Gerard Genette

In Narrative Structure in Comics: Making Sense of Fragments, Barbara Postema uses the notion of the gap to explain how comics create meaning. As texts that combine words and images, comics rely on the verbal register to communicate meaning, but they also use images in a number of different ways, many of which are based on leaving out information, forcing readers to fill in the blanks. By foregrounding the narrative qualities of comics, Postema demonstrates the ways in which comics are structured at every level of communication—image, panel, sequence, narration—to guide the reader to assemble the narrative from fragments. Besides advancing a new understanding of the structure of meaning in comics, this work’s exploration into the form of comics integrates two traditionally separate approaches to the study of comics, namely, the semiotics of the Franco-Belgian school of visual culture and comics studies, and the practice-based comics theory advanced by American cartoonists Will Eisner and Scott McCloud. It combines these traditions to advance a novel analytical framework and a vocabulary to study the form, an approach that is demonstrated through a series of readings of contemporary North-American comics.

Fictional transmedia universes have been the objects of communication research throughout the last ten years. There has been such a proliferation of these universes that it can be argued that a ‘transmedia turn’ has occurred in research on the narratives of the early 21st century. This has generated interest in avant la lettre transmedia universes, i.e., not only those universes created after The Matrix and The Blair Witch Project, but even those created after The Wizard of Oz and The Lone Ranger. In parallel, the phenomenon has shed new light on the theoretical bases of transmediality. This article argues that this transmedia turn has been the cause of the revitalization of the Genettian concept of paratext, an intertextual modality found in the fuzzy threshold that exists between the diegetic and non-diegetic worlds, between products and by-products, between monomedia and transmedia, between ownership and creative freedom, and between content and promotional material. This article describes and compares the modulations suffered by paratextuality through the authors who have resumed and extended the reach of the Genettian term, and illustrates them with examples taken from official paratexts of recent transmedia fictional franchises.

Nel saggio “Formalisme et Langage Poétique” uscito nell’estate del 1976 su "Comparative Literature" e incluso come capitolo di Mimologiques. Voyage en Cratilie, pubblicato da Seuil nello stesso anno, Gérard Genette esamina alcuni concetti cardine del formalismo russo sul linguaggio poetico, con particolare riguardo alle posizioni di Roman Jakobson. In queste pagine Genette affronta e decostruisce la nozione jakobsoniana di funzione poetica mostrandone l’ambivalenza teorica in instabile equilibrio fra convenzionalismo linguistico e insistiti richiami alla motivazione del segno, con una decisa predominanza della seconda. Degno di attenzione è inoltre l’uso, sia pur parco, di voci quali assiologia, valore, valorizzazione. Qui infatti andrà a parare il discorso di Genette, che non mostrerà certo di compiere sconfinamenti in territori alieni alla teoria,storia e critica letteraria, e purtuttavia esprimerà perplessità e interrogativi che scandagliano in profondità – ma con discreta nonchalance filosofica – non soltanto la portata etica e ideologica delle vicende della poetica novecentesca bensì anche le intricatissime e robuste radici e inflorescenze della valorizzazione del medesimo, della tendenza, cioè, ricorrente lungo i secoli nella riflessione letteraria, retorica, linguistica – e nella storia del pensiero tout court – ad annullare la distanza fra segno e oggetto, tra forma e realtà, del desiderio insomma di schiacciare la relazione in confusiva indistinta identità.

In the Cratylus, Socrates discusses with Cratylus and Hermogenes the question of whether names are merely arbitrary or in some sense 'right,' that is, motivated by the nature of the things they designate. In this article, I examine Heidegger's controversial project of unearthing archē Greek terms in the specifi c light of the Cratylus and the tradition of "Cratylisms" which it has fostered. Having demonstrated the underlying Cratylist tendencies behind Heidegger's conviction in the inherent 'appropriateness' of many Greek keywords, I point out some of the problems posed by this closet Cratylism for Heidegger's conception of primordial language as well as his critique of the correspondence theory of truth.

