Relevant bibliographies by topics / Metafiction

Academic literature on the topic 'Metafiction'

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Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Metafiction"

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Ravshanovna, Khikmatova Nargiza. "BIOGRAPHICAL TRUTH THROUGH THE PRISM OF METAFICTIONAL REPRESENTATION IN IAN WATSON’S CHEKHOV’S JOURNEY." International Journal Of Literature And Languages 4, no. 3 (March 1, 2024): 46–56. http://dx.doi.org/10.37547/ijll/volume04issue03-08.

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This study aims to spotlight the postmodern tendency of metafiction in Ian Watson’s novel “Chekhov's Journey”. Metafiction is self-conscious in relation to language, literary form, and storytelling in fiction. This form of fiction accentuates its construct and reminds the readers to be aware of a fictional work. Ian Watson is a noteworthy science-fiction writer, and his famous novelsare ‘The Embedding’ (1973) and ‘The Jonah Kit’ (1975), which brought him prestigious awards, while in this study we will focus on his metafictional work ‘Chekhov’s Journey’. This novel exhibits the subject of postmodern metafiction. In this novel, a modern-day actor uses hypnosis to simulate Anton Chekhov's 1890 journey through Siberia. The method of study adopted the metafiction theories proposed by Patricia Waugh and Linda Hutcheon. It highlights Ian Watson’s texts that represent the elements of metafiction through the protagonists. Using various theories related to postmodern metafiction, the view of metafiction in the work is substantiated and explored. The postmodern perspective of metafiction is explored in Ian Watson’s text and analyzed with metafiction theories. The study results are compared and discussed with other studies and contemporary texts concerning metafiction. The findings show that metafiction is applicable in the given work of Ian Watson. He projects the aspects of metafiction in his work through his writing, especially narration, both fiction and reality.
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Amer Jubouri Al-ogaili, Thamer, Manimangai Mani, Hardev Kaur, and Mohammad Ewan Bin Awang. "Narrative Metafiction in Jaishree Misra’s Ancient Promises, Tanushree Podder’s Escape from Harem, and Ashwin Sanghi’s The Krishna Key." Advances in Language and Literary Studies 8, no. 6 (December 25, 2017): 159. http://dx.doi.org/10.7575/aiac.alls.v.8n.6p.159.

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This article focuses on the representations of metafiction in Jaishree Misra’s Ancient Promises(2000), Tanushree Podder’s Escape from Harem (2013), and Ashwin Sanghi’s The Krishna Key(2012). More specifically, the article will tackle metafiction in these works from a narrative point of view. The study will generally deal with metafiction as self-reflexive genre dealing with narrative devices, including the work’s comments on itself as a work of fiction. In this respect, the study is going to approach the narrative elements of the selected works to examine the effect of metafiction in the context of the selected works and how they provide the reader with their complex narrative fabric. Therefore, three main metafictional devices are going to be utilized in the study i.e., the self-reflective devices, the mimetic devices, and the narrative devices. These devices will be elaborated in the light of Patricia Waugh’s metafictional arguments. Consequently, a narrative conceptual framework will be followed to analyze the selected works’ plots.
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Ivanauskaitė, Jurgita. "Historiographic Metafiction: Structural Adaptation of Linda Hutcheon’s Theory as Strategy for Understanding the Poetics of the Historical Novel." Colloquia 35 (December 28, 2015): 13–33. http://dx.doi.org/10.51554/col.2015.29030.

