{"id":2208,"date":"2013-04-05T10:57:50","date_gmt":"2013-04-05T08:57:50","guid":{"rendered":"http:\/\/www.oldwishes.net\/tales\/?p=2208"},"modified":"2013-04-05T10:57:50","modified_gmt":"2013-04-05T08:57:50","slug":"la-metafiction","status":"publish","type":"post","link":"https:\/\/la-conteuse.net\/index.php\/2013\/04\/05\/la-metafiction\/","title":{"rendered":"La m\u00e9tafiction"},"content":{"rendered":"
Cette notion a \u00e9t\u00e9 d\u00e9velopp\u00e9e par plusieurs chercheurs au fil des ann\u00e9es, les d\u00e9finitions qui lui sont donn\u00e9es sont variables. Le terme metafiction<\/em> a \u00e9t\u00e9 forg\u00e9 en 1971 par William Gass pour qualifier des r\u00e9cits de fictions postmodernes. Aujourd\u2019hui, les chercheurs anglais tels que David Lewis en 1990 ou Maria Nikolajeva en 1996 utilisent volontiers le terme de metafiction<\/em> ou de postmodernism, <\/em>alors que les chercheurs fran\u00e7ais utilisent le terme de m\u00e9tatextualit\u00e9. Cependant, le terme de m\u00e9tatextualit\u00e9 est ambigu, celui-ci appara\u00eet dans les cinq cat\u00e9gories[1] de transtextualit\u00e9[2] d\u00e9velopp\u00e9es par G\u00e9rard Genette en 1982 et dont fait partie \u00e9galement l\u2019intertextualit\u00e9. Il est d\u00e9fini comme tel : \u00ab Relation, dite \u201cde commentaire\u201d, qui unit un texte \u00e0 un autre texte dont il parle, sans n\u00e9cessairement le citer \u00bb. Ce qui semble plus particuli\u00e8rement d\u00e9finir une note ou un commentaire d\u2019un ouvrage critique et non une relation avec un texte litt\u00e9raire. Dans un ouvrage d\u2019analyse paru en 2002, le Centre de Recherches Inter-Langues d\u2019Angers a affin\u00e9 la d\u00e9finition de la m\u00e9tatextualit\u00e9 appliqu\u00e9e \u00e0 une fiction : \u00ab [\u2026] sans le limiter \u00e0 la fiction post-moderne, on conviendra d\u2019appeler \u00ab m\u00e9tafiction \u00bb tout texte de fiction comportant une dimension m\u00e9tatextuelle importante[3] \u00bb<\/div>\n

Une autre d\u00e9finition de Wenche Ommundsen : \u00ab  Le texte de fiction sera m\u00e9tatextuel s\u2019il invite \u00e0 une prise de conscience critique de lui-m\u00eame ou d\u2019autres textes. La m\u00e9tatextualit\u00e9 appelle \u00e0 l\u2019attention du lecteur sur le fonctionnement de l\u2019artifice de la fiction, sa cr\u00e9ation, sa r\u00e9ception et sa participation aux syst\u00e8mes de signification de la culture[4] \u00bb.<\/strong><\/p>\n

La notion de m\u00e9tafiction d\u00e9signe donc concr\u00e8tement un type d\u2019\u00e9criture autor\u00e9f\u00e9rentielle qui consiste \u00e0 r\u00e9v\u00e9ler ainsi qu\u2019\u00e0 commenter les m\u00e9canismes qui lui sont propres et cela gr\u00e2ce \u00e0 des r\u00e9f\u00e9rences explicites. Dans le cadre d\u2019une fiction litt\u00e9raire, la m\u00e9tafiction permet aux auteurs de jouer avec les conventions, d\u2019interroger de mani\u00e8re consciente les codes propre \u00e0 l\u2019objet livre, mais \u00e9galement aux fonctionnements de la fiction et \u00e0 ses relations \u00e0 la r\u00e9alit\u00e9. Dans le cadre d\u2019un album, les \u00e9l\u00e9ments m\u00e9tatextuels peuvent se retrouver aussi bien dans le texte, dans l\u2019image ou de l\u2019iconotexte. Il ne faut pas sous-estimer la part importante de sens apport\u00e9e par le visuel, l\u2019image offre de nombreuses possibilit\u00e9s gr\u00e2ce aux diff\u00e9rents narrateurs possibles et aux jeux avec le support. La m\u00e9tafiction met le lecteur devant la r\u00e9alit\u00e9 livresque, il ne peut s\u2019\u00e9vader, il est bien en train de lire une \u0153uvre de fiction.<\/p>\n

