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The transgression of the boundary between narrative levels--metalepsis-- is frequently understood in terms of narrators entering the diegesis, but it can also describe a seeming impossibility: the movement of a character into the author's world. This essay explores the nature and affordances of metalepsis of this latter type--"character metalepsis"--and suggests that it offers a unique sense of what it means to "feel fictional." The feeling of fiction is shown to be closely aligned with paranoia and alienation as characters who seek such passage naturally have a sense of powerlessness and doubts about the source of their consciousness. Drawing on narrative theory and contextualizing metalepsis in Romantic aesthetics, this essay presents a new reading of E. T. A. Hoffmann's quintessential tale of paranoia, "The Sandman" (1816), revealing Hoffmann to have been interested in exploring the feelings of fictional characters--much as he was interested in the feelings of other non-human entities. Under this reading, the essay moves to reconcile the competing views of Freud and Jentsch (who famously disagreed over "Sandman") on the nature of the uncanny. Framed by reflections on the simulation hypothesis and conspiracy theory, the essay suggests that "character metalepsis" provides insight into a wide array of cultural and textual environments. [ABSTRACT FROM AUTHOR]

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This essay traces expressions in which authors or narrators claim to or are said to kill a character, with the key question as to which ideas about storytelling the cases convey and how these ideas resemble or differ across different periods. Examples of the "poeta necans metalepsis" are found in ancient Greek literature all the way to the modern novel; however, they bear a remarkable variety of implications. Already in antiquity, we find a range of positive to outright derisory usages, which are united by the fact that they present killing as a natural and unquestioned task of authors, especially for epic poets. From the Renaissance onwards, the picture changes: Ariosto exposes the idea that a narrator should save rather than slay his characters, and in the past two centuries, narrators reflecting on their qualms about putting a character to death becomes all but the standard case. The essay works with case studies from different eras, with emphasis on early usages in antiquity, which are analyzed according to the principles of diachronic narratology. In this way, the essay sheds light not only on historical concepts of storytelling but also on the motif of death in literature, which, as is argued, is not a negation of life but rather supports and defends it in various ways, for the narrator, the audience, and the characters. [ABSTRACT FROM AUTHOR]

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The author argues that moments of metalepsis, or the crossing of narrative levels, in the works of Czech novelist Franz Kafka reveal an entanglement of only seemingly separate worlds. Topics include the search for proofs by scientists in proving the existence of multiverse, reference to the animal stories of Kafka, and reference to a work by German philosopher Friedrich Wilhelm Nietzsche.

This article considers how contemporary women’s writing manipulates the novel form in order to represent reading and its effects. I propose that specific novels represent a potential permeability of readers – a latent capacity for an ambiguous yet hyperbolic overwhelming or undoing through reading. Focusing on work by Barbara Trapido, a UK-based South African novelist, I argue that such keen effects of reading are represented through transgressions of narrative boundaries, which are in turn tied to acts of reading linked to sexuality and gender. In order to make these arguments, I draw on and develop Michael Lucey’s concept of ‘queer metalepsis’, which involves a blurring of narrative levels that results from modes of queer reading in and of literary texts. In my development of the concept, queer metalepsis not only raises questions of how writing can represent the impacts of reading, but also questions of how – as readers and as literary critics – we approach our own responses to texts. I consider the variously theorised ‘inappropriate’, ‘attached’, ‘bad’, or ‘too close’ acts of reading celebrated in queer literary criticism and query my own attachments to Trapido’s novels throughout my analysis. The article seeks, finally, to emphasise reading as connective, and argue for the value of generous, invested acts of interpretation. [ABSTRACT FROM AUTHOR]

