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What are the characteristic features of avatar-based singleplayer videogames, from Super Mario Bros. to Grand Theft Auto? Rune Klevjer examines this question with a particular focus on issues of fictionality and realism, and their relation to cinema and Virtual Reality. Through close-up analysis and philosophical discussion, Klevjer argues that avatar-based gaming is a distinctive and dominant form of virtual self-embodiment in digital culture. This book is a revised edition of Rune Klevjer's pioneering work from 2007, featuring a new introduction by the author and afterword by Stephan Günzel, Jörg Sternagel, and Dieter Mersch.

EnglishPierre Hadot shows us, in his interpretations of Goethe and the tradition of spiritual exercises, that true love has a transforming potential, since it corresponds to an exercise of the spirit capable of revealing the ideal that surrounds and constitutes the reality of lovers. Differently, Foucault explains, by Baudelaire and the culture of the aesthetics of existence, that the transfiguring practice of love propitiates the creation of the present time as if through fiction and not by the presence of the ideal in the real. Therefore, perhaps we can affirm that the spirituality of love, conceived by Hadot, would reside in the eternalization of the present moment and in the universalization of the soul, whose beauty articulates the lovers ideally to the Nature. On the other hand, in the case of the foucauldian aesthetics of existence, the spirituality of love would concern the fictional violation of the condition that binds the self, the others and the world to the nostalgia for the past or to the anxiety for the future. Thus, in this essay we envisage (a) to point out the differences between Hadot and Foucault regarding the experience of the present time and the spirituality of love in order to (b) indicate how both would understand the historical movement of the self and the others in the world. portuguesPierre Hadot nos mostra, em suas interpretacoes sobre Goethe e a tradicao dos exercicios espirituais, que o amor verdadeiro possui um potencial transformador, pois corresponde a um exercicio do espirito capaz de desvelar o ideal que envolve e constitui a realidade dos amantes. Diferentemente, Foucault explica, atraves de Baudelaire e da cultura da estetica da existencia, que a experiencia transfiguradora do amor propicia a criacao do tempo presente como que por ficcao e nao pela presenca do ideal no real. A partir disso, talvez possamos afirmar que a espiritualidade do amor, concebida por Hadot, residiria na eternizacao do instante presente e na universalizacao da alma, cuja beleza articula os amantes idealmente a Natureza. Por outro lado, no caso da estetica da existencia foucaultiana a espiritualidade do amor concerniria a violacao ficcional da condicao que ata o si, os outros e o mundo a saudade do passado ou a ansiedade pelo futuro. Sendo assim, neste ensaio vislumbramos (a) pontuar as diferencas entre Hadot e Foucault no que concerne a vivencia do tempo presente e a espiritualidade do amor para (b) indicarmos de que modo ambos compreenderiam a movimentacao historica do si e dos outros no mundo.

Zusammenfassung Ausgehend vom gegenwartigen Boom autobiographischen Schreibens, nimmt der Beitrag Begriffsklarungen vor (Ego-Dokumente, Autobiographie, Memoiren, Biographie) und referiert den Diskurs der Germanistik um Referenzialitat, Authentizitat, Fiktionalitat und das Konzept ‚narrativer Wahrheit‘. Der historische Wandel autobiographischen Schreibens zur Pluralitat autobiographischer Erzahlstile wird am Beispiel der Autobiographien von Fanny Lewald und Christa Wolf verdeutlicht. Der Beitrag schiest mit einem Pladoyer fur die Verwendung autobiographischer Texte als erziehungswissenschaftliches Quellenmaterial. ----- Bibliographie: Klika, Dorle: Autobiographien als Kinder ihrer Zeit, BIOS, 2-2016, S. 275-284. https://doi.org/10.3224/bios.v29i2.10

EnglishThe fiction corresponds to a style of writing that supports the construction of narratives capable of wrestling the writer from himself in a sense that, through the experiment of language itself, it constitutes aesthetically. When we observe the works of Nietzsche, we perceive that there are a plurality of literary styles, often composed by aphorisms that demand another performance: hyperbolic writing. Through artistic writing, Nietzsche creates a world understood as the will to power in which he gives himself as a character among other psychological types. Already in Foucault's philosophy the striking feature of his works is the historical tone with which he approaches his themes. However, as he himself affirms in some interviews, he writes nothing but fictions, selects and organizes historical statements by creating various scenarios, subjects and objects of his speech. This style present in both contacts the outside provoking a repositioning of the reader, which is affected by promoting, as an effect of subjectivation, a political repositioning of insubmissao of not wanting to be governed in this way. portuguesA ficcao corresponde a um estilo de escrita que sustenta a construcao de narrativas capazes de arrancar o escritor de si mesmo em um sentido de, por meio do experimento da propria linguagem, constituir-se esteticamente. Quando observamos as obras de Nietzsche, percebemos que ha uma pluralidade de estilos literarios, compostos, frequentemente, por aforismos que demandam outro performatico: a escrita hiperbolica. Por meio da escrita artistica, Nietzsche cria um mundo compreendido como vontade de poder em que da a si mesmo como personagem dentre outros tipos psicologicos. Ja na filosofia de Foucault o traco marcante de suas obras e o tom historico com o qual aborda seus temas. Porem, como o proprio afirma em algumas entrevistas, nao escreve outra coisa que nao sejam ficcoes, seleciona e organiza enunciados historicos criando diversos cenarios, sujeitos e objetos de seu discurso. Este estilo presente em ambos entra em contato com o exterior provocando um reposicionamento do leitor, que e afetado promovendo, como efeito de subjetivacao, um reposicionamento politico de insubmissao de nao querer mais ser governado dessa forma.

In diesem Artikel machen wir das Sprechen über Nachhaltigkeit zum Untersuchungsgegenstand, indem wir nachvollziehen, wie Nachhaltigkeit kommunikativ konstruiert und dabei als dynamische, aber relativ stabile soziale Fiktion erkennbar wird. Wir leisten gleichzeitig einen Beitrag zur methodischen und methodologischen Reflexion der handlungspraktischen Relevanz des (sozialen) Imaginären. Dabei stützen wir uns auf eine empirische Studie, innerhalb derer wir sozialwissenschaftlich induzierte Gespräche mit und zwischen Personen, die über die Nachhaltigkeit ihres Alltags sprachen, untersucht haben. Die Teilnehmenden dieser Gespräche sahen sich mit dem bekannten Dilemma konfrontiert, dass vollständig nachhaltiges Handeln aufgrund des universellen Geltungsanspruchs der Nachhaltigkeit unmöglich zu sein scheint. Mithilfe der dokumentarischen Methode arbeiten wir die Art und Weise des kommunikativen Umgangs mit der Unmöglichkeit, allen Nachhaltigkeitsanforderungen gerecht zu werden, an empirischem Material heraus. Im Fokus stehen dabei insbesondere Rechtfertigungsmuster, normativ-imaginäre Gedankenspiele und die rhetorische Distanzierung von tagtäglichen Handlungszwängen durch grammatikalische Konstruktionen im Konjunktiv, die auf wünschenswerten oder unerwünschten, dys- oder utopischen Alternativszenarien fußen. Theoretisch beziehen wir uns auf den kommunikativen Konstruktivismus und die Übertragung des literaturanthropologischen Konzepts des Fingierens nach ISER (1991) auf die wissenssoziologische Forschung. Nachhaltigkeit dient uns als Beispiel, anhand dessen die kommunikative Konstruktion sozialer Fiktionen mit universalem Geltungsanspruch herausgearbeitet wird., Forum Qualitative Sozialforschung / Forum: Qualitative Social Research, Vol 20, No 1 (2019)

Autobiographical mode of writing informs the works of many novelists, consciously or unconsciously. There are, however, diverse techniques for formulating these conscious or unconscious autobiographical interpolations in literary works. This essay aims to study the works of Sidonie-Gabreille Colette and Virginia Woolf to trace the nuances of the autobiographical mode in two contemporary female writers from different nations. We do not aim at proving that these two writers deploy the autobiographical mode in their writings, but how similar and different their autobiographical techniques in the creation of fiction are. Therefore, Colette’s and Woolf’s novels, in general, will be compared and contrasted with an eye on their self-defined strategies for the development of autobiographical fiction.

