In the chapter on voice Genette identifies the technique as narrative metalepsis
In an exchange with the conservative Richard Smith, who has argued that if Christ merely called bread his body, then bread was "given to death for you," Cranmer mocks a literalism baffled by metalepsis
and metonymy; at the same time, his examples attest to the figurality even of ordinary language: And so "a man may not take a loaf in his hand made of wheat that came out of Dantzic, and say this is wheat that grew in Dantzic, but it must follow, that the loaf grew in Dantzic.
10) Likewise, what distinguishes a metalepsis
(the rhetorical figure that takes a cause for its effect or vice versa) is its undermining of the temporal logic upon which the very distinction between cause and effect (what comes before and what comes after) is based.
This insulation involves a substitution, a metalepsis
, where a sociopolitical effect is identified as a cause.
On the one hand, an analysis of minds in Johnson's novel would be reductive without an account of metalepsis
, metafiction, irony (a more extensive reading would also refer to the grotesque and elaborate on the dynamics of pathos and irony, which amounts to tragicomedy).
, as Herman explains, can be formally defined as "one or more illicit movements up or down the hierarchy of diegetic levels structuring narrative discourse" (133).
An Essay in Method [El discurso narrativo: Un ensayo metodologico] (1980), este tipo de transicion, o metalepsis
, puede existir unicamente en la narracion, jugando con "la doble temporalidad de la historia y el acto de narrar" (235).
Discussion is routed through the (I think) misleadingly clinical idiom of classical rhetoric - catachresis and metalepsis
are the most consequential diagnoses - and the politics under interrogation is "the politics of the simile," etc.
But the final chapter introduces literary allusions to At Swim-Two-Birds that break through the frame of the story, involving us in a variation of narrative metalepsis
that promotes this novel's elasticity and inventiveness.
But sign-posted in linguistic, thematic, and structural inversions, and in the writer's metatextual observations and the fracturing effect of metalepsis
(illicit slippage between levels of the text, between fiction and metacommentary), desire in Duras is a complex, non-linear, non-dialectical product of a pleasure-inducing network of power relations and conflicts and not simply an opposite reaction to repression or disciplinary normalization of the body.
Here, the eye of the narrative, damping its aperture down to a binocular anopticity nearly enough in sync with Dingle's own to make double or nothing a redundancy, piggybacks on a flatbed of metalepsis
to it's own dim view of things, in this case how the "Cave of Winds" segment of Ulysses acquires an eigenvalue relative to the eigenvector of the Collective Copy, one among many such eigenvectors, the sum of which comprises the "observable," or the eigenbasis of the observable (an eigenbasis being a set of vectors, such that any arbitrary vector can be represented as a linear combination of those in the set).
While it may be trite to continue to carp at the alienating terminology of Spivak's criticism (terms such as catachreses, metalepsis
, paleonomy, axiogical, and chromatism) -- for which one has yet to find an adequate glossary -- this text is mercifully free of much of the special usage that makes Spivak, largely as a deconstructionist, inaccessible.