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Det här är en narratologisk studie som ska bevisa att metalepsis bryter den narrativa strukturen i Niebla av Miguel de Unamuno. Det finns en struktur i romanen inom ramarna för fiktion som inte upfylls, då metalepsis vidgar ramarna till metafiktion. Strukturen i Niebla har alltså påverkats märkbart av infallet av metalepsis. Studien ska också visa att detta strukturbrott sker utan påverkan på romanens tempo och rytm. Som metod används narratologin med utgångspunkt i Mieke Bals Teoría de la Narrativa.

Att göra något som kallas för att “bryta den fjärde väggen” i spel, att adressera spelaren utöver spelmediets ramar, är något som har intresserat oss sedan länge. Att söka om den fjärde väggen och spel på internet har visat sig varit fruktlöst, tills vi upptäckte termen metalepsis. Metalepsis betyder bokstavligen “a jump across” och härstammar från berättarteori där det hanterar hur ett narrativs olika nivåer behandlas. I det här arbetet tar vi hjälp av Karin Kukkonens och Sonja Klimeks artiklar för att djupdyka i termen och dess användning i medier som litteratur, film och musik video samt spel. Vi tar hjälp av Astrid Ensslins och Huaxin Weis arbeten för att förstå varför metalepsis i spel är ett outforskat område och varför narrativen endast studeras på en ytlig nivå. Vi vill därför med frågeställningen “hur kan metalepsis användas i spel?” bidra med mer information om metalepsis i spel och undersöka en medveten användning i utvecklingen av ett spel. Genom att undersöka metalepsis i spel och andra medier, har vi skapat oss en uppfattning av hur det har använts upp till den här punkten för att sedan kunna applicera på vår gestaltning. Arbetet fokuserar på en metalepsis kallad Möbius Strip, som innebär ett narrativ som börjar om i sig självt. Utifrån Georg Kreislers bok Der Schattenspringer har vi tolkat hur en Möbius Strip kan se ut. Gestaltningen, i form av ett spel, har vi sedan byggt på den här tolkningen och jämfört resultatet med bokens version av metalepsen. Det vi har fått ut är fler konkreta exempel på hur metalepsis har och kan användas i spel. Vi har kunnat skapa diskussion om hur vår gestaltning förhåller sig till boken genom Sonja Klimeks beskrivning av Möbius Strip metalepsen. Vi har endast skrapat på ytan av det som kallas metalepsis i spel med det här arbetet, och anser att det finns fler vägar att undersöka. / The act of doing something that is called “breaking the fourth wall” in video games, to address the player across the games’ scope, is something that has been in our interest for a long time. To search about the fourth wall and video games on the internet have been futile, until we stumbled upon the term metalepsis. Metalepsis literally means “a jump across”, it originates from narratology and handles how the different levels in a narrative are managed. In this Bachelor Thesis we take a deep dive into the term, with the help of Karin Kukkonen’s and Sonja Klimek’s work, and how it’s used in different medias such as literature, film, music videos and video games. We discovered why metalepsis in video games is an uncharted area with the help of Astrid Ensslin’s and Huaxin Wei’s work, and why studies of narratives in video games are executed in a shallow grade. With our research question we want to contribute with more information about metalepsis in video games and to examine a conscious use of metalepsis in the development of a video game. By surveying metalepsis in video games and other media, we have created an estimate on how it has been used so far and then to applicate the observation to our video game. This thesis lay it’s focus on a metalepsis called Möbius Strip, that consists of a narrative that restarts within itself. Using Georg Kreisler’s book Der Schattenspringer, we have made an interpretation on how Möbius Strip could work out. We have then developed a video game based on this interpretation and compared the results to the books version of the metalepsis. What we have gathered with this thesis is more tangible examples of the use of metalepsis in video games so far. We have been able to create a discussion about how our interpretation of Möbius Strip relate to the book, with the help from Sonja Klimek’s description of the metalepsis. We have only managed to scrape the surface on the topic of metalepsis in video games and feel like there are multiple other roads to investigate.