Cognitive Poetics works on the triangle of author-text-reader. A main focus is the reader of literature, as a co-producer of the text alongside the author, in an attempt to explain how his/her knowledge and experiences are applied in reaching an understanding of a particular text in a particular context. In this paper several examples of how contextual frames can operate in a narrative are discussed in three works of short fiction by Joseph Conrad. Analyzed in the particular context of Conradian narrative and prose style are such points as: how the readers begin a story, how they enter into the interior levels of it in order to feel and touch the events in the way its characters do, how they follow every episode of it and, in other words, how the readers ‘comprehend’ the narrative. It is argued that the application of insights from cognitive poetics to Conrad’s fiction is of particular relevance as Conrad is a writer who embodies and foregrounds this very act and process of ‘comprehending’ in his fiction.

Als globales Phänomen hat Harry Potter unterschiedliche Publika angezogen sowie teilweise widersprüchliche Reaktionen und Debatten ausgelöst. Während in Wissenschaft und Presse mitunter kritisiert wurde, Harry Potter verstärke eine heteronormative Weltsicht, zeichnen die vielfältigen Formen der Anschlusskommunikation im Netz – insbesondere in Gestalt sogenannter Slash- Fanfiction – ein anderes Bild. Slash steht für ein breites Spektrum nichtheteronormativer Relektüren und homoerotischer Reorientierungen der Fantasysaga. Durch ein konsequentes Verzahnen der Methoden des Queer Reading nach Kosofsky Sedgwick mit den durch Slash-Fans produzierten Werken lassen sich die Spannungen zwischen latenten queeren Bedeutungen, die Harry Potter anbietet, und den subversiven Umdeutungen durch die Fans identifizieren. Isers Konzept der ‚Leerstelle‘ erweist sich als nützlich, um die vielfältigen Auslassungen, Unbestimmtheiten und Widersprüche herauszuarbeiten, die einen fruchtbaren Boden sowohl für die Dechiffrierung subtextueller Möglichkeiten der Saga als auch für die (transgressiven) Neuschriften im Fandom bereithalten. Beide sollen zudem in einen größeren filmhistorischen Zusammenhang und in den Kontext des Fantasygenres eingebettet werden., As a global phenomenon, Harry Potter has attracted most diverse audiences and provoked many contradictory responses and debates. While many critics have highlighted the enforcement of heteronormativity in the storyworld, fan responses – and especially slash fan fiction – provides us with an abundance of contradictory queer responses and non-heteronormative re-readings and rewritings of Harry Potter. By constantly confronting and intertwining the academic strategy of queer reading as introduced by Kosofsky Sedgwick with the responses of slash fans, I want to discuss the tensions between latent meanings and resistant readings that embrace the Harry Potter universe. In reference to Iser’s concept of the Leerstelle, the various omissions, indeterminacies, and contradictions in Harry Potter that provide a fertile ground for the interpretation of subtextual contents and for transgressive re-writings alike will be explored and discussed within the larger framework of film history and the fantasy genre.

Art in general and fiction in particular have had close affinities with politics throughout history. When there is a close tie between a narrative fiction and political issues then critics may deem it as “committed fiction”. Political fiction is at the crossroads of political science and the art of fiction. And more often than not, novelists are involved with politics but not all of them are dubbed as or even consider themselves to be political novelists. In this article I attempt to investigate political fiction as a distinct genre produced (un)consciously by a range of (politically committed) novelists and critics. The authors discussed in this paper demonstrate dissimilar perspectives on freedom and democracy. Also, regarding political fiction and the responsibility of author, we will see how divergent is the attitudes of critics such as George Orwell, Allen Robbe-Grillet, Juan Goytisolo, Mario Vargas Llosa and Isabel Allende.

