441:, the eponymous character and narrator of the novel, foregrounds the process of creating literature as he interrupts his previous thought and begins to talk about the beginnings of books. The scene evokes an explicitly metafictional response to the problem (and by addressing a problem of the novel one is just reading but also a general problem, the excerpt is thus an example of both direct and indirect metafiction, which may additionally be classified as generally media-centred, non-critical metafiction). Through the lack of context to this sudden change of topic (writing a book is not a plot point, nor does this scene take place at the beginning of the novel, where such a scene might be more willingly accepted by the reader) the metafictional reflection is foregrounded. Additionally, the narrator addresses readers directly, thereby confronting readers with the fact that they are reading a constructed text.
544:
file in most video games. Flowey uses their powers to see the world play out differently based on his actions, such as being nice to everyone, and killing everyone. This follows a similar way the player would experience the game, being nice to everyone, and being prepared to murder everyone. However, Flowey stops you, and directly asks you not to restart the game after the "True
Pacifist" route, requesting you let the characters live their life in the best possible way. This presents the player with an indirect choice, to ignore Flowey, or to ignore the game. The game is fully prepared for both of these options, and, if you perform a "Genocide" route by ignoring Flowey and killing everyone, he assists the player in their mass murder, until Flowey is killed as well.
407:. In Cervantesâs Part Two, several of the characters are assumed to have read Part One, and are thus familiar with the history and eccentricities of Don Quixote and Sancho Panza. In particular, an unnamed Duke and Duchess are delighted at meeting the pair they have read about and use their wealth to devise elaborate tricks and practical jokes playing on their knowledge. For example, knowing from Part One that Sancho dreams of becoming governor of a province, they arrange for a sham governorship of a village on their estate. At one later point, Don Quixote visits a printing house where Avellanedaâs book is being printed and the protagonists encounter a character from that book, whom they make swear that the Quixote and Sancho in Avellanedaâs book are imposters.
454:
dragons, sublime virtue and diabolic evil. There was no risk of confusing that sort of thing with life, of course. But as soon as the novel got going, you might pick up a book at any time and read about an ordinary chap called Joe Smith doing just the sort of things you did yourself. Now, I know what you're going to say â you're going to say that the novelist still has to invent a lot. But that's just the point: there've been such a fantastic number of novels written in the past couple of centuries that they've just about exhausted the possibilities of life. So all of us, you see, are really enacting events that have already been written about in some novel or other.
476:(all of this is explicit, critical indirect metafiction). Fourth, he covertly foregrounds the fact that the characters in the novel are fictional characters, rather than masking this aspect, as would be the case in non-metafictional writing. Therefore, this scene features metafictional elements with reference to the medium (the novel), the form of art (literature), a genre (realism), and arguably also lays bare the fictionality of the characters and thus of the novel itself (which could be classified as critical, direct, fiction-centred metafiction).
278:" and a means of mediating knowledge of the world. Thus, literary fiction, which constructs worlds through language, became a model for the construction of 'reality' rather than a reflection of it. Reality itself became regarded as a construct instead of objective truth. Through its formal self-exploration, metafiction thus became the device that explores the question of how human beings construct their experience of the world.
257:. Gass describes the increasing use of metafiction at the time as a result of authors developing a better understanding of the medium. This new understanding of the medium led to a major change in the approach toward fiction. Theoretical issues became more prominent aspects, resulting in increased self-reflexivity and formal uncertainty.
426:âBut now I am talking of beginning a book, and have long had a thing upon my mind to be imparted to the reader, which if not imparted now, can never be imparted to him as long as I live (whereas the COMPARISON may be imparted to him any hour of the day)âI'll just mention it, and begin in good earnest.
