Název: Paralessi orizzontale e verticale come strumento metalettico di attivazione del legame fantastico : tipologie e studio di casi in racconti di Michele Mari
Variantní název:
- Horizontal and vertical paralepsis as a metalectic tool of fantastic linkage activation : typologies and case studies in short stories by Michele Mari
Zdrojový dokument: Études romanes de Brno. 2023, roč. 44, č. 2, s. 267-287
Rozsah
267-287
-
ISSN1803-7399 (print)2336-4416 (online)
Trvalý odkaz (DOI): https://doi.org/10.5817/ERB2023-2-17
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/digilib.78722
Type: Článek
Jazyk
Licence: CC BY-SA 4.0 International
Upozornění: Tyto citace jsou generovány automaticky. Nemusí být zcela správně podle citačních pravidel.
Abstrakt(y)
Proponiamo in questo articolo una definizione aggiornata della paralessi come strumento metalettico in quanto informazione inattesa che non riguarda solo un'alterazione della focalizzazione del discorso narrativo (Genette 1972) ma altresì una trasgressione ontologica dei livelli di narrazione, delimitando l'ambito di due potenziali categorie, entrambe con due sottotipi (paralessi verticale ascendente e discendente; paralessi orizzontale interna ed esterna). Cerchiamo in questo modo di superare la primordiale definizione di Genette e gli scarni studi dei decenni successivi alla luce dei lavori della narratologia cognitiva sui processi ermeneutici operativi nell'esperienza narrativa e della teoria delle appercezioni sui legami fantastici (Remorini 2023). Applichiamo altresì le implicazioni di queste definizioni all'analisi dei racconti "Josef K." e "Lamento del guerriero" di Michele Mari (presenti nella raccolta Fantasmagonia del 2002).
We propose in this article an updated definition of paralepsis as a metaleptic tool as unexpected information that concerns not only an anomaly of focalization of fictional discourse (Genette 1972) but an ontological transgression of narrative levels, demarcating the scope of two potential categories, both with two subtypes (vertical top-down and bottom-up paralepsis; horizontal internal and external paralepsis). We seek in this way to move beyond Genette's primordial definition and the meager studies of subsequent decades in light of the work of cognitive narratology on the hermeneutic processes operative in narrative experience and of fantastic linkages in apperception theory (Remorini 2023). We also apply the implications of these definitions to the analysis of Michele Mari's short stories "Josef K." and "Lamento del guerriero" (featured in the 2002 short story collection Fantasmagonia).
Reference
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[2] Carnevale, D. (2019). La 'parola fantastica': Logopoiesi, retoriche dell'indicibile e mostri verbali. In B. Aldinucci et al. (Eds.), Parola. una nozione unica per una ricerca multidisciplinare (pp. 65–73). Siena: Università per Stranieri di Siena.
[3] Cohn, D. (2012). Metalepsis and Mise en Abyme. Narrative, 20, 1, 105–14. https://doi.org/10.1353/nar.2012.0003
[4] Fludernik, M. (2003). Scene Shift, Metalepsis, and the Metaleptic Mode. Style, 37, 4, 382–400.
[5] Fludernik, M. (2005). Histories of Narrative Theory (II): From Structuralism to the Present. In J. Phelan, P. J. Rabinowitz (Eds.), A Companion to Narrative Theory (pp. 36–59). Malden: Blackwell. https://doi.org/10.1002/9780470996935.ch3
[6] Fludernik, M. (2009). An Introduction to Narratology. London: Routledge. https://doi.org/10.4324/9780203882887
[7] Genette, G. (1972). Figure III. Paris: Éditions du Seuil.
[8] Gil Guerrero, H. (2006). Lo fantástico como transgresión. postulación fantástica en los relatos borgianos. In N. Grabe et al. (Eds.), La narración paradójica. normas narrativas y el principio de la transgresión (pp. 183–92). Madrid: Vervuert Verlag. https://doi.org/10.31819/9783964561626–011
[9] Gobyn, S. (2014). Textual Effects of Metalepsis. Amsterdam International Journal for Cultural Narratology, 7–8, 120–37.
[10] Grishakova, M. (2009). Beyond the Frame: Cognitive Science, Common Sense and Fiction. Narrative, 17, 2, 188–99. https://doi.org/10.1353/nar.0.0022
[11] Grishakova, M. (2019). Necessary Fictions: Supernormal Cues, Complex Cognition, and the Nature of Fictional Narrative. In M. Grishakova, M. Poulaki (Eds.), Narrative Complexity. Cognition, Embodiment, Evolution (pp. 391–413). Lincoln: University of Nebraska Press.
[12] Hanebeck, J. (2017). Understanding Metalepsis: The Hermeneutics of Narrative Transgression. Berlin/Boston: Walter de Gruyter. https://doi.org/10.1515/9783110516920
[13] Herman, D. (2013). Cognitive Narratology. In P. Hühn et al. (Eds.), The living handbook of narratology, Hamburg: Hamburg University. https://www-archiv.fdm.uni-hamburg.de/lhn/node/38.html
[14] Jahn, M. (1999). 'Speak, friend, and enter': Garden Paths, Artificial Intelligence, and Cognitive Narratology. In D. Herman (Eds.), Narratologies: New Perspectives on Narrative Analysis (pp. 167–194). Columbus: The Ohio State University Press.