Une analyse de la m\u00e9tafiction porte sur le r\u00f4le du paratexte (\u00e9ditorial, auctorial) et du p\u00e9ritexte mais \u00e9galement sur la place du livre dans le livre, sur les niveaux de narrations qui permettent les commentaires m\u00e9tatextuels.<\/p>\n

Un personnage \u00e0 t\u00eate de livre vient \u00e9galement au secours d\u2019Ali. Il est l\u2019esprit du livre. Cet album contient beaucoup d\u2019autres jeux m\u00e9langeant aussi bien la m\u00e9tafiction, les jeux de langage, le carnavalesque et une intertextualit\u00e9 foisonnante.Par exemple, l\u2019album Le plus beau des cadeaux<\/em> de Lionel Le N\u00e9ouanic[5] contient de nombreux jeux m\u00e9tatextuels. D\u00e8s la premi\u00e8re page, le ton est donn\u00e9 : \u00ab Ali s\u2019est lev\u00e9 t\u00f4t aujourd\u2019hui, car il a un long voyage \u00e0 faire. Sa copine Illa, l\u2019a invit\u00e9 \u00e0 son anniversaire. Et elle vient de d\u00e9m\u00e9nager \u00e0 l\u2019autre bout du livre. C\u2019est loin ! \u00bb. Le personnage fait un signe de la main en direction du lecteur. Un peu plus loin, un policier poursuit Ali : \u00ab il se trouve mal dessin\u00e9. \u00c7a le rend furieux \u00bb. Ali court dans la page suivante : \u00ab le policier a disparu ! Il a d\u00fb se tromper de page \u00bb. Ce jeu se poursuit, Ali d\u00e9couvre un passage secret entre les pages du livre qui n\u2019est autre qu\u2019un intertexte visuel faisant r\u00e9f\u00e9rence \u00e0 un tableau de Lucio Fontana, un \u00ab concept spatial \u00bb.<\/p>\n

On retrouve ce principe dans l\u2019album Le tunnel<\/em> d\u2019Anthony Browne[8]o\u00f9 l\u2019h\u00e9ro\u00efne va litt\u00e9ralement entrer dans son livre de conte (et pr\u00e9cis\u00e9ment dans sa di\u00e9g\u00e8se) par le biais de ce tunnel o\u00f9 elle part \u00e0 la rescousse de son fr\u00e8re disparu.Un autre exemple, plus visuel cette fois est celui de l\u2019album Parci et Parla[6]<\/strong><\/em> de Claude Ponti. L\u2019auteur joue avec des nombreux cadres, il fait d\u00e9border ceux-ci, des personnages y entrent et en sortent. Il y a l\u2019histoire figur\u00e9e dans le cadre et celle figur\u00e9e dans la partie blanche entourant ceux-ci qui est habituellement d\u00e9s\u00e9mentis\u00e9e : les poussins de Ponti courent et cabriolent dans cet espace. Il repr\u00e9sente \u00e9galement l\u2019objet livre en tant que tel, des personnages de contes y entrent. Ponti r\u00e9alise ainsi dans son album une mise en abyme de l\u2019acte de lecture : les personnages ainsi que le lecteur m\u00eame peuvent entrer physiquement dans l\u2019histoire (ainsi il repr\u00e9sente sa fille entrant dans l\u2019album qu\u2019elle lit dans Ad\u00e8le s\u2019en m\u00eale[7]<\/strong><\/em>).<\/p>\n

\n
\n
\n

[1] Les cat\u00e9gories de G\u00e9rard Genette sont d\u00e9taill\u00e9es dans le chapitre sur l\u2019intertextualit\u00e9.<\/p>\n<\/div>\n

\n

[2] GENETTE, G., Palimpsestes : la litt\u00e9rature au second degr\u00e9<\/em>, Paris, Le Seuil, 1982<\/p>\n<\/div>\n

\n

[3] LEPALUDIER, L. (dir.), CRILA, M\u00e9tatextualit\u00e9 et M\u00e9tafiction. Th\u00e9orie et analyses<\/em>,  Rennes, PUR, 2002, p. 10.<\/p>\n<\/div>\n

\n

[4] OMMUNDSEN, Wenche, Metafictions<\/em> ?, Melbourne, Melbourne University, Press, Interpretations, 1993, p. 12.<\/p>\n<\/div>\n

\n

[5] LE NEOUANIC, Lionel, Le<\/em> plus beau des cadeaux<\/em>, Paris, Editions des Grandes Personnes, 2010<\/p>\n<\/div>\n

\n

[6] PONTI, Claude, Parci et Parla, <\/em>Paris, L\u2019\u00e9cole des loisirs, 1994<\/p>\n<\/div>\n

\n

[7] PONTI, Claude, Ad\u00e8le s\u2019en m\u00eale<\/em>, Paris, L\u2019\u00e9cole des loisirs, 2004<\/p>\n<\/div>\n

\n

[8] BROWNE, Anthony, Le tunnel<\/em>, Paris, Kal\u00e9idoscope, 1989<\/p>\n

 <\/p>\n

LENSEN, C\u00e9cile, Une \u00e9tude du double lectorat et de l\u2019intertextualit\u00e9 transartistique dans l\u2019album de jeunesse contemporain, M\u00e9moire d\u2019histoire de l\u2019art, Universit\u00e9 de Li\u00e8ge, 2012, [en ligne], disponible sur http:\/\/www.oldwishes.net\/tales\/?page_id=1061<\/p><\/blockquote>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Cette notion a \u00e9t\u00e9 d\u00e9velopp\u00e9e par plusieurs chercheurs au fil des ann\u00e9es, les d\u00e9finitions qui lui sont donn\u00e9es sont variables. Le terme metafiction a \u00e9t\u00e9 forg\u00e9 en 1971 par William Gass pour qualifier des r\u00e9cits de fictions postmodernes. Aujourd\u2019hui, les chercheurs anglais tels que David Lewis en 1990 ou Maria Nikolajeva en 1996 utilisent volontiers […]<\/p>\n","protected":false},"author":2,"featured_media":2643,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[18],"tags":[29,32,46,48,52,68,122,133,142,153,164,187,194,205,206,217,218,227,231,277,283,290,306,316,325,326,327,328,337,347,354,364,384,403,423,424,426,443,455,457,460,465,477,518,540,550,577,578,595,628,692,699,733,746,751,760,764,776,780,784,785,858,873,898,921,925],"class_list":["post-2208","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-le-double-lectorat","tag-29","tag-32","tag-alan-lee","tag-album","tag-albums-de-jeunesse","tag-analyse","tag-belle-et-la-bete","tag-body-snatchers","tag-bruges","tag-carine-m","tag-cecile-lensen","tag-claude-clement-2","tag-cocteau","tag-conte","tag-contes","tag-critique","tag-critiques","tag-dautremer","tag-feerie","tag-elian-blackmor","tag-ellen","tag-encyclopedie-des-revenants","tag-etrange","tag-faerie","tag-fantome","tag-fantomes","tag-fee","tag-fees","tag-fernand-khnopff","tag-folklore","tag-france","tag-gameplay","tag-gustave-dore","tag-howe","tag-intertextualite","tag-intertextuel","tag-irlande","tag-jean-marrais","tag-jeunesse-2","tag-jeux-videos","tag-john-howe","tag-josette-day","tag-keats","tag-la-ville-abandonnee-2","tag-le-prince-de-beaumont","tag-legendes","tag-litterature-jeunesse","tag-litteratures-de-jeunesse","tag-magicien-doz","tag-melanie-delon","tag-nouvelle-vague-francaise","tag-oldwishes-net","tag-pierre-dubois","tag-pokemon","tag-oldwishes","tag-primitif-flamand","tag-ps3","tag-cinema","tag-rembrandt-2","tag-revenant","tag-revenants","tag-spectres","tag-tableau","tag-transartistique","tag-vermeer","tag-video"],"yoast_head":"\nLa m\u00e9tafiction - Les dits d'Oldwishes<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/la-conteuse.net\/index.php\/2013\/04\/05\/la-metafiction\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"La m\u00e9tafiction - Les dits d'Oldwishes\" \/>\n<meta property=\"og:description\" content=\"Cette notion a \u00e9t\u00e9 d\u00e9velopp\u00e9e par plusieurs chercheurs au fil des ann\u00e9es, les d\u00e9finitions qui lui sont donn\u00e9es sont variables. 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