aux discours populaires sur la génération X, fréquemment qualifiée de génération sacrifiée, désabusée. Ma recherche, exploratoire, se fonde sur quatre approches théoriques : théorie des genres littéraires, théories de la réception, études féministes et gender studies, sociologie des générations. J'ai tenu cinq entretiens collectifs auprès de seize Québécoises de la génération X. J'ai réuni ces lectrices, qui s'étaient d'elles-mêmes intéressées aux récits, en petits groupe [i.e. groupes] de trois ou quatre participantes. Le compte-rendu et l'analyse de leurs discussions m'ont permis d'observer la portée sociale des récits éminemment personnels de Labrèche, d'Arcan et d'Abdelmoumen. Une interrogation m'a habitée du début à la fin de ma démarche : pourquoi et comment ces récits"parlent-ils", intellectuellement et émotionnellement, aux lectrices de la génération X? Je dégage de mon analyse quelques hypothèses interprétatives. D'abord, les lectrices ont du mal à distinguer les auteures et les narratrices. Elles tendent à appréhender les récits autofictionnels comme des autobiographies et elles procèdent à une lecture littérale des oeuvres. Ensuite, plus de la moitié des lectrices s'identifient, à différents degrés, aux narratrices. Comme ces dernières, les participantes à ma recherche affirment qu'elles ressentent une certaine pression sociale liée aux normes de beauté et de féminité et à l'hypersexualisation de l'espace public. En cela, leurs positions se rapprochent de celles du courant féministe radical. Cependant, les lectrices refusent d'être cantonnées dans un rôle de victime. Elles reprochent aux narratrices de s'autodétruire. Les femmes doivent, selon les participantes, se responsabiliser et se montrer critiques envers les modèles qui leur sont offerts. Enfin, les lectrices reconnaissent dans les héroïnes certains traits associés à la génération X. Elles attribuent en partie la souffrance des narratrices au contexte social dans lequel ces dernières évoluent. Mais elles estiment que cette souffrance est surtout tributaire de carences familiales. Les discussions des lectrices reflètent en quelque sorte leur propre appartenance à la génération X. Ainsi, l'importance qu'elles accordent à la sphère privée, par rapport à la sphère publique, constitue une des particularités des X qui ressort clairement des entretiens. Par ailleurs, leurs observations sont teintées d'un certain individualisme. Bref, à la lumière de mes résultats, je conclus que les récits autofictionnels de Marie-Sissi Labrèche, de Nelly Arcan et de Mélikah Abdelmoumen ont une certaine portée sociale, mais que leur écho résonne davantage sur le plan individuel, chez les lectrices qui s'identifient personnellement aux narratrices. Cela dit, les participantes semblent toutes avoir été portées à se questionner et à réfléchir, pendant et après leur lecture, sur l'identité féminine dans la société actuelle.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Autofiction has been the subject of much critical investigation in France, yet little of this theory extends to contemporary texts. Furthermore, autofictional theory has, until now, neglected the study of ludic performance – an important feature within the genre –, and this thesis contributes to filling this gap in criticism. Through this analysis, I establish the genre's construction as well as the constitution of the autobiographical persona in the autofictional texts of four authors. I argue that in order for autofiction to be considered as a genre, ludic strategies and autofictional personae are critical factors in the genre's construction. I build on previous scholarship of autofiction before discussing the performance of autobiographical personae producing an autofictional body in the works of four contemporary French writers: Catherine Cusset, Philippe Vilain, Chloé Delaume and Éric Chevillard. Each author is analysed in a dedicated chapter exploring their autofictional œuvres, yielding three key trends. These are: the proliferation of intertextual references, ludic representations of the genre, and the creation of an autofictional body by the reader through autofictional personae. In each chapter I examine the construction of these personae, revealing a separation between selfhood constructed in language and questions of the body, both of the autofictional personae as well as characters within the text. Other characters within the texts expose complex constructions of gender that range from a rejection of male characters to the homogenisation of female characters reduced to stereotypes. Depictions of the intimate sphere within autofiction, including relationships and gendered constructs, are analysed in order to situate autofiction as a genre. Through the discussion of autofictional personae pivotal in this conception of autofiction, this thesis posits that representations of the body – within and beyond language – are the key to understanding autofictional performances.

