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In Flann O’Brien’s At Swim-Two-Birds, a postmodernist novel avant la lettre, literary entities rewrite literary texts, including those in which they exist and I argue that they do so through metaleptic rewriting and in pursuit of different types of authorial justice, all of which are infelicitous. The novel’s intense self-reflexivity and intricate metafictional games create a foundation that is too fluid to sustain the weight of a heavy concept such as justice. Thus, myriad fictional worlds filled with authors wishing to impose what they deem to be fair in their own literary universe interact, intersect and overlap, allowing their justice-motivated characters to metaleptically transgress their ontological levels in order to undo the wrongs of their authors. Yet, in a novel that promotes itself as ‘a self-evident sham’, such attempts are mocked at every step and the quest for fairness is replaced by the thirst for authorial power.

En este trabajo, proponemos analizar la historieta mexicana, El cuento de Hortensia y la muerte, de Verónica Jiménez (2019). Proponemos que se trata de una historieta creada a partir de la estética neobarroca, que utiliza el relato enmarcado y la metalepsis para representar dos escenarios: uno mágico-metafórico y otro postapocalíptico de ciencia ficción. Uno es la metáfora del otro, pero en ambos, se representa a una tierra destruida por las pasiones humanas (7 pecados capitales católicos), las cuales se asimilan a un virus. Este trabajo se sustenta en el paradigma inductivo de inferencias indiciales del Carlo Ginzburg, a partir del cual se inicia una descripción de la fuente, para después analizar la fuente primaria a partir de sus referentes socio culturales y teóricos. Concluimos que esta propuesta está elaborada a partir de una estética neobarroca, en la que los diferentes componentes, se insertan atendiendo a distintos modos de repetición, resultado del consumo productivo de la autora.

This article presents and attempt at interpretation of how tropes as part of rhetoric are used in order to provide an explanation for complex phenomena within the framework of political discourse. This article also identifies different tropes in a number of examples of discourses related to domestic and foreign politics and policies in a general sense. The theories of how explanation work are based on the writings of Eugene Meehan and Paul Roth. E.Meehan developed a system paradigm of explanation in social science in which explanation is the application of a logical system to a description and, in turn, system is defined as formal logical structures, sets of variables and the rules governing interactions between them. Political discourse cannot be interpreted as strict logical systems, however the components of such discourse (that merely resemble the notion of “variable”) can and should be identified. E.Meehan also claimed that explanation is in many respect analogous to a map since it records the results of observation, depends upon the standpoint of its author and must suit the needs of the user. P.Roth, on the other hand, developed a concept of narrative explanation and for him some explanations are essentially narrative, which means that narrative sentence in them servers as explandandum statement and meaning explained in them is non-detachable from its narrative form. P.Roth also claims that description serves as justification in narrative explanations, and narrative are also capable of developing contexts. Approaches of E.Meehan and P.Roth can be used to provide a lingvo-political interpretation of how tropes as means of rhetoric as used to explain complex political phenomena: they help to identify the components of discourse (as even their actors that can be marked indirectly to referring to them by using disphemisms) and illustrate the complexity of their interactions and interrelations, especially when complex tropes like metalepsis are used to show the transitions of meanings from abstract notions to facts and day-to-day examples of political practices, and in this article the extracts from writings of D.Satter and S.Korsunskyi illustrate these points.

Harry Parker’s first novel, Anatomy of a Soldier (2016), is a trauma narrative intermingling several timelines and told from the perspectives of forty-four object-narrators. This produces temporal and focal shifts in the narrative, which occur through stylistic metalepsis, that is, through discrepancies that blur the boundaries between causes and effects or between entities. This article proposes to examine how the use of metalepsis in this novel reconfigures the representation of trauma. Through metalepsis, Parker’s novel seeks to come as close as possible to the reality of the traumatized psyche, to materialize the space left blank by the shattering force of the traumatic event. Yet, beyond that representational issue, metalepsis also fulfils an ethical function in the novel: by performing rather than showing the workings of trauma, the narrative produces, and includes the reader in, a fragile yet tangible community of shared vulnerabilities.

The purposes of this study are to find out the elements of narrative and the function of narrator in Jun Chiu’s silent comic Crop Circles. This research applied qualitative design. The data of this study were in the form of 20 pictures taken from the silent comic. The data were collected through stages: finding out and determining, classifying and separating the pictures conveying illustration of a narrative. The analysis of the data was done qualitatively by using the theory of phase analysis by Miles, Huberman and Saldana covering condensation, display and verification. The research results show that the elements of narrative found in Jun Chiu’s comic pictures Crop Circles narrative mood (transposed speech-indirect style); narrative instance (narrative voice: heterodiegetic narrator, time of narration: simultaneous narration; narrative perspective: external focalization), narrative levels (embedded narrative, metalepsis) and narrative time (order: analepsis, narrative speed: ellipsis, frequency of events: singulative narration). The narrator carried ideological function because the narrator illustrates the pictures to introduce public policy.

Apart from a specific set of conventions in book design, the so-called “género editorial”, the Castilian chivalric romances from the late 15th to the early 17th c., are a varied genre. The paper takes a look at different ways in which materiality plays a role for the romances, situating them between market strategy and complex literary tradition. Certain approaches, from paratextual keywords (‘mirror’, ‘chronicle’) to metanarrative and metafictional elements (found manuscripts, pseudotranslations, metalepsis) are not only fixed topoi, but vary from text to text. In fact, they are in constant dialogue with recent developments in historiography, as well as other fictional genres. Thus, supernatural sources, contradictory textual evidence, and explanations of the marvelous often combine into a complex discursive strategy that helps explain the continuous popularity of the genre for more than 120 years.

The article discusses the use of troubled temporalities and metaleptic prompts as mechanisms designed to help support devotional acts with religious images. Late medieval and early modern contempla...

