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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To take only a few illustrations: Various reading effects result from shifts in narrative level, traditionally known as embedding. Essai sur la mise en abyme. Then the last section lines reveals the narrator’s present impressions of the past story. Anachronies can have several functions in a narrative.

Gefard Accessed 20 Oct. 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.

Narrative Levels and Embedded Narratives.

Metalepsis – Wikipedia

Eine Grundlegung der Literaturwissenschaft. I call interior all metalepsis that occurs between two levels of the same story—that is to say, between a primary and secondary story, or between a secondary and tertiary story e. Recent research has taken a somewhat different view of the rhetorical heritage of narrative metalepsis.


Metalepsis is a way of playing with variations in narrative level in order to create an effect of displacement or illusion. He talks in the third person and he is absent from the story he is telling. Lines are a nice example of prolepsis.

We must first determine where the main story begins and ends in order to identify the anachronies. McHale McHale, Brian Besides the narrative function, name two functions metale;sis by the narrator. He cannot report the thoughts of other characters. This website uses cookies to ensure you get the best experience on our website.

To begin, I will focus on two distinctions that seem essential to me. Expanding the Boundaries of Transgression.

Exterior Metalepsis

If an author passes quickly over a particular fact, lingers over it, or omits it entirely, there is certainly reason to ask why he made these textual choices. Emtalepsis Herrera marked it as to-read May 01, Nelles Nelles, William A Discussion of the Baptismal Question. Picrochole, Dairy Woman, Pyrrhus, all dream lies. Project MUSE Mission Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide.

These relations operate within four analytical categories: 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. Follow Blog via Email Enter your email address to follow this blog and receive notifications of new posts by email. In film, a frequently referenced forking-path narrative is Peter Howitt’s Sliding Doors The reach of the analepsis is very short, since the event occurred almost immediately before the beginning of the event-story.


This is the most common temporal position. Hofstadter examines various manifestations of this paradox in modern mathematics and science, even providing a recursive dialogue —26 that illustrates the problem of metalepsis, although the term appears nowhere in the book.


Is he distant from or involved in his narrative? 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.

This mixing of temporal order yields a more gripping, complex plot. The narrator tells what is going to happen at some future time. In lieu of an abstract, here is a brief excerpt of the content: This page was last edited on 13 Decemberat Finally, these movements pertain both in external metalepsis between the extradiegetic and the intradiegetic levels and metaoepsis internal metalepsis occurring between two levels within the story itself; cf.