Patrick Chamoiseau is arguably the most prominent cultural personality from the French island of Martinique. His reputation is due to the worldwide success of his novels, especially Texaco, winner of the Prix Goncourt-award in 1992, but also to the fact that he is the leading theorist of the Créolité, an ideological movement whose aim is to preserve the character of Creole identity and culture against the threat of assimilation. Chamoiseau’s importance in an ideological context tends to overshadow his literary qualities, his novels being often seen as illustrations of his political ideas.Although Chamoiseau’s ideological views aren’t totally absent from his literary work, his novels strike the reader as extremely complex constructions, containing far more than a subversive aspect. An aspect that has been neglected by the critics is for example the supernatural. Probably because of the geographic vicinity to South America, Chamoiseau’s use of the supernatural has been, rather hastily, considered as typical of magical realism or marvellous realism. This dissertation aims at showing that the fantastic, as defined by Tzvetan Todorov (1970), is better suited to describe this aspect of Chamoiseau’s novels, especially Biblique des derniers gestes (2002).Our main objective is, however, not to decide whether the novel belongs to the fantastic as a genre, but to examine the reasons why it is used. A close analysis shows that it is often in relation to the past of Martinique that the supernatural appears. Thanks to the theory of the fantastic, we find three possible explanations of this fact. Firstly, the supernatural is juxtaposed to the real in order to reveal its limits and its “constructedness”. Martinican past thus appears as a French construction. Secondly, the fantastic can be used to reveal the absence of genuine Martinican history. Finally, the fantastic can be a reminder of a terrible event from the past. In conclusion it can be said that Chamoiseau uses the fantastic in order to write the history of an event that he sees as the origin of Martinique: slavery. By doing this he contributes to the fantastic as well, by showing that it is not necessarily gratuitous and by providing a good example of original and innovative use.

Cette étude s'organisera autour d'une perspective générale posant les bases d'une problématique et d'un champ d'application reposant en premier lieu sur les notions de représentation et d'effet de fantastique. Il s'agit donc de rendre compte des particularités textuelles ainsi que de la spécificité du langage mis en oeuvre au sein des textes étudiés, textes catégorisés et classés selon des critères sériels et différenciés. Cette réflexion menée sur l'artifice ou la duperie fantastique conduira ainsi à s'intéresser à la dynamique même de l'écriture fantastique, mode de représentation fondé en premier lieu sur le paradoxe et la dysharmonie, et de ce fait, lieu privilégié d'une crise narrative capable de problématiser la séparation entre mimésis et diégèse. Ainsi envisagé, le récit fantastique devient fiction à propos de la fiction, incluant des éléments autoréférentiels et mettant en scène le processus de l'écriture à l'intérieur même du récit. Le texte, dont le véritable sujet devient alors la représenation littéraire elle-même, peut ainsi être considéré comme le miroir de sa propre écriture, à travers un processus d'autoréflexion spéculaire exhibant les procédés de l'illusion référentielle et leurs enjeux dans l'organisation générale du récit. Ce sont précisément ces procédés et ces enjeux qu'il s'agira ici de mettre au jour et d'étudier. / This thesis is devoted to the study of metafictional techniques and stakes in Fantastic literature. Intertextual references, autorepresentation, aesthetic distance, story within a story, metalepsis : this techniques draw attention to the text's fictionality. On the other hand, we will see how metafictionality can be considered as inherent to the fantastic fiction, understand here as a mode of representation.