Det sägs att Bibeln är världens mest lästa och spridda bok, och inom ramen för dess pärmar framstår Psaltaren som en av de mer tongivande rösterna. Martin Luther (1545) föreslår till exempel i en inledning till hans översättning av Psaltaren att Psaltaren skulle kunna ses som ”en liten bibel … för att den som inte kan läsa hela bibeln ändå här skall få nästan hela innehållet i en liten bok”. Citatet kan sägas belysa två viktiga aspekter av Psaltarens beskaffenhet. För det första har Psaltaren, som utgörs av ett antal självständiga kompositioner (psalmer), kanoniserats och förmedlats till vår tid i vad som kan betraktas som en sammanhållen form – en bok. För det andra innehåller Psaltaren, trots denna tydliga ram, ett inte självklart entydigt innehåll. Snarare är det så att det här återfinns en mångfald av röster från antika trosgemenskapers interaktion med den gud som i Gamla testamentet går under namnet JHWH. Ibland är dessa röster överens, ibland inte. Resultatet blir en spännande dynamik mellan bokens sammanbindande effekt och innehållets svårtämjda karaktär, och i denna artikel ska jag försöka bringa klarhet i hur detta förhållande bäst kan förstås.

At the heart of this article is a fairly straightforward assertion: that literature has a trans-verbal level at which it affects us as a work of art. Hence discussing a novel means bringing to the fore not only its overt narrative function but also its covert artistic function: a consideration of the work in light of its aesthetic intention. Following the phenomenological traditions of Roman Ingarden and Maurice Merleau-Ponty, I argue that aesthetic intention does not determine the significance of the art object, which is presumed to be dynamic within a spectrum of meanings. Rather, aesthetic intention takes into account the circumstance of the novel having been actuated into form by an " artistic gesture. " This " gesture " is not physical: it is a metaphorical motion referring to the artist's actuation of an aesthetic intention using one or another medium to give an artwork its perceivable form. In painting, this " gesture " can sometimes be traced through a work's visible brushstrokes or formal composition, but in literature such " gestures " can appear beyond the literal text and remain invisible even while they are experienced in the literary work. The conception of such a " gesture " is meant to incorporate the insights of literary and aesthetic theory, along with poststructuralism, in a critique that allows for structural analysis to also pursue a reconstituted significance. What appears below is more a program of the problem than a full treatment of its implications – a stretching of the canvas, so to speak. But I believe that the articulation of this kernel has a value in itself even if the full unraveling of the subject is yet to come.

Este estudo define-se como uma análise de contos fantásticos do século XIX, quais sejam, “A noite”, de Maupassant, “O elixir da longa vida”, de Balzac, “O coração denunciador”, de Poe, “É de confundir!”, de Villiers de l’Isle-Adam e “Os amigos dos amigos”, de Henry James, todos extraídos da antologia Contos fantásticos do século XIX, de Italo Calvino. As exceções estão constituídas por “Horla”, de Maupassant, pelas referências à obra de Robbe-Grillet e pelo conto “As irmãs Vane”, de Nabokov, incluídos na medida em que participam das considerações individuais e comparativas com vistas à discussão das teorias sobre o modo fantástico e a inclusão do fantástico do século XX. Nesse sentido, elaboramos tanto uma análise individual dos contos, procurando perceber como – e se – o conto possui características que o definem como fantástico de acordo com os estudos utilizados, quanto uma comparação entre os contos que nos permitisse discutir as abordagens mais reconhecidas sobre o fantástico, especialmente a de Remo Ceserani em O fantástico. Como aporte decisivo às análises das narrativas, utilizamos o Discurso da Narrativa, de Gérard Genette, já que abrange procedimentos e categorias universais da narrativa. É preciso acrescentar que os precisos comentários de Calvino nas notas introdutórias nos forneceram a possibilidade de desdobrá-los em nossas análises.

