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Journal articles on the topic 'Mise en abyme (littérature)'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 September 2023

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1

Peterson, Michel. "Pour un nomadisme de la lecture. Notes sur la Reine des prisons de Grèce d’Osman Lins." Études littéraires 25, no. 3 (2005): 81–92. http://dx.doi.org/10.7202/501016ar.

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La parole du poète constitue toute périphérie en centre, mieux encore, elle abolit même la notion de centre et de périphérie. Dans la Reine des prisons de Grèce d'Osman Lins, le texte résiste à la maîtrise de l'Histoire, car la réalité y est mise en abyme et la fiction n'établit plus de rapports privilégiés qu'avec la littérature: le référent ne s'y manifeste que par dérivation.

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2

Decout, Maxime. "Georges Perec : grandeur et misère d’une signification abymée." Analyse 43, no. 1 (2013): 157–71. http://dx.doi.org/10.7202/1014066ar.

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« 53 jours », le dernier roman de Perec, demeuré inachevé, propose d’interroger les rapports entre le réel et la fiction à travers une enquête policière sur des manuscrits et des récits mis en abyme. De la sorte, il brouille sans cesse les frontières entre la fiction et le monde, et indique comment le désir absolu de faire signifier le réel comme les récits risque de condamner le lecteur à l’erreur. La signification devient une puissance fascinante et ensorcelante que la mise en abyme renvoie dans le domaine de l’illusion. Le livre est ainsi hanté par l’idée du dévoilement, et fonde la lecture du monde sur des présupposés issus non de lui-même mais de la littérature. S’écrivant tout en désavouant la signification du réel et de la fiction, « 53 jours » affirme donc que la littérature doit avant tout être exigence de lucidité quant à ses pouvoirs et à ses limites. Un autre réalisme s’invente sous la plume de Perec, un « réalisme citationnel », qui combine le monde et les oeuvres : un réalisme qui sait que le réel est aussi une fiction, composée de tous les textes qui peuplent notre mémoire et orientent notre pensée.

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Real, Miguel. "Mise en abyme e culturalismo: a novelística de Nuno Júdice." Revista do Centro de Estudos Portugueses 32, no. 48 (2012): 11. http://dx.doi.org/10.17851/2359-0076.32.48.11-20.

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<p>Quase todas as narrativas de Nuno Júdice são subordinadas à dificílima técnica estilística de <em>mise en abyme</em>, num trabalho consciente com categorias tradicionais da narrativa tais como o tempo e o espaço, visando a exploração da dimensão meta-literária da ficção. No caso de <em>Os Passos da Cruz </em>(2009) este processo sofre um elevado grau de depuração, naquilo que se afigura como uma síntese do todo da história de Portugal. Já em <em>O Complexo de Sagitário </em>(2011) não só se confirma com prova maiúscula a utilização privilegiada da técnica pelo autor, como se torna patente a presença de uma visão culturalista da literatura enformando a sua produção novelística.</p> <p> </p> Presque tous les récits de Nuno Júdice sont subordonnés à la difficile technique stylistique de la mise en abyme, dans un travail conscient avec des catégories traditionnelles de la narrative tels que celle du temps et de l’espace et dans le but d’y exploiter la dimension métalittéraire de la fiction. Dans le cas de Os Passos da cruz (2009), ce processus subit une forte épuration, dans ce qu’il y a de synthèse de l’histoire du Portugal. Pour ce qui est de O complexo de Sagitário (2011), l’usage privilégié de cette technique s’affirme à nouveau, comme l’on peut le constater par la présence d’une vision culturaliste de la littérature, évidente dans sa production romanesque. <br />

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4

Raymond, Dominique. "« Une nouvelle manière de voir le monde ». Jalons pour une poétique de la figure fractale en littérature." Études littéraires 50, no. 2 (2021): 35–49. http://dx.doi.org/10.7202/1083995ar.

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1975, Benoît Mandelbrot identifie les fractales. Certaines formes, avance-t-il, issues de la nature comme le flocon, la côte maritime ou la galaxie, irrégulières et chaotiques à première vue, présentent des règles et des modèles géométriques complexes, itératifs et homothétiques : les motifs se répètent indéfiniment et se ressemblent strictement. Transposées dans le domaine littéraire, les fractales se déclinent de mille et une façons, comme motif structurant, comme thème, en arrière-plan ou métaphoriquement. Cet article propose de délimiter les contours de cette figure, de voir comment elle se rapproche et se distingue de la mise en abyme par exemple, et d’examiner comment la littérature francophone l’exploite – quels en sont les usages, quels rôles est-elle appelée à jouer et sur quels plans (diégétique, poétique, structurel), etc.