This article presents a paradoxical narrative device that is controversially discussed in narratology. Since the introduction of metalepsis into narratology by Gérard Genette in the "Discours du récit" (1972) – "Tous ces jeux manifestent [...] l'importance de la limite qu'ils s'ingénient à franchir au mépris de la vraisemblance, et qui est précisément la narration (ou la représentation) elle-même; frontière mouvante mais sacrée entre deux mondes: celui où l'on raconte, celui que l'on raconte" "All these games show [...] the importance of the boundary that they try so hard to cross, in defiance of verisimilitude, and which is precisely narration (or representation) itself; a moving but sacred boundary between two worlds: the world in which someone tells, and the world that someone tells" (my translation). – metalepsis was always modelled vertically. As early as 2005, Sabine Schlickers and Klaus Meyer-Minnemann proposed a horizontal modelling of this narrative device at a Paris conference on the metalepsis. In the following, I would like to take up this proposal once again, present the more recent criticism of this concept and then demonstrate the functioning of horizontal metalepsis using a series of examples from Argentinian literature and the visual arts. [ABSTRACT FROM AUTHOR]

While many scholars recognize the echo of Isaiah 52:5 in 1 Timothy 6:1, they limit the meaning of the echo to a warning against unfaithfulness. However, the intertextual significance is deeper than this warning alone. I argue that Paul employs metalepsis to recontextualize the theme of deliverance from Isaiah 52 to give Christian slaves the hope of a future deliverance. Hays and Wagner argue convincingly that Paul recontextualizes Isaiah 52:5 in Romans 2:24 to depict non-Christian Jews as spiritual exiles under the dominion of sin. Through metalepsis, Paul imports the theme of deliverance from Isaiah 52 so that his reproach implied God's promise of Israel's ultimate salvation. I argue that Paul uses metalepsis in a similar way when employing the same verse in 1 Timothy. In 1 Timothy 6:1, Paul uses Isaiah 52:5 to depict enslaved Christians as exiles under the dominion of earthly oppressors. By recontextualizing Isaiah's hope of deliverance from Babylonian exile, Paul's metalepsis serves as a divine promise of Christians' eschatological deliverance at Christ's return. [ABSTRACT FROM AUTHOR]

While many contemporary readings of Matthew 5:13-16 unintentionally relegate this passage and its symbolism of salt and light to the realm of Christian cliché, greater meaning can be found when interpreters recognize Isaiah 42:6 (cf. 49:6, 8) as the primary text behind Jesus's teaching on salt and light in Matthew 5:13-16, which functions as a gateway to bring the larger context of Isaiah 40-66 to bear on the Sermon on the Mount via the literary phenomenon metalepsis. Specifically, when Jesus uses the symbol of salt, he intends to connote the idea of covenant; and when Jesus uses the symbol of light, he uses it after the prophet Isaiah. Ultimately, when Jesus declares his disciples to be salt and light, he alludes to Isaiah 42:6 in order to reveal both the identity and mission of his disciples. That is, his disciples are to be the new covenant people who shine brightly and herald the eschatological reconciliation of all mankind to Yahweh. [ABSTRACT FROM AUTHOR]

Many experts on conspiracy theory reduce the phenomenon to its rational, cognitive dimension. 1Yet the aesthetic dimension and narrative pleasure are obvious in conspiracist discourse, whose rhetoric closely follows the codes of popular fiction. Have we not underestimated the quest to “please”? We postulate a continuity between audiences’ attitudes to fiction and to “conspiracy theories”, which have become relatively indistinguishable in the contemporary context of information overload. Umberto Eco’s work is particularly illuminating in this respect, as it focuses on the indistinguishability of the true and the plausible, and metalepsis as a transgression of the fictional pact. The reception of two of his major “conspiracy” novels, Foucault’s Pendulum and The Prague Cemetery, reveals an emancipation of the metaleptic trope: the novelist, although known for his anti-fascism, finds himself accused of complacency towards anti-Semitism.

“The Tale of Slawkenbergius”, also known as the “Episode of the Nose”, is one of the most recognised and quoted passages from Tristram Shandy (Sterne 1759-1767). This short story from the fourth volume of Sterne’s novel has received a great deal of attention in the specialised bibliography. However, the studies so far published analyse the story as an isolated episode and concentrate mainly on the use of irony, double entendre and puns as a means of alluding to sexual issues (Gallagher 2018; Walsh 2009). The aim of this paper is to study “The Tale of Slawkenbergius” no longer as a humorous representation of the grotesque, but as a metaliterary manifestation of Sterne’s poetics, thus relating the tale to the structure of the novel. The way in which Sterne uses the device of the “strange loop” in this passage to express his subscription to Hogarth’s aesthetics and to Hogarth’s ideas about the “lines of beauty and grace” will be determined. It will also relate the apology for the beauty of a colossal-nosed, disproportionate hero that is established in this episode to the defence of “deformed” art forms, removed from neoclassical aesthetics, that Tristram establishes throughout his narrative.