O texto apresenta uma visão global sobre a forma como a ficção cinematográfica portuguesa, produzida durante o Estado Novo de Salazar e Caetano, refletiu sobre o império colonial entre o fim da Segunda Guerra Mundial e a queda do regime (1974). A investigação baseia-se em onze obras produzidas entre 1945 e 1974, foi organizada de forma a permitir uma perceção global, conduzindo ao aparecimento de três núcleos temáticos fundamentais, a conquista, a colonização e o regresso do império. Desse percurso resultou uma conclusão fundamental, sintetizada na expressão uma África, dois impérios, cujo entendimento essencial passa por uma dupla conceção, luminosa e sombria, sobre o Império Colonial Português entre 1945 e 1974. PALAVRAS-CHAVE: Cinema e identidade; Cinema e Império; Colonialismo; Pós-colonialismo. ABSTRACTThe paper presents a global view about the way as portuguese fiction films, produced along New State of Salazar and Caetano, reflected about colonial empire between the end of Second World War and the fall of the regime (1974). The investigation is based on the selection of eleven films produced between 1945 and 1974, and intents to give a global vision about the subject, mainly the appearence of three main themes, which are the conquest, colonization and the return of the empire. This research resulted on a conclusion, defined in the expression one África, two empires, which means that the existing empirial reality, between 1945 and 1974, must be understood under a shining or a dark way. KEYWORDS: Cinema and identity; Cinema and Empire; Coloniaism; Post-colonialism RESUMENEl texto presenta una visión global sobre la forma en la que la ficción portuguesa, producida durante el Estado Novo de Salazar y Caetano, se ha reflejado sobre el imperio colonial entre el final de la Segunda Guerra Mundial y la caída del régimen (1974). La investigación se basa en once obras producidas entre 1945 y 1974, y fue organizada por forma a permitir una percepción global, conduciendo al surgimiento de tres núcleos temáticos principales: la conquista, la colonización y el regreso del imperio. De este recorrido hemos llegado a una conclusión fundamental, sintetizada en la expresión una África, dos Imperios, cuyo entendimiento esencial pasa por una doble concepción, luminosa y sombría, del Imperio Colonial Portugués entre 1945 y 1974. PALABRAS CLAVE: Cine y identidad; Cine y império; Colonialismo; Poscolonialismo.

At the end of the XIX century the interest of British intellectual circles to the Russian Empire was intensified due to the latest events – the appearance of Nihilists on the Russian political arena. British intellectuals, especially those contradicting Victorian social and moral norms, were inspired by the new type of hero-nihilist – a romantic highly-spiritual revolutionary, struggling for freedom, which was created in their imagination mostly due to Turgenev’s works and the lawsuit of Vera Zasulich, widely discussed in European press.This study concentrates on the analysis of the first play by Oscar Wilde Vera, dedicated to the Russian topic, which seems at first sight a naïve melodrama with confusion of historical events and features of the Russian social life. The peculiarities of Wilde’s perception of Russian reality, as well as literary devices used for creating Russian background, are analyzed. Special attention is paid to the tradition of depicting a mysterious and exotic Russia in English literature since the XVI century, followed by Wilde. The writer uses a number of standard clichés presenting his “Russia” as a far-away country with eternal frost, tyrannical government, poor and savage people, fully obedient to the cruel ruler.However, as the researcher concludes, Wilde didn’t aim at making a narration about real struggle between czarist regime and the Nihilists in Russia. The future leader of the aestheticism turns to Russian environment as an “another” place – a location, being unusual for an Englishmen, where the writer expects to find high feelings and lofty ideals, spiritual aims and moral values which couldn’t exist in pragmatic Victorian society. Wilde’s “Russia” is presented as an exotic, half-fictional reality, created mostly by the author’s imagination as proper surroundings for evolution of the romantic conflict between the tyrannical Czar and the Nihilists. However, this conflict becomes a spiritual battle of cynical and pragmatic worldview with high spiritual and moral ideals, the aesthetic embodiment of the eternal struggle between the good and the evil, soul chastity and sin.

