Sich verlieren:dieGeschichteeinerObsession/übersetztvonGaby Wurster. –München :Goldmann, 2003. –Originaltitel: Seperdre Annie Ernaux’s trademark is to write short memoirs about a certain period in her life or about a member of her family. In this case, she chose her father, a simple hardworking man. The book starts with his death and then continues with the Ernaux’s grandfather’s life. After reading to the end, it seems that the book was written as a therapy for the author. She is obviously feeling guilty for distancing herself from her father while transitioning towards middle class. The author has been able to create the detached and objective narrative about her father as we have seen in A Woman’s Story but I did not enjoy it as much as I enjoyed the account of her mother’s life, perhaps something was missing in it, the depth of emotions is probably not as much as was in A Woman’s Story since somehow, we did not feel very connected, neither with her father nor with herself. It is still a quite powerful read despite its flaws, the control Annie Ernaux has on narrative, the honesty with which she portrayed account of her father doesn’t get dismayed with guilt- another classic example of autofiction, the genre brilliantly exploited and defined by the author. Komorowska, Agnieszka, Scham undSchrift: Strategien literarischerSubjektkonstitutionbeiDuras, Goldschmidt undErnaux. –Heidelberg :UniversitätsverlagWinter, 2017 [Revised version of the author’s doctoral thesis]

Savéan, Marie-France, La Place et Une femmed’AnnieErnaux/presentépar Marie-FranceSavéan. –Paris :Gallimard, 1994 Rossi, Marie-Laure, Écrire enrégimemédiatique:Marguerite Duras et AnnieErnaux:actricesetspectatricesde lacommunicationde masse. –Paris :L’Harmattan, 2015 Some people relishes “the picturesque of patois” and of vernacular language. Like Proust, who raved about Françoise’s mistakes and old words. Only the aesthetics matters because Françoise is his servant and not his mother. Because himself has never felt these turns of phrase spontaneously come to his lips. A 'great honour' and 'responsibility': Annie Ernaux on her Nobel prize win". Mint. 6 October 2022. Archived from the original on 7 October 2022 . Retrieved 7 October 2022. Bernstein, Richard (28 November 1999). " 'Darkness' a look at final illness". Tallahassee Democrat. p.2D. Archived from the original on 7 October 2022 . Retrieved 7 October 2022– via Newspapers.com.

McIlvanney,Siobhán, AnnieErnaux: the return to origins.–Liverpool :Liverpool University Press, 2001 The Years, Written by Annie Ernaux". The Booker Prize Foundation. 20 June 2018. Archived from the original on 6 October 2022 . Retrieved 7 October 2022. Throughout the book I am reminded of my own father. I wonder if this type of writing promotes this convergence of remembrances. Or perhaps it was the similarities of their lifestyles. My father was taken out of school to work on his parent’s land at age 8; however, he lived at home until he married my mother. Grosjean, Blandine (10 December 2011). "Annie Ernaux: 'Passion amoureuse et révolte politique, cela va de pair' ". Le Nouvel Observateur (in French). Archived from the original on 10 October 2022 . Retrieved 10 October 2022. French author Annie Ernaux wins 2022 Nobel Prize for Literature". Onmanorama. 6 October 2022. Archived from the original on 6 October 2022 . Retrieved 6 October 2022.

Annie Ernaux’s writing is throughout subordinated to the process of time. Nowhere else, the power of social conventions over our lives plays such an important role as in Lesannées (2008; The Years, 2017). It is her most ambitious project, which has given her an international reputation and a raft of followers and literary disciples. It has been called “the first collective autobiography” and the German poet Durs Grünbein has lauded it as a pathbreaking “sociological epic” of the contemporary Western world. Ernaux substitutes in the narrative the spontaneous memory of the self with the third person of collective memory, suggesting the force of zeitgeist on her life. There is no affective memory in the Proustian sense with which she can transport herself directly to her early years. Our lives are formed by the stories being told, the songs being sung or the trends in rule. And these conventions rapidly pass by. Therefore, Ernaux has great difficulty recognizing herself in the person that she once was. In Lesannées , personal and collective memory have merged together. Thomas, Lyn, AnnieErnaux: an introduction to the writer and her audience. –Oxford ;New York : Berg, 1999 Ma qui, nelle pagine di Annie Ermeaux, siamo ben oltre la vergogna: la figlia sente di far parte di un altro mondo e un’altra epoca, che non ha più nulla da spartire con il medioevo del padre.Le même prix qui entre autres avait autrefois récompensé Marcel Aymé et sa superbe "Table aux crevés", "voyage au bout de la nuit" de Céline et " les beaux quartiers" d' Aragon. It’s a family dynamic based on silent love and the knowledge that they do not live in the same world anymore. There’s a bit of shame and guilt on Ernaux’s side and quiet acceptance and pride on her parents’ side.

Annie Ernaux climbed up the social ladder and landed in the academic middle-class world through school. Classic. She became a teacher of French literature and met cultured people in school. She left the world of manual labor for the world of intellectual work. Je n'y ai pas pas trouvé deux sous de sensibilité, ni d'empathie : l'oncle y devient "le frère de mon père" et le fils de l'autrice y est même nommé "l'enfant". Castro, Jan Garden (27 August 1995). "Pitfalls, Trials Of Womanhood". St. Louis Post-Dispatch. p.5C. Archived from the original on 6 October 2022 . Retrieved 6 October 2022– via Newspapers.com. bizde sınıfsal farklar hiç bu denli yoğun olmadığı, osmanlı saray çevresini dışarda bırakırsak, çoğumuz reaya köylüler olduğumuz için şanslıyız belki de. belki de değiliz çünkü fransız edebiyatını en çok besleyen konu bu. şu an kararsız kaldım.

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Happening/ translated by Tanya Leslie. – NewYork :Seven Stories Press, 2001. – Translation of:L’événement Annie Thérèse Blanche Ernaux ( née Duchesne; born 1 September 1940) is a French writer who was awarded the 2022 Nobel Prize in Literature "for the courage and clinical acuity with which she uncovers the roots, estrangements and collective restraints of personal memory". [1] [2] Her literary work, mostly autobiographical, maintains close links with sociology. [3] Early life and education [ edit ]