Bringing together narrative elements, virtual affordances, and participants' embodied interactions, virtual reality (VR) movies instantiate new narrative techniques by offering an immersive experience. This study examines virtual narrative beyond mere interactional engagement and extends the phenomenon to include worlding, metaleptic embodiment, and instantiated possible selves. It aims at exploring VR narrative as idiosyncratic cognitive processes, with a special focus on the notions of empathy and emotional involvement as significant elements contributing to this peculiar interactional and cognitive experience. A cognitive stylistic approach is adopted to explain the functional ability of VR technology in transporting participants to alternate worlds and in making them experience a kind of self-transformation. The immersively metaleptic discourse of Baba Yaga is examined as engaging participants in a quest of how to act as morally and socially empathetic and responsible citizens— global citizens. Baba Yaga narrative deploys the narrative discourses of flashbacks, facework, doubly deictic 'you', performatives, and imperatives along with material processes to situate participants in a virtual space of actions and doings and hence encourage them to configure their desired self(ves) across different immersive interactions. The global citizen is embodied in the interactive narrative of Baba Yaga , through invoking various storyworld possible selves (SPSs): the feeling self, the responsible self, and the moral self, which encompasses climate activist self and interculturally aware self who manages to get rid of its own cultural biases as the narrative proceeds. Embodied in these selves, participants transform the virtual world into possible worlds of their own passion, agency, choices, hopes, and desires. [ABSTRACT FROM AUTHOR]

El presente artículo se plantea como objetivo principal identificar los distintos gestos reflexivos de El prodigio (The Wonder, S. Lelio, 2022) y valorar su función discursiva. Tras un sucinto acercamiento a las manifestaciones y efectos de la reflexividad en el cine en diferentes épocas, presentamos la tipología en la que nos apoyamos para clasificar los elementos reflexivos de la cinta. A la vez, nos detenemos en ciertos conceptos –principalmente mise en abyme y metalepsis– que resultan clave en nuestro desarrollo. A continuación, y recurriendo a las pautas que marca el análisis textual, examinamos los cinco fragmentos de la película que mejor sirven a nuestros propósitos. Concluimos remarcando cómo los motivos reflexivos de El prodigio puntúan la diégesis y contribuyen a explicitar el mensaje último del film centrándonos, especialmente, en la estrategia de seducción con la que se intenta implicar al público y hacerlo partícipe de dicho mensaje.

“The Tale of Slawkenbergius”, also known as the “Episode of the Nose”, is one of the most recognised and quoted passages from Tristram Shandy (Sterne 1759-1767). This short story from the fourth volume of Sterne’s novel has received a great deal of attention in the specialised bibliography. However, the studies so far published analyse the story as an isolated episode and concentrate mainly on the use of irony, double entendre and puns as a means of alluding to sexual issues (Gallagher 2018; Walsh 2009). The aim of this paper is to study “The Tale of Slawkenbergius” no longer as a humorous representation of the grotesque, but as a metaliterary manifestation of Sterne’s poetics, thus relating the tale to the structure of the novel. The way in which Sterne uses the device of the “strange loop” in this passage to express his subscription to Hogarth’s aesthetics and to Hogarth’s ideas about the “lines of beauty and grace” will be determined. It will also relate the apology for the beauty of a colossal-nosed, disproportionate hero that is established in this episode to the defence of “deformed” art forms, removed from neoclassical aesthetics, that Tristram establishes throughout his narrative. [ABSTRACT FROM AUTHOR]

The aim of the essay is to reflect on the way in which over the past decade Houellebecq’s work and Houellebecq public persona have gone through a process of transmedialization. Indeed, his works have expanded beyond the written page in often original ways. At the same time, the author has been the object of transmedia expansions. After describing and commenting upon these two dynamics, in the last part of the essay I will draw a few broader conclusions from the “Houellebecq case” in order to reason about some of the changes that have affected the literary domain in recent years. [ABSTRACT FROM AUTHOR]