[15] Jahn, M. (2011). Response to Five Questions on Narrative Theories and Poetricsy. In P. F. Bundgaard et al. (Eds.), Five Questions: Narrative Theories and Poetics (pp. 88–95). New York: Automatic Press/VIP.
[16] Jahn, M. (2021). Narratology 2.3: A Guide to the Theory of Narrative. <www.uni-koeln.de/~ame02/pppn.pdf>
[17] Kim, A. (2016). Wilhelm Maximilian Wundt. In E. N. Zalta (Eds.) The Stanford Encyclopedia of Philosophy. Stanford: Stanford University.
[18] Lang, S. (2006). Prolegómenos para una teoría de la narración paradójica. In N. Grabe et al. (Eds.) La narración paradójica. normas narrativas y el principio de la transgresión (pp. 21–47). Madrid: Vervuert Verlag. https://doi.org/10.31819/9783964561626–002
[19] Leibniz, G. W. (1714). Principes de la nature et de la grâce fondés en raison. https://fr.wikisource.org/wiki/Principes_de_la_nature_et_de_la_gr%C3%A2ce_fond%C3%A9s_en_raison [view date: 23 Sep 2022].
[20] Leleń, H. (2014). The Fantastic as a Technique of Redynamizing Mimetic Fiction. In J. Matyjaszczyk et al. (Eds.), Basic Categories of Fantastic Literature Revisited (pp. 8–24), Cambridge: Cambridge Scholars Publishing.
[21] Malina, D. (2002). Breaking the Frame. Metalepsis and the Construction of the Subject. Columbus: Ohio State University Press.
[22] Mari, M. (2012). Fantasmagonia. Torino: Einaudi.
[23] Mari, M. (2014). Roderick Duddle. Torino: Einaudi.
[24] Martínez, J. M. (2008). Subversion or Oxymoron?: Fantastic Literature and the Metaphysics of the Object. Neophilologus, 92, 367–384. https://doi.org/10.1007/s11061–007–9091–7
[25] Meyer-Minnemann, K. (2006). Narración paradójica y ficción. In N. Grabe et al. (Eds.), La narración paradójica. normas narrativas y el principio de la transgresión (pp. 49–71). Madrid: Vervuert Verlag. https://doi.org/10.31819/9783964561626–003
[26] Nelles, W. (1992). Stories within Stories Narrative Levels and Embedded Narrative. Studies in the Literary Imagination, 25, 79–96.
[27] Niederhoff, B. (2013). Focalization. In P. Hühn et al. (Eds.), The living handbook of narratology. Hamburg: Hamburg University. https://www.lhn.uni-hamburg.de/node/18.html
[28] Prince, G. (2006). Disturbing Frames. Poetics Today, 27, 3, 625–30. https://doi.org/10.1215/03335372–2006–005
[29] Remorini, P. (2023). Aproximación cognitiva a lo fantástico como vínculo: la teoría de las apercepciones. Definición y aplicaciones en relatos de Julio Cortázar, Jorge Luis Borges y Ángel Olgoso. Brumal: Revista de Investigación sobre lo Fantástico, 10, 2, 15–45. https://doi.org/10.5565/rev/brumal.903
[30] Remorini, P. (2022). Il racconto innominato. Analisi del paratesto di Centuria. Cento piccoli romanzi fiume di Giorgio Manganelli. Forum Italicum, 56, 1, 76–86. https://doi.org/10.1177/00145858221079216
[31] Roas, D. (2011). Una realidad (aparentemente) estable y objetiva. tras los límites de lo real. una definición de lo fantástico. Madrid: Páginas de Espuma.
[32] Ryan, M. L. (2004). Metaleptic Machines. Semiotica, 150, 439–69. https://doi.org/10.1515/semi.2004.055
[33] Sandner, D. (2011). Critical Discourses of the Fantastic, 1712–1831. London: Taylor & Francis. https://doi.org/10.4324/9781315574974
[34] Schneider, R. (2001). Toward a Cognitive Theory of Literary Character: The Dynamics of Mental-Model Construction. Style, 35, 4, 607–39.
[35] Shen, D. (2005). What Narratology and Stylistics Can Do for Each Other. In J. Phelan, & P. J. Rabinowitz (Eds.), A Companion to Narrative Theory (pp. 136–149). London: Blackwell. https://doi.org/10.1002/9780470996935.ch9
[36] Stockwell, P. (2002). Cognitive Poetics: an Introduction. London: Routledge. https://doi.org/10.4324/9780203995143
[37] v. Möllendorff, P. (2018). Metalepsis. Oxford University Press. https://doi.org/10.1093/acrefore/9780199381135.013.8231
[38] Wicher, A. (2014). Introduction. In J. Matyjaszczyk et al. (Eds.), Basic Categories of Fantastic Literature Revisited (pp. 1–7). Cambridge: Cambridge Scholars Publishing.