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5

Wylie, Hal, and Lydie Moudileno. "L'écrivain antillais au miroir de sa littérature: Mises en scène et mise en abyme du roman antillais." World Literature Today 72, no. 2 (1998): 436. http://dx.doi.org/10.2307/40153945.

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Retg, Cécile. "A. Gérin-Lajoie. D’après ses mémoires de Henri-Raymond Casgrain." Revue d’histoire de l’Amérique française 70, no. 4 (2017): 35–54. http://dx.doi.org/10.7202/1040573ar.

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Révélant l’intimité de leurs auteurs, leurs rêves, leurs espoirs ou leurs désillusions, la littérature personnelle fascine de nombreux chercheurs. Mais, sous leur apparente sincérité, ces sources peuvent devenir de véritables pièges. À travers l’exemple d’un cas particulier, celui de la biographie d’Antoine Gérin-Lajoie par l’abbé Casgrain, cet article invite à réfléchir sur ce problème. Et pour cause, dans cette biographie, constituée pour l’essentiel des écrits intimes de Gérin-Lajoie, la mise en abîme de la littérature personnelle est profonde et chaotique. En dévoilant les diverses étapes de la création de cette oeuvre, de l’écriture de Gérin-Lajoie à celle de Casgrain, cet article présente une enquête critique de cette source. Il s’attarde également sur les liens qui unissent les différents acteurs de la création d’A. Gérin-Lajoie. D’après ses mémoires pour mieux comprendre leurs intentions et le sens de leurs interventions.

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7

Viselli, Antonio. "Fuir la complétude ou Le métarécit intermédial des Faux-monnayeurs." Voix Plurielles 11, no. 2 (2014): 53–63. http://dx.doi.org/10.26522/vp.v11i2.1100.

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Les Faux-monnayeurs d’André Gide est un (anti-)roman qui fait appel à un autre médium artistique amimétique – en l’occurrence la musique – afin de mettre en question la représentation de l’authenticité, du réel et de la subjectivité de l’écrivain. Édouard, le protagoniste romancier qui souhaite lui-même rédiger un roman intitulé Les Faux-monnayeurs, se trouve plongé dans une mise-en-abîme où le récit linéaire contrapuntique déjà complexe se colore d’ambiguïté narrative grâce à une polyphonie verticale : et ce, par le biais de l’axe paradigmatique, des récits emboîtés et de l’usage du discours indirect libre. Gide réalise, au moins en partie, le rêve d’Édouard paralysé par la page blanche : terminer l’œuvre de Bach, L’Art de la fugue, en littérature. C’est-à-dire, que d’un point de vue intermédial, Gide emploie une poétique de la fugue – style musical théoriquement interminable – afin de subvertir le genre romanesque. L’intermédialité rejoint l’interdisciplinarité et, en appliquant le théorème mathématique et philosophique de Kurt Gödel – son théorème de l’incomplétude –, la verticalité textuelle, synonyme de métarécit chez Gide, se déploie dans toute son éloquence et renforce davantage la thématique du « faux » et de la « copie » dans un roman contrefait.    Fleeing Completeness or The Intermedial Metanarrative of Les Faux-monnayeurs  André Gide’s Les Faux-monnayeurs is a (anti-)novel that calls upon another amimetic artistic medium – music – in order to question the representation of authenticity, of the real, and of the novelist’s subjectivity. The novel’s protagonist, Édouard, wishes to write a novel entitled Les Faux-monnayeurs, and finds himself at the bottom of a mise-en-abîme where the already complex contrapuntal narrative becomes further ambiguous alongside examples of vertical polyphony: such as the paradigmatic axis, framed narratives (mise-en-abîme), and the use of free indirect speech. Gide is capable, in part, of realizing the goal of his protagonist, who is paralyzed by the blank page: to finish Bach’s work, The Art of Fugue, in literature. From an intermedial perspective, Gide employs a fugal poetics – the theoretically endless musical style – in order to subvert the genre of the novel. Finally, intermediality joins interdisciplinarity, and by applying Kurt Gödel’s mathematic and philosophical theorem – the incompleteness theorem –, textual verticality, synonymous with Gide’s metanarrative, reaches its height and further reinforces the themes of the “false” and the “copy” in a counterfeit novel.

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8

Henry, Karen. "Mise En Abyme." Afterimage 28, no. 1 (2000): 13. http://dx.doi.org/10.1525/aft.2000.28.1.13.

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Dowling, Finuala. "Mise-En-Abyme." Scrutiny2 19, no. 1 (2014): 154. http://dx.doi.org/10.1080/18125441.2014.906247.

