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Artykuły w czasopismach na temat „Mise en abyme”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 25 lipca 2025

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1

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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Morzhenkova, Natalia. "From Cross-cultural and Intercultural to Transcultural: Mise en Abyme in Amy Tan’s The Bonesetter’s Daughter." Journal of Intercultural Communication & Interactions Research 3, no. 1 (2024): 35–58. http://dx.doi.org/10.3726/jicir.2023.1.0004.

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Abstract This article explores how Amy Tan employs the mise en abyme principle in her transgenerational and transcultural novel The Bonesetter’s Daughter. Mise en abyme is defined in this literary analysis as an internal duplication of a literary work or its part, as a result of which the whole incorporates a reflection of itself, and in turn the reflection includes the whole. This novel’s key theme that interdependence is a fundamental characteristic of human existence is bolstered by numerous recursive textual tactics, which serve as mirrors, linking various narrative sequences. This article

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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

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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

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6

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 beaut

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7

Kunz, Marco. "Autocita y mise en abyme." Anales de Literatura Española, no. 42 (January 7, 2025): 65–84. https://doi.org/10.14198/aleua.26738.

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La mise en abyme, definida como relación especular entre la obra entera y un fragmento que refleja características importantes de ésta, se basa en un desdoblamiento (o una multiplicación) interno de una parte del texto, una repetición que puede ser figurada o literal. Mientras que la mise en abyme por sustitución metonímica y metafórica ha sido objeto de numerosos estudios, la autocita en cuanto reiteración de pasajes idénticos en la misma obra no ha atraído mucho la atención crítica y su carácter de mise en abyme resulta dudoso en muchos casos. En este artículo se examinan tres textos en que

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8

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 w

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9

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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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

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11

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

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Apter, Emily, and Valérie Bada. "La mise en abyme du Titan." Les Temps qui restent 1, no. 1 (2024): 506–13. https://doi.org/10.3917/tqr.001.0506.

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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 d

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14

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

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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

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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 (gra

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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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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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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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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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Nau, Jean-Yves. "Cellules souches et gamètes : la mise en abyme." Revue Médicale Suisse 4, no. 139 (2008): 82. http://dx.doi.org/10.53738/revmed.2008.4.139.0082.

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Louette, Jean-François. "Naturalisme et mise en abyme dans La Nausée." Recherches & Travaux 43, no. 1 (1992): 261–88. https://doi.org/10.3406/retra.1992.1635.

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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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Varo Zafra, Juan. "The mise en abyme in The Drowned World by James G. Ballard." Miscelánea: A Journal of English and American Studies 71 (June 26, 2025): 133–50. https://doi.org/10.26754/ojs_misc/mj.202510824.

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At the beginning of the 1960s, the New Wave of British science fiction sought to revitalise the genre by incorporating more contemporary themes (drugs, sex,criticism of consumerist society and the media) as well as new narrative and expressive formulas, with the aim of entering the mainstream. James G. Ballard was a forerunner of this trend thanks to a series of stories and experimental novels that embraced the worldviews of surrealism, situationism and nouveau roman. The mise en abyme, a recurring technique in this new body of work, was incorporated into the early novels by Ballard, a process

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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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Billet, Romain, and Romain Billet. "La mise en abyme : entre infini et schématisation sémiotique." Poétique 196, no. 2 (2024): 207–25. https://doi.org/10.3917/poeti.196.0207.

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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

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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, bu

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Melcer-Padon, Nourit. "A Film-Within-a-Film: Mimetic Contagion and the Viewer in Official Competition." MLN 138, no. 5 (2023): 1498–519. http://dx.doi.org/10.1353/mln.2023.a922036.

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Abstract: "Official Competition" (2021), Gastón Duprat's and Mariano Cohn's sarcastic take about the film industry allows viewers a glimpse behind the scenes, into the phases of film-making, from the first reading to the official opening night, without screening one frame of the film itself. Paradoxically, the use of a mise-en-abyme device lures the viewers closer to the work of art, as they become active participants in the performance of the film. The following article will examine this metadrama and suggest reasons why such double mirroring cultivates greater emotions—of empathy or aversion

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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

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PIERINI, Francesca. "Discursive Intertextuality, Parody, and Mise en Abyme in A.S. Byatt's Short Stories." Cultural Intertexts 12, no. 1 (2022): 119–33. https://doi.org/10.5281/zenodo.7431819.

