L'Autofiction et sa réception jusqu'en 1989. La fictionalisation de soi comme phénomène littéraire universel. Les indices de Fiction. L'Auteur et son personnage fictif. Autofiction et roman autobiographique. L'autofiction est-elle un genre ? Mise en abyme. Métalepse. Intrusions d'auteur. Réception. Genre.Hermann Hesse. Dante. Gombrowicz. Doubrovsky. Balzac. Cervantes. Goethe.Barthes.

The focus of this study is the two autobiographical novels Den högsta kasten (1997) and Djävulsformeln (2000) by Swedish author Carina Rydberg. Both novels generated lively public debate regarding how they ought to be read and understood, what genre they belonged to, and the ontological status of the narrating “I”. The aim is to investigate why the protagonist, Carina, is perceived as unintelligible by many readers and explore how she can be understood in relation to what constitutes an intelligible identity from a literary and cultural perspective. The novels, as well as their protagonist, are approached from the perspective of genre theory, the argument being that Carina’s unintelligibility is directly dependent on what genre she is read in relation to. In the first part of the thesis the ambiguities of autobiographical texts are discussed, and the narrative and protagonist are analyzed in relation to the autobiographical genre. In the second part of the thesis the consequences of reading the texts as examples of the Gothic with emphasis on monstrosity, the uncanny and sexual transgression are examined. The two readings demonstrate how interpretations of text and character are highly influenced by the reader's expectations connected to genre. Rydberg’s transgression of the norms of genre, gender, and identity leaves the reader with a contradictory set of genre-specific expectations, which in turn makes it difficult to understand and accept the protagonist. The main theme of both novels is Carina’s unsuccessful attempts to reconcile what she sees as two separate, essentially incompatible identities: woman and author. The final chapter includes a comparative study in which Rydberg’s novels are linked to works by other Swedish female writers, both past and contemporary, to demonstrate that the conflict of woman versus author is a common problem for female writers. The thesis closes with a discussion about the possibility of placing Rydberg in a specifically female literary tradition and demonstrate how a feminist analysis can make the unintelligible intelligible.

Depuis son invention par Serge Doubrovsky en 1977, le concept d’autofiction n’a cessé d’évoluer et de stimuler la réflexion sur la production romanesque. Après sa consécration en France, l’autofiction gagne les littératures européennes et occidentales, d’abord en Allemagne et en Pologne, puis au Canada et aux États-Unis, ou encore en Espagne et en Amérique latine. Elle franchit ensuite les frontières pour s’adapter aux spécificités culturelles des littératures étrangères. Elle est adoptée au Japon, questionnée en Iran et pratiquée aux Antilles, dans l’Océan Indien, en Afrique du Sud, au Brésil ou encore en Chine. Depuis quelques années, le phénomène littéraire semble gagner le monde arabe. Certains écrivains s’en réclament, d’autres s’en accommodent et d’autres préfèrent employer divers concepts pour définir leur pratique romanesque, ce qui a poussé la critique arabe à forger un vocabulaire technique. Parmi les notions proposées, un terme se dégage : al-taḫyīl al-ḏātī. Mais cette nouvelle terminologie peut-elle attester l’émergence d’un « nouveau genre » dans la littérature arabe ? La présente thèse se propose donc d’étudier la question de la validité de l’autofiction dans la littérature arabe. La première partie de cette thèse donne un aperçu historique de la longue tradition d’écriture du moi depuis le XIXe siècle. La seconde partie questionne la production romanesque contemporaine, ensuite présente un certain nombre d’œuvres qui sont à mi-chemin entre l’autobiographie et la fiction, pose le débat critique et fixe