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Visy, Beatrix. "A fénykép mint mise en abyme – „prózafordulat”, fotó a mise en abyme tükröződésében." Per Aspera ad Astra 9, no. 1 (2022): 113–31. http://dx.doi.org/10.15170/paaa.2022.09.01.06.

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A tanulmány az eredetileg képzőművészethez kapcsolódó jelenség, a mise en abyme szépirodalmi működését vizsgálja. A fogalmi, elméleti megközelítés rávilágít arra is, hogy a mise en abyme mint a narráción belüli öntükröző alakzat gyakran vizuális narrációként vagy képleírásként, ekphrasziszként van jelen a műben. A fotográfiában a valóság és „tükröződése” még bonyolultabb kérdéseket vet fel, a fénykép irodalmi művekben való felbukkanása pedig gyakran hatással van a narrációra, a próza egyes jegyeire. A fényképek több alkalommal is a szöveg öntükröző alakzataiként ragadhatók meg, a képen látható kiragadott pillanat (punctum) a mű csomópontját adja, s a fotó nem egyszer metaforikus, szimbolikus erővel sűríti magába az egész történet lényegét, elvont-lényegi jelentését. Különösen fontos és termékeny összefüggéseket mutat mindez a magyar irodalomban a 70-es, 80-as évek prózai átalakulásával, az úgynevezett prózafordulat jelenségeivel és intermediális vonásaival.A tanulmány három különböző szerző (Mészöly Miklós, Bereményi Géza, Závada Pál) művében vizsgálja a fénykép szerepét, jelentőségét. Mindhárom csoportkép, és mindhárom, más-más tartalmi, gondolati kérdést mozgósítva, a regény mise en abyme-jaként értelmezhető. Kép forrása: Fortepan / Gádoros Lajos

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Natividade, Everton. "A 'mise en abyme' como recurso eniano nos anais." Aletria: Revista de Estudos de Literatura 19, no. 3 (2009): 47–56. http://dx.doi.org/10.17851/2317-2096.19.3.47-56.

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Resumo: No fragmento 22 do primeiro canto dos Anais (ed. Valmaggi), Quinto Ênio (239—ca. 169 a.C.) apresenta a sua versão da concepção dos gêmeos Rômulo e Remo, numa cena em que a narrativa do poeta contém o discurso de Ília, mãe dos gêmeos, recém-acordada de um sonho bastante agitado. Na fala de Ília, insere-se a fala do seu pai, um discurso dentro de outro discurso. O procedimento do récit enchâssé cria um efeito de mise en abyme que tem especial relevância para a leitura interpretativa do fragmento, por sua vez criador de uma segunda mise en abyme nos Anais. Outro sonho narrado no primeiro canto, o de Ênio com Homero (fr.2-8), liga-se ao de Ília também pela mise em abyme, gerando novas leituras intratextuais.Palavras-chave: Ênio; Anais; mise en abyme.Abstract: In fragment 22 from the first book of the Annals (ed. Valmaggi), Quintus Ennius (239–ca. 169 BC) provides us with his version of the twins’ Romulus and Remus conception, in a scene in which the poet’s narrative contains the twins’ mother’s speech, Ilia’s, the description of the dream she’s just had. In Ilia’s line, we hear her father speak–a speech within a speech. This récit enchâssé produces the effect of a mise en abyme that bears special relevance to the interpretative reading of the fragment, which in its turn creates a second mise en abyme through its insertion in the Annals. Narrated in the first book, another dream, in which Ennius sees Homer (fragments 2-8), is also connected to Ilia’s through the mise en abyme’s effect, thus generating new intratextual reading possibilities.Keywords: Ennius, Annals, Mise en abyme.

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12

Cohn, Dorrit, and Lewis S. Gleich. "Metalepsis and Mise en Abyme." Narrative 20, no. 1 (2012): 105–14. http://dx.doi.org/10.1353/nar.2012.0003.

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Zalewski, Andrzej. "Unveiling the frame of philosophy." Philosophical Discourses 2 (2020): 123–31. http://dx.doi.org/10.16926/pd.2020.02.08.