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This is a study of the formation of the ‘Book’ of Psalms that attempts to provide 
answers to two fundamental questions: “how?” and “why?”. The first relates to the diachronic growth of the collection (how are these processes to be reconstructed, and on what grounds?), while the second relates to questions of purpose (to what end are psalms being juxtaposed in a collection?). Proceeding from a review of the research on these intertwined issues (not least the ground-breaking work of Gerald H. Wilson), David Willgren argues that one fundamental 
aspect is still in need of consideration, namely to understand what is designated by the term ‘book’ in relation to the ‘Book’ of Psalms. What kind of collection does it imply? By conceptualizing the ‘Book’ of Psalms as an anthology, and by inquiring into its poetics by means of paratextuality, Willgren reframes the current discussion, and relates the formation process(es) to ancient material and scribal cultures. After a chapter on comparative ancient anthologies, he provides an overview of the ‘psalms’ scrolls from the Judean Desert, followed by an analysis of possible paratexts (prefaces, superscriptions, colophons, doxologies, etc.). Then, he searches for traces of collections of psalms in texts ranging from the Hebrew Bible up until the second 
century CE. Relating these observations to each other, Willgren provides a fresh reconstruction of the formation of the ‘Book’ of Psalms and concludes, in contrast to the canonical 
approach, that the ‘Book’ of Psalms does not primarily provide a literary context for individual psalms. Rather, it preserves a dynamic selection of psalms that is best seen not as a book of psalms, but as a canon of psalms.

(Résumé sur @nalyses:) Avec Aliss (2000), Patrick Senécal rend hommage au roman de Lewis Carroll, Alice au pays des merveilles (1865). Chez Senécal, le roman pour la jeunesse se transforme en un roman pour adultes, variante « X »; il explore les limites du réel et du possible par le biais des aventures d’une adolescente de Beauport dans un Montréal parallèle. L’analyse structuraliste de Landais montre comment Senécal emploie la métalepse narrative pour effectuer le passage d’un personnage diététique à un univers métadiégétique et engendrer le sentiment d’inquiétante étrangeté à la source du fantastique.

In his novel Aliss (2000), Patrick Senécal pays homage to Lewis Carroll’s Alice’s Adventures in Wonderland (1865) and its fictional universe. In the Quebec author’s hands, the children’s tale is transformed into a work for adults. Senécal explores the limits of the real and the possible through the adventures of an adolescent from suburban Brossard who finds herself in a parallel-world Montreal. A narratological analysis demonstrates how Senécal employs Genette’s ontological metalepsis to move a diegetic character into a metadiegetic universe and to evoke the sense of the uncanny which lies at the source of the fantastic.

Fed up with the commercial and moral restrictions of the mainstream press, the diverse avant-garde groups of authors and artists of the Aesthetic Movement developed a new genre of periodicals in which to propagate their principles and circulate their work. Such periodicals are known as ‘little magazines’ for their small-scale production and their circulation among limited audiences, and during the late Victorian period they were often conceptualized as integrated designs or total works of art in order to visually and materially represent the ideals of their producers. Little magazines like the Pre-Raphaelite Germ, the Arts & Crafts Hobby Horse and the Decadent Yellow Book launched the careers of innovative authors and artists and provided a site for debate between minor contributors and visiting grandees from Matthew Arnold to Oscar Wilde. This book offers detailed discussions of the background to thirteen major little magazines of the Victorian era, both situating these within the periodical press of their day and providing interpretations of representative items, in doing so, it outlines the earliest history of this enduring publication genre, and of the Aesthetic Movement that developed along with it.


