Journal articles: '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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Karoui-Elounelli, Saloua. ""A Novel … invested with a Desperate and Aching Significance": Poetics and Ethics of Fragmentariness in Blue Pastoral by Gilbert Sorrentino." Arizona Quarterly: A Journal of American Literature, Culture, and Theory 80, no. 2 (June 2024): 107–32. http://dx.doi.org/10.1353/arq.2024.a932223.

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Abstract: The potential of radical narrative discontinuity in parodic Postmodern metafiction urges a rethinking of the value of literary meaningfulness and totality in this vein of experimental literature. The poetics of radical narrative discontinuity in Blue Pastoral (1983), induced by a multi-faceted fragmentariness, is discussed as indicative of Postmodern metafiction's experimental drive and its avant-gardist ethos. The focus will be on the play of narrative fissures, as well as on the technique of verbal montage/collage. The articulation of narrative laterality enhances the parodic perversion of the quest plot, in addition to the traditional forms of the pastoral. The ethical implications of the fragmentary in Blue Pastoral and their rootedness in the narrative's anti-representational quality are examined through readerly interpretation and judgment, with the value of literary meaning re-appraised in terms of surface, and the communicative impetus of the metafictional text articulated in terms of both complicity and a demystifying critical distance.

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Manzoor, Fehmida, and Fouzia Rehman Khan. "Identity Formation and Discourse of Power: A Study of Us, Them and Othering in Nervous Conditions." International Journal of English Linguistics 8, no. 4 (April 25, 2018): 262. http://dx.doi.org/10.5539/ijel.v8n4p262.

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This study was designed to trace the deconstruction of authoritative officialized history in fiction through Postmodern Historigraphic Metafiction. Historiographic Metafiction dismantles the metanarrative of official history and raises the voice of silenced subaltern thus generates mininarratives. The study is thus grounded in Postmodern Historiographic Metafictional theory of Linda Hutcheon for investigation of the “subversive strategies” of officialized history and deconstruction of positively accentuated binary of “us” and negatively accentuated binary of “them” in the backdrop of postcolonial literary text Nervous Conditions. Norman Fairclough’s model of Critical Discourse Analysis is taken up as a research method for the analysis of fictionalized historical work under study. Finally, text is analyzed leading to the conclusion of the study. The study shows that fiction unveils the official overriding history and provides new perspectives of untold historical events.

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Díaz Hilton, Adrián. "Los niveles metaficcionales en Pagliacci." Interpretatio. Revista de Hermenéutica 5, no. 2 (August 17, 2020): 207–22. http://dx.doi.org/10.19130/iifl.it.2020.5.2.0013.

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Metafictional levels in Rugiero Leoncavallo’s Pagliacci establish the concept of reality set in dramatic and interpretative functions. This essay aims to explain, throughout a hermeneutic and a semiotic analysis, how metafiction creates a meaningful link between reality and fiction. Here, a hermeneutic theory that relies on the spectator’s, actors’ and the director’s point of view is developed from the concept of verism. The author of the libretto plays around within the planes of reality and fiction to create an enigma that explains the meaning and interpretation phenomenon using a metaplay as a frame liaised by a mise en abyme. It is concluded that metafiction reaches beyond a single structure within another that explains itself, it leaves the margins of reality, fiction and the spectator’s imagination, and they build the oeuvre’s signification.

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Pandeeswari, D., A. Hariharasudan, and Ahdi Hassan. "The pragmatic study of metafiction in Preeti Shenoy’s ‘The Secret Wish List’ and ‘It Happens for A Reason’." Studies in English Language and Education 9, no. 3 (September 15, 2022): 1348–63. http://dx.doi.org/10.24815/siele.v9i3.25544.

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This study aims to spotlight the postmodern tendency of metafiction in Preeti Shenoy’s selected texts. 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. Shenoy is a noteworthy postmodern writer, and her famous novels are ‘The Secret Wish List’ (2012) and ‘It Happens for Reason’ (2014). These two novels exhibit the subject of postmodern metafiction through her writings. In these novels, the protagonists overcome their family doctrines to fulfill their wishes. The method of study adopted the metafiction theories proposed by Mark Currie, Patricia Waugh, and Linda Hutcheon. It highlights Shenoy’s texts that represent the elements of metafiction through the protagonists. Using various theories related to postmodern metafiction, the view of metafiction in the texts is substantiated and explored. The postmodern perspective of metafiction is explored in Shenoy’s texts 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 texts of the two novels by Shenoy. She projects the aspects of metafiction in her works through her writing, especially narration, both fiction and reality.