notre cadre théorique. La troisième partie est consacrée à l’étude des œuvres choisies de Mohamed Choukri, de Sonallah Ibrahim et de Rachid pour observer au plus près la pratique autofictionnelle, d’en comprendre les mécanismes et d’en connaître les motivations. À partir de ces trois auteurs et des exemples qu’ils nous donnent de leur pratique d’écriture, on se propose dans la conclusion d’établir un modèle d’autofiction arabe et de définir des thèmes que l’on pourrait appliquer à un vaste ensemble de textes modernes et contemporains. / Since its invention by Serge Doubrovsky in 1977, the concept of auto-fiction has continued evolve and stimulate thinking about the novel and its production. After its consecration in France, the auto-fiction has won over European and Western literature, starting first in Germany and Poland, Canada and the United States, as well as gathering acclaim in Spain and Latin America. It then crossed borders and adopted itself to the cultural specificities of foreign literature which is why it has also been adopted in Japan, questioned in Iran and practiced in the Caribbean, the Indian Ocean, South Africa, Brazil or China. In recent years, this literary phenomenon has also gained momentum in the Arab world. Some Arab writers have adopted it, others have accommodated it, and still others have chosen various concepts to help define their practice as novelists, inspiring the critics to create a new technical vocabulary such as: al-taḫyīl al-ḏātī. However, does the creation of new Arabic terminology within the realm of auto-fiction merit the claim that a ‘‘new genre’’ has emerged in the Arabic literature? This study raises the question of the validity of the auto-fiction as applied to Arabic literature. Therefore, the first part of this thesis gives a historical panorama of the long tradition of auto-fiction since the 19th century. The second part questions the contemporary novel’s production, then presents a number of works that are part autobiography and part fiction, exemplifying the critical debate that sets up the theoretical framework of this study. The third part is dedicated to studying selected works by Mohamed Choukri, Sonallah Ibrahim and Rashid El-Daïf and examining the practice of these authors use of auto-fiction in order to understand its mechanisms and their motivations. In conclusion, as a result of the examination of these three authors and the examples they give of their writing, an attempt is made to show a pattern for Arab auto-fiction in order to identify some of the themes that could be applied to a wide set of modern and contemporary texts. / استمرّ مفهوم autofiction أو "ذات متخلية" في تطوّره و تطوير التفكير حول إنتاج الرواية، منذ اختراعه من قبل سيرج دوبروفسكي في عام 1977. بعد تكريسه في فرنسا، يتقدّم المفهوم في الأدب الأوروبي والغربي، أوّلاً في ألمانيا وبولندا وكندا والولايات المتّحدة، أو في إسبانيا وأمريكا اللاتينية. ثم يجتاز الحدود ليَتَأَقْلَمَ بخصوصيات ثقافة الأدب الأجنبي. فتَمّ اعتماده في اليابان، شُكِّكَ به في إيران وتمارس في منطقة البحر الكاريبي والمحيط الهندي وجنوب أفريقيا والبرازيل والصين. وفي السنوات الأخيرة، يبدو أن هذه الظاهرة الأدبية تكتسح العالم العربي. بدأ بعض الكتّاب يصرحون بانتماء نصوصهم إلى هذه الكتابة الأدبية، والبعض الآخر يعترفون بأن نصوصهم تنتمي سردياً إلى هذا النوع الأدبي غير أنها تحافظ على تجنيسها المألوف (الرواية، السيرة الذاتية، الخ) وآخرون يفضلون استخدام مفاهيم مختلفة لتعريف تجاربهم الروائية، مما دفع النقاد العرب بصياغة مفردات تقنية جديدة. و يظهر من بين المفاهيم المقترحة مصطلح "الــــتخييل الذاتي". ولكن هل هذا المصطلح الجديد يمكنه أن يشهد ظهور "نوع جديد" في الأدب العربي؟يطرح هذا البحث مسألة صحة التخييل الذاتي في الأدب العربي. يقترح الجزء الأول من هذه الأطروحة إعطاء لمحة تاريخية عن تقليد قديم في كتابة الذات منذ القرن التاسع عشر . والجزء الثاني يطرح إنتاج الرواية المعاصرة، ثم يعرض عدداً من الأعمال الروائية التي تقع بين السيرة الذاتية والخيال، ويثير النقاش حول هذه المسألة في النقد العربي والغربي، ثم يثبت الإطار النظري. ويخصّص الجزء الثالث في دراسة الأعمال المختارة لمحمد شكري، وصنع الله إبراهيم ورشيد الضعيف لمراقبة ممارسة كتابة "التخييل الذاتي"، لاستعاب آلياتها ومعرفة دوافعها. ومن هؤلاء المؤلفين لثلاثة ومن الأمثلة المتواجدة في كتاباتهم، نقترح في الخاتمة إقامة نموذج للتخييل الذاتي العربي وتحديد مواضيع من الممكن تطبيقها على نطاق مجموعة واسعة من النصوص الحديثة والمعاصرة