335:
Explicit metafiction is identifiable through its use of clear metafictional elements on the surface of a text. It comments on its own artificiality and is quotable. Explicit metafiction is described as a mode of telling. An example would be a narrator explaining the process of creating the story they
453:
Has it ever occurred to you that novelists are using up experience at a dangerous rate? No, I see it hasn't. Well, then, consider that before the novel emerged as the dominant literary form, narrative literature dealt only with the extraordinary or the allegorical â with kings and queens, giants and
372:
While all metafiction somehow deals with the medial quality of fiction or narrative and is thus generally media-centred, in some cases there is an additional focus on the truthfulness or inventiveness (fictionality) of a text, which merits mention as a specific form. The suggestion of a story being
273:
Due to this development, an increasing number of novelists rejected the notion of rendering the world through fiction. The new principle became to create through the medium of language a world that does not reflect the real world. Language was considered an "independent, self-contained system which
39:
that emphasizes its own narrative structure in a way that inherently reminds the audience that they are reading or viewing a fictional work. Metafiction is self-conscious about language, literary form, and story-telling, and works of metafiction directly or indirectly draw attention to their status
543:
has many examples of metafiction, with the largest overall example being how the game uses one of its characters, "Flowey the Flower", to predict how the player will view and interact with the game. Flowey was given the ability to "save/load" the game, like how a player is able to save/load a game
351:
Direct metafiction establishes a reference within the text one is just reading. In contrast to this, indirect metafiction consists in metareferences external to this text, such as reflections on other specific literary works or genres (as in parodies) and general discussions of an aesthetic issue.
281:
Robert
Scholes identifies the time around 1970 as the peak of experimental fiction (of which metafiction is an instrumental part) and names a lack of commercial and critical success as reasons for its subsequent decline. The development toward metafictional writing in postmodernism generated mixed
261:
expands upon Gass' theory and identifies four forms of criticism on fiction, which he refers to as formal, behavioural, structural, and philosophical criticism. Metafiction assimilates these perspectives into the fictional process, putting emphasis on one or more of these aspects.
464:(1965) features several instances of metafiction. First, the speaker, Adam Appleby (the protagonist of the novel) discusses the change the rise of the novel brought upon the literary landscape, specifically with regard to thematic changes that occurred. Second, he talks about the
432:
Of the several ways of beginning a book which is now in practice throughout the known world, I am confident my own way of doing it is the bestâI'm sure it is the most religiousâfor I begin with writing the first sentenceâand trusting to
Almighty God for the
569:
who is hired by a brilliant but enigmatic ex-Scotland Yard man named Daniel
Hawthorne to chronicle Hawthorne's cases. Alongside the mystery plots, Horowitz mixes anecdotes about his own professional and personal life as a TV writer living in London.
265:
These developments were part of a larger movement (arguably a meta referential turn) which, approximately from the 1960s onwards, was the consequence of an increasing social and cultural self-consciousness, stemming from, as
352:
Since there is always a relationship between the text in which indirect metafiction occurs and the referenced external texts or issues, indirect metafiction always impacts the text one is reading, albeit in an indirect way.
403:, which had appeared ten years earlier in 1605 (the two parts are now normally published together). Cervantes produced the sequel partially because of his anger at a spurious Part Two that had appeared in 1614 written by
286:'. Others see the self-consciousness of fictional writing as a way to gain a deeper understanding of the medium and a path that leads to innovation that resulted in the emergence of new forms of literature, such as the
364:
fiction. Non-critical metafiction does not criticize or undermine the artificiality or fictionality of a text and can, for example, be used to "suggest that the story one is reading is authentic".
518:
it can, in this instance, have the opposite effect and is compatible with immersion. It can thus be seen as an example of metafiction that does not (necessarily) break the aesthetic illusion.
343:. It relies more than other forms of metafiction on the reader's ability to recognize these devices to evoke a metafictional reading. Implicit metafiction is described as a mode of showing.
40:
as artifacts. Metafiction is frequently used as a form of parody or a tool to undermine literary conventions and explore the relationship between literature and reality, life, and art.
282:
responses. Some critics argued that it signified the decadence of the novel and an exhaustion of the artistic capabilities of the medium, with some going as far as to call it the '
438:
87:
492:(2001) is set in an alternative history in which it is possible to enter the world of a work of literature through the use of a machine. In the novel, literary detective
339:
Rather than commenting on the text, implicit metafiction foregrounds the medium or its status as an artifact through various, for example disruptive, techniques such as
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and confronts the reader with the fictionality of the text. However, as metalepsis is used as a plot device that has been introduced as part of the world of
834:
68:
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use various techniques as to have the player question the bounds between the fiction of the video game and the reality of them playing the game.
183:
Since the 1980s, contemporary Latino literature has an abundance of self-reflexive, metafictional works, including novels and short stories by
774:
749:
270:
puts it, "a more general cultural interest in the problem of how human beings reflect, construct and mediate their experience in the world."
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1234:
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906:
1041:
Wolf, Werner (2009). "Metareference across Media: The
Concept, its Transmedial Potentials and Problems, Main Forms and Functions".
1028:
Wolf, Werner (2009). "Metareference across Media: The
Concept, its Transmedial Potentials and Problems, Main Forms and Functions".
154:
1182:
The
Metareferential Turn in Contemporary Arts and Media: Forms, Functions, Attempts at Explanation. Studies in Intermediality 5,
360:
Critical metafiction aims to find the artificiality or fictionality of a text in some critical way, which is frequently done in
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novels. Third, he alludes to the notion that the capabilities of literature have been exhausted, and thus to the idea of the
404:
327:
According to Werner Wolf, metafiction can be differentiated into four pairs of forms that can be combined with each other.
303:
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287:
112:
77:
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219:
1032:. Studies in Intermediality 4, eds. Werner Wolf, Katharina Bantleon, and Jeff Thoss. Amsterdam: Rodopi. pp. 37-38.
510:, an implicitly metafictional device when used in literature. Metalepsis has a high inherent potential to disrupt
1045:. Studies in Intermediality 4, eds. Werner Wolf, Katharina Bantleon, and Jeff Thoss. Amsterdam: Rodopi. p. 43.
47:
that developed in the mid-20th century, its use can be traced back to much earlier works of fiction, such as
536:
309:
72:
644:"Translating Carlyle: Ruminating on the Models of Metafiction at the Emergence of an Emersonian Vernacular"
237:
44:
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120:
49:
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Heginbotham, Thomas "The Art of
Artifice: Barth, Barthelme and the metafictional tradition" (2009)
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144:
107:
64:
947:
The
Metareferential Turn in Contemporary Arts and Media: Forms, Functions, Attempts at Explanation
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took a highly metafictional approach to his series of satirical murder mysteries that began with
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Video games also started to draw on concepts of metafiction, particularly with the rise of
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Contemporary
Metafiction â A Poetological Study of Metafiction in English since 1939
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Metareference across Media: Theory and Case Studies. Studies in Intermediality 4,
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Werner Wolf, ed., in collaboration with Katharina Bantleon, and Jeff Thoss.
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Werner Wolf, ed., in collaboration with Katharina Bantleon and Jeff Thoss.
118:
Metafiction became particularly prominent in the 1960s, with works such as
377:
fiction) would be an example of (non-critical) truth-centred metafiction.
835:"The metafictional, liminal, lyrical ways of writer Carmen Maria Machado"
741:
199:
815:
Aldama, Frederick Luis. "All Shades of Brown: Latinx Literature Today".
1168:
1110:
Metafiction and the Postwar Novel: Foes, Ghosts, and Faces in the Water
660:
643:
465:
36:
685:"Janus-Headed Postmodernism: The Opening Lines of Slaughterhouse-Five"
506:. This paradoxical transgression of narrative boundaries is called
1085:
Breaking the Frame: Metalepsis and the Construction of the Subject
1175:
Metafiction â The Theory and Practice of Self-Conscious Fiction,
767:
Permissible narratives : the promise of Latino/a literature
965:
Metafiction â The Theory and Practice of Self-Conscious Fiction
614:
Metafiction â The Theory and Practice of Self-Conscious Fiction
1153:
Levinson, Julie, "Adaptation, Metafiction, Self-Creation,"
862:"Little Book with Big Ambitions: Rita Indiana's "Tentacle""
529:
One contemporary example of metafiction in a video game is
631:. Heidelberg: Carl Winter UniversitÀtsverlag. p. 9.
1087:. Columbus: Ohio State University Press. pp. 2â3.
1003:"The Best New Videogames Are All About ... Videogames"
43:
Although metafiction is most commonly associated with
1148:
A Poetics of Postmodernism: History, Theory, Fiction
1056:
The Life and Opinions of Tristram Shandy, Gentleman
1043:
Metareference across Media: Theory and Case Studies
1030:
Metareference across Media: Theory and Case Studies
413:
The Life and Opinions of Tristram Shandy, Gentleman
88:
The Life and Opinions of Tristram Shandy, Gentleman
986:. Chicago: University of Illinois Press. pp.
979:
930:. Chicago: University of Illinois Press. pp.
923:
890:
1133:Narcissistic Narrative. The Metafictional Paradox
949:. Studies in Intermediality 5. Amsterdam: Rodopi.