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Dos Santos, Donizeth Aparecido. "O romance metaficcional de Erico Verissimo." O Eixo e a Roda: Revista de Literatura Brasileira 27, no. 2 (September 27, 2018): 225–46. http://dx.doi.org/10.17851/2358-9787.27.2.225-246.

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Resumo: O artigo apresenta uma abordagem da metaficção presente em alguns livros de Erico Verissimo, concentrando a análise, principalmente, no modo como o escritor desenvolveu a utilização do recurso metaficcional, iniciada em dois contos de Fantoches, passando por Caminhos cruzados até chegar à perfeição alcançada na trilogia O tempo e o vento, cujo final é uma bela metaficção em mise en abyme, duplicação repetida ad infinitum, pois as palavras que iniciam a trilogia são as mesmas que a concluem, de modo que o seu final remete imediatamente ao seu início. O artigo também apresenta uma reflexão sobre as possíveis influências recebidas por Erico Verissimo dos escritores Aldous Huxley e Marcel Proust, para a utilização e desenvolvimento do recurso metaficcional em seus romances.Palavras-chave: Erico Verissimo; romance; metaficção; intertextualidade.Abstract: This article discusses the metafictional aspects in some of Erico Verissimo’s books. Particular emphasis was given to the analysis of the metafiction usage within two short stories in Fantoches, at first, and then in Caminhos cruzados. Finally, and to the fullest effect, within the O tempo e o vento trilogy, whose ending is a perfect example of mise en abyme metafiction; that is, duplication repeated ad infinitum, since the trilogy’s first words are also the last. Thus, the end invokes the beginning. The article also presents a reflection on the possible influence writers such as Aldous Huxley and Marcel Proust could have exerted on Erico Verissimo with regard to the utilization and development of metafiction within his novels.Keywords: Erico Verissimo; novel; metafiction; intertextuality.

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López Alzate, Yasmín. "Metafiction and subjectivity in American Pastoral by Philip Roth." Íkala, Revista de Lenguaje y Cultura 17, no. 3 (November 13, 2012): 273–84. http://dx.doi.org/10.17533/udea.ikala.12435.

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American Pastoral is proposed in this article as consisting of two narrative levels in which the life of the main character is deployed, that is a diegetic level and metadiegetic level. Then, various metafictional resources are analysed, particularly a reorganization of narrative levels. On the basis of the proposed division, the article explores American Pastoral as a novel which, through the use of metafiction, reconstructs and challenges the subjectivity of the main character set out in the diegesis. Based on the metafictional turning point, a parallel is then established between the main character's identity both in the diegesis and in the metadiegesis. To conclude, several implications of such metafictional reframing of subjectivity in American Pastoral are proposed: as a marker of the text construed character, as a major narrative strategy and as an element underlying literature as a form of intersubjective knowledge.

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Amusin, M. F. "Variants of metaprose." Voprosy literatury, no. 4 (September 23, 2022): 95–121. http://dx.doi.org/10.31425/0042-8795-2022-4-95-121.

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The article is concerned with the Russian prose that emerged in the years before the perestroika, in the 1970s — 1980s, and specifically, with authors who showed a clear tendency towards the techniques and structures typical of metafiction: A. Bitov, V. Makanin, A. and B. Strugatsky, and others. According to the author, it is their books that demonstrate a consistent and deliberate employment of metafictional techniques and constructs, where the metafictional nature is manifested as the use of methods that accentuate and simultaneously disrupt the boundary between fiction and real life, as well as the text and an extratextual reality (structures like ‘a story within a story,’ conversations between the author and a character, and the effect that the writing is taking on the author’s life, etc.). Said devices suggest to the reader a possibility of parity between reality and the worlds created by an artistic imagination. Through his analysis of the defining features of the late Soviet metafiction, M. Amusin discovers that the aforementioned writers experimented with metaprose in particular to reach new creative heights, i. e., a more nuanced, genuine and conscious type of prose.

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Andersson, Axel. "Technological Metafiction." Film International 12, no. 2 (June 1, 2014): 76–86. http://dx.doi.org/10.1386/fiin.12.2.76_1.

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Shonkwiler, Alison. "Financial Metafiction." PMLA/Publications of the Modern Language Association of America 138, no. 5 (October 2023): 1212–17. http://dx.doi.org/10.1632/s0030812923001050.

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Burger, W. "Postmodernisme: doelgerig of vrolike fuif? 'n Polisieroman en 'n moorddroom." Literator 15, no. 1 (May 2, 1994): 59–72. http://dx.doi.org/10.4102/lit.v15i1.651.

