Metaization

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Metaization in the work of art Escape from Criticism / Escapandpo de la critica (1874) by Pere Borrell del Caso .

In a work of art, metaization describes the self-referential connection between representation and what is depicted via an intermediate level ( meta level ). It causes a self-reflective observation of art and shows itself in the mise en abyme , the metalepse , the self-confident image or the play in the game .

Word origin

The Greek prefix 'meta' has been used for scientific disciplines since ancient philosophy (such as metaphysics in Aristotle ) and refers to their fundamental questions. Etymologically it means “between” or “(in) middle” and not, as one might assume, “from a higher level”. According to this idea, meaning is generated in the intermediate area (the meta level), in which two other levels are set in relation. In 2007 Werner Wolf took the first step to make the term 'metaization' fruitful for media studies . He defines:

"[...] a transgeneric and transmedial phenomenon, which consists in the inclusion of a meta-level in a semiotic system (a work, a genre or a medium) from which meta-reference takes place."

- Werner Wolf: Metaization as a transgeneric and transmedial phenomenon , 2007

Definition approaches

self reflection

See also: self-reflection

The term can be understood as a synonym for 'self-reflexivity'. Based on the origin of the word, however, 'self-reflexivity' refers to a reflection or a reflection on oneself, whereas the 'metaization' poses the question of an intermediate level anchored in the work . By 'meta-reference', Wolf understands works that make statements about their own semiotic system. A reference level is thus created between the work itself and its system of signs. Wolf includes genres and media.

"The common denominator of the different types of metaization is that it elevates their respective form, genre [, format] or medium to content."

- Janine Hauthal et al .: Metaization in literature and other media , 2007.

Mimesis and Diegesis

On the meta level, there is an internal discourse between the narrative content and the format concept. In that works are “the poetics of a genre [resp. of a format] on their topic, they create an awareness of standardized and schematized representation processes [formatting] and refer to the role that genres [resp. Formats] as meaningful centers. ”In literary studies there is a lively discourse about the extent to which this 'awareness' at the level of reception breaks illusions. Gérard Genette believes that this calls into question the stability of narrative worldviews. A limit of representation ( seuil de représentation ) is exceeded. Hauthal et al. refers to the fact that self-reflective forms break with the illusion of events on the one hand, and build up an illusion of narrative on the other. The breaking and formation of illusions take place simultaneously. They argue about two modes of representation: ' Mimesis ' (from the Greek 'mimesis' "imitation"; what is represented) and ' Diegesis ' (from the Greek 'diégèse' "telling"; the act of representation), which are based on Plato's dialogue Politeia ( 392 BC). Self-reflective forms make the mimesis of the process visible through the process of mimesis.

Semiotic approach

Significant and Significant after Ferdinand de Saussure .

In terms of sign theory, this can be explained as follows: The semantic relationships between signs and what is designated ( signifier and signified ) are presented openly.

"Film, comic, video-game and drama (etc.) all rely on the representational logic and spatiotemporal make-up of lived human experience that separates the worlds of the representation and the represented."

- Julian Hanebeck: Understanding Metalepsis , 2017

Depending on the medium, different self-reflective varieties are possible. Media-cultural regulations of the formats determine how media are used and function as sign systems. Narrative formatting determines how narration is narrated and narratives are understood. Metaization takes place when the areas of representation and what is represented refer to each other. So instead of speaking of an illusion-breaking or illusion-forming reception effect, one could say that this brings the perception of one's own narrative perception into focus. Hanebeck speaks of a hermeneutic effect, as this enables recipients to understand narrative logic. The cognitive frames of a narrative are made aware of the narrative. Self-reflective strategies in narrative formats such as the film thus reveal both format-specific and general narrative strategies which (according to this constructivist understanding) also form a prerequisite for understanding these narratives.