Key Features:
----------------------
* First monograph to focus on the origins and development of the little magazine genre during the Victorian period
* Each chapter provides a representative introduction to the respective little magazines
* Combines new insights with a critical overview of the state of the art on each discussed little magazine

Table of contents
----------------------------
Introduction
1. The Germs of a Genre: The Germ and the Oxford and Cambridge Magazine
2. Mounting the (Century Guild) Hobby Horse
3. The Little Magazine as a Periodical Portfolio: the Dial, the Pagan Review and the Page
4. Selling the Yellow Nineties: the Yellow Book and the Savoy
5. Politicised Aestheticism outside London: the Quest and the Evergreen
6. Little Excursions Outside the Avant-Garde: the Pageant, the Parade and the Dome
(In)conclusions

Le paratexte, trente ans après Résumé Pendant les trois décennies qui se sont écoulées depuis la publication de Seuils (1987) de Gérard Genette, les études sur le paratexte se sont multipliées dans des disciplines très différentes et dans plusieurs champs littéraires. Pour couronner le trentième anniversaire de la publication de cet ouvrage pionnier, un colloque international a été organisé à Bologne, pendant lequel de nombreux chercheurs se sont interrogés sur l'actualité des études sur le paratexte. Le dossier thématique qui en constitue l'issue comporte une réflexion aussi bien sur les implications découlant des théories de Seuils que sur sa réception dans les domaines littéraires et médiatiques. Il y est question de détecter les évolutions, les distances et les connexions entre les sous-catégories indiquées dans l'essai d'une part et, d'autre part, entre les directions de recherche assumées par les chercheurs. Le présent article, qui constitue l'introduction au dossier, définit les bases théoriques de la recherche et synthétise les dévelop-pements des articles qui le suivent. Abstract Over the past three decades since the publication of Gérard Genette's Seuils (1987), studies on paratext have spread in different disciplines and in several literary fields. To mark the thirtieth anniversary of the emergence of this pioneering work, an international conference held in Bologna and host many researchers questioning the relevance of the paratext. The thematic dossier of the current issue focuses on both the implications drawn from Seuils and its reception in our current literary and media landscape. The aim is to detect some advancements, differences and connections, on the one hand, between the sub-categories indicated in the text and, on the other hand, between the research strands that researchers have developed. This article, which accounts for the dossier's introduction, sets the theoretical basis of our research and summarizes the following articles.

This chapter from The Canadian Alternative: Cartoonists, Comics, and Graphic Novels (eds. Dominick Grace & Eric Hoffman, U Press of Mississippi, 2018) examines the politics of representation -- both in terms of monstration and recitation -- in Chester Brown's comic biography of Louis Riel. I draw on Genette's theory of focalization to demonstrate the ways by which Brown's Riel transcends the realism of his story world and the historicism of narrative, yielding a semi-mythological yet empathetic reconsideration of history.

Es ist schwer, ein Register zu rezensieren. Doppelt schwer fällt es, wenn es sich dabei um ein reich kommentiertes und kommentierendes, sich in mancherlei Distinktionen verzweigendes, nie um Belege verlegenes Werk von 535 Seiten handelt, das in unwiderstehlichem Plauderton von den Halb-und Viertelgattungen spricht, in denen die opera minora der Literaturgeschichte weithin unter sich wären, gäbe es dabei nicht auch Klassiker zu besichtigen wie etwa Vergils Aeneis, Joyce' Ulysses, Thomas Manns Doktor Faustus oder Trauer muß Elektra tragen von Eugene O'Neill. Gérard Genettes Palimpsestes. La littérature au second degré von 1982, nunmehr in deutscher Übersetzung (nach der zweiten Auflage) vorliegend, widmet sich mit Linnéscher Akribie der vom Verfasser so genannten Klasse der ›Hypertexte‹, solcher Texte also, die wesentlich durch die Beziehungen bestimmt sind, die sie zu einem anderen, vom Verfasser ›Hy-potext‹ genannten Text unterhalten. Mit seinen Worten: Als Hypertext bezeichne ich also jeden Text, der von einem früheren Text durch eine einfache Transformation (wir werden einfach von Transformation sprechen) oder durch eine indirekte Transformation (durch Nachahmung) abgeleitet wurde. (S. 18) Falls es eine Polemik gibt, die sich beharrlich durch die folgenden Ausführungen hindurchzieht, dann entspringt sie dem entschiedenen Plädoyer für den grundsätzlichen (und grundlegenden) Charakter dieser Unterscheidung. ›Transformation‹ und ›Nachahmung‹ sind die beidenoffenbar vollständig disjunkt gedachten -Verfahrensweisen, mit deren Hilfe ein »Text B Text A auf eine Weise überlagert, die nicht die des Kommentars ist« (S. 15), also die im engeren Sinn literarischen Formen durchgehender Bezugnahme von Texten auf Texte. Da es zu den Grundannahmen des Verfassers gehört, daß alle Texte Beziehungen zu anderen Texten unterhalten und es Aufgabe der ›Poetik‹ sei (nicht ›Politik‹, wie in der deutschen Ausgabe zu lesen steht), diese »Transtextualität oder textuelle Transzendenz des Textes« (S. 9) herauszustellen, sieht er sich genötigt, zwischen Hypertextualität in einem weiteren und einem engeren Sinn zu unterscheiden. Letztereder Gegenstand der vorliegenden Untersuchungliegt überall dort vor, wo »die Ableitung des Hypertexts vom Hypotext zugleich massiv [...] deklariert und mehr oder weniger offiziell erfolgt« (S. 20). Das leuchtet ein, enthält aber eine Schwierigkeit. Denn einerseits führt diese Verengung des Themas mit einer gewissen Zwangsläufigkeit auf die Fährte traditioneller Gattungen respektive

Özet: Metinlerarasılık, birden çok metin arasındaki ilişkiyi saptamaya çalışan bir edebiyat kuramıdır. Bu kavram özünü, bir sanat eserinin kritiğinde başka sanat eserlerini ölçüt tutmak parametresinden alır. Eseri eserle ölçmek ve bir eserin başka bir eserden metinsel düzeyde yararlanarak oluşturulması, İkinci Dünya Savaşı sonrasında ortaya çıkan belirlenimlerin değil, mitsel kaynaklardan beri süre gelen bir üretme biçimidir. Metinlerarasılık, her ne kadar son dönemde öne sürülen ve genellikle postmodernizm bağlamında ele alınan bir kuram ve eser inceleme yöntemi gibi görünse de klasik edebiyat metinleri ve retoriği incelendiğinde pek çok şâir ve yazarın yöntemsel olarak istifade ettiği bir kavram olarak görünürlük kazanmaktadır. Bu çalışmada klasik belâgat kitapları ve metinlerinden hareket edilerek metinlerarası bağlamda temel ilişki ve yöntemler ortaya konulmaya çalışılacaktır. Abstract: The concept called intertextuality is a literary theory trying to identify the relation between more than one texts. This concept stems from art works as a criterion at the criticism of a work of art. Comparing a work of art with another work and forming it by utilizing another work at textual level is not the result of conditions emerged after the Second World War. It is a way of production that has been ongoing since mythic sources. Although the intertextuality seems to be a theory and a method of reviewing a work of art that has been put forward in the recent period and to be usually dealt with in the context of postmodernism, when the classical literary texts and rhetoric are examined, it emerges as a concept that many poets and authors use as a method. In this study, basic relations and methods will be handled regarding intertextual context by acting from the rhetoric and texts of classical literature.