O trabalho aqui proposto apresenta a hipótese de que na obra de Ruy Duarte de Carvalho, especialmente nos livros que compõem a trilogia Os filhos de Próspero, autoficção é utilizada como uma espécie de artíficio para representar o outro, o não ocidental. Nos três romances que compõem a trilogia, Os Papéis do Ingles, As paisagens propícias e A terceira metade, é possível observar um narrador-personagem, identificado com o autor, que se desloca pelo sul de Angola e norte da Namíbia, contando ao leitor sobre as paisagens que percorre e as pessoas que encontra em seu caminho. Pretendemos analisar dois aspectos centrais dessas narrativas: o modo como se configura o narrador e a forma encontrada por Ruy Duarte de Carvalho para representar o outro em suas narrativas, tomando como base a fortuna crítica escrita sobre sua obra do autor, textos teóricos sobre a autoficção como gênero literário e a discussão sobre alteridade e etnografia presente na literatura antropológica do fim do século XX. / This paper looks through Ruy Duarte de Carvalho\'s work - highlighting the Os Filhos de Prospero trilogy - in order to analyze how autofiction is used as a literary device to represent the non-Western other. In these three novels - Os Papeis do Inglês, As Paisagens Propicias and A Terceira Metade - one can notice a narrator/character, identified with the author himself, travelling from Southern Angola to Northern Namibia as he tells the reader about the landscape and the people he meets during the trip. Based on the critical canon about the novelist, on theoretical texta on autofiction as a genre and also on the discussion about alterity and etnography one can find in 20th century antropology, we intended to analyze two central aspects in his telling: the configuration of the narrator and the path Ruy Duarte de Carvalho followed when representing the other in his literature.

Em um contexto literário contemporâneo atravessado pela escrita de si, este trabalho buscou estudar a obra Um romance russo, de Emmanuel Carrère, à luz das propostas da autobiografia e da autoficção, esta última uma expressão que convoca diferentes definições e justificativas. Para isso debruçou-se sobre a construção do narrador-protagonista, que declara ter como objetivo contar a história de seu avô para romper o silêncio em torno dela, imposto por sua mãe, e, assim, enterrar o fantasma desse homem que continuaria assombrando seus descendentes com sua personalidade amarga. Observamos que o narrador, identificado ao autor, faz uso da metonímia em diferentes instâncias da obra: alinhava narrativas menores que remetem ao mesmo tema, apresenta personagens femininas que remetem à figura materna e o próprio protagonista se constrói em espelhamento com o personagem do avô. Tal recurso, somado a duas narrativas que se entrelaçam, organizando o texto de Um romance russo, age como argumentação em favor de seu objetivo, justificando a necessidade de romper com a proibição da mãe e publicar este livro. Pela responsabilidade implicada na reabilitação da figura do avô, seguindo os moldes do que o crítico Dominique Viart propõe para o récit de filiation, e pela performatividade que objetiva, além das referências sem ambiguidade em seu texto, Carrère estabelece um pacto autobiográfico, como estudado por Philippe Lejeune, que é essencial para a leitura de Um romance russo. Acreditamos que, embora o gênero moderno da autobiografia não se aplique nem a esta, nem a obras anteriores do mesmo autor, um autobiográfico percorre todas elas, recusando as possibilidades de pacto romanesco com que joga a autoficção; ainda, identificam-se em sua produção elementos como o uso comentado da psicanálise, incursões ficcionais demarcadas no texto, estruturas fragmentárias e hibridismo de formas que situam Carrère no debate contemporâneo. / In a contemporary literary context shot through with the notion of writing oneself, this thesis seeks to study the work My Life as a Russian Novel, by Emmanuel Carrère, in light of the proposals put forth by both autobiography and autofiction, the latter evoking a variety of definitions and justifications. As such, the work examines the construction of the narrator/protagonist, who states that his aim is to tell the story of his grandfather in order to break the silence around it imposed by his mother and thus put to rest the ghost of a bitter man left haunting his descendants. We observe that the narrator, identified with the author, turns to metonymy at several points in the work: he lines up several minor narratives that speak to the same theme and presents female characters that evoke his mother, while the protagonist constructs himself as a mirror image of the character of his grandfather. This tack, alongside the two interlocking narratives that structure My Life as a Russian Novel, serves as ammunition towards his ultimate goal: justifying the need to break his mothers ban and publish this book. In terms of the responsibility implied in the rehabilitation of the figure of his grandfather in keeping with the structure that critic Dominique Viart proposes for the récit de filiation and in terms of the performativity he crafts, in addition to the unambiguous references in his text, Carrère establishes an autobiographical pact, as studied by Philippe Lejeune, which is essential for the reading of My Life as a Russian Novel. We believe that, although the autobiography as a modern genre does not apply to this or other works by the author, a thread of autobiography runs through all of them, rejecting the openings towards a novelesque pact that autofiction plays with; moreover, one may identify such elements in his oeuvre as the commented usage of psychoanalysis, fictional incursions clearly demarcated in the text, fragmentary structures, and a hybridity of form that situate Carrère within the contemporary debate on the topic.