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The incredulity towards metanarratives in the postmodernist era holds serious implications for historiography. Two "historiographic metafictional novels" (Hutcheon's term), one Flemish and one Afrikaans, are discussed in this article. There is a significant difference in the way these two texts react to ontological doubt. On the one hand there is a celebration of the loss of metanarratives in Het beleg van Laken (Walter van den Broeck). On the other hand this loss is used in a very serious way to undermine existing metanarratives in Kroniek uit die doofpot (John Miles). The joyous humour and celebration in Het beleg van Laken is absent in Kroniek uit die doofpot. It is concluded that some historiographic metafiction frivolously celebrates decentring and the incredulity towards metanarratives. In other historiographic metafiction ontological doubt manifests without humour or celebration and serves to undermine metanarratives. It might he true that the celebration belongs to a late capitalist Western culture whereas it is unsuitable for a developing country.

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Laguarta Bueno, Carmen. "Richard Powers’s Generosity: An Enhancement (2009): Transhumanism, Metafiction and the Ethics of Increasing Human Happiness Levels through Biotechnology." Atlantis. Journal of the Spanish Association for Anglo-American Studies 44, no. 2 (December 23, 2022): 222–38. http://dx.doi.org/10.28914/atlantis-2022-44.2.12.

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This paper analyzes Richard Powers’s Generosity: An Enhancement (2009), a self-reflexive novel in which Powers explores some of the possibilities and challenges of increasing human happiness levels through biotechnology. As this work sets out to show, Powers’s greatest success in the novel may be his choice to adopt certain conventions typical of metafiction to provide a fervent critique of this pressing issue. Drawing mainly from Waugh’s seminal work on metafiction, the present work analyzes how the different metafictional techniques Powers uses in Generosity combine with the transhumanist discourse on the possibilities that biotechnology opens up in order to create a happier population. Ultimately, this article argues that through building a self-reflexive narrative the writer calls the reader’s attention to the constructed character of the transhumanist view of happiness as an engineering problem. Accordingly, he presents an alternative view of happiness as a state of mind that can be achieved by being resilient in the face of our problems and by enjoying the here and now.

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Drąg, Wojciech. "“I’m a I’m a Scholar at the Moment”: The Voice of the Literary Critic in the Works of American Scholar-Metafictionists." American, British and Canadian Studies Journal 26, no. 1 (June 1, 2016): 36–51. http://dx.doi.org/10.1515/abcsj-2016-0003.

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Abstract In her seminal book on metafiction, Patricia Waugh describes this practice as an obliteration of the distinction between “creation” and “criticism.” This article examines the interplay of the “creative” and the “critical” in five American metafictions from the late 1960s, whose authors were both fictional writers and scholars: Donald Barthelme’s Snow White, John Barth’s Lost in the Funhouse, William H. Gass’s Willie Masters’ Lonesome Wife, Robert Coover’s Pricksongs and Descants and Ronald Sukenick’s The Death of the Novel and Other Stories. The article considers the ways in which the voice of the literary critic is incorporated into each work in the form of a self-reflexive commentary. Although the ostensible principle of metafiction is to merge fiction and criticism, most of the self-conscious texts under discussion are shown to adopt a predominantly negative attitude towards the critical voices they embody – by making them sound pompous, pretentious or banal. The article concludes with a claim that the five works do not advocate a rejection of academic criticism but rather insist on its reform. Their dissatisfaction with the prescriptivism of most contemporary literary criticism is compared to Susan Sontag’s arguments in her essay “Against Interpretation.”

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Yang, Ao. "THE THREE MOST DISTINCTIVE FEATURES THAT DEFINE PALE FIRE AS METAFICTION." Social Values and Society 2, no. 1 (June 11, 2020): 17–19. http://dx.doi.org/10.26480/svs.01.2020.17.19.

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Pale Fire is one of the most representative works of Vladimir Vladimirovich Nabokov. It is always seen by the academia as metafiction. Indeed, several features of this novel show that this novel is clearly metafiction. This article tries to analyze the three most distinctive features of Pale Fire, to explain why it is metafiction.

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Yang, Ao. "THE THREE MOST DISTINCTIVE FEATURES THAT DEFINE PALE FIRE AS METAFICTION." Social Values and Society 2, no. 1 (June 11, 2020): 20–22. http://dx.doi.org/10.26480/svs.01.2020.20.22.

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Pale Fire is one of the most representative works of Vladimir Vladimirovich Nabokov. It is always seen by the academia as metafiction. Indeed, several features of this novel show that this novel is clearly metafiction. This article tries to analyze the three most distinctive features of Pale Fire, to explain why it is metafiction.