The focus of this study is to analyze in what way the historical novel can be convincing and if the interaction between fictional and factual narration within this genre influences the degree to which it can be convincing. The three novels chosen are Les Naufragés De L’Île Tromelin by Irène Frain, Les Enfants d’Alexandrie by Françoise Chandernagor and Bison by Patrick Grainville, for which all three authors received Le Grand Prix Palatine. In the introduction are presented the general characteristics of the genre as well as its capability of being convincing, outlining that there is a possibility for a fictional work to seem more convincing than a purely factual one. Also defined are differences between the contemporary and the classical historical novel. This is done in order to take into account in the analysis what might be learnt from the contemporary historical novel. The theoretical framework consists of the semantic definitions of fictional versus factual narration as presented by Jean-Marie Schaeffer, as well as theory of how the reader’s immersive experience enables ontological crossings. What the analysis is able to show is that all three novels include four types of truth claims, that the reader can be convinced of all four and that this conviction is connected to the context to which the reader associates the historical/literary character. The analysis also brings forth what can be thought of as the historiographical pact, a term analogous with Philippe Lejeune’s term ‘the autobiographical pact’, which establishes a referential link with history. What is in the end considered the most convincing literary device is the inclusion of factual markers referencing real-world sources. In all three novels, it is also possibly to identify truth claims concerning human nature.

My dissertation applies narrative theory and ordinary language philosophy to two major works bookending medieval English literature: Beowulf and Le Morte Darthur. Capitalizing on the descriptive power of narrative theory's lexicon, I outline the aesthetics, rhetoric, and other effects on the reader when these medieval writers depict transgressive movements--theoretically termed metalepsis--across borders in the story world, and over boundaries separating that world from our own. I often find that spatial transgressions, as they are visualized in narrative terms, entail or simultaneously occur with a breakdown of the fourth wall separating fiction from its audience. Malory's Sir Lancelot crosses into a spiritual world in pursuit of the Holy Grail only to arrive at an awareness of his existence as narrated fiction. My dissertation argues that moments like this, first analyzed through narrative theory, challenge the reader to recognize the fictional character's force of life, and in so doing expand the imagination to reconsider those metaphysical distinctions that have long rendered the nonhuman inferior. Those distinctions are unnecessary and often senseless, I argue. The ethics of reading fiction that I propose seeks the acknowledgment of limits to knowledge, to what we can claim to know about literature, its characters, and, indeed, our fellow human beings. Given that they are constructed by our ordinary language use, fictional characters are the essence of the other. Fictions, then, and as Stanley Cavell would agree, serve as testing grounds for our capacities of acknowledgment. I argue that both the Beowulf poet and Malory fashioned fictional worlds that preserve a secular heroism from potentially hostile contexts. In the process, these medieval narratives show us that fictional characters move us as a matter of ordinary language--our ordinary interactions with narrative: they play a significant role in our lives that cannot be reduced to any particular theory. There is no need for recourse to ontological, or theological, frameworks to invest them with some unutterable or mysterious meaning. They matter as a matter of course.

Ce travail porte sur la réception d’Apulée (IIe siècle de notre ère) dans la littérature italienne du XXe siècle, et plus précisément sur le cas d’Alberto Savinio (1891-1952). L’étude de la relation entre les deux auteurs a été abordée selon une perspective interdisciplinaire ayant pour but de faire interagir le point de vue des études italiennes avec celui de la philologie latine. Cette recherche concerne la manière dont Alberto Savinio a lu et « réécrit » les Métamorphoses d’Apulée, roman aussi connu sous le titre de L’Âne d’or. Elle tâche de comprendre, d’une part, les raisons qui ont poussé plusieurs fois l’auteur italien vers ce texte ancien, d’autre part, les résultats esthétiques et philosophiques de sa réélaboration, laquelle s’étend sur une période de vingt ans environ, dès le début des années vingt jusqu’à la fin des années quarante. Par ailleurs, nous avons saisi de la réception savinienne d’Apulée tout un ensemble de problématiques et d’outils conceptuels qui ont permis de réaliser un approfondissement de l’analyse du texte des Métamorphoses. L’aspect le plus évident des réécritures réalisées par Alberto Savinio est, du point