By Linda Hutcheon
Linda Hutcheon, during this unique examine, examines the modes, types and methods of narcissistic fiction, that's, fiction along with inside of itself a few type of statement by itself narrative and/or linguistic nature. Her research is extra prolonged to debate the results of one of these improvement for either the speculation of the unconventional and examining theory.
Having positioned this phenomenon in its ancient context Linda Hutcheon makes use of the insights of varied reader-response theories to discover the “paradox” created by way of metafiction: the reader is, even as, co-creator of the self-reflexive textual content and distanced from it as a result of its very self-reflexiveness. She illustrates her research during the works of novelists comparable to Fowles, Barth, Nabokov, Calvino, Borges, Carpentier, and Aquin. For the paperback variation of this crucial e-book a preface has been additional which examines advancements on the grounds that first book. Narcissistic Narrative used to be chosen by way of Choice as one of many amazing educational books for 1981–1982.
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Additional resources for Narcissistic Narrative: The Metafictional Paradox
This latter possibility is particularly suggestive in partially accounting for the new need, first to create fictions, then to admit their fictiveness, and then to examine critically such impulses. This is as true of the short story today as it is of the novel. It is narrative in general that is narcissistic. It is tempting to speculate on the possible relationship- that explicitly suggests itself in metafiction by John Barth and John Fowles, among others -between the subjectivity of perspective in modern existentialism and the concern of self-conscious fiction to assert some mimetic life-art connection in the face of its obviously introspective orientation.
Other overtly diegetic narcissistic texts, such as Coover's "The Magic Poker," are also explicitly aware of their status as literary artifacts, of their narrative and world-creating processes, and of the necessary presence of the reader: "perhaps tomorrow I will invent Chicago and Jesus Christ and the history of the moon. ”17 However, the second mode within this form, the linguistic, operates self-consciously at a somewhat more basic stage. In diegetic narcissism, the text displays itself as narrative, as the gradual building of a fictive universe complete with character and action.
There are at least three potential problems with Ricardou's structure here. In the first place, it is hard to see how his initial category qualifies as any kind of auto-representation except in his example of alliteration, a not particularly important technique in narrative. He does separate it from the others by its pejorative label of "expressive" (as opposed to the modern "productrice"), but one must still question its usefulness as a category of auto-representation. The second limitation of this system lies in Ricardou's lack of distinction between texts which are self-conscious about their diegetic or narrative processes and those which are linguistically self-reflective.
Narcissistic Narrative: The Metafictional Paradox by Linda Hutcheon