Abstract
This article presents a paradoxical narrative device that is controversially discussed in narratology. Since the introduction of metalepsis into narratology by Gérard Genette in the “Discours du récit” (1972) – “Tous ces jeux manifestent […] l’importance de la limite qu’ils s’ingénient à franchir au mépris de la vraisemblance, et qui est précisément la narration (ou la représentation) elle-même; frontière mouvante mais sacrée entre deux mondes: celui où l’on raconte, celui que l’on raconte”[1] – metalepsis was always modelled vertically. As early as 2005, Sabine Schlickers and Klaus Meyer-Minnemann proposed a horizontal modelling of this narrative device at a Paris conference on the metalepsis. In the following, I would like to take up this proposal once again, present the more recent criticism of this concept and then demonstrate the functioning of horizontal metalepsis using a series of examples from Argentinian literature and the visual arts.
References
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Articles in the same Issue
- Frontmatter
- Articles
- Figures of discourse in prose fiction
- Joseph Conrad’s reluctant raconteurs
- Audience-authored paratexts: legitimation of online discourse about Game of Thrones
- Horizontal metalepsis in narrative fiction
- “Small machines of words”: poetics, phonetics, and mechanisms of narrative realism in late twentieth-century Hip Hop
- Secondary storyworld possible selves: narrative response and cultural (un)predictability
- Explaining the innovation dichotomy: the contexts, contents, conflicts, and compromises of innovation stories
Articles in the same Issue
- Frontmatter
- Articles
- Figures of discourse in prose fiction
- Joseph Conrad’s reluctant raconteurs
- Audience-authored paratexts: legitimation of online discourse about Game of Thrones
- Horizontal metalepsis in narrative fiction
- “Small machines of words”: poetics, phonetics, and mechanisms of narrative realism in late twentieth-century Hip Hop
- Secondary storyworld possible selves: narrative response and cultural (un)predictability
- Explaining the innovation dichotomy: the contexts, contents, conflicts, and compromises of innovation stories