de vue formel, la réélaboration de la complexité des structures de l’énonciation propres à son modèle, ainsi que l’héritage de certaines pratiques métalittéraires. Nous avons de ce fait étudié le fonctionnement de la métalepse dans ce texte latin et, à l’aide de ce concept, nous avons élucidé certains passages du roman particulièrement difficiles, afin d’en améliorer la compréhension et de faciliter l’établissement critique du texte. / The object of this research concerns the reception of Apuleius’ Metamorphoses in the 20th century Italian literature and, more precisely, the relationship between Apuleius and the Italian writer Alberto Savinio (1891-1952). This topic has been considered from an interdisciplinary perspective, in order to integrate the point of view of Italian studies with that of Latin philology. On the one hand, this research explores the way in which Alberto Savinio has read and “rewritten” the text of Metamorphoses during a long period of his multifaceted literary career, from the middle of the nineteen-twenties until the end of the nineteen-forties. The aim of the analysis is to understand the reasons which led Savinio to reflect on important issues of his time, which concern, for instance, the problem of evil in its relationship with human nature, through his interpretation of Apuleius’ work, as well as the philosophical and aesthetical results of his elaboration.On the other hand, we have come to grips with Savinio’s reception of this ancient text together with a set of problematics and conceptual devices that permits a more thorough comprehension of the Apuleian work in itself. This research investigates the function of metalepsis – a concept first identified by Genette – in Metamorphoses’ novel, elucidating its pivotal role for the construction of meaning. Furthermore, it shows how this concept allows us to deal in a more attentive way with some issues of a text-critical nature, in particular concerning the prologue (with the problem of speaker’s identity) and the authorial sphragis at the end of the novel.

Le serious game d'apprentissage utilisé dans le monde professionnel se doit de lier la pratique du jeu à la pratique métier. Cet enjeu concerne les concepteurs, ainsi que les responsables de formation ou responsables des ressources humaines, tous intéressés par la transmission ou l'évaluation des compétences. Mais alors que les serious games simulant des relations interpersonnelles convoquent les notions de fiction, d'immersion, de réalisme ou encore de référentialité, ils réactivent des problématiques rencontrées par le cinéma documentaire. Thèse défendue : cette thèse propose que les théories et pratiques du cinéma documentaire puissent servir l'intention pédagogique du concepteur de serious game pour favoriser l'acquisition de nouvelles compétences chez l'utilisateur. Objectifs : sur le plan cognitif, l'objectif est d'explorer l'apprentissage lié à la confrontation de points de vue divergents (conflit sociocognitif), par l'intermédiaire d'un serious game monojoueur. L'objectif communicationnel associé est d'expliquer la construction d'un interlocuteur, fictif ou réel, capable d'opposer un point de vue à l'utilisateur. Pour répondre à ces objectifs, le cheminement historique et socioculturel du cinéma documentaire renseignera différentes formes discursives et relationnelles du serious game. Méthode : 4 configurations du même serious game EHPAD ont été expérimentées dans un quasi-plan d'expérience sur une période de 5 mois, auprès de 250 utilisateurs issus de 10 établissements médicaux. Notre enquête s'est appuyée sur des questionnaires auto administrés et l’enregistrement de traces d'activités. Aux traitements statistiques qui découlent de l’enquête s'ajoutent 5 focus groups, 3 entretiens individuels et des rapports d'observation. Principaux résultats : premièrement, une série de transpositions théoriques soutient l'analogie entre serious game et cinéma documentaire. Sur le plan empirique, notre enquête confirme cette analogie en soulignant que l'utilisation du serious game en contexte professionnel est propice à l'enclenchement d'une lecture documentarisante. Deuxièmement, la comparaison des configurations du jeu EHPAD démontre l'influence significative de deux figures narratives (mise en abyme et métalepse) sur l'accroissement de la documentarité et de la confrontation des points de vue. Au final, notre recherche aboutit à une "grammaire narrato-cognitive" permettant aux concepteurs de passer d'une écriture documentée, à une écriture documentaire : la compétence visée n'est plus cantonnée dans une fiction, mais étendue de manière réflexive aux énonciateurs réels. / Serious games for learning, used in the professional world, link both game and work practices. This issue concerns designers as well as training managers and human resources managers, all interested in transferring and evaluating professional skills. But serious games, simulating interpersonal relationships through notions of fiction, immersion, realism or referentiality, are also reactivating some problems encountered by documentary films. Thesis