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The author of this article discusses theoretical approaches for analyzing the contemporary historical novel. The goal of the article is to present Canadian author Linda Hutcheon’s theory of historiographic metafiction as a tool suitable for the interpretation of discursive poetics in the postmodern, as well as the modern, historical novel. Ivanauskaitė reviews Hutcheon’s interpretation of the postmodern historical novel, and then argues that this theory is an instrument that can be adapted to the study of various other types of contemporary historical prose. The article explores connections between literary and historical inter/para-texts.Grounding the concept of historiographic metafiction in the principle of the independence (or coexistence) of literature and history allows attention to be focused on the literary aspect of historiographic metafiction – to analyze it as representation of historical and all cultural reality, and to identify its meanings by highlighting literary forms of expression. An example of this could be the metafictional poetics of irony and parody – their exclusive position and role in the rewriting (altering) of historical and literary representations.While the concept of historiographic metafiction is fundamentally grounded in Hutcheon’s theory, its narrative content is open. The author of this article demonstrates that it can be complemented (expanded) by using, for example, the analytical methods of Gérard Genette and other narrative theorists to examine the genres and cultural articulation of different historical novels. Innovative structural adaptation of this theory is therefore possible. Moreover, the historiographic metafictional approach makes it possible to construct (create) concrete comparative methods for studying contemporary historical novels. She comes to the conclusion that, as a distinct theoretical approach for examining the contemporary historical novel (or other genres of historical prose), historiographic metafiction consists of three strata: the intranarrative, the paranarrative, and the discursive. To illustrate this, she presents an analysis of Herkus Kunčius’s novel Nepasigalėti Dušanskio (Don’t Pity Dušanskis).
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Tykhomyrova, Olena. "Metafiction in contemporary English-language prose: Narrative and stylistic aspects." Lege Artis 3, no. 1 (June 1, 2018): 363–416. http://dx.doi.org/10.2478/lart-2018-0010.

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Abstract This paper focuses on metafictional narrative strategies characteristic of contemporary English-language fiction. The research reveals the variety and stylistic peculiarities of these strategies, as well as specifies the definition of metafiction with regard to its liminal status and self-reflexivity. Narrative metalepsis, specific framing and plot arrangements, metafictional commentary, and other techniques have been analyzed resorting to numerous examples.
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Lederer, Susan Hendler, and Toni A. Abruzzino. "We Are in a Book : Using Metafictive Picture Books to Facilitate Emergent Literacy Goals." Perspectives of the ASHA Special Interest Groups 5, no. 5 (October 23, 2020): 1120–30. http://dx.doi.org/10.1044/2020_persp-20-00074.

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Purpose Literature-based intervention is used to facilitate both early language and emergent literacy goals, which supports success in later reading and writing. Best practices in choosing picture books to facilitate specific goals are limited, but one line of research asserts that different genres align with different goals. However, metafiction is one genre that is yet to be explored as a context for facilitating emergent literacy goals. Metafiction uses a variety of devices to draw attention to itself as an artifact providing unique learning opportunities. The purposes of this clinical focus article are to (a) introduce the different devices authors use in metafictive writing, (b) correlate individual devices with specific foundational literacy goals targeted in therapy (i.e., oral language, phonological awareness, print awareness, and alphabet knowledge), and (c) provide a sample session. A variety of metafictive picture books will be offered to illustrate these connections. Conclusion Metafictive picture books provide a rich context for facilitating emergent literacy goals because of the specific devices authors use in these texts.
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Nóbrega, Caio Antônio, and Genilda Azerêdo. "“Dearest Reader, It’s Up to You”: Articulating the Theory of Aesthetic Response and Metafiction in Ian McEwan’s Sweet Tooth." Aletria: Revista de Estudos de Literatura 29, no. 4 (December 19, 2019): 141–64. http://dx.doi.org/10.17851/2317-2096.29.4.141-164.

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In this paper, we aim at discussing the figure of the reader and the reading processes in Ian McEwan’s novel Sweet Tooth. To do so, we propose an articulation between the theoretical discourses on metafiction and the theory of aesthetic response. Drawing from theoretical frameworks elaborated mainly by Iser (1972, 1978, 1989, 2006) – regarding the theory of aesthetic response – and by Hutcheon (1980, 2000) and Waugh (1984) – regarding metafiction – we understand parody and mise en abyme as two metafictional procedures that constitute the structure of the implied reader. In this sense, if these metafictional creative strategies make the reading activity more complex, they also function as guiding systems to the reader, allowing him to pursue answers to the enigmas articulated within the novel. Parody and mise en abyme, for McEwan, are powerful tools in what we might perceive as a project to develop more proficient readers.
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Chernyak, Maria A., and Marine A. Sargsyan. "METAFICTIONAL STRATEGIES IN MODERN PROSE." Вестник Пермского университета. Российская и зарубежная филология 12, no. 2 (2020): 130–38. http://dx.doi.org/10.17072/2073-6681-2020-2-130-138.