Despite the popularity of today’s comic book film adaptations, superheroes did not make the leap from comics to screen in a single bound; rather it was a series of incremental steps. This chapter examines one of the most important yet overlooked steps in the comic book character’s journey from niche interest to mainstream success: animated series. In particular, it focuses on the early 1990s animated Marvel series X-Men (1992-1997) and Spider-Man (1994-1998).
Drawing on the transtextual relations Gérard Genette puts forward in Palimpsests, film scholar Robert Stam suggests that film adaptations are “hypertexts derived from preexisting hypotexts that have been transformed by operations of selection, amplification, concretization, and actualization.” He expands this point by suggesting, “diverse prior adaptations can form a larger, cumulative hypotext that is available to the filmmaker who comes relatively ‘late’ in the series.” For instance, when asked on the X-Men DVD commentary whether the 1992 animated series X-Men had influenced his live action adaptation, director Bryan Singer replied, “Tremendously. The animated series [… featured] the characters that had risen through the comic franchise and had become part of a more public lexicon, I wanted to take advantage of that.”
Focusing on industrial and formal relationships between comics, cinema, and animation, this chapter argues that animation is not so much the missing link, but rather the forgotten bridge between the comics that are respected as the source text and the excitement that greets each new transmedia franchise installment.

The goal of this essay is to explore McEwan’s novel, and highlight within it the use of the different narrative techniques pertaining to Narrative time as proposed by Gerard Genette. More precisely, we will concern ourselves with the notion of the temporal order of the different elements that compose narrative time(s), and their presence in Ian McEwan’s Atonement. As it can be anticipated from the plural of 'time,' McEwan’s postmodern novel is frequently at odds with Gennette’s structuralism; an issue which will define and mold the contents of this essay.

In seinem philosophischen Roman 'Nachtzug nach Lissabon' (2004) erzählt Pascal Mercier die Geschichte des Lehrers und Altphilologen Raimund Gregorius und seiner Suche nach dem portugiesischen Arzt, Poeten und Widerstandskämpfer Amadeu de Prado. Allem Anschein nach hat Prado ein glückliches Leben geführt, doch findet Gregorius bald heraus, dass er in Wahrheit von Ängsten und Selbstzweifeln geplagt wurde – eine Folge der erdrückenden Ansprüche seines übermächtigen Vaters, eines berühmten Richters.
Diese Konstellation eines Sohnes, der vergeblich versucht, sich dem väterlichen Einfluss zu entziehen und sich dabei in die schriftstellerische Tätigkeit flüchtet, erinnert an Franz Kafka und das in seinem Werk in vielfachen Formen auftretende Motiv des Vater-Sohn-Konfliktes. Bezugnehmend auf Gérard Genettes Konzept der Hypertextualität als theoretische Grundlage demonstriere ich in diesem Aufsatz, dass der 'Nachtzug nach Lissabon' tatsächlich als Hypertext, der berühmte 'Brief an den Vater' (1919) aber als Hypotext angesehen werden kann, der in diesem Zusammenhang Kafkas gesamtes Werk repräsentiert:  Bekannte Motive tauchen in Merciers Roman in abgewandelter Gestalt wieder auf, so dass die vorliegende Lesart nicht nur neue Einblicke in einen der erfolgreichsten zeitgenössischen deutschen Romane eröffnet, sondern darüber hinaus einen Beitrag zur Kafka-Rezeption leistet.

L'Opera teatrale di Pinter è stata più volte individuata come zona di incontro tra il controverso spirito del novecento - fatto di paradossi e frammentazioni dell'Io ad ogni livello - e una pasta memoriale atavica, connaturata all'uomo di ogni tempo. Questo piccolo saggio, a partire da premesse strutturaliste (e in particolare dai parametri d'analisi individuati da Genette in "Figure III"), si propone di mettere in evidenza le strutture sulle quali si realizza la poetica pinteriana attraverso un testo campione, ovvero "Betrayal", pièce teatrale del 1978.

