Metalepsis - the living handbook of narratology
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چکیده
[2] In its narratological sense, metalepsis, first identified by Genette, is a paradoxical contamination between the world of the telling and the world of the told: “any intrusion by the extradiegetic narrator or narratee into the diegetic universe (or by diegetic characters into a metadiegetic universe, etc.), or the inverse [...]” ([1972] 1980: 234–35). Described as “taking hold of (telling) by changing level” (235 n. 51) and thus combining the principle of narrative levels (→ Narrative Levels) with the rhetorical figure of metalepsis originating in ancient legal discourse, narrative metalepsis is a “deliberate transgression of the threshold of embedding” resulting in “intrusions [that] disturb, to say the least, the distinction between levels.” It produces an effect of “humor” or of “the fantastic” or “some mixture of the two [...], unless it functions as a figure of the creative imagination [...]” (Genette [1983] 1988: 88). Genette (2004) also argues that not only is metalepsis a violation of the separation between syntactically defined levels, but also a deviant referential operation, a violation of semantic thresholds of representation that involves the beholder in an ontological transgression of universes and points toward a theory of fiction (→ Fictional vs. Factual Narration).
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