The narrative specifics of Umberto Eco’s novel “The Island of the Day Before is regarded through a basic idea of the narrative metaphor “The Orange Dove”. The methodological basis of the study is a summary concept of the relationship between narrative and metaphor. These are O. Freidenberg’s hypothesis of metaphor as a future narrative form of plots and genres; F. Ankersmit’s narrative logic of metaphor’s transformation into a plot through a “point of view”; P. Recoeur’s “common innovative nucleus” in narrative and metaphor designed for productive imagination; G. Genette’s “narrative modality” and regulation of narrative information through metalepsis; R. Barthes’ dichotomy of “functions and indices” as an analogy of metonymic and metaphorical relations. In the article under discussion, we consider metaphor as a narrative principle that ensures its own presentation, generates its rhythm, creates personosphere, and involves a reader in an intellectual game. Such a way of metaphor formation marks U. Eco’s literary style. In his novel “The Island of the day Before”, the following distinctive range of metaphors play a very constructive role: metaphor of sleep, metaphor of love as a source of creative activities, metaphor of duality, metaphor of hatred. Above all, it is worth pointing out author’s epistemological metaphor, which is closely related to the search of truth: in the latter sense, the “Orange Dove” is associated with a post-modernist analogue of the “Blue Rose”, borrowed from the epoch of Romanticism. Due to the technique of metalepsis (“the figure of speech denoting author’s intrusion”), offered by G. Genette, the narrator demonstrates his metaphoric intentions through the discourse of a character-narrator. In conclusion, narrative metaphor of the novel directs the narrative strategy to a variety of its numerous versions, which may be implemented owing to reader’s competence., Оповідна специфіка роману Умберто Еко „Острів напередодні” розглядається в аспекті ключової ідеї, оприявненої через наративну метафору „Голубка жовтогарячого кольору”. Методологічною базою дослідження постає сумарна концепція взаємозв’язків наративу і метафори – тези О. Фрейденберг (мeтaфopа як майбутня наративна форма сюжетів і жанрів), Ф. Анкерсміта (наративна логіка розгортання метафори у сюжет через „точки зору”), П. Рікера (спільне інновативне ядро у наративі й метафорі, розраховане на продуктивну уяву), Ж. Женетта („наративні модальності” та регулювання наративної інформації за допомогою металепсису), Р. Барта (дихотомія „функції та індекси” як аналогія метонімічних та метафоричних відношень). Цього разу метафору розглянуто як оповідний принцип, що забезпечує презентацію нарації, генерує її ритм, конструює персоносферу, втягує читача в інтелектуальну гру. Такий спосіб метафоротворення являє собою маркер авторського стилю У. Еко. Зокрема, у романі „Острів напередодні” конструктивної ролі набуває виразний ряд метафор: метафора сну, метафора кохання як джерела творчості, метафора ненависті, метафора двійництва. Передусім виокремлюється означена самим автором епістемологічна метафора, пов’язана з пошуком істини: в цьому значенні „Голубка жовтогарячого кольору” виступає постмодерністським аналогом „Блакитної троянди”, запозиченої у романтиків. Наратор відповідно запропонованого Ж. Женнетом прийому металепсису („фігура авторського втручання”) оприявнює свою метафоричну інтенцію через дискурс персонажа-розповідача. Висновується, що наративна метафора у романі спрямовує оповідну стратегію тексту на різноманіття її численних версій, реалізованих читацькою компетентністю.

Resumo Este trabalho propõe uma reflexão sobre o uso de um conceito recente para um recurso metaficcional já antigo: de Cervantes a Machado de Assis, inúmeros escritores recorreram à metalepse, que ora faz uma personagem reclamar da narrativa, no caso de Sancho Pança, ora interpela o leitor, como faz Brás Cubas. Interessa-me analisar como essa transgressão narrativa foi explorada por Machado de Assis, que em Memórias póstumas chega a admitir sua filiação a um certo estilo europeu, buscando marcar, porém, sua especificidade. Trata-se de mostrar que o recurso à metalepse desestabiliza o jogo literário e chama à cena um leitor que, em Machado, já não é mais o mesmo daquele convocado pela forma romanesca europeia que lhe serviu de modelo. Abstract This paper proposes some considerations on the use of a recent concept for an old metafictional device: from Cervantes to Machado de Assis, many writers have made use of metalepsis, which at times leads a character to complain about the narrative, in the case of Sancho Panza, or at others address the reader, as does Brás Cubas. I propose to analyze how this narrative transgression was exploited by Machado de Assis, who even admits his affiliation to a certain European style in The Posthumous Memoirs of Brás Cubas, whilst seeking to establish his own specificity. My aim is to show that metalepsis destabilizes the literary game and activates a reader who, in Machado, is no longer the same as the one summoned by the European form of the novel that had served as his model.

During its history of interpretation and reception, the temptation story in Matthew 4:1–11 and Luke 4:1–13 has been interpreted with emphasis on either its Christological or its paraenetical dimension. The article investigates how contemporary Danish children’s bibles retell the story with accent on the paraenetic elements. The children’s bibles reframe the story according to the genre of the morality tale. With literary devices such as focalization, metalepsis, shared interest and reader involvement strategies, the children’s bibles portray Jesus as a positive moral example for readers to emulate. This implies a view of the intended reader as a competent child who is capable of understanding and identifying with the text and overcome the devil’s temptations.

Cet article se concentre sur la dimension critique de la fiction contemporaine réaliste, portée notamment par une pratique de l’adresse qui s’inscrit dans un paradigme de l’implication politique. On entend ici l’implication comme régime littéraire du « souci du social » (Harry Frankfurt), où la politique fait place au politique (Jacques Rancière). Il s’agit alors de montrer comment se négocie la représentation réaliste entre tentation du surplomb et fragmentation du discours, puis de mesurer la portée critique d’un tel projet tant au sein de la représenta­tion qu’au niveau de la réception qu’il programme. On parlerait alors d’un réalisme adressé, qui ne trouverait son aboutissement qu’à la condition d’une lecture empathique. This article focuses on the critical dimension of contemporary realist fiction, particularly visible in the way it calls to its reader through a rhetoric of interpellation, analysed here as a feature of what critics have called ‘littérature impliquée’ (involved literature). The contemporary involvement of literature in politics is deeply rooted in a broader conception of social responsibility, as explained by philosophers Harry Frankfurt and Jacques Rancière. Here, we investigate the ways realism evolves in the contemporary, tempted by a desire for exhaustivity and global knowledge while also bringing attention to the depiction of details and the everyday life. In the context of the widely diagnosed ‘ethical turn’ in contemporary literature, realism could thus be considered a directed aesthetic, searching for empathetic readership.

