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This essay analyses the intersection of the novel and neoliberalism as a relation of friction (Tsing). Whereas former studies of literature and neoliberalism imply models of resistance or complicity, the model of friction allows us to read novels as exploring possibilities of life and creativity within the worlds of neoliberal reification. We apply this model to contemporary autofiction: Kamers antikamers by Niña Weijers and How Should a Person Be? by Sheila Heti. Differing from idealist accounts of neoliberalism and a capitalist view of the subject as ‘entrepreneur of the self’, we engage a materialist approach that looks at the subject as a ‘gamer’ (Wark) whose affective and cognitive skills get reified into information. We conclude that both novels foreground the desire to find possibilities of life in affective attachments, which in their turn open up possibilities of difference and creativity in the context of neoliberal abstraction and alienation. [ABSTRACT FROM AUTHOR]

Copyright of Kadim is the property of Kadim and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This work proposes to approach the autobiographical stories of students of French in spatial mobility with the aim of following the evolution of their representations and their language practices. Sociolinguistic research based on a case study allowed us to understand two axes of analysis, which revolve around the changes made by speakers in terms of their language behavior and the relationships they have with French. The study carried out reveals a dynamic of language practices and functions as well as a reduction in the feeling of linguistic insecurity. [ABSTRACT FROM AUTHOR]

The objective of this article is to analyze the social and symbolic resources that intra-prison Pentecostalism provides to converted inmates for their intra- and then extra-prison community reintegration. To conduct this analysis, we present two sections. Firstly, we present a characterization of two prison spaces between 1950 and 1970: the Public Prison and the Santiago Penitentiary, both located in the city of Santiago de Chile. In them, Pentecostal communities developed and adjusted to the prison contexts with different proposals. Secondly, we see religious work as an organizer of meaning based on the three most important religious rituals of prison spaces: the invocation ritual, which is prayer as sacred work; music, which is sung work; and preaching, which is the work that makes the community grow. The theoretical framework we employ is that of structuralism, to adapt to the era explored in this article, complemented by the phenomenological proposal of René Girard. Methodologically, this study is a qualitative vision focused on the autobiography of a religious leader, to which two autobiographical novels of the time are added, in addition to institutional magazines (Pentecostal) and a magazine of journalistic reportage, to contextualize the information provided by the autobiography. [ABSTRACT FROM AUTHOR]

This paper places maternal subjectivity in an embodied, intersubjective context through the use of personal narrative. In response to the work of Helena Vissing (this issue), who lodges a critique of how psychoanalysis has negated aspects of maternal experience, it both extends and challenges her ideas, reacting to the disembodied nature of her critique and relocating it into the realm of an autobiographical story. It also problematizes cis-heteronormative biases in scholarship around maternal subjectivity through the inclusion of queer experience and queer family configurations in the narrative. [ABSTRACT FROM AUTHOR]

Copyright of Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-Artes) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-Artes) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines how the autofictional works of Latin American writer Mario Vargas Llosa and Tamil writer Charu Nivedita employ similar strategies. This article provides the opportunity for readers to discuss how autobiography, autofiction, and life writing might evolve in the future. In addition, it seeks to discover the theoretical implications in the life narratives of the chosen writers' works. This article investigates the ongoing evolution of life-writing studies and their potential impact on a wide range of fields of study. These two authors share numerous similarities, most notably a meta-modernist storytelling style. Through autofiction, they question the nature of reality and construct an alternate universe. To create a narrative, one must demonstrate empathy and connection, as well as address the interrelationships between different ways of thinking and being. This article attempts to provide an overview of autofiction and examines how Mario Vargas Llosa and Charu Nivedita use it in their novels. [ABSTRACT FROM AUTHOR]