Bisociation of narrative form and content

The perception of the narrative content and the perception of the rules of narrative formatting meet in an intermediate area, the meta level. A narrative event takes place here, which is associated with both the narrative content and the format mechanisms used. Bisociation defined Arthur Koestler as:

"[...] the clash of the two mutually incompatible codes, or associative contexts. […] The pattern underlying […] is the perceiving of a situation or the idea, L, in two self-consistent but habitually incompatible frames of reference, M1 and M2. [...] L is not merely linked to one associative context, but bisociated with two. "

- Arthur Koestler: The Act of Creation , 1964

This also explains why self-reflective forms are difficult to categorize: They are dependent on the respective format concepts and narrative conventions of a media culture that are creatively linked to format content.

Metaization phenomena

Although a categorization is difficult, an overview of self-reflective phenomena such as mise en abyme, metalepse, meta-art, 'play in play', as well as their respective fields of discourse is undertaken.

Mise en abyme

Mise en abyme in heraldry .

See also: Mise en abyme

The term 'mise en abyme' goes back to André Gide's diary entries from 1893. Jean Ricardou later used it for reflections in medieval heraldry . Mise en abyme refers to “every nested representation that has a similarity to the work in which it is nested.” From a narratological point of view, the macrostructure of a narrative format is reflected within the narrative (microstructure). Components appear in the story that are responsible for the production and reception of a narrative. Lucien Dällenbach differentiates between three types of reflections: the simple reflection ( réflexion simple ), infinite reflection ( réflexion à l`infini ) as symbolized by a matryoshka doll, and the hopeless or paradoxical reflection ( réflexion aporistique ). An example of this would be MC Escher's (1948) drawing hands , which have become a symbol for Möbiusband stories. Dällenbach's 'paradoxical mirroring' can be understood as a synonym for the literary term Metalepse.

Metalepse

See also: Metalepse

The ancient Greek word "metalepsis" literally means "exchange" and "conversion". In contrast to a simple mise en abyme (simple reflection), the Metalepe has an acausal short circuit between elements of different levels of representation. They represent a special case of metaization. Originally, Metalepse referred to a rhetorical stylistic device that “evidently became a narrative over the centuries.” Gérard Genette took it over in 1972 in his work Discours du récit , coined and defined the term 'narrative Metalepse' him as:

"[...] the transition from one narrative level to the other [...], an act that consists precisely in narrating a particular situation - through a discourse - to visualize another situation."

- Gérard Genette: The Story , 1998

Genette assigns metalepsis to other narrative constructs like the prolepsis , analepsis , Syllepse and Paralepse. He used 'Metalepse' in particular to describe (post-) modern literature , which is characterized by a high level of self-reflexivity. Nevertheless, the phenomenon can already be demonstrated in ancient literature or, for example, in the fantastic contemporary literature. For example in Michael Ende's novel The Neverending Story (1979) or in Jostein Gaarder's Sofies Welt (1991). “The metaleps is a vertically directed crossing of boundaries and interaction of instances of different levels of representation in the work of art.” This definition sums up the two main criteria: First, at least two levels of narrative representation are necessary in narratives. Genette uses the ' diegese ' term for this and does not refer to Plato, but to the French film theorist Etienne Souriau, who introduced him to film theory in 1948 . Souriau differentiated u. a. the 'canvas' (écranique) film space from the 'diegetic' (diégétique). Semiotically speaking, the former is the place of the signifiers and the latter the place of the signified. What is meant is that the narrative act constitutes a kind of fictional world of the characters with ontological boundaries, which thus creates an imaginary, spatiotemporal framework for narrative events. A narrative metalepse occurs when an element from one diegesis appears in the other (criterion two). Since both narrative spaces are ontologically separated, there is an acausal short circuit - the reflection becomes 'paradoxical'.

Confident image

See also: meta-art

Picture (s) in picture in David Teniers Archduke Leopold Wilhelm in his gallery (1651)

Victor I. Stoichita adopted the systematics from literary theory for art studies and coined the term self-confident image (also meta art work or meta image). This directs "the viewer's gaze from the finished product to the process of creation and reception of art [...]." Here, too, a meta-level is constructed that creates associative or (a) causal references between two ontologically separate levels of representation. Examples would be pictures with a mirror motif , trompe l`oeils, tilted pictures or picture (s) in a picture - for example David Tenier's Archduke Leopold Wilhelm in his gallery (1651). Due to their autoreferential characteristics and the already mentioned 'hermeneutic effect', they can be regarded as pre-forms of art contemplation. But here, too, Dällenbach's distinction between simple mirroring or mise en abyme and paradoxical mirroring or “visual metalepse” is appropriate. For example in the work of art Escapandpo de la critica (1874) by Pere Borrell del Caso .

Game in game

Play within play Structure in Shakespeare's Hamlet: With the play “The Murder of Gonzago”, Hamlet tries to convict Polonius of the murder.

See also: metadrama

Also in the theater terminology have like, play the game ',' play within the play 'or' le theater dans le theater emerged '. The criterion of the two ontologically separate levels of representation is already clear in the name. One frame narrative '(' frame play ';, pièce-cadre') and one single story '(, internal play';, pièce intérieure ') must be present. The reflection of theatrical narrative formats takes place e.g. B. by doubling an audience . Or by actors appearing in the internal plot, who in turn embody roles . Well-known examples of such 'play within play' scenarios can be found in Shakespeare's Midsummer Night's Dream (1595) or Hamlet (1599). As in the case of prose literature and the visual arts , traditional lines of meta-drama from Aristophanes to the present can be drawn, accompanied by 'high phases of self-reflection' in the Baroque , Enlightenment , modern and postmodern periods . It is important that the terms 'play in the game', mise en abyme and metalepse come from different fields of discourse. Wolf's 'metaization' or the term 'self-reflexivity' are approaches to develop generic terms for this field of transmedial phenomena. However, z. For example, the 'game within the game' also makes references to Bertolt Brecht's didactic concepts : the bourgeois subject is questioned and transcended through the masquerading of social roles. It must therefore always be taken into account that the terms have different meanings because of their origin in different fields of discourse .

See also

literature

  • Blum, Philipp: T he film remembers itself. Filmed archival material in the film between reference and reflexivity. In: Ziehe, Irene and Hägele, Ulrich (Hrsg.): Photography and film in the archive. Collect, preserve, research. Visual culture. Studies and materials. Volume 6. Münster / New York / Munich / Berlin 2013, pp. 230–243.
  • Dallenbach, Lucien: Le Récit spéculaire. Essay sur la mise en abyme. Paris 1977.
  • Dallenbach, Lucien: Abyme, mise en. In: Dictionaire des genres et notions littéraires. Paris 2001, pp. 11-14.
  • Dauner, Dorea: Literary self-reflection. Dissertation at the University of Stuttgart. Stuttgart 2009.
  • Eisen, Ute E. and Möllendorff, Peter von: To the introduction. In this. (Ed.): Across the border. Metalepse in text and image media of antiquity. Narratologia. Contributions to Narrative Theory. Walter de Gruyter. Berlin / Boston 2013, pp. 1–12.
  • Fischer, Gerhard and Greiner, Bernhard: The Play within the Play: Scholarly Perspektives. In this. (Ed.): The Play within the Play. The Performance of Meta-Theater and Self-Reflexion. Amsterdam / New York 2007, p. XI - 2.
  • Fludernik, Monika: Scene, Shift, Metalepsis, and the Metaleptic Mode. 2003, pp. 382-400.
  • Genette, Gérard : The story. Wilhelm Fink. 3. Edition. Paris (1998) 2010.
  • Genette, Gérard: Discours du récit. In: Ders .: Figures III. Paris 1972, pp. 67-282.
  • Gide, André : Journal. 1889-1939. Paris 1948.
  • Hanebeck, Julian: Understanding Metalepsis. The Hermeneutics of Narrative Transgression. Walter de Gruyter. Berlin / Boston 2017.
  • Häsner, Bernd: Metalepsen: On the genesis, systematics and function of transgressive narrative styles . Dissertation at the Free University of Berlin. Berlin 2001.
  • Hauthal, Janine; Nadj, Julijana; Nünning, Ansgar and Peters, Henning: M etaization in literature and other media: definition of terms, typologies, functional potentials and research desiderata. In: Hauthal, Janine (Ed.): Metaization in literature and other media. Spectrum literary studies. Walter de Gruyter. Berlin 2007, pp. 1-24.
  • Hubig, Christoph: Meta. In: Sebeok, Thomas A. (Ed.): Encyclopedic dictionary of semiotics. Mouton de Gruyter. Berlin 1986, pp. 529-531.
  • Klimek, Sonja: Paradoxical storytelling. The metaleps in fantastic literature. Mentis publishing house. Paderborn 2010.
  • König, Marc: The reflection in Otto F. Walter's work. Investigation of a structural feature of the modern novel. Dissertation from the University of Friborg (Switzerland). Bern 1991, pp. 22-26.
  • Louis, Raffaele: Metabilder in literature. Meta-reflective images from Adolf Muschg, Kino Raeber and Alain Robbe-Grillet. Walter de Gruyter. Berlin / Boston 2016.
  • Nadj, Julijana: Forms and functions of genre-specific self-reflexivity in fictional metabiography using the example of Carlo Shields' Swann. In: Hauthal, Janine (Ed.): Metaization in literature and other media. Spectrum literary studies. Walter de Gruyter. Berlin 2007, pp. 321–339.
  • Neuweiler, Philipp: A live audio play about a radio play. Metaization in the Format Studies. House work. Mainz 2017.
  • Ryan, Marie-Laure: Logique culturelle de la métalepse, ou la métalepse dans tous ses états. In: Métalepses 2005, pp. 201-223.
  • Souriau, Etienne: The structure of the cinematic universe and the vocabulary of filmology. Translated from the French by Frank Kessler. In: Montage AV. February 6, 1997 (1950), pp. 140-157.
  • Stoichita, Victor I .: The self-confident image. From the origin of meta painting. Translated from the French by Heinz Jatho. Munich 1998.
  • Wolf, Werner: Aesthetic Illusion and Illusion Breaks in Storytelling. Theory and history with an emphasis on English illusion-disrupting storytelling. Tubingen 1993.
  • Wolf, Werner: Metaization as a transgeneric and transmedial phenomenon: An attempt at systematizing meta-referential forms and terms in literature and other media. In: Hauthal, Janine (Ed.): Metaization in literature and other media. Spectrum literary studies. Walter de Gruyter. Berlin 2007, pp. 25-64.

Individual evidence

  1. ^ Hubig, Christoph: Meta. In: Sebeok, Thomas A. (Ed.): Encyclopedic dictionary of semiotics. Mouton de Gruyter. Berlin 1986, pp. 529-531.
  2. ↑ a b c d Louis, Raffaele: Metabilder in literature. Meta-reflective images from Adolf Muschg, Kino Raeber and Alain Robbe-Grillet. Walter de Gruyter. Berlin / Boston 2016., pp. 8, 15f, 19, 41, 262.
  3. ↑ a b c d e f Philipp Neuweiler: A live audio play about a radio play. Metaization in the Format Studies. (PDF) March 15, 2018, accessed March 15, 2018 .
  4. ↑ a b c Wolf, Werner: Metaization as a transgeneric and transmedial phenomenon: An attempt to systematize meta-referential forms and terms in literature and other media. In: Hauthal, Janine (Ed.): Metaization in literature and other media. Spectrum literary studies. Walter de Gruyter. Berlin 2007, pp. 25-64.
  5. ↑ a b Dauner, Dorea: Literary self-reflexivity. Dissertation at the University of Stuttgart. Stuttgart 2009, pp. 9, 57.
  6. ↑ a b Hauthal, Janine; Nadj, Julijana; Nünning, Ansgar and Peters, Henning: Metaization in literature and other media: definition of terms, typologies, functional potentials and research desiderata. In: Hauthal, Janine (Ed.): Metaization in literature and other media. Spectrum literary studies. Walter de Gruyter. Berlin 2007, pp. 1-24.
  7. ↑ Nadj, Julijana: Forms and functions of genre-specific self-reflexivity in fictional metabiography using the example of Carlo Shields' Swann. In: Hauthal, Janine (Ed.): Metaization in literature and other media. Spectrum literary studies. Walter de Gruyter. Berlin 2007, pp. 321–339.
  8. ↑ a b c Genette, Gérard: The story. Wilhelm Fink. 3. Edition. Paris (1998) 2010, pp. 152f, 183.
  9. ^ A b Genette, Gérard: Discours du récit. In: Ders .: Figures III. Paris 1972, pp. 67-282.
  10. ↑ a b c d Hanebeck, Julian: Understanding Metalepsis. The Hermeneutics of Narrative Transgression. Walter de Gruyter. Berlin / Boston 2017, pp. 73, 111, 156, 190.
  11. ^ Koestler, Arthur: The Act of Creation. London 1964, pp. 35f.
  12. ^ Gide, André: Journal. 1889-1939. Paris 1948.
  13. ^ Dällenbach, Lucien: Le Récit spéculaire. Essay sur la mise en abyme. Paris 1977.
  14. ↑ Wolf, Werner: Aesthetic Illusion and Illusion Breaking in the Art of Narration. Theory and history with an emphasis on English illusion-disrupting storytelling. Tübingen 1993, p. 296.
  15. ↑ König, Marc: The mirroring in Otto F. Walter's work. Investigation of a structural feature of the modern novel. Dissertation from the University of Friborg (Switzerland). Bern 1991, pp. 22-26.
  16. ↑ Dällenbach, Lucien: Abyme, mise en. In: Dictionaire des genres et notions littéraires. Paris 2001, pp. 11-14.
  17. ↑ a b Klimek, Sonja: Paradoxes narration. The metaleps in fantastic literature. Mentis publishing house. Paderborn 2010, pp. 21, 98.
  18. ^ A b Eisen, Ute E. and Möllendorff, Peter von: To the introduction. In this. (Ed.): Across the border. Metalepse in text and image media of antiquity. Narratologia. Contributions to Narrative Theory. Walter de Gruyter. Berlin / Boston 2013, pp. 1–12.
  19. ^ Souriau, Etienne: The structure of the cinematic universe and the vocabulary of filmology. Translated from the French by Frank Kessler. In: Montage AV. February 6, 1997 (1950), pp. 140-157.
  20. ↑ Verstraten, Paul: Diegese. In: Montage AV. February 16, 2007 (1989).
  21. ↑ Häsner, Bernd: Metalepsen: On the genesis, systematics and function of transgressive narrative modes. Dissertation at the Free University of Berlin. Berlin 2001, p. 30.
  22. ↑ Fludernik, Monika: Scene, Shift, Metalepsis, and the Metaleptic Mode. 2003, pp. 382-400.
  23. ↑ Stoichita, Victor I .: The self-confident image. From the origin of meta painting. Translated from the French by Heinz Jatho. Munich 1998.
  24. ↑ Baetens, Jan: Les dessous d`une planche: Champ censuré et métalepse optique dans un dessin de Joost Swarte. In: Semiotica 68, 1988, pp. 321-329.
  25. ^ A b c Fischer, Gerhard and Greiner, Bernhard: The Play within the Play: Scholarly Perspektives. In this. (Ed.): The Play within the Play. The Performance of Meta-Theater and Self-Reflexion. Amsterdam / New York 2007, p. XI - 2.