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With the advent and development of the theory of metafiction, the range of works that can be referred to this phenomenon is constantly expanding, with the deepest origins of metafiction being found in the history of novel as a genre. Modern Russian metafiction, developing in the context of literary centrism rebooting and new practices being created, is widely represented in different strata of modern Russian literature: in elite literature (Pushkin House by A. Bitov, t by V. Pelevin, Blue Fat by V. Sorokin, etc.), in fiction (Happiness Is Possible by O. Zayonchkovsky, Quality of Life by A. Slapovsky, Medvedki by M. Galina, Self- Taught by A. Utkin, etc.), in mass literature (Stylist by A. Marinina, Boys and Girls by E. Kolina, Point of No Return by P. Dashkova, etc.). The article analyzes different metafictional strategies in modern prose. The process of creating literary text is found to be one of the crosscutting subjects of modern metafiction. This is primarily connected with the writers’ desire to capture and reflect the complex and contradictory strategies of writing in the 21st century. The article considers different manifestations of metafictional strategy, such as: ‘triple literary matryoshka’ (Literary Slave: Weekdays and Holidays by N. Sokolovskaya), the theme of translation and mystification (Interlinear Translation by E. Chizhov and Stylist by A. Marinina), the author’s reflection (Adaptor by A. Slapovsky), ‘novel about a writer’ (Happiness is Possible by O. Zayonchkovsky), text created in collaboration with the new type of the reader (Arbeit. The Wide Canvas by E. Popova). All the analyzed texts raise questions about the changing role of the writer and the reader in the modern world and about the new relations between the writer and the publisher.
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Vatazhko, Elvira. "THE CONCEPTS OF ‘METATEXTUALITY’ AND ‘METAFICTION’ IN LITERARY CRITICISM." Слово і Час, no. 2 (March 25, 2021): 100–109. http://dx.doi.org/10.33608/0236-1477.2021.02.100-109.

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Undoubtedly, the second half of the 20th century and the early 21st century are notable for the extensive artistic experiment, including metatextual and metafictional phenomena. Such scholars as Gérard Genette, Anna Wierzbicka, Patricia Waugh, Linda Hutcheon, Robert Sholes, and many others focused on the mentioned issues in their research work. Therefore, this paper considers metatextuality and metafiction in the theoretical perspective tracing the origins of metatextuality and its connections with postmodern literature. The terms ‘metatext’ and ‘metafiction’ appeared as rather close in time. Notably, both of them are based on the discursive practices of the late 20th century. However, the term ‘metatext’ originated in the scholarly practice of structuralism. It is obvious that ‘metatext’ was constructed by analogy with the concept of ‘metalanguage’. Either of them does not exist without the initial text (or language). Metatextual elements are important for analyzing styles, genres, types of expression, discursive functions, and more. On the other hand, the term ‘metafiction’ has an obvious connection with genre studies. Metafiction qualifies as a special kind of literary text that became characteristic of the postmodern era. Such features as self-referentiality of artistic expression, introspection, and self-consciousness became essential for postmodern aesthetics. Metatextuality relates to the narrative theory and metacritiсism, while metafictionality is applicable within the intertextual analysis. Thus, the paper highlights an advance of metadiscourse in the cultural consciousness of the late 20th century.
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Bokhtache, Fatima Zahra Aissa, and Hala Abu Taleb. "Historiographic Metafiction: A Study of Susan Abulhawa’s The Blue Between Sky and Water." Theory and Practice in Language Studies 14, no. 1 (January 1, 2024): 265–72. http://dx.doi.org/10.17507/tpls.1401.31.

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This article aims to show the application of historiographic metafiction in Susan Abulhawa’s The Blue Between Sky and Water (2016), highlighting the embodiment of historiographic metafictional characteristics in rewriting Palestinian history, exactly the Nakba (1948). Since Linda Hutcheon calls for revision of the past in order to rewrite history, Abulhawa’s work has granted her a place among postmodern literary authors since she does so. Such an aesthetic and resisting act aims at acknowledging falsity and prejudice practiced by both ends responsible of historical documentation: the winner and the looser. This study argues that metafictional techniques allow the author to re-visit the Nakba (1948), re-present the events and eventually allow readers to re-pen history. Simultaneously, the novel’s historiographic metafictional characteristics will be underscored including challenging one historical truth, blending history and fiction, using self-reflexive narration, narrating through an openly controlling narrator, and importing real and famous historical and political personalities. The findings show that historiographic metafiction is applicable in Abulhawa’s novel. Interestingly, this paper demonstrates how the author enlarges her scope of writing, by adding postmodern dimension to the political and historical issues she depicts.
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Henry, Richard, and Mark Currie. "Metafiction." World Literature Today 70, no. 4 (1996): 1039. http://dx.doi.org/10.2307/40152546.

