Papers by Larissa Muravieva
The Invisible Narrator: A Critique of the Opposition of Gaze and Illusion. In Dialogue with Jean-... more The Invisible Narrator: A Critique of the Opposition of Gaze and Illusion. In Dialogue with Jean-Luc Nancy’s “The Evidence of Film”
This article offers a polemical interpretation of Jean-Luc Nancy’s philosophical text, “The Evidence of Film: Abbas Kiarostami” (2000), from a narratological perspective. Jean-Luc Nancy posits that Kiarostami’s art develops a particular view of cinema as reality, which replaces the view of cinema as illusion. The dichotomy of perception and illusion revolves around not only Kiarostami’s experiments with the film medium but also his directorial “new use” of narrative figures traditionally defined within narratology as metafictional (in particular, mise en abyme).
Kiarostami’s narrative is directly dependent on “invisible” instances in the film medium. First and foremost, this concerns the very organisation of audiovis- ual material, which is subject to a narrative sequence. Secondly, it is related to a specific way of constructing a point of view, which in Kiarostami’s films co- incides with the point of view of the ‘invisible’ intradiegetic narrator. The third aspect of the controversy is related to Nancy’s claim that Kiarostami’s films are devoid of fiction: there is no mise en abyme, which supposedly serves only an illusionist effect. However, the functional potential of the narrative figure mise en abyme, which is the basis of most of Kiarostami’s films, is much broader: this figure creates an optical trap effect that allows the viewer to oscillate between reality and fiction. By polemicizing with Nancy on the narrative structure of Kiarostami’s films, the author tries to show how reflection on the look is actualized in the film narrative and what role “invisible” narrative instances play in this.
Davydova O., Muravieva L. The Rhetoric of Manipulation: Visual Storytelling in Comics by Liv Stromquist, in New Literary Observer («Novoïe literaturnoïe obosreníe»), № 5’2023 (183). P. 46-62. (In Russian)., 2023
The article represents an analysis of the storytelling strategies that are typical for modern com... more The article represents an analysis of the storytelling strategies that are typical for modern comics. Outlining the boundaries of the concepts of “storytelling”, “narrative” and “monstration”, the authors of the article demonstrate how the redistribution of relations between the story and the show becomes not so much a narrative tool as a rhetorical construction. Revealing the manipulative potential of such a course of strategies, the authors propose to look at story- telling as a mechanism for creating semiological doublings and inversions, which, in turn, allows us to describe the rhetorical mechanisms of storytelling as elements of constructing a myth (in the understanding of Roland Barthes). The object of the study is the comics of the modern Swedish artist Liv Strömquist, which are not the only, but a remarkable example of a rhetorical statement that claims to deconstruct a myth and the authenticity of a statement about reality. In fact, these works turn out to be what they themselves criticize: a manipulative construct.
Muravieva, L. « Criticism and fiction: the autofiction experience: Serge Doubrovsky and Raymond Federman », in Russian Studies in Literature (Voprosy literatury), Moscow, № 1, 2023. P. 41-60. (In Russian)., 2023
Статья обращается к истокам возникновения концепта «автофикшн» в теоретических работах С. Дубровс... more Статья обращается к истокам возникновения концепта «автофикшн» в теоретических работах С. Дубровского и Р. Федермана. Доказывается,
что в 1970-е годы автофикшн позиционировал себя как практика письма, связанная не столько с трансформацией автобиографического жанра, сколько с литературной рефлексией травмы.
Муравьева Л. Критика и вымысел: опыт автофикшна. Серж Дубровский и Реймон Федерман. М: Вопросы Литературы, 2023. С. 41-60.
Муравьева Л. Mise en abyme и медиарефлексия в кинонарративе: случай Киаростами // Кинема.Science. 2022. No 4. С. 49–60.
Abstract. The article deals with a special case of self-reflexivity in the film narrative, referr... more Abstract. The article deals with a special case of self-reflexivity in the film narrative, referring to the reflexion on media-specificity. To explore this issue, the article turns to an analysis of Abbas Kiarostami’s “Copie conforme ”(2009), examined from the perspective of the theory of mise en abyme. The only European film by an Iranian filmmaker problematizes the relationship between the copy and the original, the fundamental opposition of all Western European art, through a specific narrative structure. The oscillation between the binarity of the copy and the original on the one hand and the indeterminacy of their functions on the other hand creates a multidimensional structure of the film, in which the mise en abyme plays a special role. In Kiarostami’s film, mise en abyme becomes a figure of representation in the third degree, reflecting on the very mode of existence of cinema through an analysis of its media-specificity. The article argues that that the narrative structure of Kiarostami’s film not only sets the space of meanings, but also becomes the space of media-reflexion.
