Call for Papers
19-22 May 2022, Croatia
Located on the edge of the literary canon, documentary literature attracts attention precisely because of its problematic, borderline, hybrid status. As a term, documentary literature is a contradiction: the document relies on facts and denotes to tell a “true story”, while literature implies the opposite of fact i.e Imgur download. it is its aesthetic fabrication. Thus, the focus on the document in documentary literature can be viewed as a gesture of split: by maintaining that its discursive nature is factual truth, and not just fictional truth (Riffaterre), such a work claims to be non-literary. The aim of this conference is to examine the notion of the document in documentary fiction and its multifaceted and complex connections to literary text flipbook. Although we welcome proposals about documentary literature in a narrower sense (memoirs, autobiographies, epistolary novel, diary), we are also interested in the aspect of using and integrating documentary material (archives, testimonies, photography, drawings, etc.) in those literary works that escape easy genre definition but are – if we use an analogy with Jakobson’s notion of “literariness” – constituted by a “documentariness”.
The central question of documentary literature in this conference call for papers is the relationship between fiction and reality, but equally about the ways of using documentary, referential material in a literary text, and about the modes of integration of documentary in literature Download backgammon. Documentary material in literature starts from historical material and offers specific possibilities of interpretation of historical events and social processes, where the documentary character of a particular literary work – from the perspective of its reception in a cultural field – is often extremely fluid and dependent on the specific circumstances of the historical moment (the memoirist becomes a witness when the historical moment requests so). Despite its referential foundation, documentary literature does not present reality as an objective fact but rather, by offering authorial perspective on reality, it always mediates it Gta Savefile Download. In contemporary literature, one can observe that the difference between the document and literature is especially blurred – the document itself is used as a self-referential discourse about oneself. The relationship between referentiality and fictionality is the starting point for thematizing the issues of the relationship between reality and fiction, truth and lie, literature and autonomy, literature and historiography, with the aim of elaborating the poetology of documentary literature 파워밀 2019 다운로드.
Although documentary as a method appeared in the second half of the 19th century, various documentary procedures were established during modernity (for example, literatura fakta in 1920s Russian literature) and can be traced in 20th and 21st century literature especially after World War II. The premise of this conference is that 1989 – with the fall of the Berlin Wall, the beginning of the German unification process, the disintegration of the Eastern Bloc, and the end of the Cold War – can be seen as a possible chronological boundary that encouraged the emanation of new documentary methods and strategies in European literature. Among other things, they reflect the aspiration for the authentic in the diegesis of prose in a period in which the documentariness “is not a consequence of technically mediated curiosity, but an attempt to affirm authenticity as a literary category at a time when interpretive patterns are increasingly under disbelief” (Žmegač 1986).
As a propulsive field of research, documentary literature raises a number of questions about its position in the literary canon, ethics of literature, the figure of the author and the reader, different strategies and nuances of documentary in a literary field (poetry, prose, drama, but also transmedial phenomena such as graphic novels and graphic memoirs), the relationship between fictional framework and factual material, i.e. about the boundaries of fictional and factual discourse. What role do authentic sources, ethnographic material, interviews, and testimonies play in contemporary literature? How does the source remediate the discursive field of literature? How does a literary work based on the use of documentary material change our understanding of the document? Does a literature constituted by documentariness function in the literary field as a document to a greater extent than other literary works? Is it possible to discuss the specific poetics of the document? How does a document in a literary work affect the figure of the author and how does it change the role of the reader? Since it often offers a different, non-canonized conceptions of truth, simultaneously claiming its authenticity, what ethical questions does documentary literature pose? How is the documentary material integrated into the literary text? To what extent can literature penetrate specific social and political environments? What is the specifity of documentary literature as opposed to audiovisual mass media in exploring social everyday life, social milieus, economic or political opportunities?
Working languages of the conference are English and German.
Milka Car Prijić, PhD, full professor, Department of German language and literature, Faculty of Humanities and Social Sciences, University of Zagreb
Danijela Lugarić Vukas, PhD, associate professor, Department of East Slavic languages and literatures & Institute of Literary Studies, Faculty of Humanities and Social Sciences, University of Zagreb
Gábor Tamás Molnár, PhD, associate professor, Institute for Hungarian Literature and Cultural Studies, Eötvös Loránd University
Venue: to be decided (Lovran, Crikvenica, or Selce, Croatia)