"Introduction"
to Metafiction
Provider:
Joyce Liu
29 October, 1998
Thesis: Presenting
and discussing metafiction as a borderline discourse, as a kind of
writing on the
border between authors and readers, fiction and criticism, or art
and life in
the 20th century.
Outline
I. Definitions
and Marginal Cases
A. Old Definitions
- In the late 1960s, metafiction
is ¡¸somehow about fiction itself.¡¹ (William Gass)
- In the 1970s, metafiction
is ¡¸fiction with self-consciousness, self-awareness, self-knowledge,
ironic self-distance.¡¹
B. Three problems (1)
- The idea of self-consciousness
is strangely inconsistent with most postmodern literary theories.
- According to the term
¡¸self-consciousness,¡¹ it is not enough for metafiction to know it
is fiction; it must also know that it is metafiction.
- ¡¸Self-consciousness¡¹ is
neither new nor meaningful ¡¸self¡¹ consciousness.
C. Metafiction¢wplacing itself
on the border between fiction and criticism
- The relationship between
fiction and criticism. (2)
- The borderline between
fiction and criticism has been a point of convergence where fiction
and criticism have assimilated each other¡¦s insights, producing
a self-conscious energy on both sides.
- For criticism, this
has meant an affirmation of literariness in its own language, an
increased awareness to which critical insights are formulated within
fiction.
- For fiction, it has
meant the assimilation of critical perspective within fictional
narrative, a self-consciousness of the artificiality of its constructions
and a fixation with the relationship between language and the world.
2. Self-consciousness
¡´ A ¡¸mode of interestedness
ultimately turns outwards.¡¹ (John Updike)
3. The inseparability of
fiction and criticism¢wwriter and critic are the same
person (3)
- Novelists often depend
on financially or intellectually on employment as critics.
- Academic literary critics
have been increasingly successful as novelists, leading to a high
level of critical awareness within their fictional productions.
- The writer/critic is
thus a dialectical figure, embodying both the production and reception
of fiction in the roles of author and reader in a way that is paradigmatic
for metafiction.
- It could be also the boundary
between art and life. (3-4)
a.
Lodge's
Small World |
Fowles's
The French Lieutenant's Woman |
Takes
the world of professional literary criticism as its fictional object
without explicitly highlighting the artificiality of the fictional
process |
Highlights
the artificiality of its construction without reference to literary
criticism |
The
academic ¡¸criticism¡¹ within the novel evokes implicitly the critical
judgements that will be made of the novel. |
An
intrusive authorial voice appropriates in self-commentary a less
academic critical perspective to make a reader only as an addressee. |
Dramatizes
the critic more explicitly than Fowles's |
Allows
the critic no explicit self-conscious or illusion-breaking dramatic
function |
Seems
pertinent to the boundary between fiction and criticism. |
Articulates
a critical perspective on the boundary between art and life. |
- This difference illustrates
an important preliminary distinction in the way (that metafictions
dramatize the boundary between fiction and criticism,) either as illusion-breaking
authorial intervention or as integrated dramatization of the external
communication between author and reader.
- In both cases it is often
through an internal boundary between art and life that the novel develops
the self-commentary that gives it critical self-consciousness.
- This dramatization of
the fiction/criticism boundary allows for marginal cases.
ex. Conrad's Heart
of Darkness.
- Two contradictory problems
- It implies that metafiction
might not be as a generic category, but a funtion inherent in all
novels.
- It also implies that
metafiction in some cases is not inherent, but an objective property
of the literary text.
II. From Modernism
to New Historicism
- Two principal sources
of linguistic self-consciousness in the 20th century
- Saussurean linguistic
(6)
- It considers that referential
function of languages is implicitly also self-referential because
it depends upon the hidden system of differences, systemic and contextual,
which give each sign its value.
- Language hides the conditions
which permit meaning production, and the task of the structuralist
analysis is therefore to make those conditions explicit.
- Literary modernism
- Transparent and invisible
verbal structures are transformed into defamiliarised and visible
techniques, so that referential meaning is articulated alongside
a self-reference to the conditions of its own possibility.
- These tendencies in
modernist fiction led critics in the first half of the century towards
a formalist or language-based analysis.
- Literary formalism¢wthe
convergence of Saussurean linguistic & Literary modernism
- Modernist fiction not
only articulates its own reading by foregrounding the conditions of
its meaning-production; the processes of reading and writing are further
conflated by the idea that reading is itself a process of creating
the text, structure, and imbuing it with meaning.
[Post-Structuralist Theories]
- Barthes¢wa key figure
for the history of self-consciousness in criticism. (8)
- The conflation of reading
and writing points the idea that literary structure is a function
of reading, or that critical metalanguage project its own structure
onto the object text in exactly the same way that language projects
its structure onto the world.