Аннотация. В статье изучается особый случай авторефлексии в кинонарративе, отсылающей к рефлексии над медиаспецифичностью. Материалом изучения становится фильм Аббаса Киаростами «Копия верна» (2009), рассмотренный сквозь призму теории mise en abyme. Единственный европейский фильм иранского кинорежиссера проблематизирует отношения копии и оригинала, фундаментальной оппозиции всего западноевропейского искусства, с помощью особого нарративного построения. Колебания между бинарностью копии и оригинала и недетерминированностью их функций создают многоплановую структуру фильма, особую роль в которой выполняет нарративная фигура mise en abyme. В фильме Киаростами mise en abyme становится фигурой репрезентации третьей степени, рефлексирующей о самом способе функционирования кино через анализ его медиаспецифичности. В статье доказывается, что нарративная структура фильма Киаростами не просто задает пространство значений, вне которых немыслима интерпретация фильма, но также становится пространством кинематографической медиарефлексии.
Муравьева Л. Mise en abyme: вариации значения. НОВОЕ ЛИТЕРАТУРНОЕ ОБОЗРЕНИЕ, № 1’23 (179), 2023. С. 133-150.
The article is devoted to variations of the narrative term mise en abyme. By mise en abyme are co... more The article is devoted to variations of the narrative term mise en abyme. By mise en abyme are commonly understood multiple meanings such as the
“inner mirror” that reproduces the plot of the whole text within its single fragment (L. Dällenbach, J. Ricardou), or the recursive structure creating the effect of infinite regress (B. McHale), or the “reduced model” (C. Lévi-Strauss), or the self-reflexive connection between the narrator and the text he creates (A. Gide). However, all these definitions are only approximately related to the complex of narrative phenomena denoted by the notion of mise en abyme. The article systematizes different approaches to defining the mise en abyme figure established in classical and post-classical (especially French) narratology and clarifies its semantic and functional effects.
Статья посвящена вариациям нарративного термина «mise en abyme». Под это понятие подводят значения и «внутреннего зеркала», воспроизводящего сюжет произведения на отдельно взятом фрагменте текста (Л. Далленбах, Ж. Рикарду), и рекурсивной структуры по созданию эффекта бесконечного повторения (Б.Макхейл), и «уменьшенной модели» (К. Леви-Стросс), и авторефлексивной связи нарратора с создаваемым им текстом (А. Жид). Однако все эти определения лишь приблизительно характеризуют комплекс нарративных явлений, обозначаемых как mise en abyme. В статье систематизируются сложившиеся в классической и постклассической (преимущественно французской) нарратологии подходы к определению фигуры mise en abyme и уточняется ее семантический и функциональный потенциал.
Муравьева Л.Е. Экзофикшн и энактивистские нарративы в современной французской литературе // Studia Litterarum. 2022. Т. 7, No 3.
The proliferation of hybrid genres is a notable trend in contemporary French literature. Alongsid... more The proliferation of hybrid genres is a notable trend in contemporary French literature. Alongside autofiction, new hybrids are emerging in French literature, modelled on a mixture of fiction and factual genre. One of them is exofiction (“ex” + “fiction”), which implies a narrative about fictitious events from the life of a historical character or an attempt to introduce fiction into someone else’s biography. The neologism, belonging to the writer Philippe Vasset, is rapidly entering scholarly and critical discourse, but no systematic attempt to describe the phenomenon has been made. According to Vasset, exofiction can be defined as any narrative that “blends the reality with the phantasms that accompany its representations” (Ph. Vasset); in other words, exofictitious writing practices form the space of “enactivist literature” in the cognitive sense. Exofiction reveals itself in the search for a connection between inner narrator’s experience and the other subject’s experience — including traumatic — through the language. This article attempts to identify the main features of exofiction, according to the enactivist approach in cognitive science and narratology, and to propose an analysis of the genre characteristics of exofiction by the exаmple of the novels by Pascal Quignard, Jean Echenoz and David Fœnkinos.
Муравьева Л.Е. Отказ от репрезентации: экзофикшн Мари Дарьесек и Камий Лоранс // Практики и интерпретации: журнал филологических, образовательных и культурных исследований. 2022. Т. 7. No 2.
Muravieva L.E. (2022). The refusal of representation: exofiction by Marie Darrieussecq and Camill... more Muravieva L.E. (2022). The refusal of representation: exofiction by Marie Darrieussecq and Camille Laurens. Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies, 7 (2), 134–149.