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Dissertations / Theses on the topic "Metafiction"

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Boehm, Beth Ann. "A rhetoric of metafiction." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1258655494.

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Sabey, Mark Brian. "Ethical Metafiction in Dickens's Christmas Hauntings." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/4045.

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Many critics have examined metanarrative aspects of Dickens's writing, and many have studied Dickens's ethics. None, however, has yet assessed the ways in which Dickens's directly interrogates the ethics of fiction. Surprisingly philosophical treatments of the ethics of fiction take place in A Christmas Carol and A House to Let, both of which turn the ghost story of the traditional winter's tale to metafictional purposes. No one has yet dealt with Dickens's own meta-commentary on the ethics of fiction with the degree of philosophical nuance it deserves. Writings about the ethics of Dickens's fiction (and of fiction generally) often involves a simplistic separation of the real and the fictional: the text is ethical inasmuch as it effects positive change in the "real world." Yet Dickens constantly blurs the line between the real and the fictional. He adopts a somewhat Kantian stance, namely that both the real and the fictional are fundamentally imagined. Dickens reflexively makes the ghosts in A Christmas Carol embodiments of the fictional imagination, seen most explicitly in the Ghost of Christmas Past, who is closely associated with the narrator, with imagination, with memory, and with fiction. The other two spirits also personify aspects of the fictional imagination: that of Christmas Present embodies social imaginings; the Ghost of Christmas Yet to Come embodies intentions. Dickens shows that these imagined realities are crucial parts of the real, proving that fiction cannot be defined as that which is merely "imagined." How, then, is "fiction" to be defined? Dickens's answer anticipates Levinas: the ethical encounter determines the real as real; its absence is what defines fiction. A House to Let is also strongly Levinasian: its very structure makes it a parable of the ethical relation. The plot centers on Sophonisba's "haunting" by an eye seen in the supposedly uninhabited house to let opposite. This "eye" and its effect are described in terms that equate it with the Levinasian "face," or the foundational ethical reality that precedes and conditions all discourse. Sophonisba reacts to this haunting by enlisting her closest male companions, Jarber and Trottle, to investigate the house. These two characters come to symbolize different general comportments by their reactions. The text unfavorably represents Jarber's primarily narrative orientation, and approves Trottle's response, which disrupts narrative self-satisfaction in favor of real-world intervention in behalf of the Other. There is a productive friction, then, between the metafictional message of A Christmas Carol (looking back to Kant and emphasizing fiction's positive effects) and that of A House to Let (looking forward to Levinas and emphasizing fiction's ethical dangers), evidencing Dickens's complex awareness of both narrative and pre-narrative levels of ethical reality.
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Pomeroy, Barry S. "Historiographic metafiction or lying with the truth." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ57515.pdf.

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Cowell, Lauren. "Against the monotonous surge : Patrick White's metafiction." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61949.

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Murray, Paul Leonard. "The historiographic metafiction of Etienne van Heerden." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/53120.