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Jurayeva, M., and M. Tursunova. "Metafiction and Its Elements in The French Lieutenant’s Woman Novel by John Fowles." Bulletin of Science and Practice 10, no. 4 (April 15, 2024): 678–82. http://dx.doi.org/10.33619/2414-2948/101/87.

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Discusses metafiction, its influence and usage in postmodern literature. In the research the theoretical basis of metafiction and its practical functions are analyzed by bringing examples from The French Lieutenant’s Woman novel by John Fowles. The analysis of the novel assists in the conceptual understanding of metafiction, its effective meaning, structures, the purpose and a widespread application.

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Green, Daniel. "Metafiction and Romance." Studies in American Fiction 19, no. 2 (1991): 229–42. http://dx.doi.org/10.1353/saf.1991.0000.

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Paulson, William R. "Metafiction as Cognition." Contemporary Literature 45, no. 3 (2004): 563–68. http://dx.doi.org/10.1353/cli.2004.0027.

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James, David. "Integrity After Metafiction." Twentieth-Century Literature 57, no. 3-4 (2011): 492–515. http://dx.doi.org/10.1215/0041462x-2011-4006.

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McSweeney, Joyelle. "Rescued by Metafiction." American Book Review 29, no. 3 (2008): 18. http://dx.doi.org/10.1353/abr.2008.0009.

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Gagner, Michel. "A Rocambolesque Metafiction." Obesity Surgery 29, no. 2 (December 15, 2018): 636. http://dx.doi.org/10.1007/s11695-018-03632-3.

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HAMZA REGUIG MOURO, Wassila. "From Feminization of Fiction to Feminine Metafiction in Gaskell’s Wives and Daughters and Woolf’s Orlando." Arab World English Journal For Translation and Literary Studies 4, no. 4 (October 15, 2020): 187–201. http://dx.doi.org/10.24093/awejtls/vol4no4.13.

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Feminism developed and widened its scope to different disciplines such as literature, history, and sociology. It is associated with various other schools and theories like Marxism and poststructuralism, as well. In the field of literature, feminist literary criticism managed to throw away the dust that cumulated on women’s writing and succeeded in raising interest in those forgotten female artists. Some critics in the field of feminism claim that there are no separate spheres, masculine and feminine, whereas others have opted for post-feminist thinking. Some women writers used metafiction to write literary criticism. Therefore, how do Gaskell and Woolf implement metafiction in their stories? Accordingly, this work aims at shedding light on Wives and Daughters by Gaskell and Orlando by Woolf to tackle metafiction from a feminist perspective. Examples from both novels about intertextuality, narration, and other aspects, that are part of metafiction, will be provided to illustrate how and where metafiction is used.

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Zhang, Xinyu. "Þannig er saga okkar“: Um sagnritunarsjálfsögur og skáldsöguna Hundadaga eftir Einar Má Guðmundsson." Íslenskar kvikmyndir 19, no. 2 (October 24, 2019): 249–73. http://dx.doi.org/10.33112/ritid.19.2.10.

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The ambiguity between reality and fiction haunts Einar Már Guðmundsson’s novel Hundadagar (Dog Days, 2015), as it is a fictional narrative about factual, historical figures and events, such as Jörgen Jörgensen, Rev. Jón Steingrímsson, Finnur Magnússon and Guðrún Johnsen, while the same can be said about many other novels labeled as postmodernism. Canadian literary scholar Linda Hutcheon coined the concept of historiographic metafiction to describe fictions as such, which are “intensely self-reflexive”, while “paradoxically lay claim to historical events and personages”. Hutcheon suggests that historiographic metafictions fully illuminate the very way in which postmodernism entangles itself with both the epistemological and ontological status of history. This paper begins with an introduction to Hutcheon’s theoretical contributions on postmodernism, postmodern literature and the relationship between history and fiction, followed by a reading of Hundadagar as a historiographic metafiction. The narrator’s strategies—such as parataxis, metanarrative comments, we-narrative discourse and documentary intertext—largely indicate an imitation, a revelation, or say, a parody of the process of historian’s writings. The paper further suggests that it is the Icelandic financial crisis in 2008 that prompts the narrator to revisit the 18. and 19. century, since the financial crisis takes the role of a rupture of the Enlightenment ideals, leading to disorder and chaos. Moreover, the narrator finds an uncanny similarity between the past and the present, as if the history has been repeating itself. The spectre of history keeps (re)appearing in a deferred temporality. While revisiting the past, the narrator also (re)visits the present in an allegorical way. In a word, as a historiographic metafiction, Einar Már Guðmundsson’s Hundadagar is “fundamentally contradictory, resolutely historical, and inescapably political”, just as Hutcheon’s perception of postmodernism.