565:in 2017. Horowitz casts himself as a modern-day
1072:. London: McGibbon & Kee. pp. 129â130.
451:
417:
249:The term 'metafiction' was coined in 1970 by
8:
138:, "The Babysitter" and "The Magic Poker" by
368:Media-centred and truth- or fiction-centred
797:: CS1 maint: location missing publisher (
732:GONZĂLEZ, CHRISTOPHER (28 December 2015).
555:British mystery novelist and screenwriter
967:. London, New York: Routledge. p. 3.
659:
616:. London, New York: Routledge. p. 2.
69:Chymical Wedding of Christian Rosenkreutz
884:
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605:
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496:chases a criminal through the world of
373:authentic (a device frequently used in
1150:, Routledge, 1988, ISBN 0-415-00705-4.
897:. New York: Alfred A. Knopf. pp.
790:
539:created by Toby Fox and Temmie Chang.
1155:Genre: Forms of Discourse and Culture
7:
810:
808:
190:The Brief Wondrous Life of Oscar Wao
1054:Sterne, Laurence (1759-1767/2003).
1164:University of Illinois Press 1979.
1070:The British Museum Is Falling Down
736:. University of Pittsburgh Press.
461:The British Museum Is Falling Down
447:The British Museum is Falling Down
25:
860:Jones, Ellen (13 December 2018).
683:Jensen, Mikkel (2 January 2016).
642:LaRocca, David (15 August 2017).
1112:, Oxford University Press, 2021.
1001:Muncy, Julie (18 January 2016).
1117:Fiction and the Figures of Life
1058:. London: Penguin. p. 490.
893:Fiction and the Figures of Life
397:published a second part to his
255:Fiction and the Figures of Life
765:GonzĂĄlez, Christopher (2017).
405:Alonso Fernandez de Avellaneda
27:Genre of fiction about fiction
1:
703:10.1080/00144940.2015.1133546
174:Willie Master's Lonesome Wife
155:The French Lieutenant's Woman
274:generates its own 'meanings.
1230:Literature about literature
1162:Fabulation and Metafiction,
866:Los Angeles Review of Books
585:List of metafictional works
113:William Makepeace Thackeray
78:The Cloud Dream of the Nine
1266:
1167:The Metafiction Database.
1157:. Spring 2007, vol. 40: 1.
982:Fabulation and Metafiction
945:Wolf, Werner, ed. (2011).
926:Fabulation and Metafiction
220:Her Body and Other Parties
889:Gass, William H. (1970).
356:Critical and non-critical
301:in the 2010s. Games like
1235:Metafictional techniques
1215:Concepts in epistemology
978:Scholes, Robert (1979).
963:Waugh, Patricia (1984).
922:Scholes, Robert (1979).
612:Waugh, Patricia (1984).
419:It is with LOVE as with
1119:, Alfred A. Knopf, 1970
627:Imhof, RĂŒdiger (1986).
299:independent video games
73:Johann Valentin Andreae
1245:Philosophical theories
1225:Science fiction themes
1210:Concepts in aesthetics
1083:Malina, Debra (2002).
456:
435:
1068:Lodge, David (1965).
388:Don Quixote, Part Two
386:Miguel de Cervantes,
331:Explicit and implicit
288:historiographic novel
238:Lost Children Archive
45:postmodern literature
1101:Currie, Mark (ed.).
817:American Book Review
742:10.2307/j.ctt19705td
310:The Beginner's Guide
215:Carmen Maria Machado
165:The Crying of Lot 49
121:Lost in the Funhouse
50:The Canterbury Tales
429:The thing is this.
395:Miguel de Cervantes
347:Direct and indirect
245:History of the term
210:The People of Paper
205:Salvador Plascencia
145:Slaughterhouse-Five
65:Miguel de Cervantes
1135:, Routledge 1984,
1115:Gass, William H.,
734:Reading Junot Diaz
661:10.3390/rel8080152
562:The Word is Murder
550:The Word is Murder
548:Anthony Horowitz,
512:aesthetic illusion
474:death of the novel
284:death of the novel
1220:Literary concepts
1173:Waugh, Patricia,
1160:Scholes, Robert,
1146:Hutcheon, Linda.
841:. 3 December 2015
776:978-0-8142-1350-6
751:978-0-8229-8124-4
537:role-playing game
411:Laurence Sterne,
16:(Redirected from
1257:
1105:, Longman, 1995.
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