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Relacje transtekstualne jako dominanta? Sekretna historia Costaguany Juana Gabriela Vásqueza

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Jastrzębska A. S.
Między Oryginałem a Przekładem
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2012
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vol. 18
277-288
EN
The article analyzes Historia secreta de Costaguana [2007] by the Colombian writer Juan Gabriel Vásquez, Polish traslation by Katarzyna Okrasko [2009], with the intention of demonstrate that the multiple transtextual relations present in the novel constitute his dominant.
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Nostalgia za klasyką w powieści Manaraga Władimira Sorokina

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Stryjakowska A.
Studia Rossica Posnaniensia
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2019
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vol. 44
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issue 2
85-92
PL
The article discusses Vladimir Sorokin’s novel Manaraga as a metafictional statement concerning the problem of the literary canon. The proposed interpretation places the novel in the post-ironic thinking, within which the value of high culture is still in force.
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In the postmodern mirror: intertextuality inAngels and Insectsby Antonia Susan Byatt

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Buda A.
Journal of Language and Cultural Education
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2015
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vol. 3
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issue 2
66-70
EN
The aim of the paper is to analyse the novel Angels and Insects by Antonia Susan Byatt in terms of intertextual references. The author’s assumptions are based on the categorisation by Ryszard Nycz, who distinguishes three major types of intertexts: text versus text, text versus literary genre and text versus mimesis. Byatt uses intertextuality mainly to comment on the role of nature in the world, as well as to enhance the importance of human relationship with nature. Moreover, the writer moves towards literary criticism, discussing poems by famous artists, such as Alfred Tennyson or John Milton. In this way, the novel by Byatt is also an example of metafiction. All the narration techniques used by the English writer make the novel a typically postmodern work of art.
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Metafiction, Figures of Time and Language Interface in "Guyana" by Élise Turcotte

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Defraeye J.
Lublin Studies in Modern Languages and Literature
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2016
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vol. 40
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issue 2
DE
Der Band enthält die Abstracts ausschließlich in englischer Sprache.
EN
In 2011 Élise Turcotte released Guyana, a historiographic metafiction in which the characters come to realize the sheer impossibility of accessing a collective imagination. The famous Jonestown massacre surges to the forefront of the writing through the murder of Kimi, a hairdresser from Montreal, and initiates a frantic quest for the understanding of self through another, in order to get past the ineffable characteristic of the past. This article will explore the metafictional aspect of Guyana and its polyphonic narration before revaluating the stakes of, and the way in which we perceive, tales of trauma.
FR
Le numéro contient uniquement les résumés en anglais.
RU
Том не содержит аннотаций на английском языке.
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Vladimir Nabokov’s Aerial Viaduct: Pale Fire and the Return to the Forbidden Past

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Księżopolska I.
Anglica. An International Journal of English Studies
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2015
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issue 24/1
41-57
EN
Pale Fire may be read as an elaborate parody of literary criticism, or even Nabokov’s selfparody. This paper reconsiders the puzzle of identities in the novel in this context, with the trio of the author, the critic/annotator and the mysterious third man tracking the progress of both with clearly insidious intent. This analysis aims to uncover the suppressed trauma of Kinbote’s past, hiding behind Kinbote’s narrative. A memory of traumatic past forces Kinbote into ecstatic fiction-making. He constructs the marvellous Semberland (the land of resemblers) as a bridge between his lonely life in the foreign culture and his obscure past in the culture that no longer exists. This mythologization also mirrors a much grander theme: the theme of death and – always mysterious, never graspable – afterlife, and an attempt to bridge the gap between the quotidian realm of one’s existence and the glorious and unexplainable potustoronnost’, the other side of the mirror, the other side of consciousness.
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John Banville’s „Ghosts”: “A different way of being alive”