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Alden, Natasha. "From the Effective to the Affective: Postmemory in Emma Donoghue’s The Sealed Letter." Contemporary Women's Writing 14, no. 1 (March 2020): 107–24. http://dx.doi.org/10.1093/cww/vpaa017.

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Abstract This article has a dual focus. It demonstrates the recent repoliticization of Linda Hutcheon’s category of historiographic metafiction through the extension of Marianne Hirsch’s concept of postmemory to lesbian novelists, arguing that this theoretical framework offers a lens through which we can understand some recent trends in lesbian historical fiction. Focusing on the novelist and critic Emma Donoghue’s 2008 novel The Sealed Letter, it also argues that this text’s evocation of an imagined lesbian past, and its use of metafictional techniques, are illuminated by reading it as a highly political engagement with lesbian postmemory.

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Chang, Cheng-Ting. "Translating Postmodern Picturebooks: The Incredible Book Eating Boy in Japanese, Traditional Chinese, and Simplified Chinese." International Research in Children's Literature 16, no. 2 (June 2023): 123–39. http://dx.doi.org/10.3366/ircl.2023.0503.

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Metafiction emphasises a text’s fictionality by drawing the reader’s attention to how texts create meaning through numerous textual devices. This paper examines translations of the postmodern picturebook The Incredible Book Eating Boy (2006) by Oliver Jeffers. It compares the original English text to its Japanese, Traditional Chinese, and Simplified Chinese translations across verbal translation, visual and verbal-visual interactions, specifically focusing on metafictive devices. Using Gideon Toury’s model for descriptive translation analysis indicates that socio-cultural contexts influence preliminary norms and are closely related to operational norms applied by both translators and publishing houses.

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Alshammari, Mohammed. "Historiographic Metafiction in The Postmodern Arabic and Latin novel: in Mawt Saġīr and Sāʿī Barīd Nayrūdā." Journal of Umm Al-Qura University for Language Sciences and Literature, no. 28 (August 1, 2021): 519–81. http://dx.doi.org/10.54940/ll30910786.

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This paper discusses the representation of historiographic metafiction in the postmodern Arabic and Latin novel. Linda Hutcheon coined the term of Historiographic metafiction. She claims that the postmodern novel contains selfreflexivity, intertextuality, parody. Although some critics see that the postmodern novel is western, Edward Saeed argues that art is “worldly”; therefore, Hutcheon sees that the postmodern novel may be “worldly”. The researcher relies on Saeed and Hutcheon to argue that the representation of historiographic metafiction may be found in Mawt Saġīr and Sāʿī Barīd Nayrūdā.

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BABAEI, ABDOLRAZAGH, and AMIN TAADOLKHAH. "Portrayal of the American Culture through Metafiction." Journal of Education Culture and Society 4, no. 2 (January 7, 2020): 9–15. http://dx.doi.org/10.15503/jecs20132.9.15.

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Kurt Vonnegut’s position that artists should be treasured as alarm systems and as biological agents of change comes most pertinent in his two great novels. The selected English novels of the past century – Cat’s Cradle (1963), Slaughterhouse Five (1969), and Breakfast of Champions (1973) – connect the world of fiction to the harsh realities of the world via creative metafictional strategies, making literature an alarm coated with the comforting lies ofstorytelling. It is metafi ction that enables Vonnegut to create different understandings of historical events by writing a kind of literature that combines facts and fiction. Defi ned as a kind of narrative that “self-consciously and systematically draws attention to its status as artefact” metafiction stands against the duplicitous “suspension of disbelief” that is simply an imitation and interpretation of presumed realities. As a postmodern mode of writing it opts for an undisguised narration that undermines not only the author’s univocal control over fiction but also challenges the established understanding of the ideas. Multidimensional display of events and thoughts by Vonnegut works in direction of metafiction to give readers a self-conscious awareness of what they read. Hiroshima bombing in 1946 and the destruction of Dresden in Germany by allied forces in World War II are the subjects of the selected novels respectively. In them Vonnegut presents a creative account in the form of playful fictions. The study aims to investigate how the novelist portrayed human mentality of the American culture by telling self-referentialstories that focus on two historical events and some prevailing cultural problems.

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Shi, Jing. "On the Postmodern Narrative Techniques in Slaughterhouse-Five." Theory and Practice in Language Studies 9, no. 5 (May 1, 2019): 553. http://dx.doi.org/10.17507/tpls.0905.09.