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Philosophy in this text is considered under the model of mise en abyme, which is used in particular in the art of fiction narration. A novel about the process of novel writing is an example of mise en abyme. A film about movie directing is also an example of mise en abyme. A painting showing the artist working on the work of art also has features of mise en abyme. Likewise, mise en abyme philosophy is philosophy that discusses how philosophy is created. Philosophy in such a shape is no longer understood as an endless space “inhabited” by situations, concepts, assertions, philosophical theses which are, however, perceived as if from the inside of that space; by contrast, it starts to be perceived from the outside, from the perspective of activities that form its frame, that frame it. For example, two such framing activities are considered – refining situations which is responsible for the “splendor of truth” that shines forth in them and defying the passage of time when constructing situations which is decisive for their isolation from the stream of life. Philosophy that notices its own frame is anchored in the foundations of everyday life which is something irrefutable in relation to the very inside of philosophy; as a consequence, the idea of epistemological foundationalism may be renewed and recovered for philosophy.

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Rinon, Yoav. "Mise en abyme and Tragic Signification in the Odyssey: The Three Songs of Demodocus." Mnemosyne 59, no. 2 (2006): 208–25. http://dx.doi.org/10.1163/156852506777069673.

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AbstractThis essay highlights some aspects of the tragic conception of the Odyssey in assertion of its generic identity, focusing on the three songs of the bard Demodocus recounted in Book 8 of the epic and using mise en abyme as the primary exegetical tool. Mise en abyme, a narratological term denoting a certain part of a literary work of art that represents the work as a whole, functions in Demodocus' first song to mark the Odyssey as an epic in dialogue with the Iliad. The second song functions as a mise en abyme of both the content of the Odyssey and its poetic form. The last of the bard's songs enhances the perception of mise en abyme, viewing the Odyssey as an act of communication between poet and audience where the song and its responding listeners suggest emotional and cognitive reactions to the narratees of the Odyssey. This song also reflects the two earlier ones, and it is this dialogical relationship that leads to the epic's tragic signification.

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Jeha, Júlio César. "The mirror in the mirror in the mirror." Estudos Germânicos 7, no. 1 (1986): 99. http://dx.doi.org/10.17851/0101-837x.7.1.99-122.

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This is an analysis of the mise en abyme effect in E.A. Poe's "The fall of the house of Usher." The paper starts with the identification of the Nietzschean concepts of the Apollinian and Dionysian facets of art, relates them to Gnostic forces of attraction and repulsion, and then compares them to elements of Poe's philosophy of composition. The paper goes on to point out a pre-Formalist notion of arrangement in Poe, and eventually focuses on the mirroring effect which is central to the tale. André Gide'8 comments on mise en abyme, and Lucien Dallenbach's study of Gide's concept, are submitted to close scrutiny. This examination shows that both the French writer and the systematizer of his ideas were wrong when they dismissed "The fall of the house of Usher" as an imperfect example of mise en abyme.Esta é uma análise do efeito de mise en abyme no conto "The fall of the house of Usher," de E.A. Poe. O artigo começa com a identificação dos conceitos nietzscheanos das facetas apolínea e dionisíaca da arte, relaciona-as às forças gnósticas de atração e repulsão, e então compara-as a elementos da filosofia de composição de Poe. O artigo releva uma noção de arranjo pré-formalista em Poe, e termina por focalizar o efeito de espelho que é central no conto. Os comentários de André Gide sobre mise en abyme e o estudo de Lucien Dallenbach sobre o conceito de Gide são submetidos a um exame cuidadoso. Tal exame mostra que ambos o escritor francês e o sistematizador de suas idéias estavam errados ao rejeitarem "The fall of the house of Usher" como um exemplo imperfeito de mise en abyme.

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Corvacho, Suely. "Graciliano Ramos e aspectos da estética modernista." Scripta 26, no. 58 (2023): 54–78. http://dx.doi.org/10.5752/p.2358-3428.2022v26n58p54-78.

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O artigo defende que Graciliano Ramos, ainda que crítico em relação à Semana de Arte Moderna de 1922, acompanha e adota novidades estéticas de seu tempo. Seu primeiro romance, Caetés, apresenta indícios de modernidade: a mise en abyme e o jogo intermidiático com a participação do leitor. A mise en abyme é a principal responsável pelos efeitos irônicos do livro, e o jogo intermidiático, uma de suas estratégias. No romance, o protagonista depara-se com um quadro cujo assunto desconhece; trata-se de Marino Faliero, tema que, no Brasil, vem enlaçado com a antropofagia. Comparando o tema e a vida do protagonista, o leitor encontra vários pontos de contato, mas “apequenados” em Caetés, o que provoca efeitos irônicos. Os resultados da análise – a radicalização da mise en abyme, a participação do leitor no jogo intermidiático e a metaforização da antropofagia – são interpretados sob a perspectiva de Antonio Candido, em seu ensaio “Literatura e subdesenvolvimento”, para quem algumas obras brasileiras afinam “os instrumentos recebidos” dos países centrais.

