Meta(Hi)Story: Timothy Findley's Famous Last Words
1989; International Fiction Association; Volume: 16; Issue: 1 Linguagem: Inglês
ISSN
0315-4149
Autores Tópico(s)Literature, Film, and Journalism Analysis
ResumoAlthough Michel Foucault in The Order of Things speaks of Velazquez's painting Las Meninas as representation . . . of Classical representation, Linda Hutcheon, in Poetics of Post-modernism? suggests that the fascination with Las Meninas continues for readers of postmodern fiction because provides a visual analogue of metafiction's inscription of the enunciative act: we look at a painting of a painter looking at us. That is to say, the manipulating relationship between the position of the producer and of the receiver (which together form the enunciative act, or in other words, reflect a discursive situation) is actually inscribed, or placed, within the text itself. Thus, not only does Las Meninas represent the producer at work, also presupposes the viewer's presence and then plays ironically with it (PP 37). This play is a familiar technique of much postmodern fiction which insists that we recognize that the producer and the receiver and the relationship between them must be understood within specific historical, social, and ideological contexts.
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