Copyright of Área Abierta is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Études de Stylistique Anglaise is the property of Societe de Stylistique Anglaise and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Scholarship has drawn a contrast between modern uses of metalepsis (illogical transgressions of narrative levels), which are frequently assigned comic effects, and their ancient counterparts, which are deemed more serious. This article argues that in the case of authorial metalepsis, a way of expression presenting the narrator as bringing about the effects he describes, the comic potential was already discovered in antiquity. Case studies from Aristophanes, Plato, Horace, Juvenal, Ovid, and Lucian demonstrate how ancient authors use authorial metalepsis to evoke paradoxical scenes of interaction across different levels of representation that support a mocking presentation of other authors. [ABSTRACT FROM AUTHOR]

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This article proposes a study of the ways in which Unamuno conceives the authorship of the nivola and how these are manifested in the different nivolas, particularly in Amor y pedagogía, Niebla, Abel Sánchez and La novela de don Sandalio jugador de ajedrez. As a novelist and theorist of the novel, Unamuno defends shared authorship, which is why, in the nivola, he will employ the necessary narrative strategies to eliminate himself as its author. Among the most recurrent procedures, the fictionalisation of Unamuno by means of three strategies should be highlighted: the use of a fictional entity as the author of the nivola, Unamuno's disidentification by means of, among others, metalepsis, and his discrediting as the author of the nivola within the nivola itself. In parallel, Unamuno, in his ontological dimension, as a philosopher and thinker, fights against the finitude of the human being by means of the procedure we have called Unamuno's "masquerade", which allows him to prevail in his work. This masquerade consists of delegating his discourse to different characters. This process can be carried out in a partial way (which has been described as "simple masquerade") or in a complex way (to which the Unamunian agonists and alter egos correspond). This paper will identify each of the aforementioned strategies in the Unamunian narrative in order to encourage debate on the cohabitation of two a priori opposing ways of understanding authorship. [ABSTRACT FROM AUTHOR]

This article is a sequel to “Struggle over the ages I: Reading Kreutzwald’s “Kalevipoeg” as opposite in meaning to Goethe’s “Faust”” (Parksepp 2023). The pair of articles aims to exemplify how Harold Bloom’s and Paul de Man’s complementary views on rhetoric and tropes help to reveal the differences and similarities between Goethe’s and Kreutz­wald’s masterpieces. The objective of the first article was to describe how, according to the anxiety of influence theory, the limiting tropes of irony, metonymy and metaphor can be used to depict the change in meaning from “Faust” to “Kalevipoeg”, whereas this article shows how the Bloomian recurring tropes of synecdoche, hyperbole and metalepsis define ways in which the Estonian national epic recreates the meaning of Goethe’s grand tragedy. Underneath all the stylistic and genre conventions lies a story of two opposite protagonists with a similar fate. Both Faust and Kalevipoeg commit crimes, although the full tragedy of Gretchen is reduced to a synecdoche: an episode where Kalevipoeg meets an island maiden whose death he causes by accident. Both protagonists get help from the devil or hell, but Mephistopheles’ and Faust’s imaginative paper money finds a hyperbolical counterpart in the later work: Kalevipoeg defeats the devil and brings real treasures out from the underworld. However, a Bloomian metaleptic reversal of history occurs in the final episodes of both works. The salvation of Faust raises questions; one could argue that it is an example of Aristotle’s deus ex machina method, where the fate of Faust’s soul does not follow from the plot. By comparison, the final scene of “Kalevipoeg” seems more logical. Although the deceased national hero is briefly cheered in heaven, he is still sent to hell as a gatekeeper. Even on a white horse his disabled body is a gruesome reminder of his blood guilt. His wrongdoings and evil deeds are not forgotten as in “Faust”, where the protagonist is saved from hell due to his eternal drive. Even the prophetic final lines of “Kalevipoeg” include a warning taboo: with the return of the mighty Estonian hero, evil will also be set free. Therefore, on a rhetorical level, it can be argued that the end of “Kalevipoeg” is more refined and fulfils the Bloomian trope-reversing trope of metalepsis. Rhetorically, the ending of “Kalevipoeg” can be read as an original to the closing scene of “Faust”, where the interrogation of good and evil (the hero and the devil bound together at hell’s gate) is replaced with an idea of good always prevailing over evil (an all-powerful heaven with Mater Gloriosa just waiting for Faust). Of course, this is only one point of view, but it shows how Bloomian ideas can be used methodically to analyse great works of literature. It also raises the objectively unanswerable question of why great works of literature survive over the ages.