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Thesis (MA)--Stellenbosch University, 2002.
ENGLISH ABSTRACT: This thesis investigates the possibility that there are other ways in which to represent the past, not just the traditional way as practised by historians. For instance, other forms such as historical fiction in the historical novel, and therefore, narrative, can act as an important conduit for conveying historical meaning. Through the examination of the historiographic metafiction of the South African writer, Etienne Van Heerden, this study has concluded that through a reading of both the author's belletristic and theoretical texts, readers interested in history and literature will gain some understanding of the problems that come with writing up the past. At the same time, they will gain some knowledge of a different way of writing about South African history, because the author portrays the historical events in a refreshing, vivid and imaginative way. However, it needs to be said from the outset that in no way is the writer of this thesis neglecting the merits of traditional history or advocating its abolition, which is, ultimately, the scientific way of representing the past and remains sacred and paramount for the historian, both amateur and professional.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die moontlikheid dat die verlede volgens ander sienswyses voorgestel kan word en nie slegs volgens die tradisionele sienswyses van historici nie. Daar is byvoorbeeld ander vorme, soos historiese fiksie wat in historiese novelles gebruik word, en daarom kan die narratief as 'n belangrike kanaal dien om historiese betekenis mee oor te dra. Deur 'n ondersoek van die historiese metafiksie van die Suid-Afrikaanse skrywer, Etienne van Heerden, kom hierdie studie tot die gevolgtrekking dat deur die lees van beide die skrywer se belletristiese en teoretiese tekste, lesers wat in die geskiedenis en literatuur belangstel, 'n begrip sal kry van die problematiek wat gepaard gaan met die skryf van geskiedenis. Terselfdertyd sal hulle 'n begrip kry van 'n alternatiewe skryf van die Suid-Afrikaanse geskiedenis, omdat die skrywer historiese gegewens in 'n verfrissende, helder en verbeeldingryke wyse oordra. Dit moet egter beklemtoon word dat die skrywer van hierdie tesis geensins die meriete van tradisionele geskiedskrywing negeer of die afskaffing daarvan voorstaan nie, aangesien die wetenskaplike voorstelling van die verlede kosbaar en van kardinale belang vir beide amateur en professionele historici bly.
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Shepherd, David. "Beyond metafiction : self-consciousness in Soviet literature /." Oxford [GB] : Clarendon press, 1992. http://catalogue.bnf.fr/ark:/12148/cb35688877g.

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Harrison, Pauline Cecelia. "Textual play and authority in postmodernist metafiction." Thesis, Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21161562.

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Sibthorpe, Nathan L. "The effect of embodied metafiction in contemporary performance." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/121498/1/Nathan_Sibthorpe_Thesis.pdf.

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This study seeks to define a particular sub-genre of contemporary performance where self-awareness is a significant factor in the audience's experience. Exemplified in the development of a new performance work ('Spectate'), the term 'embodied metafiction' is proposed as a way of understanding the effect of highlighting an audience's presence and participation in the theatrical experience. Principles of 'embodied metafiction' are observed through 'Spectate' to demonstrate how an audience can be stimulated to experience a more vivid sense of the immediate present when their bodies and minds are positioned as part of a complex web of meaning.
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Mandricardo, Alice <1982&gt. "The end of history in English historiographic metafiction." Doctoral thesis, Università Ca' Foscari Venezia, 2011. http://hdl.handle.net/10579/1121.

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The main task in this thesis is to define the relationship between the philosophical concept of “the end of history” and postmodernist understanding and critique of history in English “historiographic metafiction”. I consider the end of history both as an important feature of postmodern culture and a suitable topic through which contemporary fiction can be analysed. I refer to Alexandre Kojève’s reading of Hegelian dialectics and to Francis Fukuyama’s optimistic interpretation of the end of history in order to introduce the philosophical debate on the end of history and explain the context within which postmodern novelists write. The novelists I examine jettison the end of history thesis as a metanarrative and produce critical histories through postmodernist modes of representation. I dwell particularly on twelve novels and their different ways to represent history and its end.
L’obiettivo principale di questa tesi è definire il rapporto tra il concetto filosofico di “fine della storia” e il modo in cui la storia e la sua fine possono essere interpretate nella “historiographic metafiction” inglese. Considero la fine della storia sia come un aspetto caratteristico della cultura postmoderna sia come un valido argomento per analizzare la narrativa contemporanea. Prendo in esame la lettura della dialettica hegeliana da parte di Alexandre Kojève e l’interpretazione ottimistica della fine della storia di Francis Fukuyama al fine di introdurre il dibattito filosofico sulla fine della storia e di spiegare il contesto in cui scrivono gli scrittori postmoderni. Gli scrittori a cui ho rivolto la mia attenzione respingono la tesi della fine della storia e producono delle riscritture critiche della storia attraverso tecniche di rappresentazione postmoderne. Mi soffermo in particolare su dodici romanzi e sul loro modo di raccontare la storia e la sua fine.
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Steward, Richard Paul. "Invention and metafiction : the later works of Malcolm Lowry." Thesis, Queen Mary, University of London, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309925.