Abstract. Modern French literature is marked by the flowering of hybrid genres. The article is devoted to the study of novels belonging to exofiction, one of the leading hybrid genres in modern French literature. At the heart of exofiction is the appropriation of someone else’s experience and the
entering into someone else’s personal narrative. Instead of the chain of events that organizes the traditional biographical novel, the exofictional narrative focuses on filling in the gaps with the narrator’s personal experience, instead of representation, on the “perceptual autonomy of the narrator” (S.L. Dauthuille). The main motifs of exofictional prose are both the exploration of someone else’s biography and work with the archive, as well as affectivity, which exposes the connection of the narrative to the subject experience. This article deals with two novels by contemporary French women writers: “Être ici est une splendeur” (2016) by Marie Darrieussecq and “La petite danseuse de quatorze ans” (2017) by Camille Laurens. At the center of the narrative of both novels is the story of a biographical character: the German expressionist painter Paula Modersohn-Becker and Marie Geneviève Van Goethem, a dancer at the Paris Opera who posed for Dega’s famous sculpture. Both texts reveal similar thematic areas, in particular, the recontextualization of social and gender issues and the redefinition of the status of women in art, as well as common narrative and genre conventions. These include the hybridization between novel, biography, essay, and research; the special status of the intradiegetic narrator; self-reflexive strategies; as well as the problematization of the boundaries between real and fiction. However, the refusal of representation plays a special role, emphasizing the distinctive dimension of the exofiction. This article analyses the novels by C. Laurens and M. Darrieussecq and identifies genre characteristics of exofiction that works with the specific experience of “Einfühlung”. In analyzing the novels, I explore the aesthetic, ethical and narrative strategies chosen by female writers to work in the hybrid genre. Finally, it is shown how exofiction works with the rejection of representation and how the optics of “women’s writing” supports it.
Davydova O. S., Muravieva L. E. The spectator’s anxiety in film narrative: Notes on films by Bertrand Bonello. Media Linguistics, 9 (1), 64–76., 2022
The representation of emotions and affects in cinematic narrative can participate in the construc... more The representation of emotions and affects in cinematic narrative can participate in the construction of narration in the same way as the representation of events. Anxiety as one of the “expectant emotions” (E. Bloch) is of particular interest in this regard. By anxiety in the narrative, we mean any zone of uncertainty associated both with the field of the narrator or participant in the world of history, and with the field of the viewer. It is interesting in this regard to consider cases when anxiety ceases to be related to a specific character and is created at the intersection of the event-receptive field, referring to the entire structure of the narrative and thereby causing anxiety in the viewer. Films directed by Bertrand Bonello, regarded as an example of a special type of sensuality in contemporary French cinema, find themselves involved in the construction of this particular type of anxiety. By destabilizing the narrative, depriving the viewer of the familiar landmarks during the unfolding of the story, Bonello in every film refuses to provide the viewer with a habitually safe “place,” as happens in classic Hollywood cinema. Instead, films provoke a state of gripping, affective engagement, which arises, among other things, in a situation of failure of the usual strategies of narrative perception. This article attempts to describe the narrative strategies in three films by B. Bonello (“L’Apollonide: Souvenirs de la maison close” / “House of Tolerance”, 2011, “Saint Laurent”, 2014, and “Nocturama”, 2016), provoking “viewer’s anxiety” and also consider the mechanism of this anxiety, which is closely related to the experience of experiencing pain.
Муравьева Л. Кинонарратив в трансмедиальной оптике: реверсивность как критерий медиачувствительности // Кинема №2, 2021. C. 172-183.
Данная статья является развернутым комментарием к малоизвестному тезису Жерара Женетта о том, что... more Данная статья является развернутым комментарием к малоизвестному тезису Жерара Женетта о том, что реверсивность способна формировать специфичность кино как медиума. В отличие от вербального нарратива, подпадающего под ограничения линейности языкового знака, кинонарратив способен репрезентировать события в реверсивном порядке. Этот тезис комментируется в контексте современных трансмедиальных и когнитивных исследований нарратива. В статье анализируются возможности и ограничения реверсивной кинематографической репрезентации, что позволяет рассматривать нарратив как медиачувствительную модель, использующую медиальные свойства для конструирования особой кинематографической реальности.
Muravieva L. E. Affective Narratology: The Representation of Anxiety in Fictional Narrative. Crit... more Muravieva L. E. Affective Narratology: The Representation of Anxiety in Fictional Narrative. Critique and Semiotics, 2021, no. 1, p. 259–279. (in Russ.)
Муравьева Л.Е. От чужого текста - к чужому телу: Ненадежный вымысел в романе Ежи Сосновского «Апо... more Муравьева Л.Е. От чужого текста - к чужому телу: Ненадежный вымысел в романе Ежи Сосновского «Апокриф Аглаи» // Тайна «Апокрифа Аглаи» : сборник научных статей / ред.-сост. Е. Ю. Козьмина ; пер. с пол. Е. Ю. Козьминой, под ред. А. Скубачевской-Пневской. —Екатеринбург: ИНТМЕДИА, 2020. С. 117-136.
