{"id":220,"date":"2010-02-09T12:37:25","date_gmt":"2010-02-09T12:37:25","guid":{"rendered":"http:\/\/skrif.hi.is\/jkh\/?page_id=220"},"modified":"2019-06-06T10:41:54","modified_gmt":"2019-06-06T10:41:54","slug":"hugtok","status":"publish","type":"page","link":"https:\/\/uni.hi.is\/jkh\/kennsla\/hugtok\/","title":{"rendered":"Hugtakasafn s\u00f6gusagna"},"content":{"rendered":"

$\"\"$ <\/a>\u00c9g hef \u00fer\u00edvegis kennt n\u00e1mskei\u00f0 \u00e1 Hugv\u00edsindasvi\u00f0i \u00fear sem athyglin beinist a\u00f0 \u00feeim b\u00f3kmenntalegu einkennum sem kennd eru al\u00fej\u00f3\u00f0lega vi\u00f0 metafiction. \u00cd tengslum vi\u00f0 n\u00e1mskei\u00f0i\u00f0 hef \u00e9g sett saman lista yfir al\u00fej\u00f3\u00f0leg hugt\u00f6k sem tengjast \u00feessu ranns\u00f3knarsvi\u00f0i og \u00edslenskar \u00fe\u00fd\u00f0ingar \u00feeirra.<\/p>\n

antiroman <\/em>(Sartre): andsaga<\/strong>. Hugaki\u00f0 er oftast raki\u00f0 til form\u00e1la sem Jean-Paul Sartre skrifa\u00f0i \u00e1ri\u00f0 1948 fyrir sk\u00e1lds\u00f6guna Portrait d'un inconnu<\/em> (Mynd af \u00f3\u00feekktum manni<\/em>) eftir Nathalie Sarraute. \u00cd verkum af \u00feessu tagi, skrifar Sartre (1964, 7-8) \u00ed form\u00e1lanum, sn\u00fdst m\u00e1li\u00f0 \"um \u00fea\u00f0 a\u00f0 sk\u00e1ldsagan efist um sj\u00e1lfa sig, a\u00f0 ey\u00f0ileggja hana fyrir framan augu okkar \u00e1 me\u00f0an h\u00fan vir\u00f0ist vera \u00ed sk\u00f6pun, a\u00f0 skrifa sk\u00e1lds\u00f6guna um sk\u00e1lds\u00f6gu sem ver\u00f0ur ekki til, sem ekki getur or\u00f0i\u00f0 til, s\u00f6gu sem gerir \u00fea\u00f0 sama vi\u00f0 st\u00f3rvirki eftir Dostojevsk\u00ed e\u00f0a Meredith og myndin Mor\u00f0 \u00e1 m\u00e1lverki eftir Mir\u00f3 ger\u00f0i vi\u00f0 verk Rembrandts og Rubens. \u00deessi einkennilegu og illflokkanlegu verk bera ekki vitni um veikleika sk\u00e1lds\u00f6gunnar sem b\u00f3kmenntagreinar; \u00feau undirstrika \u00fea\u00f0 a\u00f0 vi\u00f0 lifum \u00e1 t\u00edmum endursko\u00f0unar og a\u00f0 sk\u00e1ldsagan er a\u00f0 endursko\u00f0a (\u00edhuga\/endurspegla) sj\u00e1lfa sig.\" \u00cd form\u00e1lanum kallar Sartre sk\u00e1lds\u00f6gu Sarraute ands\u00f6gu og setur hana jafnframt \u00ed samband vi\u00f0 n\u00fdlegar sk\u00e1lds\u00f6gur eftir Vladimir Nabokov og Evelyn Waugh, auk \u00feess sem hann telur a\u00f0 Les faux-monnayeurs <\/em>(Myntfalsararnir<\/em>) eftir Andr\u00e9 Gide fr\u00e1 \u00e1rinu 1925 eigi heima \u00ed \u00feessum h\u00f3pi. Flj\u00f3tlega festist hugtaki\u00f0 andsaga vi\u00f0 \u00f6nnur verk eftir Sarraute og fleiri fr\u00f6nskum\u00e6landi rith\u00f6funda sem kv\u00f6ddu s\u00e9r hlj\u00f3\u00f0s \u00e1 \u00feessu t\u00edmabili. Me\u00f0al \u00feeirra voru Robbe-Grillet, Marguerite Duras, Michel Butor, Claude Simon og Samuel Beckett sem \u00f6ll \u00e1ttu sameiginlegt a\u00f0 sni\u00f0ganga r\u00f3tgr\u00f3nar hef\u00f0ir \u00ed sk\u00e1ldsagnaskrifum, svo sem heildst\u00e6\u00f0an s\u00f6gu\u00fer\u00e1\u00f0, rauns\u00e6jar pers\u00f3nul\u00fdsingar og eitt \u00e1kve\u00f0i\u00f0 sj\u00f3narhorn. Fr\u00e1 og me\u00f0 \u00e1rinu 1957 n\u00e1\u00f0i reyndar anna\u00f0 hugtak, n\u00fdsaga<\/em> (fr. nouveau roman<\/em>), meiri \u00fatbrei\u00f0slu \u00ed umr\u00e6\u00f0um um verk \u00feessa h\u00f3ps en andsaga var eftir sem \u00e1\u00f0ur nota\u00f0 til a\u00f0 l\u00fdsa afur\u00f0um \u00fdmissa sporg\u00f6ngumanna \u00feeirra austan hafs og vestan \u00e1 sj\u00f6unda \u00e1ratugnum.<\/p>\n

\u00a0fabulation<\/em> (Scholes): d\u00e6misagnalist<\/strong>.\u00a0 Enska hugtaki\u00f0 kynnti bandar\u00edski b\u00f3kmenntafr\u00e6\u00f0ingurinn Robert Scholes\u00a0 \u00ed samnefndri b\u00f3k \u00e1ri\u00f0 1967. \u00dea\u00f0 er n\u00e1skylt or\u00f0unum fable<\/em>, sem getur merkt d\u00e6misaga, lygasaga, \u00fej\u00f3\u00f0saga e\u00f0a go\u00f0asaga, og fabulist<\/em>, sem merkir sagnama\u00f0ur, sagna\u00feulur e\u00f0a d\u00e6misagnah\u00f6fundur. Vi\u00f0fangsefni b\u00f3kar Scholes eru verk tiltekinna samt\u00edmah\u00f6funda sem honum finnst a\u00f0 hafi a\u00f0 \u00f3sekju veri\u00f0 vanr\u00e6ktir, mist\u00falka\u00f0ir e\u00f0a \u00fathr\u00f3pa\u00f0ir af gagnr\u00fdnendum og lesendum. \u00cd raun s\u00e9 um a\u00f0 r\u00e6\u00f0a einskonar b\u00f3kmenntastefnu, sem megi rekja til d\u00e6misagna, alleg\u00f3r\u00edu, p\u00edkareskra sagna og \u00e6vint\u00fdra. Vi\u00f0komandi h\u00f6fundar gangi \u00ed berh\u00f6gg vi\u00f0 hef\u00f0 rauns\u00e6isins \u00ed sk\u00e1ldsagnager\u00f0 en leggi \u00feess \u00ed sta\u00f0 \u00e1herslu \u00e1 leik me\u00f0 fr\u00e1sagnarh\u00e1tt, fantas\u00edu og umr\u00e6\u00f0u um \u00fdmis si\u00f0fer\u00f0ileg \u00e1litam\u00e1l. \u00de\u00f3tt verk \u00feessara h\u00f6funda s\u00e9u ekki rauns\u00e6 fullyr\u00f0ir Scholes (1979, 8 ) a\u00f0 \u00feeir hafi alltaf a\u00f0 minnsta kosti anna\u00f0 auga\u00f0 \u00e1 raunveruleikanum: \u201eD\u00e6misagnalist n\u00fat\u00edmans [...] keppir a\u00f0 \u00fev\u00ed a\u00f0 segja \u00feann sannleika sem sk\u00e1ldskapurinn er f\u00e6r um a\u00f0 segja \u00e1 \u00feann h\u00e1tt sem sk\u00e1ldskapnum er eiginlegur\u201c.