Autofiction is characterized by ambiguation of generic conventions. While postmodern autofictional texts often explicitly comment on genre, much autofiction avant-la-lettre merges generic modes more subtly, namely through narrative structure and style. The article argues that, therefore, in the exploration of autofiction in a diachronic perspective, consideration of stylistic and narratological details is particularly important, and it outlines developments in autofiction al literature by discussing how three autofictional precursors from the mid-eighteenth to the early twentieth century create generic ambiguity. Henry Fielding, writing before categories of autobiography and novel were properly established, prefaces his Journal of a Voyage to Lisbon (1755) with comments on the kind of truth it offers by way of rendering autobiographical experiences in artistically crafted form. Elizabeth Barrett Browning, writing within the nineteenth century’s much more firmly established genre frames, does not comment on these, but, through pronoun ambiguation and structural elements, imbues the first-person account of the eponymous character of Aurora Leigh (1856) with autobiographical layers of meaning. As part of more explicit challenges to genre conventions from around the turn of the century, Edmund Gosse’s Father and Son (1907) comments on generic hybridity and experiments with first-person attachment, third-person distancing, and stylistic abstraction. From tracing continuities and differences in how these texts create ambiguity about autobiographical and fictional modes and meanings, this article draws conclusions about attempts to define autofiction and about the role of stylistic analysis in understanding genres diachronically. On the one hand, the article demonstrates that autofiction cannot be defined on the basis of formal and stylistic features alone; on the other, it shows that narratological and stylistic analysis, set against the background of generic transformations in the literary landscape more generally, enables a better understanding of how autofiction works in combination with as well as in opposition to established conventions.

中文翻译：

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自体小说体裁信号的发展：名词、代词和作者依恋


自传体小说的特点是通用惯例的模糊性。虽然后现代自传体小说文本经常明确地评论体裁，但许多自传体小说更巧妙地融合了通用模式，即通过叙事结构和风格。文章认为，因此，在从历时的角度探索自传体小说时，考虑文体和叙事细节尤为重要，它通过讨论 18 世纪中叶至 20 世纪初的三个自传体小说先驱如何创造普遍的歧义来概述自传体文学的发展。亨利·菲尔丁 （Henry Fielding） 在自传和小说的分类被正确建立之前就写作了，他在《里斯本航行日记》（Journal of a Voyage to Lisbon，1755 年）中评论了它通过以艺术制作的形式呈现自传式经历所提供的那种真实。伊丽莎白·巴雷特·勃朗宁 （Elizabeth Barrett Browning） 在 19 世纪更为根深蒂固的体裁框架中写作，并没有对这些进行评论，而是通过代词歧义和结构元素，为奥罗拉·利 （Aurora Leigh） （1856） 的同名角色的第一人称叙述注入了自传式的意义层次。作为对世纪之交体裁惯例的更明确挑战的一部分，埃德蒙·高斯 （Edmund Gosse） 的《父与子》（Father and Son，1907 年）评论了通用混合性以及对第一人称依恋、第三人称距离和风格抽象的实验。通过追踪这些文本如何对自传体和虚构模式和意义造成歧义的连续性和差异，本文得出了关于定义自传体制的尝试以及文体分析在理解体裁历时性中的作用的结论。 一方面，这篇文章表明，不能仅根据形式和文体特征来定义自传体小说;另一方面，它表明，在更普遍的文学景观中一般转变的背景下，叙事学和文体分析可以更好地理解自传体小说如何与既定惯例相结合和对立。