88%
Kucała B.
Anglica Wratislaviensia
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2017
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issue 55
69-82
EN
This article analyses the ontological status of the characters who inhabit the world of John Banville’s novel Ghosts. While the problem of volatile selfhood recurs in Banville’s fiction, in this novel the very existence of the characters within the fictional world remains doubtful. It is argued here that the numerous metafictional elements in the text are central to its interpretation. The novel itself should be treated as a work in progress or a design for a novel rather than a completed project. The narrative initiates and ultimately resists familiar patterns; the characters’ peculiar way of being alive seems to stem from an intersection of empirical reality and an obscure realm of fantasy, imagination as well as textual and artistic allusions. Correspondingly, the narrator’s status as a literary character is ambiguous. The article suggests that the narrator is the most likely creator of the characters within the fictional world and is himself a playful author-substitute in the novel. In conclusion, a reading that treats Ghosts as a postmodern artefact appears to provide a viable framework for resolving the apparent contradictions and ambiguities in the status of the characters.
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La ciudad guetoizada: Buenos Aires en la narrativa de Ana María Shua

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Draus-Kłobucka A.
Studia Romanica Posnaniensia
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2022
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vol. 49
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issue 1
17-31
EN
The article analyzes the image of Buenos Aires in the narrative of Ana María Shua, an Argentine writer of Polish Jewish descent. Urban space plays an important role in her prose described often as apocalyptic or dystopian. Through a historiographical metafiction, the author rewrites the memory of the ancestors in El libro de los recuerdos (2007), a novel that presents the life of Jewish immigrants in the capital of Argentina, divided into neighborhoods marked by their ethnicity. Eroticism and the use of the female body are, on the other hand, the topics that dominate in the author’s collection of micro-stories titled Casa de geishas (2009), where the brothel is described as a singular ghetto, rooted in the city panorama. Finally, the novel La muerte como efecto secundario offers a dystopic description of a future of a ghettoized city, where compulsory geriatric ghettos become a reality. The article, based on the analysis of the aforementioned works, presents a critical look at the use of the concept of “ghetto” or “urban island” in the construction of the narrative structure and space in Ana María Shua’s fiction.
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When Reading Becomes a Game: Parallel Narratives in Portuguese Picturebooks

75%
Ramos A. M.
Filoteknos
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2020
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issue 10
345-357
EN
The aim of this text is to carry out an analysis of a specific picturebook type that includes two parallel narratives and can be read in two different directions. The first book under analysis, As duas estradas (2009) [Two Roads] (text by Isabel Minhós Martins), is organised using two verbal and visual narratives which tell the story of two partially simultaneous journeys in Portugal, from Lisbon to Alcobia doTejo, in two different cars by members of the same family. The second book, Olhe, por favor, não viu uma luzinha a piscar?/Corre, coelhinho, corre! (2013)[Follow the Firefly / Run, Rabbit, Run!], is a wordless picturebook that can be read in two directions, from left to right and from right to left, depicting two different visual narratives that take place in the same scenario, with different characters and specific plots. Highlighting the hybrid, multimodal and chamaeleon-like nature of the picturebook, our objective is to provide an opportunity to reflect upon this format of contemporary literature, which is in constant development and which allows increasingly more elaborate experimentation in order to stress the ludic or playful nature of picturebooks.
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Looking backward, going forward? “The abominable bride” and fan f(r)iction

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Krawczyk-Żywko L.
Acta Philologica
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2016
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issue 49
331-339
EN
The BBC’s “Sherlock” is believed to have pleased even the most fervent Sherlock Holmes fans, yet “The Abominable Bride” episode caused a serious amount of friction within the series fandom. To escape numerous stereotypical trappings, the creators of the show offered a modernised setting, and thus not only did they transcend the Grand Game but also made the show an instant transcultural success. Deciding to place Sherlock in his “original” surroundings in the Christmas special, they fell into the trap of their own making, since their own text became one of the adapted ones. References to the Canon and its adaptations were the driving force throughout the three series, but the amount of auto-referentiality was a step backward as far as the viewers and “gamers” are concerned.
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“I’m a I’m a Scholar at the Moment”: The Voice of the Literary Critic in the Works of American Scholar-Metafictionists

