Marina Warner’s Inventory of a Life Mislaid: An Unreliable Memoir (2021) is her second work belonging to the genre of life writing, more particularly the memoir. She had already written a biography, The Dragon Empress: The Life and Times of Tz’u-Hsi, Empress Dowager of China, 1835-1980, about a Chinese empress in 1972, but her memoir is more personal, rather focused on her parents’ marriage, life itineraries and travels through Italy, England and Egypt during and after WWII. Interestingly, many characteristics of her memoir fit with another life writing genre, identified by the French theorist Dominique Viart in the eighties as the ‘filiation narrative,’ initially in reference to French fiction of the same period. The filiation narrative focuses on a self-reflexive search for parental images, reconstructing the mother’s or father’s life through the excavation of documentation and archives, as well as speculation. This article will attempt to show how such thematic and structural features of the filiation narrative as ‘archeological’ narration, the use of archival documents and objects to restore a parent’s ‘lost’ life and, most importantly, the metabiographical aspect of the ‘enterprise’ are reflected, in various degrees, in Warner’s memoir, making it waver between fiction and non-fiction. These same features may thus pave the way for the English counterpart of the French ‘récit de filiation’ and build a pertinent generic continuity between both memoir and filiation narrative.
玛丽娜-华纳的《错失的人生盘点》（Inventory of a Life Mislaid：不可靠的回忆录》（2021 年）是她的第二部属于生活写作，尤其是回忆录体裁的作品。此前，她已经写过一本传记《龙女》：但她的回忆录则更加个人化，主要讲述了她父母的婚姻、生活轨迹以及二战期间和二战后在意大利、英国和埃及的旅行。有趣的是，她的回忆录的许多特点都与另一种生活写作流派相吻合，这种流派在八十年代被法国理论家多米尼克-维亚特（Dominique Viart）称为 "亲缘叙事"，最初是指同一时期的法国小说。亲子关系叙事侧重于自我反思地寻找父母的形象，通过挖掘文献和档案以及推测来重建母亲或父亲的生活。本文将试图说明，"考古学 "叙事、利用档案文件和物品还原父母 "失去 "的生活，以及最重要的是，"事业 "的元传记性等亲子关系叙事的主题和结构特征，是如何在华纳的回忆录中得到不同程度的反映，使其在虚构与非虚构之间徘徊的。因此，这些相同的特点可能会为法文 "亲子关系叙事 "的英文版铺平道路，并在回忆录和亲子关系叙事之间建立起相关的通用连续性。
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With a very original title, which is indebted to economics studies as explained at the time, Virginia Rademacher groups together eleven titles of Spanish novels published in the 21st century which have in common their belonging to the category of ‘biofiction’. The book uses a methodology that is also original, as the subtitle states, in which three very different concepts, belonging to equally distant worlds, are employed. These three concepts are biofiction, the essential one, ‘uncertainty’ and ‘speculative risk’. The combination of them creates an interdisciplinary approach to a universe that is in principle literary but that extends its roots and consequences far beyond, to game theory and economic analysis. Undoubtedly, such a thoughtful title sums up very well what the reader will find in its 200+ pages.
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This essay examines the American glaciologist M Jackson’s While Glaciers Slept: Being Human in a Time of Climate Change and The Secret Lives of Glaciers; the British glaciologist Jemma Wadham’s Ice Rivers: A Story of Glaciers, Wilderness, and Humanity; and the Icelandic writer Andri Snær Magnason’s On Time and Water, all of which employ autobiographical discourse to convey the enormity of the climate crisis as it is manifested in the rapidly accelerating loss of Earth’s glacial ice. I discuss these writers’ accounts of their turn to life writing to augment the limited persuasive force scientific data, their scaling of the temporality of glacier recession to the time spans of their own lives, their attribution of sentience to glaciers through an engagement with non-Anglo-European worldviews, and their expressions of grief at the impending death of Earth’s glaciers. I suggest that these texts demonstrate how the distinctive truth claims, temporal modalities, subject-positioning strategies, and affective appeals of life narrative provide a particularly supple hermeneutic schema in which an understanding of the moral ramifications of humans’ mutually dependent relationships with more-than-human nature - what Amy J. Elias and Christian Moraru have described as ‘a planetary ethics of relationality’ - might be fostered.
这篇文章研究了美国冰川学家杰克逊（M Jackson）的《冰川沉睡：气候变化时代的人类》（While Glaciers Slept: Being Human in a Time of Climate Change）和《冰川的秘密生活》（The Secret Lives of Glaciers）；英国冰川学家杰玛-瓦德姆（Jemma Wadham）的《冰河》（Ice Rivers）：以及冰岛作家安德里-斯纳尔-马格纳松的《时间与水》，所有这些作品都采用了自传体的论述方式来传达气候危机的严重性，因为它体现在地球冰川冰层迅速加速消失的过程中。我将讨论这些作家的以下叙述：他们转向生活写作，以增强科学数据的有限说服力；他们将冰川退缩的时间性放大到自己生命的时间跨度；他们通过与非英吉利-欧洲世界观的接触，赋予冰川以知觉；以及他们对地球冰川即将死亡所表达的悲伤。我认为，这些文本展示了生命叙事独特的真理主张、时间模式、主体定位策略和情感诉求如何提供了一种特别灵活的诠释学模式，在这种模式中，可以促进对人类与超越人类的大自然之间相互依存关系的道德影响的理解，也就是艾米-埃利亚斯（Amy J. Elias）和克里斯蒂安-莫拉鲁（Christian Moraru）所描述的 "地球关系伦理学"。
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Playing on the double meaning of the word projection, this book explores the multiple relationships between the French literary genre of autofiction and the moving image. Élise Hugueny-Léger, a researcher of contemporary French literature and a specialist of the work of Annie Ernaux, departs from the idea that autofictional writing is a form of psychological projection, wherein a self-image is being cast onto the page. In a more literal sense, the word projection refers to the cinematic technique of showing moving images on a screen. Several francophone authors known for their autofiction have also been involved in audiovisual productions, but earlier criticism has largely limited itself to studying their literary output. By addressing this rich and complex subject matter, Hugueny-Léger makes a valuable and original contribution to the field of francophone life-writing studies.
{"title":"Élise Hugueny-Léger, Projections de soi. Identités et images en mouvement dans l'autofiction","authors":"M. Koffeman","doi":"10.21827/ejlw.12.41394","DOIUrl":"https://doi.org/10.21827/ejlw.12.41394","url":null,"abstract":"Playing on the double meaning of the word projection, this book explores the multiple relationships between the French literary genre of autofiction and the moving image. Élise Hugueny-Léger, a researcher of contemporary French literature and a specialist of the work of Annie Ernaux, departs from the idea that autofictional writing is a form of psychological projection, wherein a self-image is being cast onto the page. In a more literal sense, the word projection refers to the cinematic technique of showing moving images on a screen. Several francophone authors known for their autofiction have also been involved in audiovisual productions, but earlier criticism has largely limited itself to studying their literary output. By addressing this rich and complex subject matter, Hugueny-Léger makes a valuable and original contribution to the field of francophone life-writing studies.","PeriodicalId":503833,"journal":{"name":"European Journal of Life Writing","volume":"411 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139173245","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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