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Female autofiction can be considered as a form of feminist confessional since, by
challenging dominant configurations of knowledge – such as those embodied by
autobiographism – and drawing attention to women’s personal issues, it aims at articulating the
multiplicity of the female narrative subject. Autofictional works such as Marie Cardinal’s Au
pays de mes racines [In the Country of my Roots], Marguerite Duras’s L’amant [The Lover] and
Isabela Figueiredo’s Caderno de Memórias Coloniais [Notebook of Colonial Memories] can
therefore be viewed as dealing with female personal concerns in a political way. This is because
their exploration of women’s marginal status in formerly colonial countries like Algeria,
Indochina and Mozambique, functions as an empowering tool through which they challenge the
structures of domination impinging on their identity while asserting their own individuality. The
purpose of this dissertation is to explore how the literary genre of autofiction harmonizes with
and serves to better articulate issues of female subjectivity and cultural hybridization,
particularly as concerns the power dynamics at stake in the narratives’ transcultural contexts.
The focus will be on the fragmented sense of self imbuing these novels and which is directly
related to the liminal status occupied by the narrators who are in-between different cultures. The
final objective is to investigate how the notion of in-betweenness, which underlies both the
genre of autofiction itself and the structure of the texts, can function as a feminist category of
representation of women’s subjectivity and which defies oppressive social conventions related
to patriarchal colonial patterns.
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Marie Cardinal Marguerite Duras Isabela Figueiredo