narrative fiction.1 For my part, reflecting on metalepsis has led me to an extension and a critique of the brief section in Narrative Discourse where Gérard Genette. Metalepsis was first identified and defined by the literary theorist Gérard Genette who wrote within the context of the Structuralist movement. When Gérard Genette coined the term “metalepsis” in the fifth chapter (on. “Voice ”) of his Discours du récit, he defined it as “any intrusion by the extradiegetic.
|Published (Last):||3 February 2009|
|PDF File Size:||9.98 Mb|
|ePub File Size:||12.31 Mb|
|Price:||Free* [*Free Regsitration Required]|
Topics for Further Investigation Genettee than a rhetorical flourish, metalepsis raises the question of the porosity of levels and boundaries in narratives and in other cultural representations, but not their dissolution.
Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide.
Using the notion of narrative distance as a starting point, Genette presents the functions of the narrator as suchpp. In a recent critical overview, Lavocat identifies two major approaches to metalepsis, one favoring the boundaries of fiction Genettethe other the erasure verard these boundaries McHale. To ask other readers questions about Metalepsisplease sign up. Order is the relation between the sequencing of events in the story and their arrangement in the narrative.
It is with subsequent and more differentiated developments that the scope and import of this narrative practice that goes against the grain of codified narratological categories has come to be more fully appreciated. In the present case, we could say that the event-story begins when Perrette starts her trip to market, and it ends in the mocking of the dairy woman as she comes home from geneette excursion.
Such is the case in horizontal metalepsis of enunciation, studied by Rabau Rabau, Sophie Just a moment while we sign you in to your Goodreads account. A farce is what this story became; The Crock of Milk is now its name. To review the terminology presented earlier, the narrative act occurs at the extradiegetic level, whereas the event-story contained in the text is at the intradiegetic level.
As mentioned earlier, analyzing narratological processes is in some ways a textual decoding procedure, and therefore cannot be separated from an auxiliary approach aiming to produce an interpretation.
This fable contains only one narrative level.
How to contribute more. Since the narrator knows that “A farce is what this story became”, we can conclude that the perspective is omniscient. Principal Approaches Rhetorical vs.
Metalepsis: de la Figura a la Ficcion
By continuing to use this website, you agree to their use. Definition In its narratological sense, metalepsis, first identified gwnette Genette, is a deliberate transgression between the world of the telling and the world of the told: Terms and techniques originating in his vocabulary and systems have, however, become widespread, such as the term paratext for prefaces, introductions, illustrations or other material accompanying the text, or hypotext for the sources of the text.
A type of metareference, metalepsis, particularly in its ontological form, possesses a potential for self-reference and thus for laying bare the fictionality of the work in which it appears. Metalepsen in antiken Epphrasen.
The narrator tells what happened in some past time. The narrator knows less than the characters.
According to Genette, every text discloses traces of narration, which can be studied in order to understand exactly how the narrative is organized. Building on existing typologies Nelles ; Fludernik ; Klimek ; Ryan Hanebeck goes on to single out four “scales” along which diegetic universes, represented through any medium, may either remain distinct or collapse: Her wish was to get off to town with no delay.
One last concept remains to be examined with respect to narrative time: Routledge Encyclopedia of Narrative Theory. Variations gwrard speed within a narrative can show the relative importance assigned to different events in the story. On the other hand, the recursive chain is broken when it is recognized, for example, that the creator of Drawing Hands occupies a space outside the representation in question, even though that creator can in turn be portrayed in a meta- representation cf.
Metalepsis (revised version; uploaded 13 July ) | the living handbook of narratology
The metalepssis is undetermined as well, because there is no way to know over what time period these predictions extend. Other reading effects may be obtained by varying the narrative speed. These breaks in chronology may also simply fulfill a dissenting role, if genetet author wishes to disrupt the classical novel’s linear representation to some degree.
He talks in the third person and he is absent from the story he is telling. Thierry added it Jun 09, Is he distant from or involved in his narrative? On the basis of an exhaustive typology developed out of this matrix, Limoges demonstrates the strong potential of animation film for illusionistic extradiegetic transgressions, both ascending and descending. This would be a case in which a character or narrator from one level appears on the scene at a higher level, whereas plausibility completely excludes this possibility.
In contrast to the other models presented, this typology includes metalepsis among other forms of paradoxical narration. The effect of this distancing gnette involvement on the part of the narrator is to bring out and intensify diegesis as the narrative mood, the idea being that all narratives should be considered as fictional acts of language, rather than as perfect imitations of reality mimesis.
Create an automatic citation reference by selecting the relevant passage in the article with your mouse, then copy and paste the reference from this text box.
Another possibility is to take into consideration so-called media affordances, i. You see, reader, that I am well on my way, and that it is completely up to me whether I shall make you wait one year, two years, or three years for the story of Jacques’s loves, by separating him from his master and having each of them go through all the vicissitudes that I please. A Poetics of Unnatural Narrative. On the whole, discussions support the idea that metalepsis appears only in fictional contexts.