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Kurt Vonnegut is admitted as a great master of postmodern writer. Vonnegut’s success is mainly attributed to his unique narrative approaches, various expressive methods and dramatic artistic effects. The application of metafiction is particularly obvious and significant in his novels. Slaughterhouse-Five is one of typical examples of the successful adoption of metafiction. The metafiction of Vonnegut’s style, applied in Slaughterhouse-Five, shows itself in three distinctive approaches—non-linear narrative, collage and parody. Based on postmodern narrative theory, the application of these three distinctive narrative techniques will be analyzed in details in this thesis. The analysis mainly includes the reasons why they are applied in the novel and the functions how they work. The paper is mainly divided into five parts. Relevant information of Vonnegut, postmodern metafiction and previous researches are introduced in the first chapter. After getting better acquainted with basic knowledge, three narrative methods of Vonnegut’s metafiction including non-linear narrative, collage and parody are separately and detailedly analyzed in the following three chapters. Every method applied in the novel deepens the anti-war theme, and then exposes war’s evilness and absurdity further. Finally, the last part is a conclusion which is an emphasis on effects of Vonnegut’s unique narrative techniques.

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Burgos, Fernando. "Rotaciones y traslaciones en la narrativa de Enrique Jaramillo Levi." LETRAS, no. 49 (June 12, 2011): 129–45. http://dx.doi.org/10.15359/rl.1-49.9.

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Este ensayo examina el concepto de metaficción en los cuentos de Enrique Jaramillo Levi. Se comienza por una explicación de los orígenes de la metaficción en la literatura universal así como de su establecimiento más sólido en el contexto de la narrativa moderna de la literatura escrita en lengua española. Se desarrolla luego la aplicación particular de lo metaficticio en la obra cuentística de Jaramillo Levi dejando claramente establecido que en su caso se trata de un estilo posmoderno cuya plasmación difiere del uso encontrado en la modernidad artística hispana. Finalmente en el análisis de un conjunto específico de cuentos del autor panameño se discute la manera como esas particulares técnicas posmodernas demuestran la función plural de lo metaficcional, contribuyendo así a la riqueza estética de la narrativa de Jaramillo Levi y, por ende, de la centroamericana. This essay scrutinizes the concept of metafiction in Enrique Jaramillo Levi’s short stories. The article starts with an explanation regarding the genesis of metafiction in world literature as well as its more solid establishment in the context of modern literature written in Spanish. It continues with the particular uses of metafictional discourse in Jaramillo Levi’s short stories by asserting that in his work there is a clear postmodern use whose literary rendition diverges from the one depicted by the works produced during Spanish artistic modernity. Finally, there is a discussion of specific short stories written by Jaramillo Levi, intended to show how those particular postmodern techniques point to the plural functionality of the metafictional mode, thus contributing to the aesthetic qualities of Jaramillo Levi’s narrative as well as to those of Central American fiction.

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Semenchenko, Yury I. "NEW BOOKS ON METATEXTUALITY." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 6, no. 2 (June 1, 2021): 151–59. http://dx.doi.org/10.18522/2415-8852-2021-2-151-159.

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The review considers recent scholar publications of foreign researchers devoted to the phenomenon of metatextuality, in particular “Metafiction Short Story Writers” (2016) by G. Brand, the chapter “World Building and Metafiction in Contemporary Comic Books” by D. Mellier in the collective monograph “World Building. Transmedia, Fans, Industries” (2017), as well as A. Macrae’s monograph “Discourse deixis in metafiction” (2019). G. Brand’s book presents itself as a kind of compendium of short prose by those authors who, in one way or another, have thematized the creative process. In reviewing the work by D. Mellier, emphasis is laid on the subgenre of meta-comics identified by the scholar. The monograph by A. Macrae can become a solid foundation for a linguistic interpretation both postmodernist metafiction and textual experiments of high modernism (S. Beckett, A. Artaud, T. Bernhard, etc.). The review concludes that research in recent years is helping to fill gaps in the description of narrative and linguistic markers and tools of metatextuality.

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40

Smith, Shirley. "Francesca Duranti and Metafiction." Quaderni d'italianistica 18, no. 1 (April 1, 1997): 101–11. http://dx.doi.org/10.33137/q.i..v18i1.10036.

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Garcia, Anca Andriescu. "Dracula – Hybridity and Metafiction." Acta Universitatis Sapientiae, Philologica 10, no. 1 (October 1, 2018): 53–74. http://dx.doi.org/10.2478/ausp-2018-0004.

