Paratext und Text als Übergangszone

Wirth, Uwe

doi:10.14361/9783839411360-007

Cited by 4 publications

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“…In accordance with its programmatic aim to intertwine life, art, and science as related epistemic realms and to negate or at least blur the boundaries between the established reality and the realm of the "fantastic", German Romanticism favours the frequent use of paratextual framings (cf. Wirth 2008Wirth , 2009. This is evident in Ludwig Tieck's Phantasus-collection (1812 As Orosz (1999) demonstrates from a semiotics perspective in her case study of E.T.A.…”

Section: Chamisso's Peter Schlemihl and The Dynamics Between "Storywomentioning

confidence: 94%

“…The "fictive publisher" frame that this chapter focuses on is a specific type of paratextual framing increasingly frequent since the Romantic period (cf. Wirth 2008Wirth , 2009. With regard to the above-mentioned tension characteristic for fantastic literature -which as a genre aims at both deviating from the realm of the familiar as well as being highly immersive -the "fictive publisher" frame shows a particular potential to create the necessary distance from reality and at the same time provide a bridge for the readers to overcome it (on the notion of distance and its relevance from a cognitive poetic point of view see also Dancygier and Vandelanotte 2009).…”

Section: The "Fictive Publisher" Framementioning

confidence: 99%

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Chapter 6. Framing the narrative

Igl¹

2019

Linguistic Approaches to Literature

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Drawing on cognitive linguistic and narratological conceptualisations of "frames" and "framing" (notably Quendler 2008, 2010) and taking up Grishakova's (2009: 188) notion of frames as "a link between the 'real-life' and 'fictional' experience", this chapter aims to elucidate the phenomenon of paratextual framing and in particular the "fictive publisher" frame as a transitional device that can blend fictional storyworlds and extratextual "reality" and thus act as a bridge between the text and the reader. In the context of fantastic literature, this potential of blending can be seen working at its best. By means of an analysis of the multilayered "fictive publisher" frame in the definitive edition of Adelbert von Chamisso's fantastic Romantic novella The Wonderful History of Peter Schlemihl, the chapter examines the inherent ontological and perspectival ambivalence and shifting capacity of the "fictive publisher" frame. In the course of this, it sheds light on the dynamics of distance and proximity created by the paratextual frame and-in the case of the specific arrangement in Chamisso's definitive edition-the utilisation of framing strategies and familiarity to appeal to re-readers.

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Section: Chamisso's Peter Schlemihl and The Dynamics Between "Storywomentioning

confidence: 94%

Section: The "Fictive Publisher" Framementioning

confidence: 99%