\u00a0 Argent\u00edska sk\u00e1ldi\u00f0 Jorge Luis Borges er einn helsti brautry\u00f0jandi d\u00e6misagnalistarinnar \u00e1 tuttugustu \u00f6ld, a\u00f0 mati Scholes, en me\u00f0al annarra h\u00f6funda sem hann r\u00e6\u00f0ir \u00edtarlega um eru Lawrence Durrell, John Fowles, Iris Murdock og John Barth.<\/p>\n

introverted novel<\/strong><\/em> (Bradbury og Fletcher): innhverfa sk\u00e1ldsagan<\/strong>. Malcolm Bradbury og John Fletcher skrifa kaflann \"The Introverted Novel\u201d \u00ed ritinu Modernism 1890-1930<\/em>. \u00deeir l\u00edta svo \u00e1 a\u00f0 um aldam\u00f3tin 1900 hafi sk\u00e1ldsagan sem b\u00f3kmenntagrein veri\u00f0 b\u00fain a\u00f0 leggja undir sig svo m\u00f6rg svi\u00f0 mannl\u00edfsins a\u00f0 h\u00fan \u00feurfti a\u00f0 leita inn \u00e1 vi\u00f0 \u00ed leit a\u00f0 n\u00fdjum \u00e1skorunum. \u00c1 n\u00e6stu \u00e1ratugum hafi \u00fev\u00ed g\u00e6tt aukinnar sj\u00e1lfsko\u00f0unar \u00ed ev\u00f3psku sk\u00e1lds\u00f6gunni. Sk\u00e1ld hafi me\u00f0al annars or\u00f0i\u00f0 me\u00f0vita\u00f0ri um a\u00f0 sk\u00e1lds\u00f6gur s\u00e9u ekki bein eftirl\u00edking af raunveruleikanum heldur sm\u00ed\u00f0a\u00f0ar \u00far or\u00f0um og formum og \u00feeim hafi \u00fe\u00f3tt st\u00f6\u00f0ugt \u00f6r\u00f0ugra a\u00f0 l\u00e1ta \u00feessi tv\u00f6 svi\u00f0 skarast. Sj\u00e1lfsme\u00f0vitund hafi reyndar fylgt sk\u00e1ldskapnum fr\u00e1 \u00f6ndver\u00f0u og s\u00e9 me\u00f0al annars \u00e1berandi \u00ed vissum sk\u00e1lds\u00f6gum fr\u00e1 sautj\u00e1ndu og \u00e1tj\u00e1ndu \u00f6ld, svo sem Tristram Shandy<\/i>. Hin sj\u00e1lfsme\u00f0vita\u00f0a fr\u00e1s\u00f6gn hafi beint athygli lesandans fyrst og fremst a\u00f0 r\u00f6dd s\u00f6gumannsins, sem hafi sett sig \u00e1 svi\u00f0 sem eins konar har\u00f0stj\u00f3ra yfir lesandanum og leiki\u00f0 s\u00e9r me\u00f0 v\u00e6ntingar hans, en i\u00f0ulega \u00ed gamans\u00f6mu samhengi. S\u00f6mu tilhneygingar g\u00e6ti oft \u00ed innhverfum m\u00f3dern\u00edskum sk\u00e1lds\u00f6gum en \u00ed \u00feeim beinist sj\u00e1lfsme\u00f0vitundin a\u00f0 auki<\/i> a\u00f0 formger\u00f0 textans. \u00d3l\u00edkt \u00fev\u00ed gamansama lj\u00f3si sem sj\u00e1lfsme\u00f0vita\u00f0ar sk\u00e1lds\u00f6gur breg\u00f0i oft og einatt \u00e1 hlutverk s\u00f6gumannsins, s\u00e9u hinar innhverfu m\u00f3dern\u00edsku sk\u00e1lds\u00f6gur mun alvarlegri \u00ed brag\u00f0i, \u00fe\u00e6r krefjist beinnar \u00fe\u00e1ttt\u00f6ku af lesandanum enda er markmi\u00f0 \u00feeirra a\u00f0 afhj\u00fapa me\u00f0 hva\u00f0a h\u00e6tti listin endurspegli <\/i>ekki raunveruleikann heldur skapi <\/i>hann. R\u00e6tur hinnar innhverfu sk\u00e1lds\u00f6gu segja \u00feeir f\u00e9lagar a\u00f0 leita \u00ed verkum h\u00f6funda \u00e1 bor\u00f0 vi\u00f0 Henry James (1843\u20131916) og Joseph Conrad (1857\u20131924). \u00dea\u00f0 se \u00fe\u00f3 ekki fyrr en me\u00f0 m\u00f3dern\u00edskum verkum Marcel Proust (1871\u20131922), James Joyce (1882\u20131941) og Thomas Mann (1875\u20131955) a\u00f0 sj\u00e1lfsko\u00f0unin fer a\u00f0 hafa veruleg \u00e1hrif \u00e1 fr\u00e1sagnarformi\u00f0. Nau\u00f0synlegt s\u00e9 a\u00f0 gera grein fyrir tveimur greinum m\u00f3dernismans \u00ed \u00feessu sambandi, annars vegar \u00feeirra formtilrauna sem mi\u00f0a \u00f6\u00f0ru fremur a\u00f0 \u00fev\u00ed a\u00f0 laga fr\u00e1sagnarformi\u00f0 a\u00f0 mannlegu vitundarfl\u00e6\u00f0i og hins vegar sk\u00e1ldskapar sem rannsaka sambands l\u00edfs og listar. Fletcher og Bradbury taka sk\u00e1lds\u00f6guna Les Faux-monnayeurs<\/i> eftir Andr\u00e9 Gide (1869\u20131951) fr\u00e1 \u00e1rinu 1926 sem d\u00e6mi um \u00fea\u00f0 s\u00ed\u00f0arnefnda en fjallar um sk\u00e1ldsagnah\u00f6fundinn \u00c9duard sem er a\u00f0 vinna a\u00f0 sk\u00e1lds\u00f6gu sem einnig heitir Les Faux-monnayeurs<\/i>. Me\u00f0al yngri h\u00f6funda sem \u00feeir nefna \u00ed \u00feessu sambandi eru Vladimir Nabokov, John Barth, Murel Spark, Iris Murdoch, Jorge Luis Borges og G\u00fcnter Grass.<\/p>\n

literature of exhaustion<\/em> (Barth): \u00ferotab\u00f3kmenntir<\/strong>. Bandar\u00edski rith\u00f6fundurinn\u00a0John Barth birti \u00e1ri\u00f0 1967 t\u00edmaritsgrein undir titlinum \u201eThe Literature of Exhaustion\u201c (\u00derotab\u00f3kmenntirnar) \u00fear sem fagurfr\u00e6\u00f0ilegt ford\u00e6mi Jorges Luis Borges var\u00a0\u00ed brennidepli.\u00a0 \u00cd upphafi greinarinnar fullyr\u00f0ir Barth a\u00f0 viss form og m\u00f6guleikar \u00ed b\u00f3kmenntask\u00f6pun hafi veri\u00f0 svo gj\u00f6rn\u00fdtt a\u00f0 t\u00edmab\u00e6rt s\u00e9 a\u00f0 leggja \u00feau \u00e1 hilluna. Hann fur\u00f0ar sig \u00e1 hve margir sk\u00e1ldsagnah\u00f6fundar skrifi \u00fe\u00f3 enn eins og tuttugasta \u00f6ldin hef\u00f0i aldrei gengi\u00f0 \u00ed gar\u00f0, \u00ed rauns\u00e6isst\u00edl n\u00edtj\u00e1ndu aldarinnar, en honum er ekki s\u00ed\u00f0ur uppsiga\u00f0 vi\u00f0 \u00fe\u00e1 samt\u00edmalistamenn, rith\u00f6funda sem a\u00f0ra, sem leggi allt kapp \u00e1 a\u00f0 