• Login
    View Item 
    •   Carroll Scholars Home
    • Languages and Literature
    • Languages and Literature Undergraduate Theses
    • View Item
    •   Carroll Scholars Home
    • Languages and Literature
    • Languages and Literature Undergraduate Theses
    • View Item
    JavaScript is disabled for your browser. Some features of this site may not work without it.

    It’s All Metafictional

    Thumbnail
    View/Open
    2004_CoutureP_THS_000783.pdf (5.465Mb)
    Author
    Couture, Patrick
    Date of Issue
    2004-04-01
    Metadata
    Show full item record
    URI
    https://scholars.carroll.edu/handle/20.500.12647/2635
    Title
    It’s All Metafictional
    Type
    thesis
    Abstract
    In 1960 William Gass coined the term “metafiction” as a way to describe the up- and-coming fictions that were about fiction. However, Gass’s definition is rather vague and unsatisfactory. In the 1970s, Mark Currie writes that the definition of metafiction “was fiction with self-consciousness, self-awareness, self-knowledge, [and] ironic selfdistance” (1). But this definition, too, is not sufficient. In fact, there is not one exact description of metafiction that can define the many varieties of metafiction. So rather than define metafiction, it would be better to discuss what determines a story to be metafictional and what constitutes the main tenets of metafiction. Patricia Waugh writes, “Metafiction is a term given to fictional writing which self-consciously and systematically draws attention to its status as an artefact [sic] in order to pose questions about the relationship between fiction and reality” (2). Waugh’s definition is the closest to Foucault’s explanation of Magritte’s work, particularly when she says that metafiction “draws attention to its status as an artefact,” or in other words, when metafiction is conscious of its fictionality, just as Magritte is conscious of his work being art. Though Magritte’s painting questions the relationship between the image of the pipe and the inscription below it, metafiction questions the relationship between fiction and reality through the words of the metafictional novel. Also, just as Magritte’s painting is a critique of symbols and words, as well as a painting, metafiction attempts to “simultaneously create a fiction and make a statement about the creation of fiction” (Waugh 6). Waugh writes that metafiction is a celebration of the creative imagination. In this celebration the writer explores the limits of fiction and in some cases, breaks the limits, focusing on the “theory of fiction through the practice of writing fiction” (2). As already mentioned, creating fiction and critiquing fiction, especially the traditional classification of fiction that focuses on concepts of plot, character development, conflict, and resolution, are the functions of metafiction. Some of the aspects of metafiction that are used as a creating tool and a critique tool are self-conscious language, intertextuality and framed stories, and explicit development of a reader-writer relationship. Though not every metafictional story utilizes all these tenets, they are still prominent characteristics of metafiction. John Barth’s The Floating Opera and Chimera, and Italo Calvino’s If on a Winter’s Night a Traveler and Invisible Cities illustrate the usefulness of these three metafictional features and how the two different authors apply each feature to not only write their story, but to analyze their story also.In 1960 William Gass coined the term “metafiction” as a way to describe the up- and-coming fictions that were about fiction. However, Gass’s definition is rather vague and unsatisfactory. In the 1970s, Mark Currie writes that the definition of metafiction “was fiction with self-consciousness, self-awareness, self-knowledge, [and] ironic selfdistance” (1). But this definition, too, is not sufficient. In fact, there is not one exact description of metafiction that can define the many varieties of metafiction. So rather than define metafiction, it would be better to discuss what determines a story to be metafictional and what constitutes the main tenets of metafiction. Patricia Waugh writes, “Metafiction is a term given to fictional writing which self-consciously and systematically draws attention to its status as an artefact [sic] in order to pose questions about the relationship between fiction and reality” (2). Waugh’s definition is the closest to Foucault’s explanation of Magritte’s work, particularly when she says that metafiction “draws attention to its status as an artefact,” or in other words, when metafiction is conscious of its fictionality, just as Magritte is conscious of his work being art. Though Magritte’s painting questions the relationship between the image of the pipe and the inscription below it, metafiction questions the relationship between fiction and reality through the words of the metafictional novel. Also, just as Magritte’s painting is a critique of symbols and words, as well as a painting, metafiction attempts to “simultaneously create a fiction and make a statement about the creation of fiction” (Waugh 6). Waugh writes that metafiction is a celebration of the creative imagination. In this celebration the writer explores the limits of fiction and in some cases, breaks the limits, focusing on the “theory of fiction through the practice of writing fiction” (2). As already mentioned, creating fiction and critiquing fiction, especially the traditional classification of fiction that focuses on concepts of plot, character development, conflict, and resolution, are the functions of metafiction. Some of the aspects of metafiction that are used as a creating tool and a critique tool are self-conscious language, intertextuality and framed stories, and explicit development of a reader-writer relationship. Though not every metafictional story utilizes all these tenets, they are still prominent characteristics of metafiction. John Barth’s The Floating Opera and Chimera, and Italo Calvino’s If on a Winter’s Night a Traveler and Invisible Cities illustrate the usefulness of these three metafictional features and how the two different authors apply each feature to not only write their story, but to analyze their story also.In 1960 William Gass coined the term “metafiction” as a way to describe the up- and-coming fictions that were about fiction. However, Gass’s definition is rather vague and unsatisfactory. In the 1970s, Mark Currie writes that the definition of metafiction “was fiction with self-consciousness, self-awareness, self-knowledge, [and] ironic selfdistance” (1). But this definition, too, is not sufficient. In fact, there is not one exact description of metafiction that can define the many varieties of metafiction. So rather than define metafiction, it would be better to discuss what determines a story to be metafictional and what constitutes the main tenets of metafiction. Patricia Waugh writes, “Metafiction is a term given to fictional writing which self-consciously and systematically draws attention to its status as an artefact [sic] in order to pose questions about the relationship between fiction and reality” (2). Waugh’s definition is the closest to Foucault’s explanation of Magritte’s work, particularly when she says that metafiction “draws attention to its status as an artefact,” or in other words, when metafiction is conscious of its fictionality, just as Magritte is conscious of his work being art. Though Magritte’s painting questions the relationship between the image of the pipe and the inscription below it, metafiction questions the relationship between fiction and reality through the words of the metafictional novel. Also, just as Magritte’s painting is a critique of symbols and words, as well as a painting, metafiction attempts to “simultaneously create a fiction and make a statement about the creation of fiction” (Waugh 6). Waugh writes that metafiction is a celebration of the creative imagination. In this celebration the writer explores the limits of fiction and in some cases, breaks the limits, focusing on the “theory of fiction through the practice of writing fiction” (2). As already mentioned, creating fiction and critiquing fiction, especially the traditional classification of fiction that focuses on concepts of plot, character development, conflict, and resolution, are the functions of metafiction. Some of the aspects of metafiction that are used as a creating tool and a critique tool are self-conscious language, intertextuality and framed stories, and explicit development of a reader-writer relationship. Though not every metafictional story utilizes all these tenets, they are still prominent characteristics of metafiction. John Barth’s The Floating Opera and Chimera, and Italo Calvino’s If on a Winter’s Night a Traveler and Invisible Cities illustrate the usefulness of these three metafictional features and how the two different authors apply each feature to not only write their story, but to analyze their story also.In 1960 William Gass coined the term “metafiction” as a way to describe the up- and-coming fictions that were about fiction. However, Gass’s definition is rather vague and unsatisfactory. In the 1970s, Mark Currie writes that the definition of metafiction “was fiction with self-consciousness, self-awareness, self-knowledge, [and] ironic selfdistance” (1). But this definition, too, is not sufficient. In fact, there is not one exact description of metafiction that can define the many varieties of metafiction. So rather than define metafiction, it would be better to discuss what determines a story to be metafictional and what constitutes the main tenets of metafiction. Patricia Waugh writes, “Metafiction is a term given to fictional writing which self-consciously and systematically draws attention to its status as an artefact [sic] in order to pose questions about the relationship between fiction and reality” (2). Waugh’s definition is the closest to Foucault’s explanation of Magritte’s work, particularly when she says that metafiction “draws attention to its status as an artefact,” or in other words, when metafiction is conscious of its fictionality, just as Magritte is conscious of his work being art. Though Magritte’s painting questions the relationship between the image of the pipe and the inscription below it, metafiction questions the relationship between fiction and reality through the words of the metafictional novel. Also, just as Magritte’s painting is a critique of symbols and words, as well as a painting, metafiction attempts to “simultaneously create a fiction and make a statement about the creation of fiction” (Waugh 6). Waugh writes that metafiction is a celebration of the creative imagination. In this celebration the writer explores the limits of fiction and in some cases, breaks the limits, focusing on the “theory of fiction through the practice of writing fiction” (2). As already mentioned, creating fiction and critiquing fiction, especially the traditional classification of fiction that focuses on concepts of plot, character development, conflict, and resolution, are the functions of metafiction. Some of the aspects of metafiction that are used as a creating tool and a critique tool are self-conscious language, intertextuality and framed stories, and explicit development of a reader-writer relationship. Though not every metafictional story utilizes all these tenets, they are still prominent characteristics of metafiction. John Barth’s The Floating Opera and Chimera, and Italo Calvino’s If on a Winter’s Night a Traveler and Invisible Cities illustrate the usefulness of these three metafictional features and how the two different authors apply each feature to not only write their story, but to analyze their story also.In 1960 William Gass coined the term “metafiction” as a way to describe the up- and-coming fictions that were about fiction. However, Gass’s definition is rather vague and unsatisfactory. In the 1970s, Mark Currie writes that the definition of metafiction “was fiction with self-consciousness, self-awareness, self-knowledge, [and] ironic selfdistance” (1). But this definition, too, is not sufficient. In fact, there is not one exact description of metafiction that can define the many varieties of metafiction. So rather than define metafiction, it would be better to discuss what determines a story to be metafictional and what constitutes the main tenets of metafiction. Patricia Waugh writes, “Metafiction is a term given to fictional writing which self-consciously and systematically draws attention to its status as an artefact [sic] in order to pose questions about the relationship between fiction and reality” (2). Waugh’s definition is the closest to Foucault’s explanation of Magritte’s work, particularly when she says that metafiction “draws attention to its status as an artefact,” or in other words, when metafiction is conscious of its fictionality, just as Magritte is conscious of his work being art. Though Magritte’s painting questions the relationship between the image of the pipe and the inscription below it, metafiction questions the relationship between fiction and reality through the words of the metafictional novel. Also, just as Magritte’s painting is a critique of symbols and words, as well as a painting, metafiction attempts to “simultaneously create a fiction and make a statement about the creation of fiction” (Waugh 6). Waugh writes that metafiction is a celebration of the creative imagination. In this celebration the writer explores the limits of fiction and in some cases, breaks the limits, focusing on the “theory of fiction through the practice of writing fiction” (2). As already mentioned, creating fiction and critiquing fiction, especially the traditional classification of fiction that focuses on concepts of plot, character development, conflict, and resolution, are the functions of metafiction. Some of the aspects of metafiction that are used as a creating tool and a critique tool are self-conscious language, intertextuality and framed stories, and explicit development of a reader-writer relationship. Though not every metafictional story utilizes all these tenets, they are still prominent characteristics of metafiction. John Barth’s The Floating Opera and Chimera, and Italo Calvino’s If on a Winter’s Night a Traveler and Invisible Cities illustrate the usefulness of these three metafictional features and how the two different authors apply each feature to not only write their story, but to analyze their story also.In 1960 William Gass coined the term “metafiction” as a way to describe the up- and-coming fictions that were about fiction. However, Gass’s definition is rather vague and unsatisfactory. In the 1970s, Mark Currie writes that the definition of metafiction “was fiction with self-consciousness, self-awareness, self-knowledge, [and] ironic selfdistance” (1). But this definition, too, is not sufficient. In fact, there is not one exact description of metafiction that can define the many varieties of metafiction. So rather than define metafiction, it would be better to discuss what determines a story to be metafictional and what constitutes the main tenets of metafiction. Patricia Waugh writes, “Metafiction is a term given to fictional writing which self-consciously and systematically draws attention to its status as an artefact [sic] in order to pose questions about the relationship between fiction and reality” (2). Waugh’s definition is the closest to Foucault’s explanation of Magritte’s work, particularly when she says that metafiction “draws attention to its status as an artefact,” or in other words, when metafiction is conscious of its fictionality, just as Magritte is conscious of his work being art. Though Magritte’s painting questions the relationship between the image of the pipe and the inscription below it, metafiction questions the relationship between fiction and reality through the words of the metafictional novel. Also, just as Magritte’s painting is a critique of symbols and words, as well as a painting, metafiction attempts to “simultaneously create a fiction and make a statement about the creation of fiction” (Waugh 6). Waugh writes that metafiction is a celebration of the creative imagination. In this celebration the writer explores the limits of fiction and in some cases, breaks the limits, focusing on the “theory of fiction through the practice of writing fiction” (2). As already mentioned, creating fiction and critiquing fiction, especially the traditional classification of fiction that focuses on concepts of plot, character development, conflict, and resolution, are the functions of metafiction. Some of the aspects of metafiction that are used as a creating tool and a critique tool are self-conscious language, intertextuality and framed stories, and explicit development of a reader-writer relationship. Though not every metafictional story utilizes all these tenets, they are still prominent characteristics of metafiction. John Barth’s The Floating Opera and Chimera, and Italo Calvino’s If on a Winter’s Night a Traveler and Invisible Cities illustrate the usefulness of these three metafictional features and how the two different authors apply each feature to not only write their story, but to analyze their story also.In 1960 William Gass coined the term “metafiction” as a way to describe the up- and-coming fictions that were about fiction. However, Gass’s definition is rather vague and unsatisfactory. In the 1970s, Mark Currie writes that the definition of metafiction “was fiction with self-consciousness, self-awareness, self-knowledge, [and] ironic selfdistance” (1). But this definition, too, is not sufficient. In fact, there is not one exact description of metafiction that can define the many varieties of metafiction. So rather than define metafiction, it would be better to discuss what determines a story to be metafictional and what constitutes the main tenets of metafiction. Patricia Waugh writes, “Metafiction is a term given to fictional writing which self-consciously and systematically draws attention to its status as an artefact [sic] in order to pose questions about the relationship between fiction and reality” (2). Waugh’s definition is the closest to Foucault’s explanation of Magritte’s work, particularly when she says that metafiction “draws attention to its status as an artefact,” or in other words, when metafiction is conscious of its fictionality, just as Magritte is conscious of his work being art. Though Magritte’s painting questions the relationship between the image of the pipe and the inscription below it, metafiction questions the relationship between fiction and reality through the words of the metafictional novel. Also, just as Magritte’s painting is a critique of symbols and words, as well as a painting, metafiction attempts to “simultaneously create a fiction and make a statement about the creation of fiction” (Waugh 6). Waugh writes that metafiction is a celebration of the creative imagination. In this celebration the writer explores the limits of fiction and in some cases, breaks the limits, focusing on the “theory of fiction through the practice of writing fiction” (2). As already mentioned, creating fiction and critiquing fiction, especially the traditional classification of fiction that focuses on concepts of plot, character development, conflict, and resolution, are the functions of metafiction. Some of the aspects of metafiction that are used as a creating tool and a critique tool are self-conscious language, intertextuality and framed stories, and explicit development of a reader-writer relationship. Though not every metafictional story utilizes all these tenets, they are still prominent characteristics of metafiction. John Barth’s The Floating Opera and Chimera, and Italo Calvino’s If on a Winter’s Night a Traveler and Invisible Cities illustrate the usefulness of these three metafictional features and how the two different authors apply each feature to not only write their story, but to analyze their story also.
    Degree Awarded
    Bachelor's
    Semester
    Spring
    Department
    Languages & Literature
    Collections
    • Languages and Literature Undergraduate Theses

    Browse

    All of Carroll ScholarsCommunities & CollectionsBy Issue DateAuthorsTitlesSubjectsThis CollectionBy Issue DateAuthorsTitlesSubjects

    My Account

    LoginRegister

    DSpace software copyright © 2002-2023  DuraSpace
    DSpace Express is a service operated by 
    Atmire NV