By Robert C. Spires

The time period metafiction invaded the vocabulary of literary feedback round 1970, but the textual techniques considering turning fiction again onto itself will be traced via numerous centuries. during this theoretical/critical learn Robert C. Spires examines the character of metafiction and chronicles its evolution in Spain from the time of Cervantes to the Seventies, whilst the obsession with novelistic self-commentary culminated in a major literary movement.

The serious parts of this learn concentration totally on twentieth-century works. incorporated are analyses of Unamuno's Niebla, Jarnés's Locura y muerte de nadie and La novia del viento, Torrente Ballester's Don Juan, Cunquiero's Un hombre que se parecía a Orestes, and 3 novels from the "self-referential" circulation of the Nineteen Seventies, Juan Goytisolo's Juan sin Tierra, Luis Goytisolo's La colera de Aquiles, and Martín Gaite's El cuarto de atrás.

Seeking a higher theoretical foundation for his severe readings, Spires bargains a sharpened definition of the time period metafiction. The mode arises, he proclaims, via an intentional violation of the bounds that usually separate the worlds of the writer, the fiction, and the reader. construction on theoretical foundations laid via Frye, Scholes, Genette, and others, Spires additionally proposes a literary paradigm that locations metafiction ready intermediate among fiction and literary theory.

These theoretical formulations position Spires's ebook within the leading edge of severe notion. while, his full-scale analyses of Spanish metafictional works can be welcomed by way of Hispanists and different scholars of worldwide literature.

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Final meaning, therefore, is always deferred to an infinite future of yet another reading. In the most profound sense of the word the Quijote is, as has been noted before, a novel about reading novels. 6 It would be inadequate and something of a distortion to categorize the Quijote as merely a metafictional novel. The metafictional is one of many modes that play an important role in the novel. 7 Indeed, the modal complexity of the Quijote may well explain why the novel continues to attract the attention of virtually each new critical school.

To effect the destruction of such an illusion (or perhaps, more accurately, to effect the illusion of the destruction of such an illusion), Unamuno unmasks the linguistic ontology of author and reader as well as that of the characters. 4 And whereas the unmasking climax occurs when the protagonist confronts the fictive author near the end of the novel, the key moments leading up to the confrontation occur in a framing device consisting of two prologues and an epilogue, and within the framed construct in a Fiction on a Palimpsest 35 discussion of a novel one of the characters is supposedly writing.

92) ["Yes, you will begin by believing that you are leading them by your hand, but it is likely that you will end up convincing yourself that they arc the ones leading you. Very often an author ends up as the plaything of his fictions"]. The Unamuno-Victor conflict of the prologues is now being reenacted between Victor and Augusto. And when Augusto has the effrontery to ask what Victor does about dialogue when only one character is present, Victor insidiously explains: "Entonces ... un mon6logo.

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