Bezonken Rood, a novel by the Dutch author Jeroen Brouwers published in 1981 and translated as Sunken Red in 1988, has long been the subject of a fierce debate regarding the Pacific War in the former Dutch East Indies (present-day Indonesia). The novel, a work of autofiction, aimed to bring the Pacific War, which was considered 'an omitted war' at the time, into the public eye. Despite the novel's claim to be true to life, critics identified upon its publication numerous historical inaccuracies, with the most significant critique being that the Pacific War was erroneously depicted as equivalent to the Holocaust. I will study both the novel and debate: I will examine the ways in which the Pacific War is represented and remediated in the novel; and I will analyse the ways in which the novel has contributed to the inscription of the Pacific War as a cultural trauma into Dutch cultural memory. Throughout my analysis, I will draw on concepts derived from the fields of autobiographical writing, critical trauma studies, cultural memory studies, and cultural trauma studies. [ABSTRACT FROM AUTHOR]

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Among the autobiographies of Spanish-language publishers, Carlos Barral’s project undoubtedly stands out, consisting of three volumes plus an autofiction, which he published between 1975 and 1988, precisely when his power as a publisher had expired. The set of these four texts is not only essential for understanding the socio-literary strategies of an entire period of Spanish, European and Latin American literature. In addition, it builds a complex and exceptional image of the publisher over time, in which can be detected the decision-making process, the importance of symbolic and economic capital, and the effect of the different literary and political struggles. In short, the repertoire of successes and failures, of alliances and enmities, of criticisms and self-criticisms that distinguish the position of the editor from that of other literary activity agents. [ABSTRACT FROM AUTHOR]

Autobiographical graphic novels have become crucial texts for understanding displacement and transnational identities. This article discusses a long-lost early example of the genre, The Voyage and Adventures of a Well-Behaved German in Kangarooland (Reise-Abenteuer eines Braven Deutschen im Lande der Kangaroo), a series of proto-comic books created circa 1918–1919 by the cartoonist C. Friedrich. A German immigrant to Australia imprisoned in an Australian internment camp during World War I, Friedrich used his self-published comics to document the routines, passions and frustrations of camp life. Drawing on recent scholarship on "POW creativity" as a conceptual lens, we argue that the transnational displacement at the heart of Friedrich's work affirms Kangarooland as a pioneering work that provides a conceptual link with later autobiographical graphic novels and which should lead scholars to question claims that autobiographical comics are an American-born genre. Its origins in displacement and transnationalism, themes that animate so many of the most renowned graphic novels of the late 20th and early 21st centuries, suggest the genre instead developed out of the ability of comics to depict transnationalism and the precarity of displacement. [ABSTRACT FROM AUTHOR]

Krupabai Satthianadhant Saguna (1889-1890) is an autobiographical novel by one of the first Indian women to attend medical school in Madras. Saguna is a New Woman narrative of spiritual and social development for both its protagonist and the emerging Indian Christian community. Written in English, it was serialized in the Madras Christian College Magazine, a periodical reaching British, Anglo-Indian, and Western-educated Indian readerships regionally, nationally, and in Christian missionary networks throughout the Empire, Satthianadhan investigates the origins of Indian Christian womanhood in Indian Christian conversion narratives and professional work, especially the mission-sponsored Bible Woman. Critiquing the ways in which female converts and Bible Women retain limited personal agency or occupy lowly positions in the community, Satthianadhan presents her protagonist as a New Woman who draws on the Bible Woman's example of bold preaching and her own liberal education to ground her beliefs about society and religion in independent, rational thought. Satthianadhan promotes Indian women's education reform as a movement to be embraced by the Indian Christian community and as a means through which its women can join theological conversations and champion social reform efforts in the larger, male-dominated, Indian public sphere. [ABSTRACT FROM AUTHOR]

Do readers agree on the literary character of a text? To answer this question, we have studied the reception of six recent works of Latin American autofiction on Goodreads by assessing reader reviews. To quantify our findings, we have assigned each review an "index of literariness." Our results suggest that autofiction, as a reading strategy, is uncommon: the most intermediate mean values (the most statistically "autofictional" position) present the highest standard deviation, demonstrating that many reviewers choose between a fundamentally factual reading or a fundamentally literary reading of autofictional texts. [ABSTRACT FROM AUTHOR]

