narrative devices, according to Poushali Bhadury, create pleasure not only for child readers, but for all readers in general, since they appeal to the "desire to be able to interact with the world of the text, or the desire to enter and co-create the storyworld" (2013, 10).
She discusses dreaming in sound: listening to Kafka cinematically, acts of listening in silent films: implied sound in Kafka and early film, the vocal supplement: recitation in Kafka and the advent of sound film, metaleptic
noise: acousmatic nondiegetic sound in Kafka and film, and a modernist epistemology of literary sound.
On one level, chacun is evidently intended to refer to each of the guests, but the semantic flexibility of the term makes a more comprehensive and potentially metaleptic
reading of it equally valid.
As Buchholz writes, in the metaleptic
gesture, "solitude turns inside out" (132).
So, for instance, when we characterize the metaleptic
transgression of diegetic levels established by embedded narrating instances as an ontological impossibility I think we are using the wrong concept to frame an analytical category.
Drawing upon the Genettian concept of the narrative metalepsis to perform a structural analysis of Patrick Senecal's metaleptic
novel Aliss, I show in this article how a writing technique that plays on the transgression of ontological levels is the perfect instrument for a genre that plays on its own fictionality.
This strategy is frequently realized with shifts in focalization, intercalated utterances of the main character (always written in italics), and metaleptic
penetrations from one poetic level to another that occur either throughout an entire poem or in one part of it and sometimes in a single utterance.
The omitted comma fourth line from the bottom, the threefold inversion of el Aleph and la tierra, and the metaleptic
jump of the reader into the text (or of the author out of the text) insinuated by the vi tu cara, all point to the same obliteration of medial differences foreshadowed in the telephone call.
Following a brief look at what I will suggest are instances of the metaleptic
bending that is modernist in spirit, I will read Fossum's Broken and Coetzee's Slow Man as postmodernist attempts to rid fiction of its conventional diegetic stratification.
insertions of the author as a character.
The presumed collapse of identity between "the reader" and the time traveler in "Sci-Fi Fable" serves yet another function, one that creates what we might call a metaleptic
As she explains, "These metaleptic
disruptions create shifts in who has 'control' over the narrative which, in turn, has implications for the particular points of view being presented to readers" (34).