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Da Costa, Alexandre Rodrigues. "TESSITURAS LABIRÍNTINCAS: A MISE EN ABYME E A METALEPSE COMO RAMIFICAÇÕES DA NARRATIVA, EM “BANDERSNATCH’, EPISÓDIO DA SÉRIE BLACK MIRROR." Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual 9, no. 1 (2020): 249–67. http://dx.doi.org/10.22475/rebeca.v9n1.537.

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Neste artigo, analisamos o episódio “Bandersnatch”, da série de TV Black Mirror, criada por Charlie Brooker e produzida pelo canal de streaming Netflix, a partir dos conceitos de mise en abyme e metalepse, como possibilidade de criação de narrativas ramificadas e labirínticas. Dessa maneira, investigamos de que forma a permutação permite a “Bandersnatch” interagir com o telespectador e, baseando-nos na fragmentação que decorre desse processo, relacionamos a mise en abyme e a metalepse ao conceito de imagem-tempo, de Gilles Deleuze, e aos conceitos de Cronos e Aion, que ele explora a partir dos textos estoicos. Além disso, estabelecemos comparações entre “Bandersnatch” e os filmes A origem, de Christopher Nolan, Os olhos da cidade são meus, de Bigas Luna, e Eu te amo, eu te amo, de Alain Resnais, com o objetivo de perceber como a mise en abyme e a metalepse dilaceram a progressão e a linearidade, ao fazerem com que a repetição e a circularidade colapsem a narrativa e a ofereçam como um jogo de realidades instáveis.

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Maślanka-Soro, Maria. "“Non vide mei di me chi vide il vero”: l’arte “verace” nel girone dei superbi come mise en abyme dell’arte dantesca nella Commedia." Romanica Cracoviensia 21, no. 1 (2021): 55–65. http://dx.doi.org/10.4467/20843917rc.21.005.13673.

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“Non vide mei di me chi vide il vero”: L’art “verace” in the circle of proud as a mise en abyme of Dante’s art in the Comedy The purpose of this study is to discuss the problem of meta-poetic themes in the Divine Comedy, focusing in particular on the relationship between God’s art and Dante’s art in the context of the impression caused by the sight of the rock reliefs in the cornice of the proud in the Purgatorio, where the poet, presenting and imitating the art of God, in fact shows the mastery of his own art. The analysis leads to the conclusion that the examples of humility and pride carved on the walls and the rock path – the perfect work of God-the Artist, vibrant with life and called by Dante visibile parlare – are, on the one hand, a mise en abyme of its macroscopic version, which is the Universe created by him, and, on the other hand, a mise en abyme of the universe narrated with the simile perfection by Dante.

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Hwang, Hyeyoung. "A study on ‘mise en abyme’ in Dongin Kim’s Gwanghwasa." Korean Society of Culture and Convergence 45, no. 2 (2023): 227–35. http://dx.doi.org/10.33645/cnc.2023.02.45.02.227.

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The purpose of this paper is to analyze the aspects of ‘mise en abyme’ in Dongin Kim’s Gwanghwasa which is one of the representative works of the artist's esthetic tendency. First of all, the work consists of a story about a painter that the narrator creates. The portrait of the painter Solgeo is also introduced as ‘mise en abyme’, which is overlapped with the story created by the narrator. The name of the painter in the novel, which is the same as that of Solgeo, a great painter in the Shilla Dynasty, reminds us of the pursuit of living painting. The pupil of the portrait of an absolute beauty that the painter in the novel tried to complete with a blind girl as a model is completed with ink splashed from an inkstone that the model bumped into while dying. The pupil of the portrait becomes a dramatized image of ‘mise en abyme’, which opens the abyss to the work as a dynamic qualitative change from a lifeless painting to a absolute living portrait.

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Alain P. Michel. "An Image mise en abyme." Technology and Culture 49, no. 4 (2008): 967–73. http://dx.doi.org/10.1353/tech.0.0188.

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Muravieva, Larissa. "Mise en abyme: variations on the concept." Novoe literaturnoe obozrenie, no. 1 (2023): 133–49. http://dx.doi.org/10.53953/08696365_2023_179_1_133.

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Данузер, Г. "‘Die Meistersinger von Nürnberg’ — The Artistic Cosmos of a Metadrama." Журнал Общества теории музыки, no. 2(26) (June 3, 2019): 1–22. http://dx.doi.org/10.26176/otmroo.2019.26.2.001.