In her autofictional writings, Marta Sanz exhibits herself tattooing her own middle-aged, diseased body before the public gaze. Her body could be any woman’s body: it becomes a privileged locus from which to examine a sense of vulnerability that exceeds the author herself. Sanz’s work serves as an entry point to the study of an emerging mode of socially committed autofiction produced by a transgenerational group of contemporary feminist authors, including Paula Bonet, Layla Martínez and Sara Torres. I turn to the works of Jacques Rancière and Sara Ahmed to examine how the aesthetics of these texts might affect the reader, thereby shedding light on the political – the relations to be established between what is seen and what is imaginable; what is done and what can be done –. The life writings recently published by Bonet, Martínez, Sanz and Torres, I sustain, signal the passage from a centripetal and patriarchal model of autofiction, where the author monologues with himself, to a centrifugal model, where the author reaches out to her audience. [ABSTRACT FROM AUTHOR]

This article explores the political productivity of autofiction as a narrative strategy linked to feminist and LGTBI activism in María Moreno’s novels Black Out and The Skeffington Affair. Configured as a hybrid text combining fiction, memoir, and essay, Black Out revolves around Moreno’s dissident authorial figure: an alcoholic queer woman who challenges the limits of the sober, heteronormative bourgeois subject. Since what Black Out presents – similarly as The Skeffington Affair as apocryphal (auto)biography – is not so much the writing of an ego or a super-ego but the writing of desire, of the alcoholic drive that is shared with others – a «writing of the id» – my analysis moves away from categories such as autobiography or ego-literature, and studies Moreno’s narrative as a form of autofiction that pursues a queer nomadic ethics (Butler 1993; Braidotti 2009) in its turn toward heterography (Forest 2012). [ABSTRACT FROM AUTHOR]

The purpose of this article proposes an approach to the dramatic work of Diana M. de Paco Serrano (Murcia, 1973) from an autofictional perspective. In any case, it is about giving theoretical operability to a performative conception of the «autofictional game» in the midst of that complex network of relationships, confluences and dissonances between the real person, the idea of the playwright and the constitution of the dramatic characters. To this end, specific questions will be addressed regarding the theoretical particularities of dramatic autofiction, broadly outlining the author’s dramaturgical project, in order to forge a kind of guide for her production, while, by delimiting a specific corpus in three fundamental instances, intertextual comparative nuances can be established that offer a kind of preponderant features that could well define his autofictional poetics. [ABSTRACT FROM AUTHOR]

The article analyzes the presence of autofiction written by women in contemporary literature, highlighting how it allows women to explore the mystification they have been subjected to by male thinking. It also examines how female authors negotiate and parody the incompatibility between traditional gender roles and female authorship. It investigates how autofiction questions the topics and values associated with writing by women, and analyzes the literary and media self-representation of current female writers. In addition, it addresses the expanded notion of autofiction and discusses the paradigm shift in current literature. It concludes that feminist autofiction proposes new forms of articulation between the self and the collective "we," questioning notions of authorship and problematizing the culture of female authorship. [Extracted from the article]

The article analyzes Ana María Amar Sánchez's research on the relationship between literature and politics in Latin America. The book focuses on the aesthetic representation of political violence in literature, examining works by authors such as Borges, Cortázar, Gandolfo, Levrero, and Lalo. It also reflects on the value of literary criticism in times of crisis and the importance of literature as resistance and a version of reality. The text analyzes the tension between fiction and reality, autofiction as an alternative strategy, and the resignification of writing and reading in the current context. Additionally, it focuses on the relationship between history, violence, and politics in the novels of Montoya and Padura, highlighting the role of the image as a negotiation between the political and the aesthetic. The debate on the function of the intellectual and the relationship between politics and aesthetics in literature is also addressed. [Extracted from the article]

Copyright of Impossibilia: Revista Internacional de Estudios Literarios is the property of Impossibilia: Revista Internacional de Estudios Literarios and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines the metalinguistic commentary on address practices in a Finnish autobiographical novel series, the 26-volume Iijoki-sarja 'Iijoki Series' (1971–1998) by Kalle Päätalo. Our aim is to show how the forms of address affect the protagonist and other characters. The study is anchored in previous sociopragmatic research on address and in folk linguistics. The analysis is based on searches in the digital corpus of the whole series by means of keywords related to forms of address. The analysis proceeds chronologically, from Kalle's childhood and adolescence to his marriage and working life, including his social rise from a poor country boy to a full-time novel writer. Our results show that Kalle, the fictional protagonist of the series, mirrors his own and others' choices in address practices throughout his life against the norms he has learned in his childhood. These choices are explained by the (relative) age, sex, status and regional background of the interlocutors. Metalinguistic comments reflect the characters' social relations and changes in them during the protagonist's linguistic biography. We argue that fiction can open up perceptions and contexts related to address practices that are not easily accessible by other methods or datasets. [ABSTRACT FROM AUTHOR]