Муравьева Л.Е. О барочной рецепции Паскаля Киньяра // Типология дискурсов: <...>: Сборник научных... more Муравьева Л.Е. О барочной рецепции Паскаля Киньяра // Типология дискурсов: <...>: Сборник научных статей. М.: РГГУ, 2020. С. 312-321.
Муравьева Л. Тексты-диалоги Алена Роб-Грийе: «порождающий образ» наррации. Новый филологический вестник, №4(55). С. 88-97., 2020
Abstract. The article describes the issue of constructing a media-hybrid narrative based on both ... more Abstract. The article describes the issue of constructing a media-hybrid narrative based on both verbal and visual media. In the 20th century, in contrast to the classical principle of illustration, artists and writers create texts-dialogues, i.e. a special artistic form in which the visual and verbal components would co-exist on an equal basis. This interaction of media in experimental narratives can be defined by the concept of the “generating image” (Mourier-Casile & Moncond’huy), according to which the verbal text does not speak directly about the visual image by which it was generated, but op- erates from a distance, creating a complex network of semantic relationships between the media. The article describes the concept of the “generating image” based on Alain Robbe-Grillet’s texts-dialogues, or collaborations – part of his novel “Topologie d’une cité fantôme” (1976). The narrative of the novel, integrating the artist’s books (livres d’artiste) created by Robbe-Grillet in collaboration with artists Paul Delvaux and Rob- ert Rauschenberg and photographer David Hamilton, is constructed with the direct in- volvement of a visual medium. This type of relationship between text and image can be treated within the framework of transmedial narratology exploring the principles of maintaining narrative properties in different media. At the same time, transmedial research practically does not consider the aspects of the text generation created by the collision between media. Applying methodological and analytical tools of transmedial narratology and the analysis of drafts and manuscripts, the author formulates the basic principles of the initiation of narration based on the visual image.
Муравьева Л. Французская нарратология: к проблеме переводимости. Des Réalités Intraduisibles? La Traduction Au Prisme Des Sciences Sociales De L’antiquité À Nos Jours. Moscou: Éditions Nouveaux Angles, с. 41-51.
«Новое литературное обозрение» (НЛО), № 3'20, 163, 2020
Abstract: This article is about the principle of constructing narrative intrigue using the exampl... more Abstract: This article is about the principle of constructing narrative intrigue using the example of the screenplay for Jean Vigo‘s film L’Atalante (1934). It is shown that L’Atalante structure is driven by the overlapping of two different types of narrative intrigue, which leads to the famous “strangeness” and “heterogeneity” of the film. Through the reconstruction of the history of the film’s creation and the comparison of two versions of the screenplay — the screenwriter‘s (Jean Guinée) and the director‘s (Jean Vigo) — the article examines the emerging cinematic narrative of the 1930s.
Аннотация: Статья посвящена принципам конструирования нарративной интриги на примере фильма «Аталанта» Жана Виго (1934). Показывается, что «Аталанта» строится за счет взаимоналожения двух различных типов нарративной интриги, что обусловливает знаменитую «странность» и «неоднородность» фильма. Через реконструкцию истории создания фильма и сравнение двух версий киносценария — авторского (Ж. Гине) и режиссерского (Ж. Виго) — предлагается анализ новой кинематографической нарративности 1930-х годов.
«Новое литературное обозрение» (НЛО), № 2'19, 156, 2019
Abstract: The article discusses the artists' book "Les traces suspectes en surface", created as a... more Abstract: The article discusses the artists' book "Les traces suspectes en surface", created as a collaboration between Alain Robbe-Grillet and Robert Rauschenberg. The article examines the history of the creation of this artifact and studies the problem of developing an innovative type of relationship, between the narrative and visual components of the book, one far from illustration.
Аннотация: Статья посвящена книге художника (livre d’artiste) «Подозрительные следы на поверхности» («Les traces suspectes en surface», 1978), созданной в соавторстве Аленом Роб-Грийе и Робертом Раушенбергом. В статье рассматривается история создания артефакта и изучается проблема выработки новаторского, далекого от иллюстративного, типа отношений между нарративным и визуальным компонентами книги.
Муравьева Л. Е. Авторефлексивные стратегии репрезентации травмы в художественном нарративе (на ма... more Муравьева Л. Е. Авторефлексивные стратегии репрезентации травмы в художественном нарративе (на материале современной французской литературы) // Поэтика и прагматика нарративных практик : коллективная монография / отв. ред. В. И. Тюпа ; редкол. Е. Ю. Козьмина, О. В. Федунина. — Екатеринбург : ИНТМЕДИА, 2019. С.104-125.
Современная французская литература ищет пути выхода из кризиса, обусловленного расслоением гибрид... more Современная французская литература ищет пути выхода из кризиса, обусловленного расслоением гибридных жанров. Один из них – сближение с другими национальными традициями, позволяющими переосмыслить жанровую иерархию. Особый интерес представляет творчество Филиппа Фореста, интегрирующего в своем романном творчестве наследие французского литературного авангарда и традиции японского жанра «я-романа» (shôsetsu).
Муравьева Л.Е. КРИЗИС ГИБРИДНЫХ ЖАНРОВ: ФИЛИПП ФОРЕСТ И ВОЗВРАЩЕНИЕ «Я-РОМАНА» ВО ФРАНЦУЗСКУЮ ЛИТЕРАТУРУ. Вопросы литературы. 2018;(4):243-263.
Abstract: The article analyses the disintegration of hybrid genres, a major trend that has been taking shape in French literature in recent decades. Having exhausted the resources for hybridization of genres and survived the ‘death of the author’ period, French literature is searching for new ways to rejuvenate and refresh its genre forms. One option is convergence with other national literary tradition, in order to reconsider its own genre hierarchy and establish a new status of the writing individual between the autobiography and the novel. Particularly interesting in this regard is the attempt to overcome a genre crisis by the French writer Philippe Forest (born in 1962), who draws on the traditions of French avant-garde novels and the Japanese ‘I-novel’ (shôsetsu). The new genre distinguishes itself through special narration forms, the particular meaning of an event, and a certain balance between the imaginary and factual in Forest’s prose.
Keywords: Ph. Forest, ‘I-novel’, autofiction, hybrid genres, French literature.
Автореферат диссертации на соискание ученой степени кандидата филологических наук, Москва, 2017.
Муравьева Л. Е. Нарративная репрезентация риска и коллективная память: к постановке проблемы // Новый филологический вестник. 2018. Т. 1. № 44. С. 57-68
Narrative functions vary greatly and are studied in a wide interdisciplinary spectrum. However, o... more Narrative functions vary greatly and are studied in a wide interdisciplinary spectrum. However, one of the functions of the narrative have not yet been studied in detail and therefore deserves a special attention. This is an alarm function: narratives can not only reconstruct past events, but they can also warn on the possible danger, predict the future events and simulate the reactions of recipients. In theoretical narratology, this function is perceived with caution: narrative is usually considered as a form referring to the past. At the same time, the applied research shows that narratives could be actively involved in the practices of predicting the future. This mechanism is largely based on the collective memory. The article deals on the problem of narrative representation of risk and its relation to collective memory.
Uploads
Papers by Larissa Muravieva
This article offers a polemical interpretation of Jean-Luc Nancy’s philosophical text, “The Evidence of Film: Abbas Kiarostami” (2000), from a narratological perspective. Jean-Luc Nancy posits that Kiarostami’s art develops a particular view of cinema as reality, which replaces the view of cinema as illusion. The dichotomy of perception and illusion revolves around not only Kiarostami’s experiments with the film medium but also his directorial “new use” of narrative figures traditionally defined within narratology as metafictional (in particular, mise en abyme).
Kiarostami’s narrative is directly dependent on “invisible” instances in the film medium. First and foremost, this concerns the very organisation of audiovis- ual material, which is subject to a narrative sequence. Secondly, it is related to a specific way of constructing a point of view, which in Kiarostami’s films co- incides with the point of view of the ‘invisible’ intradiegetic narrator. The third aspect of the controversy is related to Nancy’s claim that Kiarostami’s films are devoid of fiction: there is no mise en abyme, which supposedly serves only an illusionist effect. However, the functional potential of the narrative figure mise en abyme, which is the basis of most of Kiarostami’s films, is much broader: this figure creates an optical trap effect that allows the viewer to oscillate between reality and fiction. By polemicizing with Nancy on the narrative structure of Kiarostami’s films, the author tries to show how reflection on the look is actualized in the film narrative and what role “invisible” narrative instances play in this.
что в 1970-е годы автофикшн позиционировал себя как практика письма, связанная не столько с трансформацией автобиографического жанра, сколько с литературной рефлексией травмы.
Муравьева Л. Критика и вымысел: опыт автофикшна. Серж Дубровский и Реймон Федерман. М: Вопросы Литературы, 2023. С. 41-60.