David Foster Wallace’s use of metalepsis does not corrupt the essence of mimetic illusion but rather tests the authenticity of the author-reader relationship. His story ‘Octet’ aims at conflating the spheres of narration, reading and writing in order to shape new hermeneutic pathways. The story features a writer figure who stages the loss of his privileges in order to let the agency of his readership emerge; yet the latter sometimes appears more manipulated than empowered.

This article explores metatheatricality and site specificity in four Shakespeare television films produced by Illuminations Media: Gregory Doran’s Macbeth (2001), Hamlet (2009) and Julius Caesar (2012), and Rupert Goold’s Macbeth (2010). Drawing on metatheatrical theory applied to the screen and recent criticism on site-specific theatre, I explore the films as self-referential and self-conscious works embedded in environments that oppose the artifice of drama to the ‘reality’ of normative television film. Shakespeare’s aesthetic metaphor, presented in self-contained theatrical worlds, does not depict autonomous fictions but is disrupted by outside ‘reality’.

How do fictional tactics operate in what is often simplistically termed the “factual” or referential world of autobiographical discourse? Many narratologists view the rhetorical figure of metalepsis as distinctive to metafictional texts and constitutive of “fictional” narration, which they posit in antithesis to “factual” narration. But regarding autobiographical narrative only within the realm of fact ignores its complexity. While some theorists of autobiographical narrative have read it through the rhetorical figure of prosopopeia, as elaborated by Paul de Man in characterizing its “de-facement” of subjectivity, we argue that the figure of metalepsis operates productively in autobiographical narrative, particularly hybrid and experimental texts. The use of metalepsis shifts levels or layers of narration across temporal and spatial planes in ways that confuse its diegetic and metadiegetic levels. That is, autobiographical narrative, while filtered through the récit factuel, is not consistently fixed in an extratextual, ontologically unified, referential world. We pursue this argument by exploring four cases: the circuit of transfer in incomplete conversion narrative (Rowlandson’s A True History of the Captivity and Restoration of Mrs. Mary Rowlandson); palimsistic seepage between the Bildungsroman and trauma narrative (Eggers’ A Heartbreaking Work of Staggering Genius); narrative collision of “parallel universes” (Kaysen’s Girl, Interrupted); and unstable witness to collective trauma by a second-generation narrator (Spiegelman’s Maus: A Survivor’s Tale). Recent critical studies of metalepsis also probe how it presses at the limits of referentiality in life narratives by J. M. Coetzee, Javier Marías, and Christine Brooke-Rose. In sum, autobiographical narrative is by no means a referential, “monologic” mode easily differentiated from the dialogism and metadiscursivity of the novel; rather, it is a mode unsettled by figural, discursive, and temporal boundary-crossing.

Cet article propose d’étudier les tutoriels vidéoludiques depuis une perspective narratologique et rhétorique. Plus précisément, il s’intéresse aux incarnations narratives du tutoriel que sont les « personnages-guides », ces mascottes qui accompagnent la progression du joueur en lui dictant la marche à suivre à chaque étape du jeu. Ces êtres hybrides représentent en effet une porte d’entrée idéale pour étudier les mécanismes de narrativisation des règles qui sont à l’œuvre au sein du médium, puisqu’ils combinent une fonction utilitaire (révéler le mode d’emploi du jeu) et une fonction narratologique (faire progresser le récit). À travers l’analyse d’une série d’exemples, cette recherche visera à démontrer que les personnages-guides remettent en question trois critères fondamentaux utilisés pour définir le concept personnage : la présence d’un signifiant médiatique, l’intégration du personnage dans un univers fictionnel et le fait que les personnages soient conçus sur le modèle de l’humain. Pour décrire précisément en quoi ils échappent à ces cadres définitionnels, nous distinguerons d’abord deux grandes catégories de personnages-guides : les personnages interfaciels et les avatars tutoriels. Dans un second temps, nous aborderons les spécificités narratives de ces entités : en servant de médiation entre l’univers ludique et le geste empirique du joueur, celles-ci sont intrinsèquement métaleptiques et ne se situent donc pas tout à fait sur le même plan d’existence que les autres personnages. Sur la base de cette observation, nous différencierons les avatars tutoriels en fonction des stratégies rhétoriques qu’ils emploient pour négocier avec leur nature transgressive : qu’ils la dissimulent (via des métaphores tutorielles), qu’ils la laissent apparente (via des métalepses brutes) ou qu’ils la soulignent (via des métalepses fictionnalisées). This paper proposes to study video game tutorials from a narratological and rhetorical perspective. More precisely, it focuses on the case of the “guiding-characters”, these narrative incarnations of the tutorial that accompany the avatar’s progression by dictating to the player the steps to follow at each stage of the game. These hybrid beings represent an ideal entry point for studying the narrativization mechanisms of the rules at work within the medium, since they combine a utilitarian function (they reveal the game’s instructions) and a narratological function (they advance the narrative). Through the analysis of a series of examples, this research will aim to demonstrate that guiding-characters question three fundamental criteria used to define the concept of character: the presence of a media signifier, the integration of the character in a fictional universe and the fact that characters are human-like. In order to describe precisely how they escape these definitional frameworks, we will first distinguish two main categories of guiding-characters: interfacial characters and tutorial avatars. Secondly, we will discuss the narrative specificities of these entities: by mediating between the game universe and the player’s empirical gesture, they are indeed intrinsically metaleptic and they therefore do not exist on the same plane as the other characters. On the basis of this observation, we will differentiate tutorial avatars according to the rhetorical strategies they employ to negotiate with their transgressive nature: whether they conceal it (via tutorial metaphors), whether they leave it apparent (via raw metalepses) or whether they underline it (via fictionalized metalepses).