75%
Drąg W.
American, British and Canadian Studies Journal
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2016
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vol. 26
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issue 1
36-51
EN
In her seminal book on metafiction, Patricia Waugh describes this practice as an obliteration of the distinction between “creation” and “criticism.” This article examines the interplay of the “creative” and the “critical” in five American metafictions from the late 1960s, whose authors were both fictional writers and scholars: Donald Barthelme’s Snow White, John Barth’s Lost in the Funhouse, William H. Gass’s Willie Masters’ Lonesome Wife, Robert Coover’s Pricksongs and Descants and Ronald Sukenick’s The Death of the Novel and Other Stories. The article considers the ways in which the voice of the literary critic is incorporated into each work in the form of a self-reflexive commentary. Although the ostensible principle of metafiction is to merge fiction and criticism, most of the self-conscious texts under discussion are shown to adopt a predominantly negative attitude towards the critical voices they embody – by making them sound pompous, pretentious or banal. The article concludes with a claim that the five works do not advocate a rejection of academic criticism but rather insist on its reform. Their dissatisfaction with the prescriptivism of most contemporary literary criticism is compared to Susan Sontag’s arguments in her essay “Against Interpretation.”
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Going Back to One’s Roots: The Revival of Oral Storytelling Techniques in The English Contemporary Novel

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Băniceru A. C.
Romanian Journal of English Studies
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2012
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vol. 9
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issue 1
166-181
EN
My paper examines the interplay between the sophisticated postmodernist techniques of intertextuality, parody, metafiction and a return to orality or better said of pseudo-orality, a simulated-oral discourse or what the Russian Formalists called “skaz”, brought about by much postcolonial, ethnic or feminist literature.
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Autorefleksyjność po polsku

75%
Birkholc R.
Kwartalnik Filmowy
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2022
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issue 119 (Nowa) teoria filmu
182-188
PL
Artykuł jest recenzją książki Pawła Bilińskiego Kinematograf o sobie. Autotematyzm w polskim filmie fabularnym (2021). Autor zwraca uwagę na to, że Biliński skupia się na przypadkach, w których autorefleksyjność manifestuje się w sferze treści, a nie formy filmowej. Jego zdaniem Biliński koncentruje się na innych aspektach zagadnienia niż większość filmoznawców zajmujących się autorefleksyjnością. Kinematograf o sobie… nie jest pracą ani z zakresu teorii kina, ani narratologii, lecz publikacją stricte historycznofilmową. Biliński próbuje nakreślić historię autotematyzmu w kinie polskim i odpowiedzieć na pytanie, po co rodzimi twórcy – nie tylko eksperymentatorzy, ale też reżyserzy filmów rozrywkowych – sięgali po chwyty autorefleksyjne. Autor recenzji omawia konstrukcję książki, wskazując mocne i słabsze strony monografii. Jego zdaniem Kinematograf o sobie… to pozycja, która może usatysfakcjonować w większym stopniu odbiorców zainteresowanych historią kina polskiego niż czytelników zainteresowanych filozoficznymi i narratologicznymi aspektami autorefleksyjności.
EN
The article is a review of Paweł Biliński’s book Kinematograf o sobie. Autotematyzm w polskim filmie fabularnym [Cinema on Itself: Reflexivity in Polish Feature Film] (2021). The reviewer points out that Biliński focuses on situations where reflexivity is manifested in the sphere of content, and not in the sphere of film form; he concentrates on other aspects of the issue than most film scholars interested in reflexivity. Kinematograf o sobie… is neither a dissertation in the field of cinema theory nor narratology; it is strictly a book in film history. Biliński tries to outline the history of Polish reflexivity and to answer the question why Polish filmmakers – not only experimenters, but also directors of entertainment movies – made reflexive films. The reviewer discusses the structure of the book and points out its strengths and weaknesses. In his view, Kinematograf o sobie… is a book that can satisfy readers interested in the history of Polish cinema more than readers fascinated by the philosophical or narrative aspects of reflexivity.
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Metafiction in Children’s Literature and its Adaptation on Screen. The Case of Lemony Snicket’s A Series of Unfortunate Events