Аннотация. В статье изучается особый случай авторефлексии в кинонарративе, отсылающей к рефлексии над медиаспецифичностью. Материалом изучения становится фильм Аббаса Киаростами «Копия верна» (2009), рассмотренный сквозь призму теории mise en abyme. Единственный европейский фильм иранского кинорежиссера проблематизирует отношения копии и оригинала, фундаментальной оппозиции всего западноевропейского искусства, с помощью особого нарративного построения. Колебания между бинарностью копии и оригинала и недетерминированностью их функций создают многоплановую структуру фильма, особую роль в которой выполняет нарративная фигура mise en abyme. В фильме Киаростами mise en abyme становится фигурой репрезентации третьей степени, рефлексирующей о самом способе функционирования кино через анализ его медиаспецифичности. В статье доказывается, что нарративная структура фильма Киаростами не просто задает пространство значений, вне которых немыслима интерпретация фильма, но также становится пространством кинематографической медиарефлексии.
“inner mirror” that reproduces the plot of the whole text within its single fragment (L. Dällenbach, J. Ricardou), or the recursive structure creating the effect of infinite regress (B. McHale), or the “reduced model” (C. Lévi-Strauss), or the self-reflexive connection between the narrator and the text he creates (A. Gide). However, all these definitions are only approximately related to the complex of narrative phenomena denoted by the notion of mise en abyme. The article systematizes different approaches to defining the mise en abyme figure established in classical and post-classical (especially French) narratology and clarifies its semantic and functional effects.
Статья посвящена вариациям нарративного термина «mise en abyme». Под это понятие подводят значения и «внутреннего зеркала», воспроизводящего сюжет произведения на отдельно взятом фрагменте текста (Л. Далленбах, Ж. Рикарду), и рекурсивной структуры по созданию эффекта бесконечного повторения (Б.Макхейл), и «уменьшенной модели» (К. Леви-Стросс), и авторефлексивной связи нарратора с создаваемым им текстом (А. Жид). Однако все эти определения лишь приблизительно характеризуют комплекс нарративных явлений, обозначаемых как mise en abyme. В статье систематизируются сложившиеся в классической и постклассической (преимущественно французской) нарратологии подходы к определению фигуры mise en abyme и уточняется ее семантический и функциональный потенциал.
Abstract. Modern French literature is marked by the flowering of hybrid genres. The article is devoted to the study of novels belonging to exofiction, one of the leading hybrid genres in modern French literature. At the heart of exofiction is the appropriation of someone else’s experience and the
entering into someone else’s personal narrative. Instead of the chain of events that organizes the traditional biographical novel, the exofictional narrative focuses on filling in the gaps with the narrator’s personal experience, instead of representation, on the “perceptual autonomy of the narrator” (S.L. Dauthuille). The main motifs of exofictional prose are both the exploration of someone else’s biography and work with the archive, as well as affectivity, which exposes the connection of the narrative to the subject experience. This article deals with two novels by contemporary French women writers: “Être ici est une splendeur” (2016) by Marie Darrieussecq and “La petite danseuse de quatorze ans” (2017) by Camille Laurens. At the center of the narrative of both novels is the story of a biographical character: the German expressionist painter Paula Modersohn-Becker and Marie Geneviève Van Goethem, a dancer at the Paris Opera who posed for Dega’s famous sculpture. Both texts reveal similar thematic areas, in particular, the recontextualization of social and gender issues and the redefinition of the status of women in art, as well as common narrative and genre conventions. These include the hybridization between novel, biography, essay, and research; the special status of the intradiegetic narrator; self-reflexive strategies; as well as the problematization of the boundaries between real and fiction. However, the refusal of representation plays a special role, emphasizing the distinctive dimension of the exofiction. This article analyses the novels by C. Laurens and M. Darrieussecq and identifies genre characteristics of exofiction that works with the specific experience of “Einfühlung”. In analyzing the novels, I explore the aesthetic, ethical and narrative strategies chosen by female writers to work in the hybrid genre. Finally, it is shown how exofiction works with the rejection of representation and how the optics of “women’s writing” supports it.
Аннотация: Статья посвящена принципам конструирования нарративной интриги на примере фильма «Аталанта» Жана Виго (1934). Показывается, что «Аталанта» строится за счет взаимоналожения двух различных типов нарративной интриги, что обусловливает знаменитую «странность» и «неоднородность» фильма. Через реконструкцию истории создания фильма и сравнение двух версий киносценария — авторского (Ж. Гине) и режиссерского (Ж. Виго) — предлагается анализ новой кинематографической нарративности 1930-х годов.
Аннотация: Статья посвящена книге художника (livre d’artiste) «Подозрительные следы на поверхности» («Les traces suspectes en surface», 1978), созданной в соавторстве Аленом Роб-Грийе и Робертом Раушенбергом. В статье рассматривается история создания артефакта и изучается проблема выработки новаторского, далекого от иллюстративного, типа отношений между нарративным и визуальным компонентами книги.