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AbstractDue to his supernatural nature, but also to his place of origin, Bram Stoker’s well-known character, Dracula, is the embodiment of Otherness. He is an image of an alterity that refuses a clear definition and a strict geographical or ontological placement and thus becomes terrifying. This refusal has determined critics from across the spectrum to place the novel in various categories from a psychoanalytical novel to a Gothic one, from a class novel to a postcolonial one, yet the discussion is far from being over. My article aims to examine this multitude of interpretations and investigate their possible convergence. It will also explore the ambivalence or even plurivalence of the character who is situated between the limit of life and death, myth and reality, historical character and demon, stereotype and fear of Otherness and attraction to the intriguing stranger, colonized and colonizer, sensationalism and palpable fin-de-siècle desperation, victim and victimizer, host and parasite, etc. In addition, it will investigate the mythical perspective that results from the confrontation between good and evil, which can be interpreted not only in the postcolonial terms mentioned above, but also in terms of the metatextual narrative technique, which converts into a meditation on how history and myth interact. Finally, it will demonstrate that, instead of being a representation of history, Bram Stoker’s novel represents a masterpiece of intergeneric hybridity that combines, among others, elements of history, myth, folktale and historical novel.1

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GUTKIN, LEN. "Muriel Spark’s Camp Metafiction." Contemporary Literature 58, no. 1 (2017): 53–81. http://dx.doi.org/10.3368/cl.58.1.53.

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Levinson, J. "Adaptation, Metafiction, Self-Creation." Genre 40, no. 1-2 (January 1, 2007): 157–80. http://dx.doi.org/10.1215/00166928-40-1-2-157.

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Corsi, Cícero Manzan. "A Metaficção nos Romances Os Irmãos Karamázov, de Dostoiévski, Ulysses, de James Joyce, e Guerra e Paz, de Tolstói." RUS (São Paulo) 3, no. 3 (June 22, 2014): 70. http://dx.doi.org/10.11606/issn.2317-4765.rus.2014.88703.

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Este artigo apresenta uma breve análise sobre os aspectos metaficcionais presentes em três grandes romances da literatura universal: Os Irmãos Karamázov, de Fiódor Dostoiévski, Ulysses, de James Joyce, e Guerra e Paz, de Leon Tolstói. Para realizar tal análise, utilizamos como principais fundamentos teóricos Narcisistic Narrative: The Metafictional Paradox, de Linda Hutcheon, e Metafiction, de Patrícia Waugh. O estudo apresentado consiste em destacar alguns dos elementos metaficcionais dos romances e analisá-los a partir da teoria. Nesse sentido, foram analisados principalmente o narrador da obra de Dostoiévski, a paródia no Ulysses de Joyce e a discussão apresentada por Tolstói no que diz respeito à relação entre a narrativa e a história.

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45

Rahman, Suzan Raheem, Lamiaa Ahmed Rasheed, and Lujain Ismael Mustafa. "The Adaption of Self-Reflexivity and Metafiction Approach to Myth and History in Shashi Tharoor's the Great Indian Novel: A Post-Modernist Study." International Journal of Early Childhood Special Education 12, no. 2 (December 31, 2020): 88–93. http://dx.doi.org/10.9756/int-jecse/v12i2.201059.

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Shashi Tharoor's The Great Indian Novel is an example of a post-modern historiographic metafiction that takes the relationship between reality and fiction into consideration. This novel also depicts the 20th century political past by reviving events, incidents and characters of the myth of Mahabharata. The current paper aims to explain how Tharoor rebuilds the twentieth-century past by drawing on the great Mahabharata classical epic. Additionally, it examines the common relationship between fiction and history as it progressed along and continuous processes through the use of self-reflexivity and metafiction approach. In The Great Indian Novel, Tharoor adapts a metafiction tool which is the most fitting way to tackle this novel as a postmodernist study. Tharoor blends fiction and fact through a self-reflective narrative and the use of several metafiction devices by adapting the myth of Mahabharata to construct the distance between the past and the present. Tharoor takes the ancient myth as the basic structure with contemporary group of political characters for a real and ironic review of recent Indian history and representation.

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Lair Zuconelli Machado da Silva, Fernanda, and Wellington Ricardo Fioruci. "Metaficção historiográfica em “Uma Carta De Bancroft” e “El Libro Perdido De Borges”." IPOTESI – REVISTA DE ESTUDOS LITERÁRIOS 26, no. 2 (December 30, 2022): 54–64. http://dx.doi.org/10.34019/1982-0836.2022.v26.38645.

