Karl Ove Knausgaard's<i>My Struggle</i>: A Real Life in a Novel

Schmitt, Arnaud; Kjerkegaard, Stefan

doi:10.1080/08989575.2016.1184543

Cited by 14 publications

(3 citation statements)

References 18 publications

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“…av merkelappen roman (Behrendt 2019, 234). Eksistensen av begge kontraktane samstundes gjer at autofiksjonen nyanserer kva for plass referensialitet kan ha i fiksjonen, noko som blir tydeleg i diskusjonane av Karl Ove Knausgårds Min kamp-bøker (2009-2011) som eit nordisk døme på autofiksjon (Schmitt og Kjerkegaard 2016;Behrendt 2019). Her har forskingslitteraturen vist at det er krevjande, men mogleg, å sameine to motstridande lesemåtar: at verket både er fiksjon og handlar om røyndomen.…”

Section: Konstruksjonen Og Referensialitetenunclassified

Å vera to om å fortelja eit liv. Ein analyse av forhandlinga om ei livshistorie i Demian Vitanzas Dette livet eller det neste

Sandberg

2021

Edda

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Section: Konstruksjonen Og Referensialitetenunclassified

Å vera to om å fortelja eit liv. Ein analyse av forhandlinga om ei livshistorie i Demian Vitanzas Dette livet eller det neste

Sandberg

2021

Edda

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“…typically, in fact, it "involves a reshuffling of existing features in the light of a new dominant function" (2005,457). Among the current "reshuffling" is, for example, the blurring of boundaries between fiction and nonfiction in light of an interest in sincerity, relationality, and intersubjectivity (see Moraru 2011;Kelly 2016;Schmitt and Kjerkegaard 2016;Alber and Bell 2019). Following this principle, in this book I approach digital epitextual material as an exemplary reshuffling of an existing feature-paratexts-in light of a changing dominant function.…”

Section: Introductionmentioning

confidence: 99%

Post-Postmodernist Fiction and the Rise of Digital Epitexts

Pignagnoli¹

2023

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Association for North-American Studies (AISNA) and its Forum have been central to my growth as a researcher: I thank the whole community of colleagues and friends who provided me with a lively and stimulating intellectual context. In particular, I am grateful to Pia Masiero at Ca' Foscari University of Venice, who first inspired me to pursue the study of narrative theories, and to Andrea Carosso at the University of Torino for viii • ACKNOwLEDGMENTS his welcoming and generous encouragement. I also want to acknowledge Cristina Trinchero and the other collaborators in the Open Literature Project at the Department of Foreign Languages and Literatures and Modern Cultures at the University of Torino for their invaluable support over the years. I thank Ana Maria Jimenez-Moreno at The Ohio State University Press for her consistent help and thoughtful feedback, and the anonymous reader of the press, who offered helpful suggestions. And I thank my friends, my family, and my partner for their love and enthusiastic support as the book came to fruition.Early versions of my arguments have appeared elsewhere. I am grateful for permission to reprint. Material from "Changing Dominants, Changing Features? The Fiction/Nonfiction Distinction in Contemporary Literary and Instagram Narratives, "

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“…For example, they have all been variably called (e.g. Schmitt and Kjerkegaard, 2016;Ali, 2017) revolutionary, radical, and experimental, to list but a few of the evaluative adjectives typically attributed to them and emphasising their innovativeness and originality, especially when approached from the point of view imposed by a diachronic study of Western literature. They have all troubled their critics and readers as far as their generic identity is concerned (Elkin, 2018).…”

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The Author Disappearing? Authorial “Surrogates” and Contemporary Self/Other-Writing in Selected Works by Annie Ernaux, Édouard Louis, and Rachel Cusk

2021

Avant

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The aim of this paper is to investigate various diegetic gestures of deliberate and insistent selferasure -quite conspicuous in the age of the authors' glorious "return" and their hyper-visibilitywhich the essay wishes to identify as testifying to some countertendencies in presentday auto/biographical writing. The return of the author, officially acknowledged in the final decade of the twentieth century, resulted in contemporary writers unanimously and abundantly engaging themselves in narrating their real life storiesthe phenomenon which prompted an unprecedented emergence of writers' auto/biographical narratives at the turn of the twentyfirst century. Nevertheless, in recent years this authorial resurrection has also led to the rise of some new forms of self-writing which might be seen not only as a means of expressing one's dissatisfaction with the present-day auto/biographical boom but also a manifestation of the crisis of both the auto/biographical self and form. These new self-narratives consciously play with the idea of authorship and question the principles of straightforward representation of the historical author in their literary production. The paper will analyse selected contemporary self-narratives (i.e. Annie Ernaux's Les Années [2008], Édouard Louis's En finir avec Eddy Bellegueule [2014], and Rachel Cusk's "Fay" trilogy, which comprises Outline [2014], Transit Kudos [2018]) so as to investigate the authors' "surrogates" and thus the emergence of a new poetics of self/other-writing.

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Karl Ove Knausgaard'sMy Struggle: A Real Life in a Novel

Cited by 14 publications

References 18 publications

Å vera to om å fortelja eit liv. Ein analyse av forhandlinga om ei livshistorie i Demian Vitanzas Dette livet eller det neste

Å vera to om å fortelja eit liv. Ein analyse av forhandlinga om ei livshistorie i Demian Vitanzas Dette livet eller det neste

Post-Postmodernist Fiction and the Rise of Digital Epitexts

The Author Disappearing? Authorial “Surrogates” and Contemporary Self/Other-Writing in Selected Works by Annie Ernaux, Édouard Louis, and Rachel Cusk

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