A inovação nos modos de expor narrativas é um tema candente na contemporaneidade. Chama-nos a atenção, nesse processo, um fenômeno que tem se tornado recorrente no universo cinematográfico: a transficcionalidade. Entendendo esse fenômeno como uma estratégia que inova o processo narrativo, ampliando ou mesclando universos de histórias já conhecidas dos públicos (a partir do acionamento de uma certa memória social), sua utilização tem sido muito recorrente no universo de produção fílmica. Um exemplo desse caso ocorre nas construções relatuais de franquias seriadas. Em particular, interessa-nos observar o seriado americano Once Upon a Time, exibido pelo canal Sony no Brasil e disponibilizado como conteúdo on demand pelo provedor global de filmes e séries de televisão viastreaming Netflix. Observando os desdobramentos propostos nas histórias contadas na primeira temporada (na análise de quatro personagens), pretendemos denotar o uso desse recurso (advindo dos estudos da estética literária) para a construção de uma base mnemônica para os interlocutores-receptores, já que o que se aciona previamente para entendimento dos cruzamentos de diferentes universos é o reconhecimento de contos de fada tradicionais, amplamente reconhecidos pelo grande público consumidor. &nbsp, Innovation on the different ways of presenting storytelling is an important topic nowadays. A recurring phenomenon has been drawing attention in the film universe: transficcionality. When we understand this phenomenon as a strategy that innovates the narrative process, broadening or merging universes of stories well-known to the public (thanks to the triggering of a certain social memory), we find that its use has been recurrent in the filmic universe. Franchise series are a special case in point. Notedly, we are interested to see the american TV series Once Upon a Time , aired by Sony channel in Brazil and made available as an on demand content via streaming by the global provider of movies and TV series, Netflix, as the ultimate example. Through the analysis of the events presented on the stories of the first season (analyzing four characters), we intend to explore the use of this device (coming from literary aesthetics studies) to build a mnemonic basis for receptors-interlocutors, since what is activated beforehand in order to understand the crossover of different universes is the recognition of traditional fairy tales, broadly recognized by a wide consumer audience. &nbsp, La innovación en los modos de exponer narrativas es un tema candente en la contemporaneidad. Nos llama la atención, en este proceso, un fenómeno que se ha vuelto recurrente en el universo cinematográfico: la transficcionalidad. Entendiendo este fenómeno como una estratégia que innova el proceso narrativo, ampliando o mezclando universos de historias ya conocidas de los públicos (a partir dei accionamiento de una cierta memória social), su utilización ha sido muy recurrente en el universo de producción fílmica. En particular, estamos interesados en la observación de la serie americana Once Upon a Time, exhibido por el canal Sony en Brasil y disponible como contenido on demand por el proveedor global de películas y series de televisión via streaming Netflix. Viendo los desdoblamientos propuestos en las historias contadas en la primera temporada (el análisis de cuatro caracteres), pretendemos denotar el uso de este recurso (advenido de los estúdios de la estética literaria) para la construcción de una base mnemónica para los interlocutores- receptores, ya que lo que se acciona previamente para entendimiento de los cruzamientos de diferentes universos es el reconocimiento de cuentos de hada tradicionales, ampliamente reconocidos por el gran público consumidor.

The world that DeLillo’s characters live in is often portrayed with an inherent complexity beyond our comprehension, which ultimately leads to a quality of woe and wonder which is characteristic of the concept of the sublime. The inexpressibility of the events that emerge in DeLillo’s fiction has reintroduced into it what Lyotard calls “the unpresentable in presentation itself” (PC 81), or to put it in Jameson’s words, the “postmodern sublime” (38). The sublime, however, appears in DeLillo’s fiction in several forms and it is the aim of this study to examine these various forms of sublimity. It is attempted to read DeLillo’s Mao II in the light of theories of the sublime, drawing on figures like Burke, Kant, Lyotard, Jameson and Zizek. In DeLillo’s novel, it is no longer the divine and magnificent in nature that leads to a simultaneous fear and fascination in the viewers, but the power of technology and sublime violence among other things. The sublime in DeLillo takes many different names, ranging from the technological and violent to the hollow and nostalgic, but that does not undermine its essential effect of wonder; it just means that the sublime, like any other phenomenon, has adapted itself to the new conditions of representation. By drawing on the above mentioned theorists, therefore, the present paper attempts to trace the notion of sublimity in DeLillo's Mao II, to explore the transformation of the concept of the sublime under the current conditions of postmodernity as depicted in DeLillo’s fiction.

During the fifties he was considered to be an existentialist, and absurdist and later a Black Humorist, yet, John Barth proved that he would never subscribe to any specific theory and would make his own world of/about fiction by himself. A traditional postmodernist as some of the critics calls him; he was obsessed with Scheherazade the narrator of the Thousand and one Nights and her art of storytelling. This essay aims to depict Barth’s employment of the frame narrative and embedding structure which are the main devices of Scheherazade’s mystifying narratives. Revealing the architectonic structure of his writing, we would demonstrate how traditional technique can bridge postmodernist aesthetics to recreate and replenish the exhausted materials in writings.