Das schreibende Ich prägt formal wie thematisch die literarische Entwicklung der letzten Jahre. Seit der Jahrtausendwende hat die Produktion autobiographischer und autofiktionaler Literatur insbesondere auf dem skandinavischen Buchmarkt erheblich zugenommen. Obwohl (noch) kein kritischer Konsens besteht, was der Begriff Autofiktion genau bezeichnet, ist das Changieren zwischen Fakt und Fiktion im autobiographischen Schreiben zu einer der beliebtesten literarischen Strategien im zeitgenössischen Erzählen avanciert. Die literaturwissenschaftliche Forschung zur Autofiktion ist im Zuge dessen auf diesen Trend aufgesprungen und insbesondere nach der Veröffentlichung von Karl Ove Knausgårds Romanprojekt Min kamp (2009–2011) sind die literaturwissenschaftlichen Diskussionen zu Autofiktion und literarischer Selbstdarstellung in Skandinavien deutlich angestiegen. Die literaturwissenschaftlichen Beiträge kreisen im weiteren Sinne um die dichotomischen Beziehungen von Fakt vs. Fiktion, Roman vs. Autobiographie sowie um die Inszenierung der Autor*innen in der literarischen Öffentlichkeit. Dabei ist autofiktionales Schreiben als konkrete erzählerische Praxis betrachtet in den Hintergrund gerückt, weshalb in dieser Arbeit der Versuch gemacht wird, die Fragen nach den literarischen Verfahren innerhalb dieser Texte in den Vordergrund zu stellen. Mit Ausgangspunkt in Texten von August Strindberg, Maja Lundgren, Karl Ove Knausgaard und Björn Rasmussen wird in dieser Arbeit Spezifika einer autofiktionalen Erzählpraxis herausgearbeitet, in welcher die Autorin oder der Autor in erster Linie einen narrativen Autoritätsanspruch über ihren bzw. seinen autobiographischen Text erhebt und hierdurch in der Bestrebung, die autobiographische Wirklichkeit zu schreiben, die Grenze zwischen Wirklichkeit und Literatur und somit zwischen Leben und Text transzendiert / Since the turn of the Millennium there has been a remarkable increase in the production of autobiographical and autofictional literature in Scandinavia. While there is (still) no critical consensus to what the term autofiction precisely designates, the oscillation between fact and fiction in autobiographical writings has emerged as one of the most favoured literary strategies when it comes to negotiating, (re)-constructing, and staging identity and individuality. The academic discussions about autofiction and autofictional writing in Scandinavia are mostly concerned with the opposed relations of fact/fiction, true/false, and novel/autobiography or with the mediatised performativity of the author in the public sphere. In this respect, the specific narrative practices of autofictional writing have taken a back seat in the academic exploration of autofiction. In this thesis it is examined how autofictional writing in selected novels by August Strindberg, Maja Lundgren, Karl Ove Knausgaard and Björn Rasmussen is being set forth within the narration of the text, a thus far unexplored research field. The analysis of the position of the author in his or her text enables us to see that the interplay of fact and fiction in the autobiographical text is predominantly conveyed by narrative strategies. The narrative presence of the author in the text entails specific self-reflexive practices, which can be identified through an increased use of narrative transgressions of the extradiegetic and diegetic discourses that allow the actual author of the text to slip into his narration. The narrative roaming between the reality of the author and the narration that he is producing is used as a means of taking over the authority of the individual life story and to write autobiographical on own subjective and aesthetic terms.

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