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Опера Р. Вагнера «Нюрнбергские мейстерзингеры» анализируется в статье с позиций метадрамы, характерными признаками которой являются игры с именами, границами и психологической рампой, а также принцип mise en abyme (ступенчатой итерации). Культура мейстерзанга, представленная в сочинении, рассматривается в ракурсах поэтики и рецептивной эстетики. R. Wagner's Opera ‘Die Meistersinger von Nürnberg’ is analyzed in the article from the standpoint of the metadrama, the characteristic features of which are games with names, frames and psychological ramp, as well as the principle of mise en abyme (gradual iteration). Meistersinger tradition presented in the work, is considered in the perspectives of poetics and receptive aesthetics.

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Han, Eui-Jung. "Jacques Derrida and Valerio Adami’s Mise en abyme." Journal of Aesthetics & Science of Art 65 (February 28, 2022): 80–101. http://dx.doi.org/10.17527/jasa.65.0.04.

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Hawcroft, Michael. "Gide's Corydon, ‘mise en abyme’, and Autobiographical Fiction." Nottingham French Studies 33, no. 2 (1994): 47–54. http://dx.doi.org/10.3366/nfs.1994-2.006.

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Batori, Anna. "Structural and sensual reflexivity in The Goodbye." Short Film Studies 9, no. 2 (2019): 145–48. http://dx.doi.org/10.1386/sfs.9.2.145_1.

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Perim, Regina Silva Michelli. "Paisagem, de Lygia Bojunga, na interface com o fantástico." Literartes 1, no. 7 (2017): 40. http://dx.doi.org/10.11606/issn.2316-9826.literartes.2017.127631.

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O objetivo desse artigo é apresentar uma análise do livro Paisagem, escrito por Lygia Bojunga, no âmbito do fantástico, utilizando os conceitos de fantástico contemporâneo, autoficção e mise en abyme.

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Hwang, Hye-Young. "The ‘Ultimate’ Citation from the Mise en Abyme Perspective." Comparative Literature 79 (October 30, 2019): 307–32. http://dx.doi.org/10.21720/complit79.11.

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Chervet, Bernard. "Incidences et mise en abyme du travail de rêve." Revue française de psychanalyse 72, no. 4 (2008): 1137. http://dx.doi.org/10.3917/rfp.724.1137.

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Dickmann, Iddo. "Using Mise en abyme to Differentiate Deleuze and Derrida." Journal of the British Society for Phenomenology 48, no. 1 (2016): 63–80. http://dx.doi.org/10.1080/00071773.2016.1217664.

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Emery, J. "Figures Taken for Signs: Symbol, Allegory, Mise en abyme." Comparative Literature 64, no. 4 (2012): 339–55. http://dx.doi.org/10.1215/00104124-1891387.

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Kiening, Christian. "Zeitenraum und mise en abyme Zum ‚Kern‘ der Melusinegeschichte." Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte 79, no. 1 (2005): 3–28. http://dx.doi.org/10.1007/bf03375769.

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Nóbrega, Caio Antônio, and Genilda Azerêdo. "“Dearest Reader, It’s Up to You”: Articulating the Theory of Aesthetic Response and Metafiction in Ian McEwan’s Sweet Tooth." Aletria: Revista de Estudos de Literatura 29, no. 4 (2019): 141–64. http://dx.doi.org/10.17851/2317-2096.29.4.141-164.

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In this paper, we aim at discussing the figure of the reader and the reading processes in Ian McEwan’s novel Sweet Tooth. To do so, we propose an articulation between the theoretical discourses on metafiction and the theory of aesthetic response. Drawing from theoretical frameworks elaborated mainly by Iser (1972, 1978, 1989, 2006) – regarding the theory of aesthetic response – and by Hutcheon (1980, 2000) and Waugh (1984) – regarding metafiction – we understand parody and mise en abyme as two metafictional procedures that constitute the structure of the implied reader. In this sense, if these metafictional creative strategies make the reading activity more complex, they also function as guiding systems to the reader, allowing him to pursue answers to the enigmas articulated within the novel. Parody and mise en abyme, for McEwan, are powerful tools in what we might perceive as a project to develop more proficient readers.

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Rodriguez, Samuel Rodriguez. "“Voces y espejos” de Espido Freire. Hacia una estética de la perversión en el relato especular." Acta Hispanica 19 (January 1, 2014): 51–61. http://dx.doi.org/10.14232/actahisp.2014.19.51-61.

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Espido Freire (Bilbao, 1974) is one of the most interesting authors of contemporary Spanish literature. She has admitted on numerous occasions her preference for tales. “Voces y espejos” belonging to the storybook Juegos míos (2004), is offered as a paradigm of the obsessions that populate her work: the voices and mirrors as inducers of evil. The mise en abyme while splitting the narrator – widely studied by Lucien Dällenbach – permits the author to develop an alter ego what was so beloved by Borges and Cortázar. And here it aims at a hidden voice in us, which is subtle, barely perceptible, but always evil, which is intended to be reflected by the mirror dangerously. This story also presents the particularity of applying a double mise en abyme for its metaliterary character, what refers to the proper conception and reception of the story in a macabre triangle between the author, text and reader.

