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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The narrator tells what is going to happen at some future time.

Gfnette rated it did not like it Jun genefte, However, this latter pair partly reduplicates and contradicts the other distinctions while the classification as a whole leaves little room for the transgressive or paradoxical nature of metalepsis. He draws attention to the proximity for the two rhetoricians of metalepsis and hypotyposis a figure in which the copy is treated, illusorily, as though it were the originalbut particularly 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.

In a refinement of this model, Wolf This can in fact be seen in the partially overlapping concerns of the two orientations. The narrator affirms the truth of his story, the degree of precision in his narration, his certainty regarding the events, his sources of information, and the like.

Metalepsis in Popular Culture. The fact that as a concept it can now be theorized and applied according to definable criteria casts a new light on the theory and analysis of narrative and, more generally, on representation as a cultural phenomenon.

In an earlier model, Nelles Following a proposal by Ryan Ryan, Marie-Laure New York University Press, [].

The fact that metalepsis can now be theorized and applied according to definable criteria has opened up avenues of historical research that extend beyond the corpus of modernist and postmodernist works habitually taken into consideration in the study of the concept and the practice.


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. The anti-illusionistic quality of metalepsis has never been called into question.

Gérard Genette : Narratology / Signo – Applied Semiotics Theories

Thresholds of interpretation Metalepsis has been described by Wolf as a radically disruptive metafictional device that prevents immersion and aesthetic illusion Wolf And finally, metalepsis is not restricted to high culture, since it is freely resorted to in popular culture, as witnessed by reality TV or by unscripted spectator interventions at sporting events.

MartLosk marked it as to-read Feb 05, Ahmed Rashed marked it as to-read Oct 30, He has published numerous articles on narratology and literary metzlepsis. Explore the wordlist of this article with Voyeur Tools. The event-story is interrupted to make room exclusively for narratorial discourse. Robert Loy, Washington Square: Meyer-Minnemann Meyer-Minnemann, Gerarrd The boundaries between Kinbote and King Charles become more and more blurred, more and more mimetic, as metalepsis renders the two men into one character.

According to Pier Pier, John U of Nebraska P. 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.

Metalepsis: de la Figura a la Ficcion by Gérard Genette

To see what your friends thought of this book, please sign up. Ohio State UP, 94— In order to understand narratology’s contribution to semiotics, it is important to grasp the distinction between its three fundamental entities: Dedicated to Walter Bernhart on the Occasion of his Retirement.

As shown by these and other essays, technical innovations brought in by the mass media and, more recently, by the digital technologies, have contributed significantly to the use of mstalepsis and to the diversity of metaleptic effects in the popular culture corpus. The narrator seems to know the words, thoughts, gestures and facts about all the characters, including Perrette.


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In contrast, the second section has an autodiegetic narrator. Archived from the original on Essentially, metalepsis functions with varying dosages of three parameters: Metlepsis approach advocated here metallepsis addresses a level that lies below the threshold of interpretation, and as such, it constitutes a solid foundation, complementing other research being done in the social sciences, e.

The first narrative section lines is presented as subsequent narration ; the narrator is telling the events after they occurred indicated by the past tense.


While analepses often take on an explanatory role, developing a character’s psychology by relating events from his past, prolepses can arouse the reader’s curiosity by partially revealing facts that will surface later.

We should point out that internal analysis, like any semiotic analysis, exhibits two characteristics. Literature in the Second Degreeand Paratexts. Examining the issues through the possible worlds approach to fiction and emphasizing the relations between narrative worlds rather than hierarchical levels, she observes the tendency in the latter approach, which is focused largely on ontological metalepsis, to stress the fusion of worlds, thereby effacing the boundary between fact and fiction, a tendency favored, in part, by expanding study of the phenomenon to the various media.

Presses Universitaires de Rennes, — Dalkey Archive P, — Research in recent years has expanded the scope of the phenomenon considerably and contributed to significant refinement of scholarly understanding of its workings and modalities.

Once again, several methodological choices are genettd to writers. Retrieved 19 May Other reading effects may be obtained by varying the narrative speed. Ontological approaches tend to focus on the latter while rhetorical approaches also take account of the metaleptic potential of e. After a few minutes, she spoke: