Examples of using Metafiction in English and their translations into Danish
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This article is based on Rune Bruun Madsen's master thesis"Metafiction in Films and TV-series" 2014.
Artiklen er baseret på Rune Bruun Madsens speciale"Metafiktion i film og tv-serier" 2014.But what is metafiction, and how do you slim down the seemingly infinite scope of the concept?
Men hvad er metafiktion, og hvordan kan man indsnævre begrebets tilsyneladende uendelige spændvidde?Suggested citation: Bruun Madsen, Rune(2015):When fiction points the finger- metafiction in films and TV series.
Kildeangivelse: Bruun Madsen, Rune(2015): Nårfiktion peger fingre- metafiktion i film og tv-serier.Metafiction can be formed in an infinite amount of ways and is determined by the interplay with the audience.
Metafiktion kan gestaltes på uendelige måder og afgøres samtidig i samspillet med øjnene.Professor of cinema Robert Stam is one of the only theorists who does not only talk about metafiction as a literary phenomenon.
Professor i film, Robert Stam begrænser sig ikke til kun at snakke om metafiktion som et litterært fænomen.In addition, I also argue that metafiction, despite the name, is not limited to the various genres of fiction.
Desuden argumenterer jeg for, at metafiktionens potentiale- navnet til trods- ikke kun knytter sig til fiktionsgenrerne.To others, the film will point to the audience as voyeur because it can also be viewed as a critique of the way in which we find a sadistic enjoyment in following the family's collapse.Historical metafiction Self-referential aspects of fiction are as old as film itself.
For andre vil filmen derimod pege udad mod publikum som voyeur, fordi den også kan læses som et kritisk statement over den måde, vi selv finder en art sadistisk nydelse i at overvåge familiens deroute.Historisk metafiktion Selvreferentielle træk går lige så langt tilbage som fiktionsgenren selv.The point is that specific documentaries can be read as metafiction because they challenge their generic structure with fictional patterns.
Pointen er, at specifikke dokumentarer kan læses metafiktivt, fordi de udfordrer deres generiske struktur med fiktionskoder.Currie brands metafiction as a concept where fiction and critique- two tendencies that seem to be mutually exclusive- are able to coexist fully within the confines of the same work.
Currie gør metafiktion til et begreb, hvor to traditionelt set modsatrettede tendenser(fiktion og kritik) kan eksistere med fuld berettigelse i samme værk.Author meta Author meta constitutes forms of metafiction where the director draws attention to himself and his ability to manage a narrative.
Autormeta Autormeta betegner metafiktionsformer, hvor instruktøren(indirekte) gør opmærksom på sig selv og sin evne til at administrere en fortælling.Metafiction is a narrative modus operandi that thematises the construction of a work and the relation between fiction and critique through the concurrent presence of illusory and reflexive elements.
Metafiktion er en fortællemodus, der tematiserer et værks konstruktion og forholdet mellem fiktion og kritik via et samtidigt indhold af illusoriske og refleksive elementer.Medical record with war trauma When I want to talk about documentarian metafiction here, it is because Folman shines a light on the relationship between fiction and critique by thematising the very texture of documentaries.
Krigstraumatisk sygejournal Når jeg i denne sammenhæng ønsker at snakke om dokumentarisk metafiktion, skyldes det derfor overordnet, at Folman sætter fokus på forholdet mellem fiktion og kritik ved at tematisere selve dokumentarens tekstur.The metafiction in House of Cards may therefore strengthen the viewer's capability to empathise with the show because the inquiries assign us an important role as an indirect player in the gallery of characters.
Metafiktionen i House of Cards kan derfor være med til at forstærke publikums indlevelse, fordi apostroferne tildeler os en vigtig rolle som indirekte medvirkende i dramaets persongalleri.Just as fiction can be viewed asa rhetorical strategy or way of telling stories, metafiction should be seen as a cross-media resource able to exist in and influence different genres across media without metafiction being defined as a genre itself.
Ligesom fiktion kan anskues som en retorisk strategi ellermåde at fortælle på, kan metafiktion ligeledes anskues som en tværmedial ressource, der kan optræde i og påvirke forskellige genrer på tværs af medier.Metafiction occurs when the first level of reflection is challenged by the second. When the communication of a text contributes to the constitution of a work just like when Frank Underwood looks the camera and the audience in the eye.
Metafiktion opstår, når det første niveau udfordres af det andet, når formidlingen af en tekst er med til at konstituere et værk, netop som når Frank Underwood kigger kameraet og publikum dybt i øjnene.The film fits nicely with the definition of metafiction, because Waltz With Bashir thematises the relation between fiction and(genre) critique through the inclusion of illusionary and reflexive elements.
Filmen passer fint på definitionen af metafiktion, fordi Waltz with Bashir netop tematiserer forholdet mellem fiktion og (genre)kritik gennem et indhold af både illusoriske og refleksive elementer.Still, metafiction as a concept- and a theoretical understanding of metafiction in a historical context- was not formed until 1970 when the critic and philosophy professor William H. Gass used the term metafiction in his essay, Philosophy and the Form of Fiction(1970), describing the problematic distinction between fiction and reality in a new wave of American literature.
Men selve begrebet metafiktion- og en decideret almen og teoretisk bevidsthed om en metafiktiv tradition- opstår imidlertid ikke før 1970, hvor sprogfilosoffen William H. Gass bruger termen metafiction i sit essay Philosophy and the Form of Fiction(1970) i beskrivelsen af en ny type amerikansk prosalitteratur, der problematiserer relationen mellem fiktion og virkelighed.Fiction becomes metafiction when the narrative breaks with the agreed-upon rules of the genre and points to itself as a construction.
Fiktion bliver til metafiktion, når fortællingen bryder fiktionsgenrernes indforståede regler og peger på sig selv som en konstruktion.When I want to talk about documentarian metafiction here, it is because Folman shines a light on the relationship between fiction and critique by thematising the very texture of documentaries.
Når jeg i denne sammenhæng ønsker at snakke om dokumentarisk metafiktion, skyldes det derfor overordnet, at Folman sætter fokus på forholdet mellem fiktion og kritik ved at tematisere selve dokumentarens tekstur.Fiction becomes metafiction when the narrative breaks with the agreed-upon rules of the genre and points to itself as a construction. Frank Underwood breaking the fourth wall and welcoming us to the second season of House of Cards.
Fiktion bliver til metafiktion, når fortællingen bryder fiktionsgenrernes indforståede regler og peger på sig selv som en konstruktion. Eksempel på at Frank Underwood bryder den fjerde væg i sæson 3 af House of Cards.Definition As a way of summarising the concept of metafiction in all its diversity, modality, and audience attention, I propose the following definition: Metafiction is a narrative modus operandi that thematises the construction of a work and the relation between fiction and critique through the concurrent presence of illusory and reflexive elements.
Definition For at sammenfatte metafiktionsbegrebets mangfoldighed, modalitet og modtagerbevågenhed foreslår jeg følgende definition: Metafiktion er en fortællemodus, der tematiserer et værks konstruktion og forholdet mellem fiktion og kritik via et samtidigt indhold af illusoriske og refleksive elementer. Metafiktion fordrer ofte en opmærksom og involverende modtagerposition.