This chapter is a critical discussion of the metaleptic phenomenon of apostrophizing fictional and/or long-dead characters. It asks what model of engagement with fiction emerges if one takes the gesture of speaking to a fictional character literally, not merely as a rhetorical trope but a meaningful speech act. In this mode of reading, modelled by an apostrophizing author as first reader of their own text, apostrophe suggests that characters are, somehow, still available to be interacted with. Apostrophe therefore serves as an invitation for readers to invest in characters and form relationships with them, for instance loving them or mourning for them. By discussing four rather different examples—Homeric epic, Sapphic lyric, a bucolic poem by Theocritus, and a progymnasma by Musonius Rufus—the chapter argues that apostrophe not only repays reading as a model of how readers engage with fiction, but that each text offers its own version of this engagement.

The novel A Boneca de Kokoschka (2010), by Afonso Cruz, forms part of a network of literary and artistic works from various backgrounds and fields which incorporate the figure of Kokoschka’s doll. These works proliferate, weaving between them relations of inclusion and contiguity, leading us to lose sight of the original matrix and favoring the interartistic dialogue. In the novel, the doll highlights the tendency of fiction to expand, namely by the game of “transfictionnality”, and the repeated transgression of the border between reality and fi ction, notably through metalepsis. Therefore, A Boneca de Kokoschka allegorizes some trends of the contemporary novel, sketching out the contours of a new literary paradigm yet to be defined.

As mass culture becomes an important part of the contemporary literary process, one cannot ignore it. New forms and genres of mass literature and culture could often be regarded as reaction to the changes in the social and public life. The most striking examples of those genres are mashup and crossover fiction, which are based on the multiple references to already existing texts. Mashup literature is a combination of classic text with a dominant storyline and new plot details added by modern authors. Crossover (according to Jenkins) relies on pre-existing texts, “breaking down not only the boundaries between texts but also those between genres, suggesting how familiar characters might function in radically different environments”. An example of the combination of mashup and crossover is the novel by Russian-speaking Ukrainian writers Henry Lyon Oldy “Sherlock Holmes vs. the Martians” (2014). Henry Lyon Oldy is the pseudonym of science fiction writers Dmitry Gromov and Oleg Ladyzhensky. The composition of the novel is a “story in a story”; mutual integration of various levels of text takes place, which makes it possible to speak of metalhepsis. The title of the novel suggests that the main characters come from the famous books by Arthur Conan Doyle and Herbert Wells. the main characters come from books by Arthur Conan Doyle and Herbert Wells. However, Oldie do not focus on just two authors. They also include references to other literary texts, cinema, music and painting, by these means creating a unique text, in which pre-existing plots and characters intertwine, uncovering a completely new narrative form.

Les romans d'Ali Smith sont traverses par l'idee de perte, qu'il s'agisse de la disparition d'un etre aime, de la destruction de possessions materielles ou encore de l'angoisse de l'effacement des souvenirs. Dans Hotel World et The Accidental, les personnages se confrontent de diverses manieres aux enjeux de la memoire et de l'oubli : obsession archivistique, oubli systematique et volontaire, persistance insurmontable d'un souvenir traumatique… A travers ces multiples facettes de la relation entre memoire et oubli se dessine une ethique de l'oubli, mise en place a travers un outil stylistique : la metalepse. L'emploi de cette figure permet une destabilisation et une reconfiguration des rapports de cause a effet faisant ainsi apparaitre une temporalite vulnerable, condition necessaire de l'emergence d'un "sujet depossede".

This paper will examine three contemporary video games – Undertale, The magic circle and Pony Island – with an eye towards delineating the ways in which their unique storyworlds and ontological structures align with recent trends in unnatural narratology. Specifically, these games contain interstitial diegetic spaces, and empower the player to move through ‘cracks’ in the façade of the fictional world by acting as a metaphorical programmer, manipulating game files and other extradiegetic components. The metaleptic processes enabled by these actions expose aspects of the respective storyworlds which have been deliberately concealed. Consequently, the games in question literalize existing theories regarding our projection and cognitive exploration of fictional worlds, as they are singular in their capacity for experimentation and transgression of established ontological frameworks.

This article considers the “narrating-I” in African American fiction, reexamining its significance for narratological and sociopolitical theorizations of literature. First-person narratives can normally be understood as autodiegetic, in which the narrators present their experiences from their own perspectives at the expense of access to the viewpoints of other characters. However, African American narratives sometimes present their readers with first-person narrators who are seemingly more omniscient. Able to slip across the boundaries that demarcate their experience from that of others, these narrators can adopt the subject positions of other characters, shifting narrative focalization in ways that would normatively be impossible. Unlike “we” narratives that rely on the first-person plural to evoke collective storytelling, these works pluralize an otherwise singular narrator into a different sort of collective multiplicity. This paper argues that this plurality and multiplicity problematize the limitations of first-person narration, and in so doing resonate with issues surrounding the sociopolitical imagining of community. Through an investigation into the innovative narrative structures of John Edgar Wideman’sSent for you yesterday, this paper thus hopes to contribute to ongoing conversations in narrative studies by reassessing its standard narrative frameworks, as well as argue for the applicability of narratology to contemporary sociopolitical thought.