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Kaczyńska B., Okuń-Jaśkowiak A., Głaz A., Kniaź-Hunek L., Bendrat A., Prażmo E., Terejko P., Szczypa P., Czemiel G., Antoszek E., Galant J., Komsta M., Frelik E., Waszkiewicz A., Oleszczuk A., Waszkiewicz A., Okuń-Jaśkowiak A.
New Horizons in English Studies
|
2018
|
issue 3
EN
The paper analyzes metafictional aspects of the children’s book series A Series of Unfortunate Events by Lemony Snicket as adapted in a 2017 TV series. Focusing on the metaleptic narrator and the receiver’s role in the story’s interpretation, the analysis shows that the metafiction’s manifestation undergoes certain shifts due to the adaption’s status as a secondary work and the underlying existence of the primary text, as well as the visual mode of storytelling predominant in film.
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Od zabawy lalkami do zabawy słowami - tomiki wierszy dla dzieci Pawła Beręsewicza

71%
Zabawa K.
Paidia i Literatura
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2020
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issue 2
123-133
EN
The paper includes the analyses of three books of poems by Paweł Beręsewicz: Lalki Dorotki [Dorotka’s dolls] (2004), Czy pisarzom burczy w brzuchu? [Do writers’ stomachs grumble?] (2009) oraz Złota jedenastka… [The golden eleven…] (2018). The author studies language, composition, the voice and characters creation, as well as the main idea of the three books, also paying attention to illustrations. She reconstructs the status of a speaker and a recipient, and their relationship (i.e. an adult–child relationship). It is also an attempt to place Beręsewicz’s books of poems in the context of his stories and novels.
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“C’est la vie, c’est la narration”: The Reader in Christine Brooke-Rose’sTexterminationand David Lodge’sSmall World

63%
Selejan C.
American, British and Canadian Studies Journal
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2016
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vol. 26
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issue 1
52-71
EN
This article considers two metafictional academic novels from the reader’s point of view. It argues that this critical vantage point is suggested (if not imposed) by the fictional texts themselves. The theoretical texts informing this reading pertain either to reader response or to theories of metafiction, in an attempt to uncover conceptual commonalities between the two. Apart from a thematic focus on academic conferences as pilgrimages and the advocacy of reading as an ethically valuable activity, the two novels also share a propensity for intertextuality, a blurring of the boundaries between fictional and critical discourse, as well as a questioning of the borderline between fiction and reality. The reading of fiction is paralleled to the reading of (one’s own) life and self-reflexivity emerges as crucial to both types of literacy.
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Interpretace narativní fikce: kolik světů je zapotřebí?

63%
Koťátko P.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2020
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issue 61
33-48
EN
The author continues in defending the view that the texts of narrative fiction direct our thought and imagination to the real world of our life: the storyworld is the state of the real world we are supposed to accept (in the as if mode) as actual. He argues that in interpreting fiction we do not project counterfactual scenarios or states of affairs into another world, construed for this purpose: instead, we project them into the real world via accepting them (in the as if mode) as facts of this world. This view is incompatible with the fictional worlds theory but admits the application of the apparatus of the possible worlds theory (provided that we accept Saul Kripke’s interpretation of possible worlds as “total ways the world might have been”). The author confronts his position with the views recently presented by Stacie Friend and replies to a new counter-example designed to show that the identification of a storyworld with the real world can be blocked by an explicit metafictional pronouncement.
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Fantastyczne biblioteki widmowe. Od fikcyjnych książek do pozatekstowych artefaktów