As feminist re-writings of the genre of crime fiction (mostly the hard-boiled) from the 1980s onward, Sara Paretsky’s Warshawski novels provide a fertile field for critical and cultural studies. The aims of this paper are twofold: first, it traces the generic influences on her latest novel Breakdown (2012) beyond the obvious male precursors of the hard-boiled (Dashiell Hammett and Raymond Chandler) of the interwar period to the Gothic vogue in the early 19th century; and second, drawing on Roland Barthes’s notion of readerly/writerly texts, Pierre Macherey’s critique of ideology in realist fiction, and Fredric Jameson’s dialectical view of genre, it teases out the symptomatic fissures and contradictions in Paretsky’s novel which betray the text’s inability to ultimately resist the ideology it intends to subvert.

In this paper an interesting overview about the existence of the universe is given. It will focused in particular on efforts of modern-speculative physics, considering then metaphysical considerations and some ideas of theism.

This paper intends to explore the relationship between history and fiction in the novel A History of the World in 10 1⁄2 Chapters (1989) by the British writer Julian Barnes in order to indicate how these two notions have been commingled in different periods. In this regard, the focus of the current study is to investigate the above-mentioned novel, and to demonstrate the invalidity of historical records, their subjectivity, and how throughout history myths have become realities, with an eye on New Historicism. By the end of this study, its reader's attitude towards history and what s/he is presented with as fact and truth is hoped to change, not to readily accept historical records and stories as absolute truths, rather to consider them one possible history among many others that might have been marginalized and suppressed by a dominant ideology.

Love is used in different ways in literature. The treatment of love in the love stories of Janette Oke are nearly similar and all show the roles that love plays in life of people and how deal with it. Her novels are among the finest works in Canadian literature without whom the world of Canadian literature would be dark and empty. Love is the eventual weakness, but philosophy, religion and art during time have portrayed it in its place as a way to a higher level of being beyond the pain and transformation of every day. This paper points out to different kinds of love relationship in Oke’s fictions. 1. INTRODUCTION The history of different love is not similar. Each love has its own history. It has a start and an end and between these a procedure of waxing and waning within which the significance of the pattern of distinctions changes. It is then often proposed in the literature that the start of a love affair, before the love has been granted any social definitely, depends above all on satisfaction. Love, in order to be differentiated from the communication in which it may be camouflaged, must be able to take on the function of a comprehensive symbolic medium and as a result becomes subject to a further set of conditions, in the context of which endeavors to satisfy can only figure as foreplay. Things become even more compound if the difference between true and pretended love is treated in such a behavior that one distinguishes the latter structure in terms of its simulation or dissimulation. A double camouflage must therefore be deemed: the simulation and dissimulation of love. Both can, especially if working in carriage, throw up adequate hurdles to begin a love affair. The paradox notwithstanding stays dependent on the fact that love is a procedure and that it donates a temporal condition on all information. There are three kinds of love in Janette Oke's romantic novels including unselfish love, logical love, and romantic love. Romantic love includes gallantry, pure romantic love, trial marriage and courtly love that I discuss in this paper. 2. GALLANTRY

The modes of narration in postmodernist fiction are not identical with those of modernists and realists. They contravene readers' expectations, making them most often astounded and baffled. This study sets out to discuss some of the techniques used by the American writer Robert Coover in his story collection; Pricksongs & Descants (1969) which are associated with postmodernist fiction. These strategies including metafictional techniques, fragmentation, ontological concern, and temporal distortion, will in the subsequent sections of this paper be explicated and elucidated. In this regard, the term postmodernism will be first defined and elaborated, and then some of the salient features of Coover's selected work stated above, will be examined in order to demonstrate the title-mentioned claim. Not all the stories of the collection will in this study be provided an analysis of, but those which are of greater significance and are noticeable in incorporating postmodern strategies.

Trauma has become a hotly contested topic in literary studies. But interest in trauma is not new; its roots extend to the Romantic period, when novelists and the first psychiatrists influenced each others' investigations of the "wounded mind". This book looks back to these early attempts to understand trauma, reading a selection of Romantic novels in dialogue with Romantic and contemporary psychiatry. It then carries that dialogue forward to postmodern fiction, examining further how empirical approaches can deepen our theorizations of trauma. Within an interdisciplinary framework, this study reveals fresh insights into the poetics, politics, and ethics of trauma fiction.

ResumoEste artigo relaciona o cinema, como meio de comunicação, à história oral e seus entrelaçamentos com a história do tempo presente, atentando para os testemunhos, utilizados como recurso estético e político nos filmes Que bom te ver viva, da cineasta brasileira Lúcia Murat, e Los rubios, da argentina Albertina Carri. Podendo ser categorizadas como documentários-ficção, ambas as realizações lidam com os traumas resultantes da violência ditatorial em seus países de origem, na segunda metade do século XX. Em que medida servem estes filmes como fontes para estudos que se apoiam na história oral é o que pretendemos discutir neste artigo. Palavras-chave: Cinema; História oral; Que bom te ver viva; Los rubios AbstractThis article aims to treat cinema, as a way of communication, in its relationship with Oral History and its ties with Present Time History, attempting to testimonies used as aesthetic and political resources inside films like Que bom te ver viva, by the Brazilian film maker Lúcia Murat, and Los rubios, by the Argentine film maker Albertina Carri. Categorized as fictional documentaries, both films deal with the traumas that result of dictatorial violence in their countries of production, in the second half of the twentieth century. How can these films be used as sources of investigation by studies based on Oral History is a question to be answered in this article. Key-words: Cinema; Oral History; Que bom te ver viva; Los rubios ResumenEste artículo relaciona el cine, como medio de comunicación, a la historia oral y sus entrelazamientos con la historia del tiempo presente, al atentar para los testimonios utilizados como recurso estético y político en las películas Que bom te ver viva, de la realizadora brasileña Lúcia Murat, y Los rubios, de la argentina Albertina Carri. Categorizadas como documentales-ficciones, las dos películas se llevan con los traumas resultantes de la violencia dictatorial en sus países de origen, en la segunda mitad del siglo XX. En que medida sirven estas películas como fuentes para los estudios basados en la historia oral es lo que pretendemos discutir en este artículo. Palabras-clave: Cine; Historia oral; Que bom te ver viva; Los rubios. Disponível em:Url:http://opendepot.org/2773/Abrir em (para melhor visualização em dispositivos móveis - Formato Flipbooks):Issuu / Calameo

Auf Kohärenz ausgerichtete Selbstkonzepte von KünstlerInnen unterscheiden häufig ausdrücklich die öffentliche von der privaten, ‚realen‘ Person. Paradoxerweise hängt die Glaubwürdigkeit der öffentlichen Persönlichkeit von einer wohlkonzipierten Authentizität ab, während der Status von Authentizität der realen Künstlerin problematisch ist. Die Trennlinien zwischen öffentlich und privat, fiktiv und real, Person und Persona sind damit brüchig. Das Prinzip des Alter Egos spielt mit dieser Unbestimmtheit der Trennlinien zwischen fi ktiv und real und thematisiert damit ironisierend Aspekte wie Authentizität, Subjektivität und Identität. Die grenzüberschreitenden Praktiken der Alter Egos von Laurie Anderson und Jennifer Walshe, die ich als Paradigma eines dezentrierten Subjekts verstehe, spielen auf unterschiedliche Weise mit Themen wie kohärenten Autobiografien, künstlerischen Personalstilen oder fixen Geschlechtsidentitäten und lösen auf mehreren Ebenen die Logik androzentrischer Selbstkonzepte auf., Decentring the artistic self. The alter egos of Laurie Anderson and Jennifer Walshe Coherent self-conceptions of artists often explicitly distinguish the public from the private, ”real” person. Paradoxically, the credibility of the public persona is dependent on a well- designed authenticity, while the ‘real’ artist’s status of authenticity is problematic. Thus, the dividing line between public and private, fictitious and real person(a) is fragile. The idea of the alter ego plays with the indefiniteness of the dividing line between fictitious and real, thereby broaching issues such as authenticity, subjectivity and identity. The alter egos of Laurie Anderson and Jennifer Walshe, which I understand as paradigmatic for a decentred subject, play with topics like coherent autobiographies, personal artistic styles or fixed gender identities, and thereby challenge the logic of androcentric self-conceptions on several levels.

