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Chapter 6. Framing the narrative

The “fictive publisher” as a bridge builder between intra- and extratextual world
  • Natalia Igl
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Experiencing Fictional Worlds
This chapter is in the book Experiencing Fictional Worlds

Abstract

Drawing on cognitive linguistic and narratological conceptualisations of “frames” and “framing” (notably Quendler 2008, 2010) and taking up Grishakova’s (2009: 188) notion of frames as “a link between the ‘real-life’ and ‘fictional’ experience”, this chapter aims to elucidate the phenomenon of paratextual framing and in particular the “fictive publisher” frame as a transitional device that can blend fictional storyworlds and extratextual “reality” and thus act as a bridge between the text and the reader. In the context of fantastic literature, this potential of blending can be seen working at its best. By means of an analysis of the multilayered “fictive publisher” frame in the definitive edition of Adelbert von Chamisso’s fantastic Romantic novella The Wonderful History of Peter Schlemihl, the chapter examines the inherent ontological and perspectival ambivalence and shifting capacity of the “fictive publisher” frame. In the course of this, it sheds light on the dynamics of distance and proximity created by the paratextual frame and – in the case of the specific arrangement in Chamisso’s definitive edition – the utilisation of framing strategies and familiarity to appeal to re-readers.

Abstract

Drawing on cognitive linguistic and narratological conceptualisations of “frames” and “framing” (notably Quendler 2008, 2010) and taking up Grishakova’s (2009: 188) notion of frames as “a link between the ‘real-life’ and ‘fictional’ experience”, this chapter aims to elucidate the phenomenon of paratextual framing and in particular the “fictive publisher” frame as a transitional device that can blend fictional storyworlds and extratextual “reality” and thus act as a bridge between the text and the reader. In the context of fantastic literature, this potential of blending can be seen working at its best. By means of an analysis of the multilayered “fictive publisher” frame in the definitive edition of Adelbert von Chamisso’s fantastic Romantic novella The Wonderful History of Peter Schlemihl, the chapter examines the inherent ontological and perspectival ambivalence and shifting capacity of the “fictive publisher” frame. In the course of this, it sheds light on the dynamics of distance and proximity created by the paratextual frame and – in the case of the specific arrangement in Chamisso’s definitive edition – the utilisation of framing strategies and familiarity to appeal to re-readers.

Chapters in this book

  1. Prelim pages i
  2. Table of contents v
  3. List of contributors vii
  4. Preface xi
  5. Acknowledgments xiii
  6. Chapter 1. Introduction 1
  7. Part 1. Foundations of fictional worlds
  8. Chapter 2. Immersion and emergence in children’s literature 15
  9. Chapter 3. A predictive coding approach to Text World Theory 33
  10. Chapter 4. World-building as cognitive feedback loop 53
  11. Part 2. Forming fictional worlds
  12. Chapter 5. Experiencing horrible worlds 75
  13. Chapter 6. Framing the narrative 97
  14. Chapter 7. Constructing inferiority through comic characterisation 119
  15. Chapter 8. Cognitive grammar and reconstrual 135
  16. Part 3. Fictional worlds in context
  17. Chapter 9. Immersive reading and the unnatural text-worlds of “Dead Fish” 157
  18. Chapter 10. Experiencing literature in the poetry classroom 177
  19. Chapter 11. Sharing fiction 199
  20. Chapter 12. Afterword 219
  21. Subject index 225
https://doi.org/10.1075/lal.32.06igl

Chapters in this book

  1. Prelim pages i
  2. Table of contents v
  3. List of contributors vii
  4. Preface xi
  5. Acknowledgments xiii
  6. Chapter 1. Introduction 1
  7. Part 1. Foundations of fictional worlds
  8. Chapter 2. Immersion and emergence in children’s literature 15
  9. Chapter 3. A predictive coding approach to Text World Theory 33
  10. Chapter 4. World-building as cognitive feedback loop 53
  11. Part 2. Forming fictional worlds
  12. Chapter 5. Experiencing horrible worlds 75
  13. Chapter 6. Framing the narrative 97
  14. Chapter 7. Constructing inferiority through comic characterisation 119
  15. Chapter 8. Cognitive grammar and reconstrual 135
  16. Part 3. Fictional worlds in context
  17. Chapter 9. Immersive reading and the unnatural text-worlds of “Dead Fish” 157
  18. Chapter 10. Experiencing literature in the poetry classroom 177
  19. Chapter 11. Sharing fiction 199
  20. Chapter 12. Afterword 219
  21. Subject index 225
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