El presente artículo propone un estudio sobre las formas en las que Unamuno concibe la autoría de la nivola y sobre cómo éstas se manifiestan en las distintas nivolas, particularmente en Amor y pedagogía, Niebla, Abel Sánchez y La novela de don Sandalio jugador de ajedrez. Como novelista y teórico de la novela, Unamuno defiende la autoría compartida por lo que, en la nivola, empleará las estrategias narrativas necesarias para eliminarse como autor de la misma. De entre los procedimientos más recurrentes, cabe destacar la ficcionalización de Unamuno mediante tres estrategias: el empleo de una entidad ficcional como autor de la nivola, la desidentificación unamuniana mediante, entre otros, la metalepsis, y su desacreditación como autor de la nivola en el interior de la misma. En paralelo, Unamuno, en su dimensión ontológica, como filósofo y pensador, lucha contra la finitud del ser humano mediante el procedimiento al que hemos denominado «la mascarada» de Unamuno, que le permite prevaler en su obra. Esta mascarada consiste en la delegación de su discurso a diferentes personajes. Proceso que puede llevarse a cabo de forma parcial (lo cual se ha calificado de «máscara simple») o de forma compleja (a la que corresponden los agonistas y los alter egos unamunianos). Con este trabajo se identificarán cada una de las estrategias mencionadas en la narrativa unamuniana con el fin de fomentar el debate sobre la cohabitación de dos formas de entender la autoría, a priori opuestas entre sí.

This article analyses the writing of the novel Le Vin de solitude, the autobiographical dimension of which is highlighted by the process of transposition used by the author, from the drafts to the final text. A study of Némirovsky’s work diaries, held by the IMEC, sheds light on the biographical aspects of the novel. The pre-text, the text and the intertexts thus form a highly complex network through which the novelist explores the difficulties of a childhood deprived of maternal love.

This introduction to Studies in Comics (SiC) 14.2 signposts the themes covered by the articles, interviews and reviews therein. It summarizes how our first trio of articles address the politics and consequences of conflict, with a particular focus on depictions of space and place and how these speak to – or can challenge – existing hierarchies. It then discusses our second grouping of articles, highlighting the ways that these represent the potential of academic study to bring fresh eyes to old questions, as our contributors use comics to revisit or rearticulate key debates, such as defining metalepsis, exploring the Derridean archive, or teaching literacy. It stresses the wide breadth of both texts and approaches that appear within this issue, which covers many types of comics (graphic novel, small press, educational); multiple methodologies (applied analysis, theoretical discussion, empirical study); and represents contributors and content from diverse locations (including Austria, Belgium, France, India, Indonesia, Japan, Spain, United Kingdom and United States). [ABSTRACT FROM AUTHOR]

Metalepsis in Michel Houellebecq's novel discourse The present article inspects the exploitation of the narrative figure of authorial metalepsis in chosen novels by Michel Houellebecq (1956), the world acclaimed contemporary French novelist. We argue that via abundant metaleptical trangressions, the author attempts at renarrativisation of the postmodern novel, wherein the use of metalepsis significantly contributes to playful, poetic and polyphonic nature of the author's novelistic discourse. Furthermore, we argue that the transgressive metaleptical nature of Houellebecq's discourse represents a salient tool for the reader to acquire both individual introspection and knowledge of the epistemological nature of the contemporary world. [ABSTRACT FROM AUTHOR]

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The aim of this paper is to investigate the literary and televisual production of Carlo Lucarelli, highlighting in particular how his works interweave actual and fictional events at different levels. On one side, we will analyse the way through which the Italian criminal history and crime news enter in his novels and Tv series, taking into special account the fictional worlds of Inspector Coliandro, Inspector Grazia Negro and Police Commissioner De Luca. On the other, we will focus on how Lucarelli employs the conventions of the true crime docudrama in order to narrate and fictionalise criminal events that actually happened. This transmedia approach highlights a peculiar feature of Lucarelli’s crime fiction, that is a particular use of metalepses: the author exploits his own ‘figure’ to break the limit between realty and fiction.

