The Greek prepositionµet?(“meta”), which in this context takes on the meaning of “about”, and the literary term “fiction”, which refers to literary work based on imagination, together constitute the term “metafiction”. From the start metafiction has been described as fiction “somehow about fiction itself”. First mentioned at the end of the 1950s, it was further defined throughout the following three decades. Although the term has only been coined in the second half of the 20th century, it is not new to literature. The fiction described can already be found in much older works, such as Chaucer’s “Canterbury Tales”, Cervantes’ “Don Quixote” and massively in Laurence Sterne’s “The Life and Opinions of Tristram Shandy, Gentleman”. Today, metafiction is also common in other creative genres and is primarily associated with postmodernism, which came up during the 1960s. Selfreflexive narrators especially appear in works of postmodern writers such as Vladimir Nabokov, John Fowles, B.S. Johnson, Donald Barthelme, John Barth, Jorge Luis Borges, or Julian Barnes. The typically metafictional “Selbstbespiegeln der Literatur im Verein mit dem ständigen illusionsbrechenden Hervorkehren[der]Fiktionalität” represents an alternative to the continuation of realism, which, as postmodernist writers believe, has become impossible. Critics of metafiction deny it the ability to portray the real world because of its “decadent forms of self-absorption”. Behind the paramount purpose of metafiction, which is to lay bare its own status as fiction, a variety of metafictional devices emerged. Although most commonly found in novels, such devices are not unusual in short stories, as this seminar paper attempts to show.
Table of Contents
- Introduction
- Definition of Metafiction
- Markers, Devices and Functions of Metafiction
- Themes
- Frames and Structure
- Narration and Style
- Conclusion
Objectives and Key Themes
This paper aims to define metafiction and analyze its markers and devices within short stories. It explores how metafiction functions through thematic concerns, structural elements, and narrative styles, using examples from works by authors such as David Lodge and John Barth. The analysis will demonstrate the presence of metafictional techniques in short stories and situate these techniques within a broader context of self-consciousness in contemporary art.
- Definition and characteristics of metafiction
- Thematic exploration of the relationship between fiction and reality
- Analysis of metafictional devices in short story structure and narrative
- Examination of metafiction's self-reflexive nature and its commentary on the creative process
- Comparison of metafictional techniques across different short stories and artistic mediums
Chapter Summaries
Introduction: This introductory chapter establishes the concept of metafiction, defining it as fiction that is self-consciously about fiction itself. It traces the historical development of metafiction, highlighting its presence in works ranging from Chaucer to contemporary postmodern authors. The chapter emphasizes the self-reflexive nature of metafiction as a departure from realism and introduces the central argument of the paper: that metafictional devices, while often associated with novels, are also prevalent in short stories. The author outlines the paper’s structure, which includes a definition of metafiction, an analysis of metafictional markers and devices, and a discussion of related forms of self-consciousness in contemporary art.
Definition of Metafiction: This chapter provides a detailed definition of metafiction, describing it as self-conscious fiction characterized by self-awareness, self-reflection, and ironic self-distance. It differentiates metafiction from genre, emphasizing its underlying presence in all fiction. The chapter draws upon the work of various theorists, such as Patricia Waugh, to define metafiction as writing which self-consciously draws attention to its status as an artifact, questioning the relationship between fiction and reality. The chapter also discusses the potential ambiguities and overlapping uses of the term "metafiction," noting the lack of a clear distinction sometimes made between metafiction and metanarrative. The chapter lays the groundwork for the analysis of specific metafictional markers and devices in the subsequent sections of the paper.
Markers, Devices and Functions of Metafiction: This chapter delves into the specific techniques used in metafiction. It begins by examining how thematic concerns related to the fiction-reality divide can signal metafiction to the reader. The author uses David Lodge's "Hotel des Boobs" as an example to illustrate how a narrative interruption and the introduction of a self-aware author within the narrative itself can highlight the artificiality of the fictional world. The chapter then explores metafictional strategies related to structure and narration, promising to further analyze these aspects in the subsequent sub-chapters (though those sub-chapters themselves are not summarized here per the instructions).
Keywords
Metafiction, self-reflexivity, postmodernism, fiction, reality, narrative, style, short stories, thematic analysis, literary devices, self-consciousness, contemporary art.
Frequently Asked Questions: A Comprehensive Language Preview
What is this document about?
This document is a comprehensive language preview of an academic paper analyzing metafiction in short stories. It provides a table of contents, objectives and key themes, chapter summaries, and keywords. The analysis focuses on how metafictional techniques function through thematic concerns, structural elements, and narrative styles, using examples from authors like David Lodge and John Barth.
What are the main objectives of the paper?
The paper aims to define metafiction, analyze its markers and devices in short stories, and explore how it functions through thematic concerns, structural elements, and narrative styles. It examines metafiction's self-reflexive nature and its commentary on the creative process, comparing techniques across different short stories and artistic mediums.
What is metafiction?
The paper defines metafiction as fiction that is self-consciously about fiction itself. It's characterized by self-awareness, self-reflection, and ironic self-distance, drawing attention to its status as an artifact and questioning the relationship between fiction and reality. The document distinguishes metafiction from genre, highlighting its underlying presence in all fiction.
What are some key themes explored in the paper?
Key themes include the relationship between fiction and reality, the self-reflexive nature of metafiction, the creative process, and the analysis of metafictional devices in short story structure and narrative. The paper also explores how thematic concerns, structural elements, and narrative styles contribute to the function of metafiction.
What are some examples of metafictional markers and devices discussed?
The preview mentions narrative interruptions and the introduction of a self-aware author within the narrative as examples of metafictional devices. It promises a further analysis of structural and narrative aspects in the full paper, using examples from works by David Lodge (like "Hotel des Boobs").
What is covered in each chapter?
The Introduction establishes the concept of metafiction and outlines the paper's structure. The Definition of Metafiction chapter provides a detailed definition, drawing upon existing theories. The Markers, Devices and Functions of Metafiction chapter delves into specific techniques used in metafiction, examining thematic concerns, structure, and narration.
What are the key words associated with this paper?
Keywords include Metafiction, self-reflexivity, postmodernism, fiction, reality, narrative, style, short stories, thematic analysis, literary devices, self-consciousness, and contemporary art.
Who are some authors mentioned in the preview?
The preview mentions David Lodge and John Barth as authors whose works are used as examples in the analysis of metafictional techniques.
What is the target audience for this paper?
The target audience is likely academic, given the focus on structured analysis and the use of theoretical frameworks. The preview suggests a focus on analyzing themes in a professional manner, suitable for academic use.
Where can I find the complete paper?
The preview does not state where the complete paper can be found. This information would need to be obtained from the publishing company.
- Quote paper
- Theresia Knuth (Author), 2005, Forms and Functions of Metafiction, Munich, GRIN Verlag, https://www.grin.com/document/46531