There are many testimonies preserved in archives that recount the horror of the Holocaust and that have become resources for historical and social research. In addition to testimonies produced with descriptive intention or in the full awareness of becoming documents for historians, some testimony writers have signed their books with a literary intention, but the very nucleus of their work is to explain the nature of their experience in the concentration camps without resorting to describing their own cases. These works blur the boundaries between history and literature, because, while they present themselves as works of fiction, they feed on testimonial autobiography. The testimony writers want to explain the horror that they experienced by fictionalizing their own experience. These are works which contain truth and which are narrated with a literary intention, works which reach a general audience and have a profound impact. This is the case of the Spanish writer Jorge SEMPRÚN, who attempts to "invent" the truth in his literary work. His autobiographic-novelistic testimony is situated in the ambiguous no-man's-land of autofiction.URN: http://nbn-resolving.de/urn:nbn:de:0114-fqs1103144, Muchos son los testimonios preservados en archivos que narran el horror del Holocausto, y que se han convertido en fuentes para la investigación histórica y social. Además de los testimonios escritos con voluntad descriptiva o con plena consciencia de convertirse en documentos para los historiadores, algunos escritores-testimonio han firmado obras con finalidad literaria, pero el núcleo mismo del proyecto literario lo constituye la explicación de la naturaleza de su experiencia en el campo de concentración sin recurrir a la descripción de sus propios casos. Estas obras difuminan los límites entre historia y literatura, ya que se caracterizan por presentarse como ficción y a la par se nutren de la autobiografía testimonial. Estos autores-testimonio pretenden transmitir el horror vivido haciendo ficción de su propia experiencia. Son obras contenedoras de verdad y narradas con voluntad literaria que llegan a un público amplio y causan un profundo impacto. Es el caso del escritor español Jorge SEMPRÚN, quien se propone en su proyecto literario “inventar” la verdad. Su testimonio autobiográfico-novelado se ubica en la ambigua tierra de nadie de la autoficción.URN: http://nbn-resolving.de/urn:nbn:de:0114-fqs1103144, Viele Archive bewahren Zeugnisse zum Schrecken des Holocaust, die in historische und sozialwissenschaftliche Forschungsarbeiten Eingang gefunden haben. Zusätzlich zu Dokumenten, die deskriptiv verfasst wurden mit Blick auf ihre wissenschaftliche Nachnutzung, existieren Zeugnisse, die in literarischer Intention verfasst wurden: Sie haben zum Ziel, Erfahrungen in den Konzentrationslagern nachzuvollziehen, ohne dass notwendig Fakten beschrieben werden. In diesen Arbeiten verschwimmt die Grenze zwischen Geschichte/Wissenschaft und Literatur, denn sie greifen, obwohl sie als literarische Werke konzipiert sind, auf autobiografische Zeugnisse zurück; die Verfasser/innen versuchen, das Grauen der eigenen Erfahrungen zu erklären, indem sie diese fiktionalisieren. Es sind Arbeiten, in die wahre Begebenheiten einfließen, die aber in literarischer Intention erzählt werden, Arbeiten, die sich an ein breites Publikum wenden und teilweise erheblichen Einfluss gewonnen haben. Dies ist der Fall für das Werk von Jorge SEMPRÚN, ein spanischer Autor, der versuchte, die Wahrheit in seiner literarischen Arbeit "zu erfinden". Seine autobiografischen Novellen sind in dem Niemandsland der Autofiktion angesiedelt.URN: http://nbn-resolving.de/urn:nbn:de:0114-fqs1103144

This article retraces three levels of intelligibility of the communist adventure of Titoism as they appear in Emir Kusturica's Underground (1995). Firstly, it identifies the role played by propaganda inside the Yugoslav political regime. Secondly, it examines the way the power relations having shaped the history of the second Yugoslavia are pictured by Kusturica’s film. Finally, it analyses the organization of the fictitious space of Underground as a specific technique of construction, that is, of modification of the identity of the inhabitants.