This study analyzes the presence in Eca de Queiros’s fiction of literary characters created by writers other than Eca. From this point of view, these characters become fiction, frequently entailing, through their presence, metafictional considerations. As such, the very concept of literary characters is the object of attention, through both the narrators in Eca’s texts and also their presence in the fictional discourse of some of Eca’s characters, sometimes explicitly referred to as writers. Furthermore, these borrowed fictional characters bring to Eca’s work possibilities for identification (such as the so-called Bovarism), determined by the circulation of these characters within the cultural imaginary represented in these novels. The same occurs, from a broader perspective, with mythological or Biblical figures, in a variety of iconographic representations. Generally speaking, the aspects analyzed in this study indicate the fictional afterlife of these characters and the function of metalepsis in the construction of fiction, including in this construction the refiguration of fictional characters.

This article begins with an analysis of Marc Forster's Stranger than Fiction that emphasizes the film's telepathic nuances, illustrating literary telepathy's role in the metaleptic events that the ostensibly "innocent" protagonist experiences. Elaborating on existing work in literary telepathy, the article then brings Seo-Young Chu's SF model of mimesis into dialogue with that of unnatural narratology in order to illustrate how telepathic metalepses bear on our understanding of mimesis more broadly. With this understanding of mimesis, the article demonstrates how metalepsis upends the dominant structures of knowledge dissemination and reception, bringing the so-called innocent—and the "subnarratable" features of his life—to the fore. Returning, finally, to a critical discussion of Stranger than Fiction , the article demonstrates how telepathic metalepses foster the protagonist's authorial role in his own narrative, thereby challenging a number of conventions, chief among them the category of innocence and the generic conventions it supports.

This essay reads Shelley Jackson`s Patchwork Girl as a hypertext rewriting of Mary Shelley`s Frankenstein and argues that the distinctive achievement of Jackson`s work can be understood in terms of her virtuoso manipulations of both literary and hypertext frames. Previous interpretations of Jackson`s hypertext novel have not taken seriously enough the relevance of Mary Shelley`s novel to our understanding of Jackson`s work. This essay offers a corrective via a narratological analysis of frame structure in both Shelley`s and Jackson`s works. If Shelley uses frame narratives to emphasize the dramatic function of narrative and to invite questions about narrative closure and form, Jackson uses hypertext window frames to comment on the limits of Shelley`s work and to dismantle linear narrative form and language in a radical way. Through her manipulation of hypertext frames, Jackson defines femininity in rhetorical terms as metalepsis, the unmediated transition between different narrative levels as well as narrative times. Jackson also uses the fragmentary form of hypertext lexia to parody in both comic and grotesque fashion the fragmentation of the female body by the male oedipal gaze. While not all hyperfiction can be summed up as feminist in design and intent, Jackson`s hypertextual feminism suggests intriguing ways in which hypertext can be mobilized for feminist literary practice.

The phrase “It’s just a cycle” is commonly articulated in coastal resilience efforts and it also shapes broader public debates about climate change. Identifying the structure of arguments around cycles is a useful starting point for defining differences in perspective, but there is more to competing claims about cycles. It is this more that this essay aims to explore, starting with an opening example from an engaged rhetorical ethnographic project with Maine’s clam fishery. The example helps set up a methodological orientation to working with cycles within resilience-focused collaborations that draws from aesthetics and poetics. This approach aims to show how cycles shape world making and how attending to cycles as a trope can create a space for critical disruptions of colonial patterns. This is a space of intimate connection that allows cyclical rhythms, like those of tides, to help reveal a passageway to resilience.

This essay reconsiders the status of the loa to Pedro Calderón de la Barca’s highly influential auto sacramental El gran teatro del mundo (c. 1635). For the last century, state of the art has been to consider it inauthentic and to have been written by Francisco Bances Candamo. The article begins with an examination of the arguments for this assumption. The second half comprises a textual interpretation of the loa regardless of its author. Through an analysis of four aspects of the loa, namely the style figure of metalepsis, the motif of ‘fiesta’ and the theological themes of theodicy and divine law, it is argued that the loa carefully prepares ways to see the world theatre as a means to the appreciation of Baroque reality rather than to the somewhat popular idea of the theatrum mundi as an experience of desengaño or vanitas. This essay reconsiders the status of the loa to Pedro Calderón de la Barca’s highly influential auto sacramental El gran teatro del mundo (c. 1635). For the last century, state of the art has been to consider the loa inauthentic and to have been written by Francisco Bances Candamo. The article begins with an examination of the arguments for this assumption. The second half comprises a textual interpretation of the loa regardless of its author. The analysis focuses on four dimensions: the style figure of metalepsis, the motif of the fiesta and the theological themes of theodicy and divine law. In so doing, the study proposes that the loa carefully prepares ways to see the world theater as a means to the appreciation or celebration of baroque reality. This interpretation invites a reconsideration of the widely held notions of the theatrum mundi as an experience of desengaño or vanitas.

This chapter centres on the case study of a monument of eighteenth-century British humour, Laurence Sterne’s Tristram Shandy (1759–1767). It will address what happens to Sterne’s humour when it gets translated into French at different times in history as well as when it is adapted into film or graphic novel for twentieth and twenty-first-century audiences. How did the successive French translators deal with what they might have considered specific forms of British humour? How can a twentieth or twenty-first-century translator or artist give an idea of some of Sterne’s witty allusions to or parodies of contextual references? In other words: is Sterne’s humour bound to be ‘lost in translation’ or not? I address here the challenge of presenting Sterne’s humour through translation by focusing on three specific aspects: metalepsis, anachronism, and parody. The chapter shows that the continuous effort to reproduce Sterne’s humour through translation is the source of inventive new forms of humour, spanning past and present.

International audience; This article assesses the crucial role played by placelessness in the fiction of a writer who never allows her readers to lose sight of the referential coordinates and political implications of her stories. “Teraloyna” in Nadine Gordimer’s Jump exemplifies the growingly complex narrative strategies that she came to develop over time in her attempt to achieve a greater directness in her writing whilst putting stronger emphasis on the opacity of her medium. At first sight placelessness – whether it involves the fable, allegory, the intertext or metalepsis – seems to take us away from place to better return to it. But this odd tale invites us to think the “making it strange” of place further, against the dangerous temptation to lock everything into place.

En la literatura para niños y jóvenes existe una práctica ya consolidada de aprovechar los peritextos (Genette, 2001) como componentes portadores de significado que intervienen en la construcción del sentido de la obra. Con la creciente ubicuidad de los dispositivos de pantalla y la emergencia de los libros y textos digitales, la materialidad y los peritextos sobresalen aún más como rasgos distintivos de los libros impresos. En este trabajo hemos seleccionado un corpus de libros impresos infanto-juveniles que integran sus peritextos a la ficción y que, a través de una estrategia narrativa que involucra la intertextualidad y la metalepsis, se vuelven objetos lúdicos en sí mismos: por un lado, la colección de dos libros álbum titulada Genealogía de una bruja, de Benjamin Lacombe y Sébastien Perez; por el otro, los tres libros “complementarios” a la saga Harry Potter, de J. K. Rowling, agrupados bajo el título Biblioteca Hogwarts, es decir, Quidditch a través de los tiempos, Animales fantásticos y dónde encontrarlos y Los cuentos de Beedle el Bardo. El objetivo es analizar los mecanismos narrativos que se despliegan a través de los peritextos y situar dichos procedimientos en relación con el contexto de producción de la era digital.

Taking as its point of departure the commonly recognized tension between the image of postmortem punishment in Lk 16:19-31 and other Lukan conceptualizations of the afterlife, the article examines the said image against the background of Luke’s overall eschatology. In the first step, both Luke’s bipolar ideological horizon and the conjunction of eschatology and wealth ethics are brought to light, demonstrating general coherence between the parable and Luke’s eschatological perspective. The parable’s presentation of the post-mortem punishment as immediate and final is affirmed. In the second step, elements of indeterminacy in Luke’s eschatological perspective are explored. Through the workings of metalepsis, the rich texture of Luke’s narrative is shown to generate additional possibilities for interpreting the rich man’s punishment. It follows that the precise nature of the punishment – its final as opposed to intermediate character – cannot be said to be completely unambiguous. Biorąc za punkt wyjścia powszechnie znany brak spójności pomiędzy obrazem kary pośmiertnej zawartym w przypowieści o ubogim Łazarzu (Łk 16,19-31) a innymi Łukaszowymi konceptualizacjami życia pozagrobowego, autor artykułu bada wspomniany obraz w relacji do ogólnego tła Łukaszowej eschatologii. W pierwszej części zostają wydobyte na światło zarówno dwubiegunowy horyzont ideologiczny Łukasza jak i powiązanie eschatologii z etyką dóbr materialnych. Ujawniona zostaje w ten sposób ogólna spójność pomiędzy przypowieścią a Łukaszową perspektywą eschatologiczną. Kara pośmiertna zostaje ukazana jako natychmiastowa i ostateczna. W drugiej części zostają wyeksponowane elementy niedookreśloności obecne w Łukaszowej eschatologii. Ukazane zostaje jak bogata struktura Łukaszowej narracji pozwala na generowanie dodatkowych możliwości interpretacji pozagrobowych cierpień bogacza. W rezultacie, precyzyjna kwalifikacja kary jako ostatecznej, czyli nie tymczasowej, nie daje się orzec w sposób zupełnie jednoznaczny.

Since the Holocaust, New Testament scholarship has become increasingly sensitive to issues of Christian anti-Judaism. While many Matthean specialists have acknowledged the problems with polemical interpretations of the Gospel, the idea that Matthew presents Jesus and/or the church is the “true Israel” continues to enjoy broad acceptance. The scholarly conflation of Jesus and Israel recycles the Christian polemic against a comparatively inauthentic or inadequate Judaism. This article argues that Matthew does not present Jesus or his church as the true Israel, and that the Jesus-as-Israel interpretation could be refined by comparing the Gospel with later rabbinic discussion that connects Israel with biblical individuals. Genesis Rabbah 40:6 juxtaposes verses about Abraham and Israel to reveal a comprehensive scriptural relationship between the nation and the patriarch without devaluing either party. The rabbis’ theological thesis is predicated on both similarity and separation between Abraham and his offspring. Insofar as both Matthew and Midrash present similar biblical content and exegesis, a comparative analysis can provide Gospel commentators with a view of the Jesus-Israel paradigm that avoids the Christianization of “true Israel.”

This study analyzes the presence in Eça de Queirós’s fiction of literary characters created by writers other than Eça. From this point of view, these characters become fiction, frequently entailing, through their presence, metafictional considerations. As such, the very concept of literary characters is the object of attention, through both the narrators in Eça’s texts and also their presence in the fictional discourse of some of Eça’s characters, sometimes explicitly referred to as writers. Furthermore, these borrowed fictional characters bring to Eça’s work possibilities for identification (such as the so-called Bovarism), determined by the circulation of these characters within the cultural imaginary represented in these novels. The same occurs, from a broader perspective, with mythological or Biblical figures, in a variety of iconographic representations. Generally speaking, the aspects analyzed in this study indicate the fictional afterlife of these characters and the function of metalepsis in the construction of fiction, including in this construction the refiguration of fictional characters., Trata-se aqui de analisar a presença de personagens literárias de outros escritores que não Eça de Queirós, nas suas ficções. É nesse sentido que a personagem se faz ficção, envolvendo-se com frequência, nessa presença, ponderações metaficcionais. Assim, o próprio conceito de personagem é objeto de atenção, tanto por parte dos narradores dos relatos queirosianos, como até comparecendo no discurso das figuras que Eça concebeu e a que por vezes deu o estatuto de escritores. Por outro lado, as personagens de ficções alheias trazem às de Eça procedimentos de identificação (p. ex., o chamado bovarismo), determinados pela circulação daquelas personagens no imaginário cultural representado nos romances. O mesmo acontece, em termos mais alargados, com figuras mitológicas ou bíblicas, em representações iconográficas de diversa feição. De um modo geral, as questões aqui abordadas dizem respeito ao tema da sobrevida da personagem e à função desempenhada pela metalepse na construção de universos de ficção, incluindo nessa construção a refiguração de figuras ficcionais.