This paper has the dual purpose of outlining the case history related to paralepsis in literary texts, highlighting the different possibilities of application and the narrative effects that derive in any case towards a transgressive fantastic alteration, and of trying to update the referential system drawn by Genette in 1972. For that, we will draw on some postulates and principles of linguistics and cognitive narratology, applying them to two specific stories by Michele Mari, Josef K. and Lamento del guerriero, when we will show how unexpected informations offered by a particular character (bottom-up vertical paralepsis and internal horizontal paralepsis) produce metaleptic shifts that dis-locate and re-locate the reading around different attractors that transgress the fictional logic (Remorini 2023).

En este artículo se propone un análisis desde la ecocrítica y la (eco)narratología de la novela gráfica Follaje (2019), de Álvaro Vélez, en conexión con el concepto de ecofobia, que engloba los miedos humanos suscitados por la naturaleza en todas sus formas. En la formulación original que hace Simon C. Estok de este concepto, la ecofobia se asocia con los discursos de la higiene y los productos de aseo personal, las políticas públicas de saneamiento y control de plagas, o la humanización de las mascotas en los entornos urbanos, actitudes que en sus extremos más críticos pueden derivar en comportamientos segregacionistas como la xenofobia, el sexismo o la homofobia. Estok propone esta categoría como una clave de lectura crítica de producciones culturales que alientan este tipo de actitudes. La historieta de Álvaro Vélez, en cambio, propone una narrativa fantástica en torno a un mundo en el que la vegetación y la naturaleza salvaje han triunfado sobre las creaciones humanas depredadoras del medio ambiente, desde la perspectiva de un personaje que ve este triunfo como algo negativo. Esta inversión en la valoración de la ecofobia constituye una vertiente irónica que la convierte en una herramienta crítica aún más poderosa, dotándola de una dimensión metacrítica frente al propio discurso de las humanidades ambientales.

Copyright of Akofena is the property of Universite Felix Houphouet Boigny and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article surveys scholarly work on intertextual connections between Luke-Acts and Israel's Scriptures, focusing on those works that interpret the literary and theological payoff of quotations, allusions, and echoes in Luke's Doppelwerk. After reviewing major contributors to NT intertextuality generally, this survey focuses on those works that narrow in on Luke-Acts, organized into two groups: eclectic works, that study Luke's allusion to many sources; and narrow-focused works, that study Luke's allusions to one book (e.g., Isaiah) or one corpus (e.g., Psalms). This organization and a concluding summary will help scholars see what remains to be explored in Lukan intertextuality. [ABSTRACT FROM AUTHOR]

Cece Bell released her autobiographical comic El Deafo (2014) in print and digital versions, transposing herself into the anthropomorphic rabbit Cece, who speaks of her hearing loss experience at four after having contracted meningitis. Young Cece wears a hearing aid on her long rabbit ears, showing her animal, human, and technological hybrid body to others. Nevertheless, she assumes the identity of the superhero “El Deafo,” her alter-ego, to cope with her daily challenges in a community composed mostly of hearing individuals, first as an escape to her imaginary world and later for accepting her identity as deaf. This paper aims to analyse El Deafo as an autobiographical comic, considering the representation of deafness through an unstable hybrid body and a transgression of the narrative levels based on the notion of metalepsis, drawn by Genette, Kukkonen, and Ryan in various media.