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O presente artigo propõe uma análise da metaficção historiográfica, desenvolvida na teoria pós-moderna de Linda Hutcheon (1991), nos contos “Uma carta de Bancroft” do escritor brasileiro Milton Hatoum, e “El libro perdido de Borges” do autor argentino Mempo Giardinelli. A metaficção historiográfica não fala apenas da ficção ou de história, mas oferece ao leitor uma nova forma de arte, portanto, a análise apoia-se também nas contribuições de Bernardo (2010), Waugh (1984), Miranda (2010) e Perrone-Moisés (2016). Palavras-chave: Metaficção Historiográfica. Milton Hatoum. Mempo Giardinelli. HISTORIOGRAPHICAL METAFICTION IN “A BANCROFT LETTER’’ AND “EL LIBRO PERDIDO DE BORGES” ABSTRACT: The present paper proposes an analysis of historiographical metafiction, developed in the postmodern theory of Linda Hutcheon (1991), in the short stories "A letter from Bancroft" by the Brazilian writer Milton Hatoum, and "El libro perdido de Borges" by the Argentine author Mempo Giardinelli. Historiographical metafiction does not only talk about fiction or history, but offers the reader a new art form, so the analysis also relies on the contributions of Bernardo (2010), Waugh (1984), Miranda (2010), and Perrone-Moisés (2016). Keywords: Historiographical Metafiction. Milton Hatoum. Mempo Giardinelli.

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Dinkler, Michal Beth. "Narcissus has been with us all along: Ancient stories as narcissistic narratives." Frontiers of Narrative Studies 3, no. 1 (August 8, 2017): 33–49. http://dx.doi.org/10.1515/fns-2017-0003.

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AbstractTaking her cue from Freud’s insistence that narcissism is the “universal original condition” of humanity, Linda Hutcheon argues in her book Narcissistic narrative: The metafictional paradox that narcissism is “the original condition of the novel as a genre” (1984: 8). Such “metafictional” or “self-reflexive” literature is regularly dated to the seventeenth century. However, this essay argues that narrative narcissism has been with us since ancient times, not just since the rise of post/modern novelistic discourse. Narratives from various ages and places, across diverse corpora, draw attention to their own textuality, even if they do so to differing degrees and in different ways. To relegate all considerations of narrative narcissism to overt examples of post/modern “metafiction” is a categorical mistake. Making my case with reference to a wide range of ancient narratives, I argue that narrative narcissism can be a useful, nuanced analytic lens through which to read ancient literature, and that ancient examples of narcissism can nuance our understanding of this narratological concept.

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Žilka, Tibor. "Postmodernism in Slovak Prose." Trimarium 4, no. 4 (December 30, 2023): 164–91. http://dx.doi.org/10.55159/tri.2023.0104.06.

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In the genre of realistic novels, fiction is confined within the boundaries of the real world, yet the author or narrator presents it as reality, as if nothing were fabricated and the entire plot were simply transposed from reality into text. Contemporary authors disclose the processes of their creation, differentiating between what is fabrication, what is fiction, and what is directly incorporated from reality into the text. In postmodern prose, the methods of realism and modernism are interwoven, both integral to the artistic text. In Slovak literature, this phenomenon appears most notably in the works of Pavel Vilikovský and is even more pronounced in the works of Czech-French author Milan Kundera. Often, authors insert themselves into the narrative, particularly in the roles of commentator or by including mini-stories from their own lives into the plot. This is executed through various forms of metafiction. Metafictional techniques, while a hallmark of the postmodern text, are not new; similar elements have appeared in literature in previous centuries but never as extensively as they do now. By the end of the 1990s and into the first decade of the 21st century, Slovak literature witnessed the rise of authors with distinct postmodern prose features, such as Peter Pišťanek, Pavel Vilikovský, Lajos Grendel, Anton Baláž, Viliam Klimáiek, Daniela Kapitáňová, Michal Hvorecký, Pavol Rankov, and others. Metafiction is undoubtedly a defining characteristic of the postmodern text, primarily due to the increased prevalence of these elements compared to the past.

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Gerli, E. Michael. "Metafiction in Spanish Sentimental Romances." Bulletin of Hispanic Studies 66, sup1 (January 1989): 57–63. http://dx.doi.org/10.1080/14753820.1989.11434964.

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Birns, Nicholas. "Beyond Metafiction: Placing John Barth." Arizona Quarterly: A Journal of American Literature, Culture, and Theory 49, no. 2 (1993): 113–36. http://dx.doi.org/10.1353/arq.1993.0012.

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Journal articles on the topic 'Metafiction'

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