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This essay analyses three short stories from A.S. Byatt's collection <em>Elementals: Stories of Fire and Ice</em> (1998) in light of several self-reflexive strategies. The short narratives <em>Crocodile Tears</em> and <em>Baglady</em> will be discussed from the perspective of “discursive intertextuality,” a literary practice that foregrounds a discursive element established and detectable across genres. <em>Christ in the House of Martha and Mary</em> will be examined from the standpoint of intertextuality and mise en abyme. Once again, the study of this narrative will hinge on

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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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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 t

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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 th

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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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Sbitneva, O. O. "Mise en Abyme in the Cinema of the Silent Era." Vestnik VGIK 17, no. 1(63) (2025): 16–27. https://doi.org/10.69975/2074-0832-2025-63-1-16-27.

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The article is devoted to the trend of making films about film production which is largely based on the audience's interest. This is chiefly due to the possibility of cinematic immersion in the mysteries of the behind-the-screen processes, the life and work of the film crew. The unknown world on the other side of the screen attracts not only film audiences, but also film historians, providing research material for the study of sociocultural dynamics, both in the general theoretical aspect and in terms of specific documented biographies of cinema figures.The author argues that mise en abyme was

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Lee, Changmin. "A Study on the Metafilmic Features in Close Your Eyes." Academic Association of Global Cultural Contents 61 (November 30, 2024): 211–32. https://doi.org/10.32611/jgcc.2024.11.61.211.

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This study analyzes Víctor Erice's 2023 film Close Your Eyes(Cerrar los ojos) from a metafilmic perspective. In this work, Erice explores the issues of memory and identity through the use of a mise en abyme structure and the film within a film device(Cinéma dans le cinéma). The characters in the film navigate the boundaries between cinema and reality, memory and representation, creating multiple layers of narrative. These layers resonate with one another, unfolding into complex meanings. Through this composition, Erice deepens his cinematic themes. This study examines the mise en abyme device

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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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Mar, Marcos Molano, and Santorum Michael. "La narración del Videojuego en el laberinto de la Mise en Abyme"." ASRI. Arte y Sociedad. Revista de Investigación en Arte y Humanidades Digitales, no. 18 (June 10, 2020): 207–18. https://doi.org/10.5281/zenodo.7655171.

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Los videojuegos incorporan a la narración tradicional la capacidad de narrar las historias a través de acciones llevadas a cabo por personajes-jugadores. Esto es solo posible porque la narración del videojuego ha surcado nuevos caminos expresivos por los que hacer transitar sus relatos: frente a la linealidad de trayectos trazados en una sola dirección, propia de ejercicios clásicos, surge el laberinto de recorridos en múltiples direcciones específico del videojuego, y cuya interpretación es finalmente llevada a cabo por el jugador‒person

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Kowalska-Elkader, Natalia. "Rany – otwarcie. Wprowadzenie do monografii twórczości Gregory’ego Whiteheada." Kultura-Media-Teologia 58 (September 2, 2024): 157–81. http://dx.doi.org/10.21697/kmt.2024.58.07.

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Artykuł skupia się wokół twórczości amerykańskiego artysty radiowego Gregory’ego Whiteheada, ze szczególnym uwzględnieniem wczesnego etapu jego twórczości. Wybraną metodą badawczą jest analiza strukturalno-semiotyczna oraz, jako metoda pomocnicza, analiza specyficzna dla medium. Celem artykułu jest przedstawienie i analiza wybranych dzieł artysty oraz wskazanie ich idiosynkratycznych cech. Kluczowymi pojęciami wykorzystywanymi w analizie są interferencja i entropia traktowane jako elementy strukturalne audycji oraz zabiegi mise en abyme.

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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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