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Copyright of Orbis Tertius is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the relationship between new communication technologies and autobiographical memory. It highlights the importance of studying how these technologies interact with autobiographical memory and the implications for understanding the self. The AMEDIA-Model is introduced as a theoretical framework for studying this relationship. The article also explores the similarities between autobiographical memory and engaging with narratives, suggesting that research on narrative comprehension can inform our understanding of autobiographical memory. The event indexing model is discussed as a starting point for understanding how autobiographical events are represented in memory. The article concludes by suggesting that new communication technologies may impact how autobiographical memories are organized and retrieved, and calls for further research in this area. [Extracted from the article]

In the autobiographical novel "The Camp. A Little Girl from Karabakh" the Azerbaijani author Gunel Movlud describes her experiences of living in a refugee camp in the Sabirabad region of Azerbaijan. Movlud was forced to flee her home town in the Nagorno-Karabakh region during the First Karabakh War (1988-1994). For five years, she lived in the tent camp. In the novel, Movlud describes the hardships of the life in the camp and different characters from her personal perspective. What is striking from her observations is the amount of sexual violence apparent in the camp and the seemingly tacit acceptance of the camp inhabitants. This paper seeks to find a theoretical explanation for the violence encountered in the camp. The analysis is based on the novel itself as well as an interview conducted with the author. It is found that Agamben's idea of the exceptionality of space and Bourdieu's notion of symbolic violence can help explain the violence encountered in the camp. In the author's view it was women in the end who appeared stronger than men and who held the social fabric of the camp together. [ABSTRACT FROM AUTHOR]

This literary analysis of Sammy Drechsel’s 1955 children’s novel Elf Freunde müßt ihr sein focuses on the author’s construction of 1930s Germany as a Nazi-free realm. With a particular emphasis on Drechsel’s depiction of mass media, this article reveals the Third Reich hidden in this popular autobiographical story about football and friendship. It demonstrates how the novel utilizes football to depoliticize and disguise Hitler’s Germany and ultimately raises the question about the pedagogical opportunities that emerge from a work that is based on silence as a narrative strategy [ABSTRACT FROM AUTHOR]

The article focuses on the challenges encountered by the author in writing the biography of Lucia Berlin, a short story writer who resisted biographers' attempts to document her life. Topics include Berlin's complex relationship with autobiographical narratives, concerns about the neglect of her art in favor of her life story, and the blurred boundaries between fact and fiction in her works.

Focusing on a little-known autobiographical novel about the French translation of Vladimir Nabokov's multilingual magnum opus, Ada or Ardor (1969), this paper discusses the use of autofiction as a generically unstable form of life writing to examine contemporary questions of identity, authenticity, and authorship raised by the practice of literary translation at the turn of the twenty-first century in France. Through a reading of the novel as partial biography of translator Gilles Chahine, this article argues that the autobiographical mode in Deux étés allows the author, Erik Orsenna, to witness, through a collective 'we' that looks forward to the narrative voice in Annie Ernaux' Les Années (2008), the combined economic forces of post-colonial literature and the internet change the way French readers approach English texts. While examining a form of life writing rooted in France's 1970s avant-garde (Gasparini 191), autofiction is an opportunity to read Nabokov's own literalist approach to translation in the light of the issues of identity and authorship raised by self-reflexive fiction, notably by drawing a portrait of the translator as writer in their own right. [ABSTRACT FROM AUTHOR]

