Summary of Mundos imposibles: Autoficción

00:00:00 - 00:50:00

The video discusses the concept of autofiction, and how it relates to both art and literature. The model proposed in the video allows for at least some limits on the ambiguity that can result from autofiction.

• 00:00:00 Ha enjoyed numerous scholarships and has completed postgraduate studies at the University of Miño in France. She earned her doctorate in philosophy and literature from the University of Valladolid in 1991. She has been a professor of literary theory at the University of La Coruña, Santiago de Compostela University, and Valladolid University, where she is currently a professor of literary theory and theory and literature comparative. She has published extensively in both Spanish and other languages, and her works have been cited in nearly a hundred academic papers related to literary theory, critical literatures, rhetoric, and literary comparisons. Her most important works include Time Imagination in Text Narratives, Worlds of Text, and Genres, Modes, and Styles in Literary History. She will be discussing her theory of possible worlds in this talk.
• 00:05:00 The Mundos Imposibles video discusses the categories of the author and the real receiver that sit outside of the text's 'king of the destination' statement. Within the text are two categories, the author's world and the characters' world. The author's world includes the range of argumentative texts from rational to emotive, including poetry. The world of characters includes the other two traditional genres, narration and drama. This model allows for explanation of some works that have a mixture of components, for example, in some novels the story is also developed from a character's point of view. In addition, frequent rhetorical reflections from the narrator are found in, for example, Thomas Mann's "Toma in la montaña mágica" or "The Man without a Face". This precision allows for the inclusion of a fourth genre, insertion into the world of the characters, which allows for explanation of some literary forms that have been difficult to explain from a generic theory, for example, dialogue or elegies. In addition, the model includes the possibility of including a new text within the world of the characters. The author can create a fictional character within the world of the characters and this text has the same categories as the text from the author's world. Furthermore
• 00:10:00 The video discusses the idea of "mundos imposibles," or worlds that are impossible to realistically imagine. For example, the story of Lazarillo de Tormes, who turns into an autofiction author who tells his own life story, can be used to explain the nature of the characters' world on the right side of the image. In addition, the theory of "worlds possible" developed by Professor Albaladejo can be useful in understanding this type of world. I will briefly summarize this theory and then refer to two examples of works that are impossible to realistically imagine, the novel Niebla by Manuel Naranjo and the sculpture Escheresque Triángulo Penrose that cannot exist in reality, but can be drawn in two dimensions. Finally, I will discuss the idea of "mundos imposibles" in relation to literature, and show how some works that are impossible to realistically imagine can be equivalent to objects that are impossible.
• 00:15:00 In this video, three types of impossible worlds are discussed: one in which the author inserts himself into the story, one in which a character jumps into another character's world, and one in which a character's world shifts abruptly. All three of these worlds represent a break in the logical fiction plotline. The first world, in which the author inserts himself, is a fantastical, but logical, example of an impossible world. In this world, a red arrow indicates a break in the logic of the fictional world, as the author's character, the assassin, jumps into the story's protagonist's world to murder him. This rupture of the logic of the story represents a breach in the fictional world's boundaries, similar to the way that fog in Niebla represents a breach in the boundaries between the real and the imaginary. The second world, in which a character jumps into another character's world, is also a fantastical, but logical, example of an impossible world. Here, the author represents a breach in the logic of the fictional world by inserting a novel within a novel into the story. This introduces a second, contradictory, plotline that affects the main plotline. The third world, in which a
• 00:20:00 In this video, actors are teaching a drama called "The Game of Parts." Meanwhile, some dramatic characters appear from a dramatic text and seek out the actors who are learning the game of parts. These fictional characters are not actors, but actual characters from a fiction drama who are in a level of fiction with respect to the planes the actors are learning the game of parts. Well, to explain that kind of text, we can use the model again and explain that we would need to assume a dramatic text in which the six characters find their author. Those dramatic characters suddenly jump to the world of the actors' characters in search of their author, and the fictional characters are placed between parentheses because the author does not exist--we don't know who he or she is, but he or she would form part of the same fictional world as the actors who are learning the game of parts. The success of Pirandello's "The Double Life of Veronique" because it eliminates the author creates a double impossibility on one hand, of a text that does not have an author that itself is impossible, but on the other hand, the characters from that text jump to the original text's world and attempt to contact other characters who belong to another universe. Now