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Hél-Bongo, Olga. "Métatextualité, mise en abyme et anamorphose dans Le bel immonde de V.Y. Mudimbe." Articles 42, no. 1-2 (2014): 175–93. http://dx.doi.org/10.7202/1021303ar.

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Le Bel immonde de V. Y. Mudimbe a souvent été considéré comme un roman à part, le seul à posséder une intrigue, à afficher clairement ses intentions subversives dans le thème de la marginalité. L’héroïne du roman est une prostituée, amoureuse ou non, on ne le sait pas vraiment, d’un ministre influent du pays. La modernité du roman apparaît, selon nous, dans ses procédés de réflexivité (métatextualité et mise en abyme) comme dans ses techniques de décentrement (métalepse, anamorphose). Le présent article vise à montrer que le texte mudimbien s’accompagne d’un métatexte qui se veut mise en abyme, hypotypose, métalepse ou anamorphose. L’immonde, qui fait appel à la notion religieuse de l’impur et à celle, esthétique, du beau, se cache dans la plus stricte banalité du discours, du menu fait ou geste quotidien, voire du silence. À travers une dialectique du même et de l’autre, le roman subvertit les clichés de la norme sociale.

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Pereira Camargo, Flávio. "O discurso metaficcional em A rainha dos cárceres da Grécia, De Osman Lins." Latinoamérica. Revista de Estudios Latinoamericanos, no. 47 (June 5, 2008): 9. http://dx.doi.org/10.22201/cialc.24486914e.2008.47.57408.

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En este artículo, examinaremos algunas estrategias narrativas y discursivasde las usadas por Osman Lins en el proceso de la construcción de A rainhados cárceres da Grécia, a saber: autorreflexibilidad, la mise en abyme, la cuestión del lector y de la lectura, la fragmentación del texto y la ruptura del género.

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Lee, Ki-ju. "A Study on the "Mise en abyme" in Modern Poetry." Korean Literature and Arts 34 (June 30, 2020): 153–82. http://dx.doi.org/10.21208/kla.2020.06.34.153.

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Rosse, Dominique. "Satire et mise en abyme dans « Les Employés » de Balzac." L'Année balzacienne 5, no. 1 (2004): 402. http://dx.doi.org/10.3917/balz.005.0402.

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WOOLLEN, G. "THE MISE EN ABYME OF LITERARY RECEPTION IN CONSTANT'S ADOLPHE." French Studies Bulletin 12, no. 42 (1992): 12–15. http://dx.doi.org/10.1093/frebul/12.42.12.

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Simons, John. "Mise en abyme and Tradition in Two New England Poems." Journal of American Studies 21, no. 1 (1987): 104–8. http://dx.doi.org/10.1017/s0021875800005557.

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de Jong, Irene J. F. "The Shield of Achilles: From Metalepsis to Mise En Abyme." Ramus 40, no. 1 (2011): 1–14. http://dx.doi.org/10.1017/s0048671x00000175.

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The Shield of Achilles (Iliad 18.478-608) can easily be qualified as ‘the mother’ of all ekphraseis, and scholarly interest in this passage has been massive. Scholars have mainly discussed three issues: the relation between the Shield and real shields; the relation between the scenes on the Shield and the Iliad; and the method of description.In this article I will focus on the third point. As noted famously by Lessing, the description of the Shield is dynamic, both in the sense that we see Hephaestus making the shield and that the scenes depicted become stories, with characters speaking and thinking and events following one after the other. My central question is: who is responsible for these narrativised scenes, Hephaestus or the Homeric narrator? Or to put it more poignantly: who creates the scenes on the Shield? I note the following positions. It is the divine artist Hephaestus who either creates figures which (1a) can really move, like his tripods and handmaids: 18.376f., 418-20 (‘the figures are not merely lifelike, they really live!’), or (1b) at least suggest movement, a suggestion to be decoded by the narrator (‘the consistent transformations of gold into natural image, of image into action, give us to understand that the qualities of sound and movement and emotion come into being through the responsive participation of the spectator in the work’). Or, it is the Homeric narrator who either (2a) cannot suppress a ‘youthful pleasure in animated narration’ and himself narrates stories instead of describing the figures which Hephaestus makes, or (2b) subtly blends description and narration (‘a cycle of scenes wrought in metal—or in words? This description of the shield actually is a poem’).