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Cece Bell released her autobiographical comic El Deafo (2014) in print and digital versions, transposing herself into the anthropomorphic rabbit Cece, who speaks of her hearing loss experience at four after having contracted meningitis. Young Cece wears a hearing aid on her long rabbit ears, showing her animal, human, and technological hybrid body to others. Nevertheless, she assumes the identity of the superhero "El Deafo," her alter-ego, to cope with her daily challenges in a community composed mostly of hearing individuals, first as an escape to her imaginary world and later for accepting her identity as deaf. This paper aims to analyse El Deafo as an autobiographical comic, considering the representation of deafness through an unstable hybrid body and a transgression of the narrative levels based on the notion of metalepsis, drawn by Genette, Kukkonen, and Ryan in various media. [ABSTRACT FROM AUTHOR]

Copyright of Prace Filologiczne. Literaturoznawstwo is the property of University of Warsaw and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Prace Filologiczne. Literaturoznawstwo is the property of University of Warsaw and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of this study is to discuss Murakami Haruki's novel Killing Commandatore (Kishidanchō Goroshi) in terms of transtextuality and analyze the allusions and intertextual references in Murakami's narrative. This study argues Murakami's novel Killing Commendatore adopting Gennette's framework of transtextuality and his theory of metalepsis as well as utilizing the term "mise en abyme" which was characterized by André Gide. Killing Commendatore has considerable amount of intertextual relationships with Mozart's opera Don Giovanni, Fitzgereald's novel The Great Gatsby, Carrol's novel Alice in Wonderland and Akinari's story Fate over Two Generations and these intertextual bonds add complexity to the literary work while blurring the borderline with fiction and reality. The Commendatore in Don Giovanni Opera reveals itself in metadiegetic level both in the novel and the painting in the novel, creating metalleptic effect and this leads to the violation of the narrative boundaries. [ABSTRACT FROM AUTHOR]

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.

This article looks at second-person metalepsis in two texts from Spanish-American literature: it proposes the study of some cases where the narrator addresses the character in Mario Vargas Llosa's El Paraíso en la otra esquina and also examines the narrator's apostrophe to the reader in Jorge Luis Borges' La Biblioteca de Babel. These examples of particularly transgressive and often surprising 'ascending metalepsis' and 'descending metalepsis' finally allow for a reflection on the time of the story, of the narrative and of the reader's actualisation of the text.

The Acts of Paul have received the most diverse and contradictory interpretations. Do the ActPl intend to promote the veneration of Paul or a particular theology? Do they offer transparent fiction or do they claim factuality? Are they a collection of oral traditions or a designed literary construction? From the perspective of cultural memory theory, however, the key question is rather how the text allows the reader to participate in a community-generating past. In this view, the opposites turn out to be complementary aspects of an integrative textual strategy. This becomes manifest especially in the technique of metaleptic narration, which transcends the boundary between the world of the text and the reader, between past and present. [ABSTRACT FROM AUTHOR]

This article turns to digital productions of AIDS drama during the COVID-19 pandemic--staging William Finn and James Lapine's musical Falsettos and Tony Kushner's Angels in America--to consider alternative forms of relationality in a time when the collective experience of performance has been impeded by the closure of theaters and safety measures such as social distancing. Presenting--making present--the AIDS crisis, the cross-temporal dialogues facilitated by these productions reconfigure viewers' affective relations and responses to both past and present pandemics. Attuning viewers to queer rhythms, the temporal disorientation experienced during the COVID-19 pandemic can become a source of solidarity. Two case studies exemplify what an aesthetics of social distance might look like: By suggesting relations across time as well as the screen, actors, characters, and viewers are brought together despite their temporal and physical distance. Such metaleptic encounters compensate for the lost contact during a performance with a feeling of presence and presentness. [ABSTRACT FROM AUTHOR]

Parade by Erik Satie, Jean Cocteau, and Pablo Picasso created in 1917 was proclaimed the first surrealistic ballet, the cubist manifesto and succès de scandale. The article aims to examine the intermedial relations between the media that constitute the oeuvre regarding Werner Wolf's typology of intermediality. The context of the analysis is provided by avant-garde movements that emerged in arts at the turn of the 20th century and determined the phenomena occurring within particular media. As a result, in the transmedial dimension, the impact of metalepsis can be observed. It leads to the disturbance in the narrative structure arising from the assumptions in a ballet scenario. [ABSTRACT FROM AUTHOR]