• 00:25:00 This video examines the concept of auto-fiction, or fiction where the author presents themselves as the protagonist. While autobiographies often focus on the author's own life, auto-fiction takes this a step further by presenting events that the author has not actually experienced, but which are instead fictitious. The three types of auto-fiction described are self-fiction, in which the author creates a fictitious character and experiences events that are similar to their own, autobiographical fiction, in which the author writes about events that happened to them but are not their own, and fictional autobiography, in which the author writes about events that happened to a fictitious character they have created. The second type, self-fiction, does not involve a true break with the rules of fiction, as the author remains firmly within the world of their characters. Auto-fiction, however, is a true break with the rules of fiction, as the author presents a world that is impossible. This video provides a helpful distinction between these two types of auto-fiction, as well as a brief explanation of fictional autobiography. While fictional autobiography does not involve a true break with the rules of fiction, it does involve the author presenting a world that is impossible, similar to self-fiction.
• 00:30:00 The video discusses the difference between autofiction, which allows for any possibility, and verosimilitude, which falls into two categories: 2nd-fiction and 3rd-fiction. In both cases, autofiction allows for the creation of ficticious characters that share similar traits to the author. However, 3rd-fiction allows for even more possibilities because it allows for the author to create a ficticious character that shares their own name and identity. In the case of Louis Vuitton's Soldados de Salamina, Javier Cercas plays the role of both author and ficticious character. However, even though the character and author share similar traits, the character is not Javier Cercas himself, and this creates ambiguity for the reader. Therefore, in order to understand the work, one must know Javier Cercas' biography and the majority of readers will not know this information. Therefore, it is difficult to determine whether the character in question is the real Javier Cercas or not. In spite of this ambiguity, the work is still considered autofiction because the author creates a ficticious character that shares significant similarities to himself.
• 00:35:00 The video discusses the concept of autofiction, which describes writing where the author is the protagonist of their own story. There are many possible ways in which autofiction can take place, including in novels, plays, movies, and songs. One example of autofiction in the theater is the play "Caro Diario", in which the author (the director and actress), as well as the protagonist, is also the writer of the script. Autofiction can also take place in songs, with examples such as the duet "Pimpinela". Finally, autofiction is possible in poems and stories, as seen in the recent movie "Mapa de Elías León".
• 00:40:00 This video discusses the difference between verosimiles and inverosimiles, which are events in fiction that can be classified into the Impossible World Model (3), or the Impossible World Model with Ambiguity (2). Invented events in a work of fiction can be classified as either verosimiles or inverosimiles, according to their degree of plausibility. An event in a work of fiction that is verosimilous is believable, while an event in a work of fiction that is inverosimilous may be ambiguous, as the reader does not know if the events described are actually real or not. Auto fiction, which is fiction that is self-authored, can be classified as either verosimilous or inverosimilous. In auto fiction, verosimilous events may be biographical events (1), while inverosimilous events may be functional (2). In order to indicate to the reader that a work of fiction is auto fiction, authors may use clues in the text, such as an introduction or a prologue, to let the reader know that the work is auto fiction. An example of a work of auto fiction would be the Divine Comedy by Dante, which is
• 00:45:00 This video discusses the third type of world, the world of impossible beings, in which a character, referred to as "Jorge Sanz," is fictional but based on a real person. In the first two types of worlds – the world of possible beings and the world of impossible beings – characters are either true or false, but in the world of impossible beings, the characters are both real and fictional. The third type of world is the world of impossible beings, in which the fictional and real characters are both impossible. In this video, the three types of worlds are explained, and the world of impossible beings is introduced. The world of impossible beings is the third type of world, in which the fictional and real characters are both impossible. This type of world is important because it allows for the breaking of the logic of fiction, which can be seen in the cases of the movie Soldados de Salamina and Javier Cercas's novel Soldados de Salamina. While we can't be sure which is true and which is fictional, the ambiguity of the world does not forget to be present.
• 00:50:00 This video discusses the concept of autofiction, and how it is an essential part of both art and literature. The model proposed allows for at least some limits on the ambiguity that can result.