In this thesis I examine in how far, or to which degree, the concept of autofiction can beapplied to Felicitas Hoppe’s text Hoppe (2012). Since the coinage of the term;;autofiction’ by Serge Doubrovsky in the 1970s, there have been many discussions andredefinitions of this possible genre. The discussions include questions regardingdefinitions of autobiography and the novel within the field of literary theory, as well asthe depiction of fact and fiction. Moreover, they ask in how far the knowledge of theimpossibility of capturing ;;reality’ via language technically turns any autobiographyinto autofiction. Various positions regarding these debates, including the thoughts andpositions of scholars such as Philippe Lejeune, Serge Doubrovsky, Martina Wagner-Egelhaaf, and Frank Zipfel, are represented in the first part of this thesis.In the sections that follow, I show how Felicitas Hoppe’s Hoppe is a text thatintertwines ;;factuality’ and ;;fiction’ in a way that it can be interpreted as either orindeed simultaneously both genres (doppeltes Leseangebot) in the sense of FrankZipfel. I point out that from the paratextual features of Hoppe to the tripartite fission of;;Hoppe’ – including the author HOPPE, the narrator ;;fh’, and the protagonist FelicitasHoppe – the text allows and asks with its particular construction for new interpretationsof identity and self-representation.Finally, I conclude with the assumption that Hoppe is a text that might not becompletely captured with present available literary theories. However, the refusal of thetext to being fully assigned to any one particular genre or typology remains one of themany strengths of Felicitas Hoppe’s Hoppe.
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;;Kometensplitter einer Biographie;; & die vielstimmige Beweglichkeit der Kunst. Autofiktionales Erzählen in Felicitas HOPPEs Hoppe
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