defended: This thesis suggests that the theory and practice of documentary cinema can serve the educational intent of the designer of serious game to facilitate the acquisition of new skills by the user. Objectives: On the cognitive level, the purpose is to explore the learning related to confrontation of viewpoints (sociocognitive conflict) through serious game on a single-player mode. The associated communicative purpose is to explain the construction of an interlocutor, a fictitious or a real one, who is able to oppose his point of view to the user. In order to meet these objectives, the sociocultural and historical processes of documentary filmmaking will advise different discursive and relational forms of the serious game. Method: 4 configurations of the same serious game EHPAD were tested in a quasi-experimental plan over a period of 5 months, with 250 users from 10 medical institutions. Our investigation is based on self-administered questionnaires and on an activity tracking system. To the statistical treatment arisen from the investigation, 5 focus groups, 3 individual interviews and observational reports are added. Main results: First, a series of theoretical transpositions supports the analogy between serious games and documentary filmmaking. On the empirical side, our investigation confirms this analogy by pointing out that the use of serious games in a professional context is favorable to engage a documentarizing reading. Second, the comparison between the 4 configurations of the game EHPAD demonstrates the significant influence of two narrative figures (mise en abyme and metalepsis) on the increase of "documentarity" and viewpoints confrontation. Finally, our research leads to a "narrato-cognitive grammar" allowing designers to move from a documented to a documentary writing: the targeted competency is no longer confined to fiction but extended by reflexivity to the real enunciators.

This study considers the way in which Margaret Atwood’s post-apocalyptic MaddAddam Trilogy functions as an environmental project. The main focus is on how the three novels, Oryx and Crake (2003), The Year of the Flood (2009), and MaddAddam (2013), simultaneously draw on and destabilise the apocalypticism inherent in so much environmental discourse, primarily through the use of satire. The trilogy is securely anchored in the concerns of contemporary readers, and transposition of the action to the near future is integral to Atwood’s environmental project: attention is focussed on the present causes of anticipated environmental catastrophe, which readers implicitly are implored to avoid. Atwood’s environmentalism is performed in the interplay between her literary stature, the equivocal content of her work, and the irreverence with which she metaleptically blurs distinctions between fact and fiction, art and commodity, and activism and aesthetics. Whereas the satiric mode serves as a way of avoiding some of the limitations of apocalyptic thinking by maintaining and even creating complexity, it also renders the entire project ambiguous. Uncertainty about the exact environmental injunction presented in the trilogy creates doubts about the degree to which Atwood’s extradiegetic environmental activism should be taken seriously, or conversely. Storytelling is foregrounded in all three novels, and through its concurrent critique of and reliance on market forces and the political potential of art, the MaddAddam Trilogy demonstrates that there is no external position from which the imagination can perform environmentalist miracles. As such, Atwood’s environmental project furthers a profoundly ecological understanding of the world. / Margaret Atwood routinely eludes her readers, and the MaddAddam Trilogy is no exception. These three novels, Oryx and Crake (2003), The Year of the Flood (2009), and MaddAddam (2013), are ostensibly written in the tradition of environmental apocalypse, yet they constantly undermine its conventions through satire. This study considers the trilogy as an environmental project, performed in the interplay between Atwood’s literary stature, the ambiguous content of her work, and the irreverence with which she blurs distinctions between fact and fiction, art and commodity, and activism and aesthetics. Atwood’s use of the MaddAddam Trilogy in her real-world environmental activism creates uncertainty about how seriously both her art and her activism should be taken. Her opinions on environmental matters are legitimised, but at the same time an urgent environmental ‘message’ is presented as entertainment. Atwood’s message often appears circular: her art carries no message, but Margaret Atwood the writer does have an important message, which she gets to deliver precisely because of her art. Storytelling is a central theme in all three novels, and through both critiquing and relying on commercialism, the MaddAddam Trilogy demonstrates that there is no external position from which the imagination can perform environmentalist miracles. As such, Atwood’s environmental project furthers a profoundly ecological understanding of the world.