Муравьева Л.Е. КРИЗИС ГИБРИДНЫХ ЖАНРОВ: ФИЛИПП ФОРЕСТ И ВОЗВРАЩЕНИЕ «Я-РОМАНА» ВО ФРАНЦУЗСКУЮ ЛИТЕРАТУРУ. Вопросы литературы. 2018;(4):243-263.
Abstract: The article analyses the disintegration of hybrid genres, a major trend that has been taking shape in French literature in recent decades. Having exhausted the resources for hybridization of genres and survived the ‘death of the author’ period, French literature is searching for new ways to rejuvenate and refresh its genre forms. One option is convergence with other national literary tradition, in order to reconsider its own genre hierarchy and establish a new status of the writing individual between the autobiography and the novel. Particularly interesting in this regard is the attempt to overcome a genre crisis by the French writer Philippe Forest (born in 1962), who draws on the traditions of French avant-garde novels and the Japanese ‘I-novel’ (shôsetsu). The new genre distinguishes itself through special narration forms, the particular meaning of an event, and a certain balance between the imaginary and factual in Forest’s prose.
Keywords: Ph. Forest, ‘I-novel’, autofiction, hybrid genres, French literature.
This article offers a polemical interpretation of Jean-Luc Nancy’s philosophical text, “The Evidence of Film: Abbas Kiarostami” (2000), from a narratological perspective. Jean-Luc Nancy posits that Kiarostami’s art develops a particular view of cinema as reality, which replaces the view of cinema as illusion. The dichotomy of perception and illusion revolves around not only Kiarostami’s experiments with the film medium but also his directorial “new use” of narrative figures traditionally defined within narratology as metafictional (in particular, mise en abyme).
Kiarostami’s narrative is directly dependent on “invisible” instances in the film medium. First and foremost, this concerns the very organisation of audiovis- ual material, which is subject to a narrative sequence. Secondly, it is related to a specific way of constructing a point of view, which in Kiarostami’s films co- incides with the point of view of the ‘invisible’ intradiegetic narrator. The third aspect of the controversy is related to Nancy’s claim that Kiarostami’s films are devoid of fiction: there is no mise en abyme, which supposedly serves only an illusionist effect. However, the functional potential of the narrative figure mise en abyme, which is the basis of most of Kiarostami’s films, is much broader: this figure creates an optical trap effect that allows the viewer to oscillate between reality and fiction. By polemicizing with Nancy on the narrative structure of Kiarostami’s films, the author tries to show how reflection on the look is actualized in the film narrative and what role “invisible” narrative instances play in this.
что в 1970-е годы автофикшн позиционировал себя как практика письма, связанная не столько с трансформацией автобиографического жанра, сколько с литературной рефлексией травмы.
Муравьева Л. Критика и вымысел: опыт автофикшна. Серж Дубровский и Реймон Федерман. М: Вопросы Литературы, 2023. С. 41-60.
Аннотация. В статье изучается особый случай авторефлексии в кинонарративе, отсылающей к рефлексии над медиаспецифичностью. Материалом изучения становится фильм Аббаса Киаростами «Копия верна» (2009), рассмотренный сквозь призму теории mise en abyme. Единственный европейский фильм иранского кинорежиссера проблематизирует отношения копии и оригинала, фундаментальной оппозиции всего западноевропейского искусства, с помощью особого нарративного построения. Колебания между бинарностью копии и оригинала и недетерминированностью их функций создают многоплановую структуру фильма, особую роль в которой выполняет нарративная фигура mise en abyme. В фильме Киаростами mise en abyme становится фигурой репрезентации третьей степени, рефлексирующей о самом способе функционирования кино через анализ его медиаспецифичности. В статье доказывается, что нарративная структура фильма Киаростами не просто задает пространство значений, вне которых немыслима интерпретация фильма, но также становится пространством кинематографической медиарефлексии.
“inner mirror” that reproduces the plot of the whole text within its single fragment (L. Dällenbach, J. Ricardou), or the recursive structure creating the effect of infinite regress (B. McHale), or the “reduced model” (C. Lévi-Strauss), or the self-reflexive connection between the narrator and the text he creates (A. Gide). However, all these definitions are only approximately related to the complex of narrative phenomena denoted by the notion of mise en abyme. The article systematizes different approaches to defining the mise en abyme figure established in classical and post-classical (especially French) narratology and clarifies its semantic and functional effects.