Esta tese de doutorado começa investigando as relações entre história e ficção nos séculos XX e XXI, com ênfase na ideia de pós-modernidade e de crise da representação. Depois da leitura de alguns romancistas contemporâneos (como W.G. Sebald, J.M Coetzee, Orhan Pamuk e Enrique Vila-Matas) e de alguns historiadores contemporâneos (especialmente Carlo Ginzburg), a pesquisa avança sobre o estudo teórico da autobiografia e da autoficção, tentando refletir sobre as implicações epistemológicas da narrativa também no discurso da crítica literária e na escrita acadêmica. / This doctoral thesis began by researching the relationship between history and fiction in the 20th and 21st centuries, focusing on the crisis of representation and the idea of post-modernity. After reading some contemporary novelists (such as W.G. Sebald, J.M Coetzee, Orhan Pamuk e Enrique Vila-Matas) and also some contemporary historians (notably Carlo Ginzburg), the research advances towards the theoretical study of autobiography and autofiction, attempting to reflect on the epistemological implications of narrative both for the discourse of literary criticism and for academic writing.

A inserção de dados autobiográficos nas narrativas é uma característica muito forte da literatura produzida nas últimas décadas. Esta dissertação tem por objetivo discutir o romance Divórcio de Ricardo Lísias, que se enquadra na premissa aqui apontada, na medida em que os narradores/personagens do livro comungam do nome do autor e apresentam características biográficas que podem ser associadas à vida deste. O objetivo principal é questionar como se dá a transfiguração da matéria vivida em matéria ficcional no texto aqui escolhido. Buscar-seá analisar a sua construção narrativa, as suas relações com um tipo muito característico de romance que se difunde no pós-guerra, no momento em que acontece o que Beatriz Sarlo chama de guinada subjetiva, e a problematização das implicações teóricas da sua produção / Inserting autobiographical data in the narratives is a very strong feature of the literature produced in recent decades. This paper aims to discuss the novel Ricardo Lísias, Divórcio, which falls under the premise here pointed out, in that the narrators / characters in the book have in common the author\'s name and biographical exhibit characteristics that may be associated with this life. The main goal is to question how is the transfiguration of matter lived in fictional material in the text chosen here. We will analyze its narrative construction, its relationship with a very distinctive kind of novel that diffuses into the postwar period, when it happens what Beatriz Sarlo calls \"subjective turn\", and the questioning of the theoretical implications of production

Made available in DSpace on 2017-07-21T14:54:10Z (GMT). No. of bitstreams: 1 Caroline Wilt Araujo.pdf: 894970 bytes, checksum: 7a88501ee4117d4de338952efe791d77 (MD5) Previous issue date: 2014-09-29 / The dissertation aims to investigate evidence that José (2011), Rubem Fonseca work it is a autoficcional work. To this end, the work is divided into three chapters: the first search limits and origins of the term autofiction examining its principle based on another well known term which is the autobiography; the second chapter is focused on the analysis of the work of Rubem Fonseca as a whole, its main features, everything that makes Rubem Fonseca an author recognized for his work with language; finally, the last chapter is devoted to the study of the book José, in which is trying to point out all the evidence that this work it is an autofiction. / Esta dissertação tem como objetivo a investigação de evidências de que a obra José (2011), de Rubem Fonseca, se configura como uma obra autoficcional. Para tanto, o trabalho se divide em três capítulos: o primeiro busca os limites e origens do termo autoficção, examinando seu princípio com base em outro termo bastante conhecido, que é a autobiografia; o segundo capítulo é voltado para a análise da obra fonsequiana, suas principais características, tudo aquilo que faz de Rubem Fonseca um autor reconhecido pelo trabalho com a linguagem; por fim, o último capítulo é voltado para o estudo do livro José, no qual se tenta salientar todas as evidências de que essa obra se trata de uma autoficção.