Notwithstanding the complex and dynamic nature of teaching and learning in schools, over four decades of research findings have consistently revealed a correlation between teacher expectations and student achievement. Focusing on teacher expectations for the narrative structures created by young children, this article features a discussion of data gathered during a multifaceted study with 7- and 8-year-old students. The overall purpose of the case study research was to explore the development of student understanding of elements of visual art and design and diverse narrative structures in picturebooks. For the culminating activity of the research, the students had opportunities to apply and transform their knowledge of the instructional foci when they composed their own multimodal print texts. Analysis of the students' narrative structures revealed the multiple forms of metalepsis, the purposeful breaking of storyworld/narrative boundaries, evident in their writing and artwork. In addition to a discussion about the socially situated nature of the children's multimodal text-making, the article includes a consideration of the importance of teacher expectations with respect to student literacy engagement and achievement.

In Fangirl (2013) and Carry On (2015), the American writer Rainbow Rowell blurs the lines between reality and fiction, as well as extradiegetic and intradiegetic narratives. This article aimsto shed light on the transgressive and unstable aspects of Rowell’s fictional worlds where her characters are able to move from one diegetic level to another. By placing the embedded story in Fangirl at another level, the Young Adult author presents a work where borders do not exist. Through the expansion of the intertwined worlds, she jostles the standard and normative codes oftime and space in literature.

This chapter analyses Colombian author Jaime Alejandro Rodriguez’s hypermedia novel Coup de Grace, demonstrating how he brings together two main literary precedents within this work. Firstly, a surrealist heritage is evoked through allusions to the cadavre exquis indicating a long tradition of experimental, ludic practice that informs this work in terms of its structure and procedure. Secondly, the whodunnit genre is invoked in terms of plot and characterisation. The chapter reveals how, through the productive bringing together of these two intertexts, Rodriguez employs digital technologies to transgress narrative levels, engages in narrative metalepsis, and questions some of the standard features (such as stability of character or cause-effect relationship) that are so central to the whodunnit genre he mobilises.

The early Soviet picturebook arose in an age of propaganda that conceived of children’s literature as a “forgotten weapon” in the battle to train a new populace to inhabit the new post-revolutionary world. For this reason, one can detect a variety of rhetorical aims in early Soviet picturebooks. This article examines visual and verbal self-referentiality in Russian avant-garde picturebooks along aesthetic, educational, and political axes, focusing first on avant-garde self-referentiality evident in works by Vladimir Mayakovsky and Daniil Kharms that typify the avant-garde movement and then turning to picturebook self-referentiality exemplified in works by Samuil Marshak and Ilya Ionov, which reflect increasing consciousness of the picturebook as genre. It argues that avant-garde self-referentiality must be considered within a broader avant-garde context, while the peculiarities of picturebook self-referentiality in this period illustrate the establishment of the early Soviet picturebook as a new branch of culture, as well as material conditions, cultural shifts, and power consolidation after the revolution. Early Soviet picturebooks employ the child reader in building a vision of the future, although the nature of that world and of the child fit to be its citizen diverges widely, showing how this time period represented a significant aesthetic and political crossroads.

Paradoxical narration is one of the main strategies of perturbatory narration, a new narratological concept which I developed for postmodern literary and filmic fiction. The novel of novels Don Quijote does not yet work with unreliable and empuzzling procedures, which are the other two techniques of perturbatory narration. But it offers an impressive use of sophisticated paradoxical techniques which transmit the same disorientating effects as contemporary perturbatory narrations. Cervantes’ novel sets up the reader by offering a very complex narrative situation which I compare to Wolfram’s Parzival, in order to shed light on the narrative instances coming from different cultural and religious backgrounds. Nevertheless, Don Quijote proves to be even more complex because it offers a pseudodiegetic structure which can be modelled in various ways. Another irritating device is the inscription of the author Cervantes into his own fiction by metalepsis and autotextual references. Really upsetting is the aporetical inclusion of the second part of the novel in itself. Furthermore, Don Quijote contains an early example of horizontal metalepsis and reflects its poetics of ambivalence and contradiction using several mises en abyme. Finally we have to ask why there are so many paradoxical devices in a novel quite often reduced to a simple parody of chivalric romance.

espanolNicholson Baker tensa al maximo los limites de la narrativa en The Mezzanine (1988). Este articulo analiza elementos de la novela, tales como su posmodernidad metatextual, la confrontacion de la alta cultura y la cultura de masas, la exploracion de procesos mentales recursivos, la inclusion de referencias temporales en cambio constante, y la funcion del narrador autodiegetico. Presta especial atencion al uso de la nota a pie de pagina como recurso narrativo que permite desarrollar el concepto de metalepsis narrativa definido por Gerard Genette. Debido a este singular entrelazado de recursos narrativos, la novela constituye un hito en la literatura contemporanea en ingles que merece mayor atencion academica. EnglishNicholson Baker’s The Mezzanine (1988) bends narrative boundaries to the extreme. This article analyses the novel’s postmodern metatextuality, its confrontation of high culture and mass culture, its exploration of recursive thought processes, its inclusion of constantly shifting time references, and the function of its autodiegetic narrator. Special attention is given to the use of the footnote as a narrative device as it allows Baker to develop Gerard Genette’s concept of narrative metalepsis. Because of the unique way these advanced narrative resources are interwoven, the novel deserves wider academic attention as a milestone in contemporary literature in English.

En este artículo pretendemos analizar las implicaciones que se derivan de enunciaciones autoficcionales de carácter fantástico y su relación con el humor en la obra "El volante" (1992) del autor argentino César Aira. En ella, la parodia y lo inverosímil promueven una lectura fantástica y absurda en una historia saturada de elementos humorísticos y paródicos, donde diferentes niveles diegéticos complejizan las nociones de realidad a través de juegos metalépticos en los que el autor se autonarra “actuando” como personaje caricaturizado., This paper will examine the implications derived from the fantastic autofictional statements and its relations with humour in the novel "El volante" (1992), by the Argentinian author César Aira. The parody and the implausibleness foster a fantastic and absurd reading, where different diegetic levels make the notions of reality more complex through metaleptic games in which the author self-narrates and “acts” as a caricatured character.

