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Thoss, Jeff: When Storyworlds Collide. Metalepsis in Popular Fiction, Film and Comics. (Studies in Intermediality, 7.) Leiden: Brill, 2015. (195 S.) 
Added by: joachim (11 Jun 2017 12:28:14 UTC)   Last edited by: joachim (13 Jun 2017 14:30:09 UTC)
Resource type: Book
Languages: englisch
DOI: 10.1163/9789401212021
ID no. (ISBN etc.): 9789042039209
BibTeX citation key: Thoss2015a
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Categories: General
Keywords: Intermedialität, Metaisierung, Narratologie, Populärkultur
Creators: Thoss
Publisher: Brill (Leiden)
Views: 4/24
Views index: 7%
Popularity index: 1.75%
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Abstract
One can find it in the classics of experimental literature such as Laurence Sterne’s Tristram Shandy or the short stories of Jorge Luis Borges, but also in the horror and fantasy fiction of Stephen King, in Mel Brooks’s spoof films and Grant Morrison’s superhero comics. The talk is of metalepsis, the transgression of narrative levels. While this device was long perceived as a narratological oddity reserved for avant-garde texts, it has recently emerged as a phenomenon of much wider bearing that exists in numerous media and in popular as well as high culture. When Storyworlds Collide wishes to do justice to this situation and offers both a refined model for the analysis of metalepsis across media and a detailed investigation of the uses and functions of metalepsis in popular culture, thus providing a valuable addition to the burgeoning field of post-classical and transmedial narrative theory.
Starting from a thorough reevaluation of the concept of metalepsis as it is discussed both in classical narratology and more recent endeavours, this book puts forth a deceptively simple yet flexible definition and typology of this device, centred on the violation of the border separating the inside and outside of a storyworld and designed to be transmedially applicable. In a second step, this model is put to the test through an analysis of a wide range of metaleptic narratives drawn from popular fiction, film, and comics. When Storyworlds Collide takes popular culture seriously, employing it neither to merely exemplify theory nor to demonstrate that it is ultimately a knockoff of high culture. Rather, it shows that metalepsis possesses a unique dynamics in popular storytelling and has become an essential device for pop-cultural self-reflection – while still retaining an immense potential to create amusing and entertaining narratives.
This book will be relevant to students and scholars from a wide variety of fields: narrative theory, intermediality and media studies, popular culture as well as literary, film and comics studies.

Table of Contents

List of illustrations (vii)
Acknowledgements (ix)

Introduction (1)

1. Theory (7)
1.1. Metalepsis and Narrative Fiction (7)
1.2. Transmedial Perspectives on Metalepsis (13)
1.3. Metalepsis: Definition and Prototypes (18)
(I) Storyworld-lmaginary World Metalepsis (24)
(II) Storyworld-Reality Metalepsis (28)
(III) Storyworld-Discourse Metalepsis (31)
1.4. Metalepsis and Popular Culture (39)

2. Fiction (47)
2.1. Storyworld-lmaginary World Metalepsis: “Final Reward” and “Umney’s Last Case” (49)
2.2. Storyworld-lmaginary World Metalepsis: The Land of Laughs (56)
2.3. Storyworld-Reality Metalepsis: The Dark Tower (60)
2.4. Storyworld-Discourse Metalepsis: Sprout Mask Replica (66)
2.5. Metalepsis in All Its States : the Thursday Next Series (70)

3. Film (81)
3.1. Storyworld-lmaginary World Metalepsis: Last Action Hero (83)
3.2.Storyworld-Reality Metalepsis: Wes Craven’s New Nightmare (91)
3.3. Storyworld-Discourse Metalepsis: Adaptation (100)
3.4.Storyworld-Discourse Metalepsis: Stranger than Fiction (108)
3.5. Metalepsis in All Its States: Spaceballs (116)

4. Comics (125)
4.1.Storyworld-lmaginary World Metalepsis: Marvel 1985 (128)
4.2. Storyworld-lmaginary World Metalepsis: The Unwritten (135)
4.3. Storyworld-Reality Metalepsis: Cerebus (142)
4.4. Storyworld-Discourse Metalepsis: The Sensational She-Hulk (152)
4.5. Metalepsis in All Its States: Animal Man (161)

Conclusion (177)

References (183)


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