Статья посвящена вариациям нарративного термина «mise en abyme». Под это понятие подводят значения и «внутреннего зеркала», воспроизводящего сюжет произведения на отдельно взятом фрагменте текста (Л. Далленбах, Ж. Рикарду), и рекурсивной структуры по созданию эффекта бесконечного повторения (Б.Макхейл), и «уменьшенной модели» (К. Леви-Стросс), и авторефлексивной связи нарратора с создаваемым им текстом (А. Жид). Однако все эти определения лишь приблизительно характеризуют комплекс нарративных явлений, обозначаемых как mise en abyme. В статье систематизируются сложившиеся в классической и постклассической (преимущественно французской) нарратологии подходы к определению фигуры mise en abyme и уточняется ее семантический и функциональный потенциал.
Abstract. Modern French literature is marked by the flowering of hybrid genres. The article is devoted to the study of novels belonging to exofiction, one of the leading hybrid genres in modern French literature. At the heart of exofiction is the appropriation of someone else’s experience and the
entering into someone else’s personal narrative. Instead of the chain of events that organizes the traditional biographical novel, the exofictional narrative focuses on filling in the gaps with the narrator’s personal experience, instead of representation, on the “perceptual autonomy of the narrator” (S.L. Dauthuille). The main motifs of exofictional prose are both the exploration of someone else’s biography and work with the archive, as well as affectivity, which exposes the connection of the narrative to the subject experience. This article deals with two novels by contemporary French women writers: “Être ici est une splendeur” (2016) by Marie Darrieussecq and “La petite danseuse de quatorze ans” (2017) by Camille Laurens. At the center of the narrative of both novels is the story of a biographical character: the German expressionist painter Paula Modersohn-Becker and Marie Geneviève Van Goethem, a dancer at the Paris Opera who posed for Dega’s famous sculpture. Both texts reveal similar thematic areas, in particular, the recontextualization of social and gender issues and the redefinition of the status of women in art, as well as common narrative and genre conventions. These include the hybridization between novel, biography, essay, and research; the special status of the intradiegetic narrator; self-reflexive strategies; as well as the problematization of the boundaries between real and fiction. However, the refusal of representation plays a special role, emphasizing the distinctive dimension of the exofiction. This article analyses the novels by C. Laurens and M. Darrieussecq and identifies genre characteristics of exofiction that works with the specific experience of “Einfühlung”. In analyzing the novels, I explore the aesthetic, ethical and narrative strategies chosen by female writers to work in the hybrid genre. Finally, it is shown how exofiction works with the rejection of representation and how the optics of “women’s writing” supports it.
Аннотация: Статья посвящена принципам конструирования нарративной интриги на примере фильма «Аталанта» Жана Виго (1934). Показывается, что «Аталанта» строится за счет взаимоналожения двух различных типов нарративной интриги, что обусловливает знаменитую «странность» и «неоднородность» фильма. Через реконструкцию истории создания фильма и сравнение двух версий киносценария — авторского (Ж. Гине) и режиссерского (Ж. Виго) — предлагается анализ новой кинематографической нарративности 1930-х годов.
Аннотация: Статья посвящена книге художника (livre d’artiste) «Подозрительные следы на поверхности» («Les traces suspectes en surface», 1978), созданной в соавторстве Аленом Роб-Грийе и Робертом Раушенбергом. В статье рассматривается история создания артефакта и изучается проблема выработки новаторского, далекого от иллюстративного, типа отношений между нарративным и визуальным компонентами книги.
Муравьева Л.Е. КРИЗИС ГИБРИДНЫХ ЖАНРОВ: ФИЛИПП ФОРЕСТ И ВОЗВРАЩЕНИЕ «Я-РОМАНА» ВО ФРАНЦУЗСКУЮ ЛИТЕРАТУРУ. Вопросы литературы. 2018;(4):243-263.
Abstract: The article analyses the disintegration of hybrid genres, a major trend that has been taking shape in French literature in recent decades. Having exhausted the resources for hybridization of genres and survived the ‘death of the author’ period, French literature is searching for new ways to rejuvenate and refresh its genre forms. One option is convergence with other national literary tradition, in order to reconsider its own genre hierarchy and establish a new status of the writing individual between the autobiography and the novel. Particularly interesting in this regard is the attempt to overcome a genre crisis by the French writer Philippe Forest (born in 1962), who draws on the traditions of French avant-garde novels and the Japanese ‘I-novel’ (shôsetsu). The new genre distinguishes itself through special narration forms, the particular meaning of an event, and a certain balance between the imaginary and factual in Forest’s prose.
Keywords: Ph. Forest, ‘I-novel’, autofiction, hybrid genres, French literature.
Keywords: transfer, mise en abyme, text within the text
URL: http://narratologie.ehess.fr/the-transfer-of-narratological-conceptsthe-russian-adaptation-of-mise-en-abyme/