En el presente trabajo se pretende demostrar mediante un exhaustivo análisis cómo la fotografía representa la problemática narrativa en el relato "Las babas del diablo" de Julio Cortázar. El relato abunda en la ambigüedad narratológica: el lector nunca tiene la seguridad de conocer quién está narrando la historia. Dentro de esta perspectiva, son pocas las certezas que nos deja este relato, y quizás la más importante, es la fotografía. Roberto-Michel, el protagonista, sufre en carne propia un hecho neofantástico al ser testigo de como la ampliación de una fotografía que él tomo se repite ante sus propios ojos. El relato se estructura en base a dos momentos con respecto a la mencionada fotografía: las vicisitudes por las que pasa el protagonista antes y justo después de haber capturado la imagen fotográfica y la perplejidad de la que es víctima cuando en su estudio descubre que la ampliación de su fotografía cobra vida.

The objective of this paper is to understand the film Batman vs Superman (2016) via elements of Gerard Genette's Transtextuality. A text does not exist in isolation. The atmosphere in terms of politics, other texts and, the general environment of the nation and the world affects the text in more than one way. The reason why Batman vs Superman (2016) becomes important is because the two protagonists have traditionally been separate from each other but fight for the same cause that is for the Good. Both the characters are superheroes who ideally existed in different time phase which never overlapped. So, Batman vs Superman then almost becomes a bricolage of various elements of the two superheroes' lives and characters. And that is the reason why elements of intertextuality in this film are both compelling and imperative for a better understanding.

Ce travail propose d’étudier l’écriture de Robbe-Grillet des années 50. Afin de découvrir sa spécificité, il cherche à lire l’œuvre de cet auteur, tout d’abord en réfléchissant sur le contexte historique de l’époque, notamment sur le Nouveau Roman, puis en analysant d’une façon approfondie et scrupuleuse les procédés particuliers des romans de Robbe-Grillet, ensuite, en rapprochant les techniques de l’écrivain à celles du début du XXe siècle chez des écrivains qui présentent des points communs. En outre, il révèle la pluralité des interprétations possibles de l’ œuvre et replace Robbe-Grillet dans l’histoire de la littérature.

L’autofiction est un « phénomène » littéraire qui a supplanté l’autobiographie. Ce nouveau roman du « Je » est officiellement qualifié en 1977 par Serge Doubrovsky dans le fameux texte de quatrième de couverture de son roman Fils. Ce terme donne lieu aujourd’hui comme hier à de nombreuses controverses théoriques, esthétiques et morales.
Au tournant d’un millénaire et en réponse aux tumultes culturels, sociaux et politiques s’est installé un débat autour de la pratique de l’autofiction et de ses réflexions sur la place de l’individu dans une société où le virtuel enjambe le réel, où les limites traditionnelles éclatent et les mœurs se transforment.
Au vu des disparités théoriques engendrées par l’apparition de ce terme et du questionnement sur le pacte entre le lecteur et l’auteur, Isabelle Grell propose ici de clarifier les diverses approches conceptuelles.

Isabelle Grell est professeur de littérature allemande et chercheuse associée de l’équipe Sartre à l’ITEM où elle dirige le groupe Genèses d’autofictions.

La narrativa dell'ultimo trentennio tende a coniugare le strategie mimetiche del moderno con le strategie metaletterarie del postmoderno, compiendo un moto pendolare tra l'idealismo ingenuo e/o fanatico del primo e il pragmatismo scet-tico e/o apatico del secondo. Si muove cioè in uno spazio metamoderno, in cui l'elaborazione della forma diviene funzionale alla mimesi di una realtà complessa, entropica, sempre meno sceneggiabile in universi coerenti e azioni unitarie, ma piuttosto diagrammabile in strutture narrative reticolari, digressive, frattali. In un corpo a corpo sistematico con romanzi e racconti, questo libro mette a punto una teoria del testo narrativo metamoderno attraverso gli strumenti della narratologica post-classica, entro un'imprescindibile cornice ermeneutica e intermediale.