- Fiction and criticism
share a condition, that the role of the critical text is to articulate
the self-consciousness that either the realist text lacked or that
is immanent in the modernist text, and that at the same time the critical
text must acknowledge reflexively its own structuration or literariness.
- Derrida¢wparamount
for any analysis of the borderline of fiction and criticism in late
1960s and in the 1970.
- His questioning to Joyce
affirms the literariness of criticism, he also affirms the metafictional
critical functions of intertextuality, parody and anti-reference.
- His rejecting to Saussure
on the assumption that spoken language is somehow closer to the signifying
mind than writing.
- His problems with ¡¸history¡¹
(11-12)
- Derrida and his American
disciples are perceived as formalists who showed scant regard for
the material historical processes which shape language and literature.
- He asserts that ¡¸language
was no more within history than history was within language.¡¹
- Foucault¢wreturning
to historical writing as a strategic opposition to the values of traditional
history (12-13)
- The ¡¸structure of exclusion¡¹
of an historical explanation represented the structure of power and
authority which sought to rearrange and efface the difference of events
to produce a stable, centred narrative.
- His revised historicism
is a refusal to efface the ¡¸multiplicity of force relations,¡¹ and
a turn towards the notion of history's complex plurality to trace
a line, a causal sequence or a tradition through a completely different
past.
- New Historicism¢wmoving
away from the language-based analysis of deconstruction in the 1980s
towards a self-conscious, textualist historicism.
- Post-formalist historiography
(13-14)
- It acknowledges the common
ground interpreting between the world and a text, and the impossibility
of separating the relationship between language and history
- Self-conscious historiography
- The everywhere of the
narrative explanation gives to the project of uncovering its hidden
philosophical and politics assumptions a universal import.
- Self-conscious novel
- In the act of telling
a story, the novel is kind of history.
- It has the power to explore
not only the conditions of its own production, but the implications
of narrative explanation and historical reconstruction in general.
- Historiographic metafiction
- Some writers self-consciously
think over the fictional representation of history, which is a new
philosophy of historical representation in which the ideological function
of story-telling is central.
III. Metafiction and Postmodernism
- The relationship between
metafiction and postmodernism (15)
- Metafiction is not the
only kind of postmodern fiction, and nor is it an exclusively postmodern
kind of fiction.
- Metafiction cannot be
defined without proposing a categorical separation of literary types
and critical construction; and postmodernism is equally undefinable
without some authority that could arbitrate between its meanings as
a kind of art, an historical period, or some total ideological and
political condition.
- Two categorical difficulties
in metafiction (16-17)
- Metafiction is one function
of literary language among others, and this function is a dialect
composite of inherent characteristics and critical interpretations.
- A metafictional novel
cannot appropriate its own critical response by any amount of reflexivity.
- It formulates possible
interpretation of the fiction by itself.
- It is still necessary
to distinguish between appropriated critical perspective represented
in Nicholas¡¦s quest, and the actual critical responses of external
readers.
- Metafiction is not a type
of fiction
- Tom Wolfe's idea about
a novel and a metafictional novel
- Novel's most important
energy is social realism, the ability of fiction to portray the
real world
- Metafictional self-reference
to the godlike power of the author, appropriation of critical prospective
and endless intertextual cross-referencing are only decadent forms
of self-absorption which deprive the novel of that important energy.
- Wolfe's The Bonfire
of the Vanities
- It enacts a central proposition
that so-called real events are inseparable from their interpretations,
creating an internal analogy for the text itself.
- Metafiction can be located
at the conscious and the unconscious level of the text.
- Actually, ¡¸postmodern
fiction can generally be regarded as conscious metafiction, postmodern
readings can also identify metafiction as an aspect of the unconsciousness
level of the text.¡¹
- In other words, postmodernist
fiction and criticism both aim to articulate the unconscious, and
in particular the unconscious self-referentiality of non-metafictional
fiction.
- The postmodern context
is not one divided neatly between fictional texts and their critical
readings, but a monistic world of representation in which the boundaries
between art and life, language and metalanguage, and fiction and criticism
are under philosophical attack. (17-18)
Questions
- Do you agree that a metafictional
novel has no real reader, who can freely ¡¸construct the text from
some other critical perspective not appropriated by the text itself¡¹
?
- How do you think about
Tom Wolfe's assertion that a metafiction novel is not a type of fiction?
Do you think that metafiction lack the contact with the reality?
¡@
from Currie, Mark, ed. Metafiction. New York : Longman
Group, 1995.
(external)
Literary
Criticism Databank: Postmodernism and Urban Space ;
Postmodern Theories and Texts
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