What’s in an I? : Dissonant and Consonant Self-Narration in Autobiographical Discourse

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216224%3A14210%2F20%3A00117905" target="_blank" >RIV/00216224:14210/20:00117905 - isvavai.cz</a>

Výsledek na webu

<a href="https://uhpress.hawaii.edu/title/bio/" target="_blank" >https://uhpress.hawaii.edu/title/bio/</a>

DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

What’s in an I? : Dissonant and Consonant Self-Narration in Autobiographical Discourse

Popis výsledku v původním jazyce

Combining narratological analysis with autobiography studies, this article looks at examples of focalization strategies in several autobiographical works. It adopts Dorrit Cohn’s distinction between consonant and dissonant self-narration (identification or distance between the narrating-I and the experiencing-I) to explore how authors engage creatively with different positions of the autobiographical “I” and how this engagement contributes to their texts’ aesthetic qualities. Starting from a brief exposition of the role of the narrating-I and the experiencing-I in autobiographical narratives, the article goes on to discuss the juxtaposition of the two selves’ perspectives in Sylvia Fraser’s My Father’s House, which is achieved by means of a dexterous combination of consonant and dissonant self-narration. Examples of dissonant self-narration from Günter Grass’s Peeling the Onion and Christopher Isherwood’s Christopher and His Kind and of consonant self-narration from Mary Karr’s memoir trilogy (The Liars’ Club, Cherry, and Lit) will then demonstrate how self-dissonance may help convey a work’s meta-autobiographical message, while self-consonance seems to contribute to readers’ immersion in the narrative.

Název v anglickém jazyce

What’s in an I? : Dissonant and Consonant Self-Narration in Autobiographical Discourse

Popis výsledku anglicky

Combining narratological analysis with autobiography studies, this article looks at examples of focalization strategies in several autobiographical works. It adopts Dorrit Cohn’s distinction between consonant and dissonant self-narration (identification or distance between the narrating-I and the experiencing-I) to explore how authors engage creatively with different positions of the autobiographical “I” and how this engagement contributes to their texts’ aesthetic qualities. Starting from a brief exposition of the role of the narrating-I and the experiencing-I in autobiographical narratives, the article goes on to discuss the juxtaposition of the two selves’ perspectives in Sylvia Fraser’s My Father’s House, which is achieved by means of a dexterous combination of consonant and dissonant self-narration. Examples of dissonant self-narration from Günter Grass’s Peeling the Onion and Christopher Isherwood’s Christopher and His Kind and of consonant self-narration from Mary Karr’s memoir trilogy (The Liars’ Club, Cherry, and Lit) will then demonstrate how self-dissonance may help convey a work’s meta-autobiographical message, while self-consonance seems to contribute to readers’ immersion in the narrative.

Druh

J_imp - Článek v periodiku v databázi Web of Science

CEP obor

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OECD FORD obor

60205 - Literary theory

Projekt

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Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2020

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

Biography: An Interdisciplinary Quarterly

ISSN

0162-4962

e-ISSN

1529-1456

Svazek periodika

43

Číslo periodika v rámci svazku

2

Stát vydavatele periodika

US - Spojené státy americké

Počet stran výsledku

20

Strana od-do

387-406

Kód UT WoS článku

000619164800007

EID výsledku v databázi Scopus

2-s2.0-85102921350