63%
Całek A.
Prace Filologiczne. Literaturoznawstwo
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2018
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issue 8(11) cz.2
139-155
PL
The article tackles the problem of fictional (constructed) literature termed by Paweł Dunin-Wąsowicz ‘spectral’. Reading through Arturo Pérez-Reverte’s The Club Dumas, Susanna Clarke’s Jonathan Strange and Mr. Norell, and J.K. Rowling’s three works alluding to the Harry Potter cycle, the author proceeds with describing a tendency observed in postmodern fiction, namely, (1) creating fictional artefacts transgressing the borders of fictional world, and (2) constructing libraries within this very world which collect fictional texts imitating the factual ones.
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Elementy powieści postmodernistycznej w Magu Johna Fowlesa

63%
Boryszewski W.
Prace Literaturoznawcze
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2013
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issue 1
167-178
EN
The purpose of the article is to prove that The Magus, despite being quite traditional in its form, has a lot of features of a postmodernist novel. The author begins with explaining the term postmodernism and the most characteristic features of a postmodernist novel. These features include such phenomena as intertextuality, metafiction and eclectism which manifests itself, among others, in generic syncretism. The novel makes use of intertextuality, as it refers to a great number of various texts. One of its major themes is fiction itself, which makes the novel an example of metafiction. It also blends elements of a few different genres, such as romance (chivalric, pastoral and picaresque), Bildungsroman, detective story, autobiography and masque.
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The Image of Man in Metafictional Novels by John Banville: Celebrating the Power of the Imagination

63%
Czerniakowski M.
Roczniki Humanistyczne
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2013
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vol. 61
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issue 5: Neofilologia
209-223
EN
The essay titled “The Image of Man in Metafictional Novels by John Banville: Celebrating the Power of the Imagination” analyzes how John Banville reconstructs the image of man in his two novels Kepler and Doctor Copernicus by means of broadly understood metafiction. The Author of the essay discusses the following elements: implied author’s and narrator’s power of creative imagination and Rheticus’s self-consciousness which enables to create fiction and intertextuality of the novel. When analyzing the last aspect of the novels, the Author mentions also Michel Foucault’s term, heterotopia. The results of this analysis are twofold. On the one hand, man has got practically unlimited creative imagination on their part. On the other hand, man seems to be lost in the world of unclear ontological boundaries, which proves a paradoxical image of man.
PL
Artykuł, zatytułowany „Obraz człowieka w powieściach metafikcyjnych Johna Banville’a: pochwała siły wyobraźni” analizuje sposób w jaki John Banville, poprzez elementy charakterystyczne dla szeroko rozumianej metafikcji, stara się zrekonstruować obraz człowieka w powieściach: Kepler i Doctor Copernicus. Autor eseju kolejno omawia: siłę kreatywnej wyobraźni domniemanego autora i narratora oraz samoświadomość jednej z postaci, Rheticusa, w tworzeniu fikcji oraz intertekstualność powieści. Przy okazji analizy ostatniego aspektu utworów, wspomniany zostaje również termin Michela Foucault, heterotopia. Wnioski o człowieku, do jakich prowadzi ta analiza, pokazują, że z jednej strony dysponuje on praktycznie nieograniczoną wyobraźnią twórczą. Z drugiej zaś, człowiek jest zagubiony w świecie niewyraźnych granic ontologicznych, co udowadnia dość paradoksalną wizję człowieka.
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Lubomír Doležel o postmoderně Sebeodhalení a protimluvy jako tahy v narativní hře

63%
Koťátko P.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2016
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vol. 53
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issue 26
19-26
EN
The paper critically interprets the analysis of characteristic features of the postmodern narrative fiction in Lubomír Doležel’s Heterocosmica (1998) and Heterocosmica II (2014). In particular, the author focuses on Doležel’s approach to metafiction and cumulation of contradictions as moves undermining (in a literarily productive way) the constitution and authentication of fictional worlds. Despite the explanatory power of Doležel’s analysis, the author points out that the same instruments (as well as some others analyzed by Doležel, like metamorphosis or construction of parallel and hybrid worlds) can be used with mimetic functions (in a rather non-traditional sense): in such cases, they cannot be reduced to moves within the postmodernist „ontological game“.
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