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GERMAN-CFP-L  May 2006

GERMAN-CFP-L May 2006

Subject:

CFP: Autofiction and/in Image (9/15/06; e-journal issue)

From:

Megan McKinstry <[log in to unmask]>

Reply-To:

German Studies CFP Forum <[log in to unmask]>

Date:

Mon, 1 May 2006 14:46:04 -0500

Content-Type:

text/plain

Parts/Attachments:

Parts/Attachments

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>
>From: Anneleen Masschelein <[log in to unmask]>
>
>Subject: CFP: Autofiction and/in Image (9/15/06; e-journal issue)
>
>Autofiction and/in Image
>
>Thematic Issue of Image and Narrative (bilingual e-journal)
>Editors: Anneleen Masschelein & Joost de Bloois
>
>Roland Barthesí later works consist of a reflection on and an
>illustration of the breakdown of genres of life-writing: autobiography,
>fictional narrative and even criticism. Pursuing a renewal of the theory
>and practice of life-writing as subjectivation, Barthes originates and
>explores a conceptual assemblage for these novel texts: ìbiographemaî
>(travelling from one genre to another or from one subject to an other),
>ìpoikilosî (or the indecision of genres in a writing as pure tendency)
>and life-writing as a phantasmatic ìvita novaî rupturing the subject.  
>Serge Doubrovsky successfully coined the term ìautofictionî for these
>new forms of writing: while proceeding from an autobiographical gesture,
>autofictional texts combine classically distinct genres such as theory,
>essay and literature. In autofiction, the relationship between narrative
>subject (narrator or protagonist) and author is no longer conceived as
>an ìautobiographical pactî based on presupposed factual truth (Lejeune).
>Instead, it rests on eminently elusive notions such as narrative,
>fictional or discursive truth as well as on the affective and subjective
>investment or charge (cathexis) of the thought processes governing
>writing. Likewise, in the last autofictional phase of his work, Roland
>Barthes not only experimented with narrative forms, but also with the
>semiotic juxtaposition of different media, precisely to express this new
>kind of subjectivation (Roland Barthes by Roland Barthes, A Loverís
>Discourse, Camera Lucida). 
>
>Drawing on Barthesí example, this thematic issue of Image and Narrative
>seeks to take the exploration this concurrence of image and narrative in
>autofiction further. We want to explore the limits of the notion of
>autofiction and examine whether it can be applied to the visual arts,
>where we can also witness a surge of autofictional projects in the last
>decennia. We are thinking for instance about the work of Larry Clarke,
>Nan Goldin, Cindy Sherman, Sophie Calle in the realm of photography;
>about the graphic work of Robert Crumb, Joe Sacco, Art Spiegelman,
>Marjan Satrapi, Lewis Trondheim; Jean-Luc Godard, Nanni Moretti,
>Federico Fellini or Atom Egoyan in cinema; or multimedial projects like
>the autobiography of John Cale by Dave McKean or the work of artist
>Felix Gonzalez-Torres.
>
>Questions that this issue seeks to address are among others: how is
>visual autofiction influenced by the media in which it takes shape? Does
>autofiction as new genre call for renewed usage of visual media? Does
>autofiction in visual arts specifically entail the breakdown of
>different media, as it did for different genres of writing in Barthesí
>case? What is the interchange between the recognizable autofictional
>work and the other fictional or artistic work of artists? What is the
>status of the image and of the artistic subject in these types of
>autofiction? Does recent theory on autofiction also influence the status
>and forms of autofictional artistic projects? What is the relation
>between visualization and performance in these types of artworks? What
>is the artistic status of autofiction in various media? Is there a
>genealogy of autofiction to be drawn from its practices e.g. can we
>trace the influence of movements like surrealism and situationism on
>current autofictional projects?
>
>The issue is open to all kind of applied and theoretical articles on the
>subject, ranging from but by no means limited to psychoanalysis,
>semiotics, media theory, narratology, queer theory, cultural analysis.
>Contributions may be written in English and French and may vary in
>length from 2000 to 7000 words.
>
>Deadline for proposals: September 15, 2006.
>Deadline for full-length texts: December 31, 2006.
>For more information, please do not hesitate to contact:
>[log in to unmask]; [log in to unmask]
>
>
>Disclaimer: http://www.kuleuven.be/cwis/email_disclaimer.htm
>
>

*******************
The German Studies Call for Papers List
Editor: Stefani Engelstein
Assistant Editor:  Megan McKinstry
Sponsored by the University of Missouri
Info available at: http://www.missouri.edu/~graswww/resources/gerlistserv.html

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