Questão 67066

A literature professor is teaching a course on literary genres, focusing on the dynamic relationship between tradition and innovation. The topic is the genre of the memoir, and the professor wants to analyze its evolution from a traditional, linear account of a 'great life' to more fragmented, experimental, and critical forms in the 20th and 21st centuries. She contrasts two texts. The first is a classic autobiography from the 19th century, which presents the author's life as a coherent, chronological narrative of progress and self-realization. The second is a contemporary 'autofiction', a hybrid genre that blends autobiography with fiction, such as a work by Rachel Cusk or Maggie Nelson. This contemporary text is characterized by a fragmented structure, a focus on the minutiae of everyday life, an interrogation of the very possibility of memory and self-knowledge, and an explicit dialogue with other texts and theories. The professor’s theoretical framework is based on the idea that genres are not static categories but are constantly being reshaped by new cultural and philosophical currents. A key reading notes: 'The crisis of the subject in postmodernity is reflected in the crisis of the traditional memoir. If the self is no longer seen as a stable, unified entity, then the life story can no longer be told as a linear, coherent narrative. The innovation of autofiction lies in its creation of a form that performs this very fragmentation and uncertainty.'

Which of the following analyses best captures the innovation of autofiction in relation to the tradition of the memoir?