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Books on the topic "Metafiction"

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1962-, Currie Mark, ed. Metafiction. London: New York, 1995.

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Jaén, Didier Tisdel. Borges' esoteric library: Metaphysics to metafiction. Lanham: University Press of America, 1992.

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Heilmann, Ann, and Mark Llewellyn, eds. Metafiction and Metahistory in Contemporary Women’s Writing. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230206281.

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Ann, Heilmann, and Llewellyn Mark 1979-, eds. Metafiction and metahistory in contemporary women's writing. Basingstoke [England]: Palgrave, 2007.

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Bernd, Engler, and Müller Kurt 1943-, eds. Historiographic metafiction in modern American and Canadian literature. Paderborn: F. Schöningh, 1994.

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Kušnír, Jaroslav. American fiction: modernism-postmodernism, popular culture, and metafiction. Stuttgart: Ibidem, 2005.

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Frazier, Whit. Robert Johnson's Freewheeling Jazz Funeral: An Antinovel. New York, USA: Strawberrry Press Magazine, 2016.

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Waugh, Patricia. Metafiction: The theory and practice of self-conscious fiction. London: Routledge, 1988.

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Pennee, Donna. Moral metafiction: Counterdiscourse in the novels of Timothy Findley. Toronto, Ont: ECW Press, 1991.

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Wallace, Kim. Constructing identities: History and metafiction in Irish novels 1980-1999. Liverpool: University of Liverpool, 2000.

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Book chapters on the topic "Metafiction"

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del Pont, Xavier Marcó. "Metafiction." In The Routledge Companion to Twenty-First Century Literary Fiction, 80–88. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Routledge companions to literature series: Routledge, 2019. http://dx.doi.org/10.4324/9781315880235-8.

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Schlick, Yaël. "Art about Art." In Metafiction, 16–43. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003180951-2.

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Schlick, Yaël. "Introduction." In Metafiction, 1–15. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003180951-1.

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Schlick, Yaël. "Autofiction." In Metafiction, 123–45. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003180951-6.

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Schlick, Yaël. "Historiographic Metafiction." In Metafiction, 93–122. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003180951-5.

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Schlick, Yaël. "Glossary." In Metafiction, 146–50. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003180951-7.

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Schlick, Yaël. "Rethinking the Author and Activating the Reader in Metafiction." In Metafiction, 44–69. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003180951-3.

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Schlick, Yaël. "Ludic Metafiction." In Metafiction, 70–92. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003180951-4.

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Księżopolska, Irena. "Inverting metafiction." In Ian McEwan, 58–79. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781032649474-3.

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Silva-Díaz, Maria Cecilia. "Picturebooks and metafiction." In The Routledge Companion to Picturebooks, 69–80. Milton Park, Abingdon, Oxon : New York : Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315722986-8.

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Conference papers on the topic "Metafiction"

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Dai, Hongbin, and Yini Huang. "Metafiction and Postmodernism." In 7th International Conference on Education, Management, Information and Mechanical Engineering (EMIM 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/emim-17.2017.13.

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Wang, Yuxia. "Textual Introspective Deconstruction of Metafiction to Interpret Postmodern Phenomenon." In 2021 2nd International Conference on Modern Education Management, Innovation and Entrepreneurship and Social Science (MEMIESS 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210728.024.

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3

Heitkemper-Yates, Michael. "Toward a Semiotics of Metafiction Narrative, Narration, and Postmodern Parody." In Annual International Conference on Language, Literature & Linguistics. Global Science & Technology Forum (GSTF), 2012. http://dx.doi.org/10.5176/2251-3566_l31261.

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4

Rasiah, Rasiah, Akhmad Marhadi, La Bilu, and Elisabeth Ngestirosa. "Historical Metafiction and the Quest for Black Self-Authority in Laurence Hill’s Novel “Someone Knows My Name”." In The Paris Conference on Arts and Humanities 2023. The International Academic Forum(IAFOR), 2023. http://dx.doi.org/10.22492/issn.2758-0970.2023.18.

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