Este artículo plantea una nueva lectu­ra de la película Fresas salvajes (Smul­tronstället; Ingmar Bergman, 1957) a través de la exploración narratológica de dos procedimientos fundamentales en su cuerpo textual: el flashback y la metalepsis. La unión de estos dos recur­sos origina el fenómeno del flashback metaléptico, cuya particular naturale­za pone de relieve, en tres escenas cru­ciales del relato, la influencia de los con­flictos del presente en la reconstrucción del pasado: si bien en las dos primeras las cualidades metalépticas de las re­gresiones adoptan un sesgo excluyente en lo relativo a la clase de inscripción del sujeto recordatorio dentro de las mismas, será en la última remembran­za cuando, una vez el personaje prota­gonista ha resuelto la crisis existencial que padecía, el sesgo se torna definiti­vamente inclusivo, indicio de la recon­ciliación efectuada con respecto a sus experiencias pretéritas. The Embodied Spectre: Semantic Implications of the Metaleptic Flashback in ‘Wild Strawberries’ (‘Smultronstället’, 1957) This paper aims to carry out a new reading of the film Wild Strawberries (Smultronstället; Ingmar Bergman, 1957) through a narratological explo­ration of two fundamental techniques used in the body of the work: the flashback and metalepsis. The joined use of these two techniques creates the phenomenon of metaleptic flashback, which, through its particular nature, sheds light on the influence of present conflicts on the reconstruction of the past in three crucial scenes within the story. While the metaleptic properties of the regressions in the first two cases take an exclusive focus with regard to the kind of involvement of the reminis­cing individual within those scenes, in the last scene of remembrance, once the main character has resolved the existential crisis that he has been expe­riencing, the perspective becomes de­ finitively inclusive, a sign of his having reached a reconciliation with his past experiences.

Metalepsis is a term originated in ancient legal discourse and integrated into narrative theory by Gérard Genette to describe crossovers between narrative levels. Since Genette's definition, various typologies of metalepsis have been devised by narratologists and literary scholars. As a narrative tool which challenges the hierarchical organization and violates the boundaries between levels, metalepsis has different effects and functions depending on the contexts in which it occurs. The aim of the study is to determine the typology of the metaleptic uses in TV commercials. Metalepsis is consciously produced in the advertisement and gives it richness in terms of creativity; and the emergence as follows; interaction with voice over and character, the intervention of the voice over to the plot, the intervention of the character to the screen, the intervention of characters in different places, interaction with character and audience, and meta-fiction.

Chapter Nine applies a framework drawn from Gérard Genette’s (1983) notion of “metalepsis” (recently recovered within contemporary animation studies) to explain the behaviour of computer-animated film characters who freely ascend from the fictional world into the surrounding promotional spaces. Although animation has a long tradition of deconstruction and self-reflexive practices, this chapter offers new space to consider how the seamless worlds of computer-animated films can equally be conceptualised according to a deconstructive comedy of metalepsis. This chapter argues that computer-animated film characters are able to abruptly intrude into company logos, corporate signatures, credits sequences and even features of film form. It maps such repeating comic devices onto wider historical developments in studio signification, digitally-assisted logo design and the promotional strategies of contemporary Hollywood cinema. This chapter also affords the specific opportunity to focus on the cycle of feature-length computer-animated films produced by the Dreamworks Animation studio, which exhibit an unprecedented and widely-operational mingling of promotional space with the animated activity of its digital characters.

Que ce soit en tant qu’activité (play) ou qu’objet (game), le jeu vidéo est marqué par la réflexivité : le jeu requiert l’adoption d’une attitude distanciée, métacommunicative, et les œuvres vidéoludiques multiplient les procédés métadiscursifs (métalepses, mises en abyme et autres jeux de miroirs). Cette parenté entre réflexivité et jeu se cristallise tout particulièrement dans la figure de l’avatar : en faisant se rencontrer un joueur empirique et un personnage fictif, ce dernier assure une fonction d’embrayeur. La fréquence des figures réflexives dans les jeux et la centralité du rôle de l’avatar dans ces procédés questionnent la manière dont le jeu vidéo peut construire une narration. En effet, ces figures peuvent être envisagées comme les vecteurs d’une destruction du pouvoir de représentation de l’œuvre, puisqu’elles mettent en pause la construction d’un univers pour faire discourir le jeu sur lui-même. Afin de mettre au jour les mécanismes de ces ruptures des seuils de la fiction et leur fonction dans l’articulation du jeu et de la narration, le présent article analysera ces mécanismes formels dans trois jeux distincts : Portal (Valve Corporation, 2007), The Stanley Parable (Galactic Cafe, 2013) et INSIDE (Playdead, 2016). Whether considered as an activity (play) or as an object (game), video games are marked by reflexivity: playing requires the adoption of a distanciated and metacommunicative attitude, and video games use a plethora of metadiscursive processes (metalepsis, mise en abyme and mirror effect). This connexion between reflexivity and game is particularly clear when considering the avatar: by bringing together an empirical player and a fictional character, it works as a deixis. The frequency of reflexive figures in video games and the avatar’s pivotal role in these processes question the way video games can build a narration. Because they can interrupt the construction of the fictional world in order to generate a discourse on the game itself, these figures could indeed be seen as disrupting the figurative power of the game. In order to shed some light on the mechanisms behind the transgression of the boundaries of the fictional world and their function in articulating the game and the fiction, this paper will analyze these formal mechanisms through three distinct games: Portal (Valve Corporation, 2007), The Stanley Parable (Galactic Cafe, 2013) and INSIDE (Playdead, 2016).