Dos ejemplos de metalepsis narrativas: Niebla de Miguel de Unamuno y Biblique des derniers gestes de Patrick Chamoiseau La metalepsis narrativa se define como el traspaso de la frontera entre el nivel diegético del narrador y la diégesis, es decir el mundo narrado por el narrador. Siguiendo la primera definición del término, propuesta en 1972 por el teórico literario francés Gérard Genette, los narratólogos han destacado varios tipos de metalepsis narrativas. El más chocante de estos tipos es la metalepsis ontológica, es decir cuando un personaje novelesco o cuando el narrador auctorial parecen superar literalmente la frontera entre el mundo real y el mundo diegético. Este tipo de metalepsis aparece sobre todo en obras postmodernas, como el cuento "El episodio Kugelmass" de Woody Allen, donde un profesor de humanidades se introduce en el mundo novelesco de Madame Bovary para conquistar a la heroína.

we will try here in this intervention to decipher the codes of "Ainiat abi dhoaib elhodhaly" poetic discourse, So that we can be able to identify and understand their concept of death, and the way they express it. and we will focus on the sketches that they have portrayed and paintings of the stories of wild animals that are perhaps non-existent now, But the expression of death is making a prominent presence, And stories of wars and conflicts, Arabs have talked about in pre-Islamic Arab poetry in their own style which they found appropriate from their point of view and perspective.

This article explores certain aspects of narrative construction in the light of theories and disciplines such as Structuralism and Narratology; and writers/thinkers including Marcel Proust, Balzac, Stendhal, Gérard Genette, Mikhail Bakhtin, and Georg Lukács. It investigates, inter alia, how certain kinds of narratives (in this case, ‘free-indirect discourse’) allow for a special, more fluid, means of registering and recording phenomena and presences in language, how such narratives come to be constructed, and how qualities such as lightness, speed, and multiplicity are harmonised to create the unique atmosphere, that is also the language, of a work of fiction. The essay looks at the techniques of narrative construction from several theoretical points of view, including, Structuralist, Postcolonial, and Marxist theory. The essay also deals with certain technical and stylistic considerations that may arise from the author writing outside his or her native language or tradition, and how, in at least the present case, employing ‘free-indirect discourse’ offered more creative freedom to negotiate the gaps between language and landscape while at the same time enhancing the texture of the narrative through multiple perspectives and temporal and spatial fluidity.

È possibile applicare l’analisi letteraria occidentale a testi di letteratura classica giapponese?
Nel presente intervento presenterò un tentativo di applicazione una teoria letteraria abbastanza nota - il concetto di transtexualité elaborato dal critico francese Gérard Genette - a un testo poetico in sino-giapponese del IX sec., il Kanke Bunsō - Kanke kōshū di Sugawara no Michizane. In particolare l’intervento si soffermerà sulle modalità in cui il testo poetico originale di Michizane sia stato in seguito rivisitato, rielaborato e manipolato da due autori posteriori, Fujiwara no Kintō nel Wakanrōeishū e Murasahi Shikibu nel Genji monogatari.
Spero di stimolare con questo intervento la riflessione non solo sulle teorie di intertestualità e sulla loro applicazione nei testi giapponesi, ma soprattutto sul valore che una tale operazione ha nell’affermazione, negazione o rinegoziazione di queste stesse teorie di origine eurocentrica.

A mon avis le plus important n'est pas d'établir une dichotomie et de dire que certains récits sont non naturels, mais plutôt de dire que différents récits requièrent des stratégies interprétativesfondamentalement différentes. Par conséquent, les réponses aux questions du « quoi » et du « comment » de la narratologie non naturelle se posent pour moi dans les termes suivants :

This dissertation for License in biblical Theology draws from Narrative Criticism and specifically the linguistic theory of Alain Rabatel on Point of View to interpret Mk 1, 21-31.
Attention is given in particular to the voice of the possessed man in the Capernaum synagogue: his words point to the theological intentions present in the book (connecting mainly to the narrator's own voice).
Plus, a small critique on the commentaries lack of attention to these features is provided, as a way of demonstrating just how important these features are for the both ancient and contemporary readers' grasp of the unity of the Markan oeuvre.