This article considers the elaboration of time as part of the formal construction that relates writing and politics in Ernaux's work. Beginning with her claim that 'Écrire, c'est créer du temps', particular attention is paid to the role of the future in Ernaux's 'lived time', especially the future as anticipated in the past. Her accounts of the past, in both fiction and autobiographical writing, show how unquestioned expectations about the future serve to direct the course of human lives and sustain different forms of injustice. Assumptions about both class and gender underpin future prospects in childhood, education, love, sex, pregnancy and marriage. Finally, writing itself is conceived by Ernaux predominantly in relation to the future. [ABSTRACT FROM AUTHOR]

The paper delves into the realm of onomastics within the context of migration by analyzing Shi Yang Shi's autobiographical novel, Cuore di Seta. Through the protagonist's journey from China to Italy, the narrative unveils the profound significance of names in the process of identity reconstruction, as experienced through memory. The Chinese onomastic system is carefully elucidated for readers, providing insight into its cultural nuances. Throughout the story, the evolution of the protagonist is mirrored in the evolution of his nicknames, which reflect both personal growth and societal challenges encountered along the way. As the protagonist grapples with conflicts between Confucian traditions and his dual identity as a Chinese migrant in Italy, the narrative chronicles his quest for self-discovery. Ultimately, he embraces his plural nature by employing the act of renaming as a symbolic gesture of acceptance and integration. [ABSTRACT FROM AUTHOR]

This article originated when I put forward the possibility of self-actualizing the gaze through the productive practice of the autobiographical audiovisual story from a situational point of view. However, the reflection now goes beyond to propose autopoiesis or the generation of reflective consciousness through various modes of automediality, expressed in multiple forms of subjectivity while producing the autobiographical audiovisual story. This process allows self-hacking the narcosis of the narcissistic look of which Mc-Luhan spoke in the last century, but in today's "media and digital caverns," to become conscious of oneself, self-alienation, and self-exploitation in the era of the normative individualism of the I-company, which emerged in the last century during the formation of the neoliberal subject and its most elaborate product: the prosumer. [ABSTRACT FROM AUTHOR]

Alice Munro is a chronicler of women's lives in her contextual time and space, although her subtle and incisive psychological insight and understanding of womanhood render certain aspects of her characters' nature universal. Her short fiction describes and gives voice to a range of female identities and realities, often outlining sexual pleasure and desire with a sincerity and ingenuousness atypical for her time. This paper explores four Munro stories – "Memorial" (1974), "Accident" (1982), "Nettles" (2001), and "Trespasses" (2004) – included in her middle collections, which combine the female experience of an adulterous sexual act with a child's traffic-related death, focusing on the voice and sexual role of the protagonists to establish coherent links with the seemingly disengaged fatal accidents. My reading and interpretation of the stories attempt to signify the connection between the two themes in the author's corpus which, I argue, stems from her personal biography. The literary analysis is built on previous literature on the author and short story theory, and ultimately aims to understand, support, and extend the often-claimed autobiographical dimension of Munro's literature. [ABSTRACT FROM AUTHOR]

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Copyright of Nueva Revista del Pacífico is the property of Universidad de Playa Ancha de Ciencias de la Educacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article analyzes the features of the chronotope in the autobiographical novel "The Words" by the famous French writer Jean-Paul Sartre. The center of the analysis is the ways in which Sartre creates a complex and multi-layered domain of actions for his heroes, where time and space become not only physical but also philosophical realities. Particular attention is paid to how Sartre uses the chronotope to develop ideas of freedom, responsibility and existence. Through the analysis of everyday situations and the inner monologue of the main characters, the article reveals how the chronotope becomes an integral part of the concept of human existence in Sartre's world. The article also analyzes the transformation of the classic chronotope in an autobiography, new manifestations of the spatiotemporal concept, as well as the chronotope of retrospective depiction through the author's personal memories. [ABSTRACT FROM AUTHOR]

