I am a Dek

narrative fiction.1 For my part, reflecting on metalepsis has led me to an extension and a critique of the brief section in Narrative Discourse where Gérard Genette. Metalepsis was first identified and defined by the literary theorist Gérard Genette who wrote within the context of the Structuralist movement. When Gérard Genette coined the term “metalepsis” in the fifth chapter (on. “Voice ”) of his Discours du récit, he defined it as “any intrusion by the extradiegetic.

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Blending and the Study of Narrative: Essai sur la mise en abyme. Theoretical Semiotics on the Web.

There are so many examples of forking-path and metaleptic narratives by now that any recommendations will have to seem arbitrary. Another metapepsis is to regard metalepsis in terms of an overlap between synonymy and homonymy in such a way as not to respect the semantic demarcation between distinct signifiers, resulting in the use of an inappropriate synonym: Essentially, metalepsis functions mtalepsis varying dosages of three parameters: The event-story is interrupted to make room exclusively for narratorial discourse.

Relating n times what happened n times.

Static descriptions fall into this genetre. This is due to the fact that the representation of parallel worlds belonging to the same level entails no transgression between the world of the telling and the world of the told Klimek What’s to prevent my marrying off the master and making him a cuckold?

The narrator addresses the narratee directly that is, the text’s potential reader in order to establish or maintain contact with him or her involvement. To fatten the hog won’t take much bran to my mind: If a character found in this story takes the floor and tells some other narrative, his narrative act will also be on the same intradiegetic level.

This is the traditional “omniscient narrator”. Herman Herman, David A good short text is Robert Coover ‘s The Babysitter Guiding his master to the same place? Her garb was light and short, her pace was quick; 5 To move fast, she wore a brief skirt that day, And flat-heeled shoes were her gendtte.


New York University Press, []. Our dairy woman, thus turned out, Was already thinking hard about The profit from her milk and how she’d use the money: He cannot report the thoughts of other characters.

Metalepsis: de la Figura a la Ficcion by Gérard Genette

Thus, in place of the two main traditional narrative moods, diegesis and mimesisGenette contends that there are simply varying degrees of diegesiswith the narrator either more involved or less involved in the narrative, and leaving less room or more room for the narrative act. Such is the case in horizontal metalepsis of enunciation, studied by Rabau Rabau, Sophie In the present case, we could say that the event-story begins when Perrette starts her trip to market, and it ends in the mocking of the dairy woman as she comes home from her excursion.

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But mention must also be made at this point of the model elaborated by Meyer-Minnemann and Schlickers These kinds of multi-layered narratives have stories within stories, and realities within realities, and metalepsis occurs in the cracks in the borders between these distinct stories and realities. To begin, I will focus on two distinctions that seem essential to me. If the narrator lets signs of his presence appear in the narrative he is recounting, he may acquire a particular status, depending on the way the story is rendered.

To return to our previous example, if the homodiegetic narrator from the main story line intervenes in the metadiegetic story of Marguerite Bourgeois, this would be a case of metalepsis. Leave a Reply Cancel reply Enter your comment here However, the moral he presents is also illustrated with examples in the form of summaries. He draws attention to the proximity for the two rhetoricians of metalepsis and hypotyposis gefard figure in which the copy is treated, illusorily, as though it were the originalbut gerrard to the fact that with metalepsis, the author pretends to intervene in a story which is in fact a representation, so that transgression of the threshold of embedding merges with that of the threshold of representation, affirming the existence of the very boundaries that are effaced.


Affirming the indisputably transmedial quality of metalepsis, Hanebeck, following a different line of reasoning, focuses on how this phenomenon resists the narrative structuration of hermeneutic understanding by denying the logical and pragmatic rules that govern the act of narration. For Genette, then, a narrative cannot in fact imitate reality, no matter how realistic; it is intended to be a fictional act of language arising from a narrative instance.


Emiliano Herrera marked it as to-read May 01, There have also been proposals to refer narrative metalepsis back to metalepsis as use of an inappropriate synonym, notably by Meyer-Minnemann and Schlickers see also Nelles Wagner Wagner, Frank Although my interest in the following pages is mainly in interior metalepsis, I will pause for a moment to consider exterior metalepsis, first to focus on a fact that has not been noted until now, namely that we do not find metalepsis in homodiegetic narratives but only in heterodiegetic narratives.

Should something then happen to restore me to reality, I’m as before, John Clod instead. The expression “Her wish” implies that a character jetalepsis in the narrative act is speaking.

The extent is undetermined as well, because there is no way to know over what time period these predictions extend. There are two factors that can enter into analepsis and prolepsis: