Jan. 9th, 2009

tishaturk: (book)
To my considerable embarrassment, I still (more than a month later) have not responded to a number of thoughtful comments on my last post. I would say "mea culpa," except that in fact I blame the very paper alluded to in that post for sucking away all my time. It's a bad sign, I feel, when writing one's seminar syllabus becomes a form of procrastination.

I emerge from my offline hermitage to report that I have fired off another paper proposal, this one to an edited collection on Metalepsis in Popular Culture. (Recall, please, that writing paper proposals on a lark is exactly how I ended up in my current predicament of having to write a paper to deadline. Apparently I just don't learn. Either that or I really want tenure. Possibly both.)

The term "metalepsis," like so much of narratology's wacky vocabulary, can be blamed on Gérard Genette, who coined the term something like thirty years ago and defined it as "transgressing the border between the world of narration and the world in which narration takes place" (except of course he wrote it in French, in which it probably sounds even more impressive). More recently, H. Porter Abbott has described it as "a violation of narrative norms, usually in which the diegesis, or world of the story, is invaded by an extradiegetic entity or entities, as for example when a 'spectator' leaps on stage and becomes a part of the action, or the 'author' appears and starts quarrelling with one of the characters" (Cambridge Introduction to Narrative 193).

If you're curious about the proposal, it's under the cut. )

I hadn't gotten as far as thinking about vidding in terms of metalepsis--my thoughts on vidding and narrative have thus far been much more general--and in fact am not sure I would have gotten there on my own at all, so this particular call for papers was especially welcome and useful. Whether or not the proposal's accepted, I'm grateful to the editors for pushing my thinking in this new direction.


tishaturk: (Default)
Tisha Turk

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