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Copyright of Italica Wratislaviensia is the property of Wydawnictwo Adam Marszalek and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Blending literary and cultural studies, the essay discusses the manners in which Jhumpa Lahiri's literary universe constructs a gradual unfolding of a layered transcultural vision. The paper argues that in the shift from fictions of migration to autobiographical narratives of self-redefinition, the Bengali-American author advances cultural scenarios of transformation that enable the reshaping of cultural identities through the transcendence of fixed cultural loyalties. Invoking perceived lacks in their native cultural traditions and intuiting the incompleteness of cultures, her characters are haunted by the urge to cross cultural boundaries in order to gain a sense of personal fulfilment. Ultimately, Lahiri herself replicates this pattern as she relocates to Italy and writes in a new language (Italian). The last stage in Lahiri's transcultural scenario is represented by an attempt to dissociate cultural specificity from the notion of identity, as she takes refuge in the realm of abstraction through minimalist aesthetics. Relying on a close reading of her texts, the essay will scrutinise the author's peculiar outlook on transculturality, which appears to embrace various cultural spaces while seemingly avoiding specific attachments. The analysis aims to establish whether Lahiri succeeds in transgressing the very idea of cultural belonging in her quest for a freeing path. [ABSTRACT FROM AUTHOR]

This article is about an anthropological and philosophical analysis of the novel „Mic Dejun la Café de Flore", a novel authored by Elena Adriana Dobrinoiu and published at Lumen Publishing in 2024. Our analysis has as its main subject the place of the intellectual and especially of the intellectual engagement in the public space - either in politics or journalism -- analysis that is occasioned by the reading of the autobiographical novel by Elena Adriana Dobrinoiu, a novel that was read in the key to a possible answer to the question whether and what place the intellectual has in the contemporary world, at least in the current Western cultural space. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Erciyes Communication / Erciyes İletişim Dergisi is the property of Erciyes University, Faculty of Communication / Erciyes Universitesi Iletism Fakultesi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article aims to prove that there are autobiographical threads in Hanna Krall's reportages, which are related to the necessity to hide during the occupation, detention at the police station and the death of her mother. The discovery of autobiographical tropes in Krall's work may change the reception of her publications. The first coded mentions of her life appear in Shielding the Flame. Still, commentators emphasized her influence on changing how the Warsaw Ghetto Uprising was told (Marek Edelman, the main witness of the uprising and its leader also contributed to this). So far, researchers have spotted autobiographical threads in the novel The Lodger, in which Krall's occupation past becomes part of a plot based on fiction. An important clue that makes it possible to link Krall's reportages with her biography is the interviews she gives. Reconstructing fragments of Krall's biography can be considered a valuable source of information that has little to do with the need for self-creation and creating a specific image. Krall, as a child belonging to the "1.5" generation, left two variants of the records of her survival during the Holocaust. The first was in a small text entitled The Game for My Life. The second variant is her reportage books, where she allows for the emotions hidden in the text, thanking many people for their help. The author argues that the first variant contains a text for others, while the second is an attempt to convey the complicated feelings of a little girl who had to submit to the will of others. [ABSTRACT FROM AUTHOR]

This article reads Sheena Patel's 2022I'm a Fan as a major intervention into literary representations of women online, particularly within the context of Patel's materialist rendering of the operations of race, gender, and class in platform economies. Patel writes against a tendency toward what this article terms an emergent "flatness" in representations of women online, manifested aesthetically, ideologically, and affectively. Patel's debut offers an alternatively "de-flattened" account of life on the internet, partly through a focus on the hungry body of its narrator: an insistence that the internet is for women in particular "not a still, flat, surface thing" is explored via its effects on the feeling body. This article considers how I'm a Fan employs questions of algorithmic desire, taste and aesthetics, and the concept of autofiction as a "masticated life," rematerializing, and therefore repoliticizing, gendered encounters with the platform. [ABSTRACT FROM AUTHOR]

With a consideration of the function of metaphor and the recently-popularized hybrid narrative modes, this paper delves into the theme of consent in relation to female-authored fictional texts written in the wake of the #MeToo movement, focusing on Kristen Roupenian's short story "Cat Person" as a case study. Central to the critical reception of Roupenian's story are many discourses, whose authors conflate Roupenian with the female-identified character in her story, that disregard the story as fiction despite its genre classification. I explore how the acknowledgement of author as artist and the politics of consent are necessary for readerships who don't want to further oppress female-identified authorial voices. [ABSTRACT FROM AUTHOR]