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Chant, Armando. "Mise en Abyme: Drawn intersections between image, body, and space." Research in Arts and Education 2018, no. 3 (2018): 186–210. http://dx.doi.org/10.54916/rae.118866.

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dos Reis, Véra Lucia. "Clés du mensonge, copies de la vérité dans Copies conformes de Monique LaRue." Dossier 28, no. 2 (2003): 61–72. http://dx.doi.org/10.7202/006596ar.

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Résumé Le présent article porte sur Copies conformes et s’intéresse à la représentation du réel, à partir de l’analyse des effets de mise en abyme provoqués par la réécriture du livre de Dashiell Hammett, Le faucon maltais. Le texte prend aussi en considération le récit d’énigme comme forme privilégiée de réflexion sur la fiction et sur le rapport entre mensonge et vérité.

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Woo, Hyun-Sun. "The Politics of Mise-en-abyme in Sarah Ruhl’s Passion Play." NEW STUDIES OF ENGLISH LANGUAGE & LITERATURE 74 (November 30, 2019): 123–42. http://dx.doi.org/10.21087/nsell.2019.11.74.123.

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SETTERFIELD, D. "Mise en abyme: Retroaction and Autobiography in Andre Gide's Tentative amoureuse." French Studies 52, no. 1 (1998): 58–70. http://dx.doi.org/10.1093/fs/52.1.58.

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SETTERERFIELD, D. "MISE EN ABYME, RETROACTION AND AUTOBIOGRAPHY IN ANDRE GIDE'S TENTATIVE AMOUREUSE." French Studies LII, no. 1 (1998): 58–70. http://dx.doi.org/10.1093/fs/lii.1.58.

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Thibault, Bruno. "L’Amérique et la mise en abyme dans trois polars francophones contemporains." Contemporary French and Francophone Studies 23, no. 1 (2019): 57–65. http://dx.doi.org/10.1080/17409292.2019.1639283.

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Leibovici, Solange. "Philip Roth's Personae: Mise en Abyme, Hysterical Ghost, and Angry Act." American Imago 74, no. 1 (2017): 85–98. http://dx.doi.org/10.1353/aim.2017.0004.

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Roh, Chul-Hwan. "Mise en abyme and Visual Narrative in La Belle Époque(2019)." STUDIES IN HUMANITIES 77 (June 30, 2023): 263–87. http://dx.doi.org/10.33252/sih.2023.6.77.263.

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Corvacho, Suely. "A criação literária e o devaneio em Caetés." Literatura e Sociedade, no. 22 (December 7, 2016): 16. http://dx.doi.org/10.11606/issn.2237-1184.v0i22p16-29.

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Este ensaio procura explorar a representação do devaneio e da criação literária em Caetés, primeiro romance de Graciliano Ramos. Da análise da mise en abyme, recurso formal percebido como básico da obra, busca-se identificar os elementos que iluminam o fazer literário. O resultado permite encontrar pontos de contato e contrapontos com a posição de Freud em “Escritores criativos e devaneios” e “Sobre os sonhos”.

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Beckman-Long, Brenda. "Creating a Community of Witnesses: Acts of Reading in Anne Michaels’s Fugitive Pieces." Canadian Jewish Studies / Études juives canadiennes 32 (October 25, 2021): 113–27. http://dx.doi.org/10.25071/1916-0925.40245.

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This article considers the reading effects of the mise en abyme in Anne Michaels's Fugitive Pieces to create a community of witnesses among readers. The novel’s multi-voicedness, created through a series of narratees and narrators, models complex identifications of the author, narrators, and reader. Through the figure of the reader presented by the narratees Bella, Michaela, and Naomi, as well as the narrators Athos, Jakob, and Ben, Michaels engages us in acts of reading and interpreting the ongoing effects of the Holocaust. She offers a prime example of not the eyewitness but the reader as witness in recent Canadian fiction.Cet article examine les effets de lecture de la mise en abyme dans Fugitive Pieces d’Anne Michaels pour créer une communauté de lecteurs en tant que témoins. Le caractère multivoix du roman, créé par une série de narrataires et de narrateurs, modélise les identifications complexes de l’auteur, des narrateurs et du lecteur. À travers la figure du lecteur représentée par les narrataires Bella, Michaela et Naomi, ainsi que par les narrateurs Athos, Jakob et Ben, Michaels nous engage dans des actes de lecture et d’interprétation des effets continus de l’Holocauste. Elle offre un excellent exemple non pas du témoinoculaire, mais du lecteur en tant que témoin dans la fiction canadienne récente.

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