vera frumlegir en skapi verk sem hvorki beri vott um listr\u00e6na h\u00e6fileika n\u00e9 raunverulegan innbl\u00e1stur. \u00deri\u00f0ja lei\u00f0in, s\u00fa sem Barth m\u00e6lir me\u00f0, er lei\u00f0 \u00ferotab\u00f3kmenntanna, \u00feeirra \u00f6rf\u00e1u h\u00f6funda sem \u201eb\u00faa yfir listr\u00e6nni hugsun, sem stenst samanbur\u00f0 vi\u00f0 t\u00f6ffaraskap hva\u00f0a fr\u00f6nska n\u00fds\u00f6guh\u00f6fundar sem er, en au\u00f0nast engu a\u00f0 s\u00ed\u00f0ur a\u00f0 fjalla me\u00f0 \u00feokkafullum og eftirminnilegum h\u00e6tti um \u00fea\u00f0 sem eftir er af mannlegu e\u00f0li okkar og hlutskipti, eins og miklir listamenn hafa alltaf gert\u201c (s. 164).\u00a0 Barth kve\u00f0st a\u00f0 v\u00edsu a\u00f0eins \u00feekkja tvo samt\u00edmah\u00f6funda sem falli \u00ed \u00feennan flokk, \u00edrska rith\u00f6fundinn Samuel Beckett og svo Borges, og tekur \u00fdmis d\u00e6mi \u00far verkum \u00feess s\u00ed\u00f0arnefnda \u00fear sem saman fari \u00f6grandi, n\u00fat\u00edmalegar hugmyndir og listr\u00e6n efnist\u00f6k. Hann kve\u00f0st vera s\u00e9rstaklega hrifinn af \u00feeirri afst\u00f6\u00f0u Borgesar a\u00f0 \u00fea\u00f0 s\u00e9 t\u00f3mt m\u00e1l a\u00f0 tala um frumleika \u00ed b\u00f3kmenntum \u00e1 okkar d\u00f6gum, \u00ed raun s\u00e9 l\u00f6ngu b\u00fai\u00f0 a\u00f0 skrifa b\u00f3kmenntirnar, \u00fea\u00f0 eina sem er eftir s\u00e9 a\u00f0 setja punkt fyrir aftan \u00fe\u00e6r, leggja \u00fat af \u00feeim. S\u00f6gur Borgesar, b\u00e6tir Barth vi\u00f0, s\u00e9u sl\u00edkar \u00fatleggingar, \u201eekki bara ne\u00f0an\u00e1lsgreinar vi\u00f0 \u00edmynda\u00f0a texta, heldur eftirm\u00e1li vi\u00f0 hin raunverlega corpus b\u00f3kmenntanna\u201c (s. 170).<\/p>\n

livelli della realt\u00e0<\/em> (Calvino) veruleikasvi\u00f0.<\/strong> \u00cd grein \u00edtalska rith\u00f6fundarins Italo Calvino, \u201eVeruleikasvi\u00f0 \u00ed b\u00f3kmenntum\u201c, (\u201eI livelli della realt\u00e0 in letteratura\u201c, 1978) leggur h\u00f6fundur \u00fear fram \u00fe\u00e1 skilgreiningu a\u00f0 sk\u00e1ldverk s\u00e9 rita\u00f0ur texti \u201e\u00fear sem nokkur \u00f3l\u00edk veruleikasvi\u00f0 komi samt\u00edmis vi\u00f0 s\u00f6gu\u201c. Til sk\u00fdringar vitnar hann til leikrits Williams Shakespeare, Draumur \u00e1 J\u00f3nsmessun\u00f3tt<\/em> (A Midsummer Night's Dream<\/em>, ca. 1595) en \u00fear blandast a\u00f0 minnsta kosti \u00ferj\u00fa veruleikasvi\u00f0 saman: (1) heimur a\u00f0alsf\u00f3lksins vi\u00f0 hir\u00f0 \u00deeseifs og Hipp\u00f3l\u00fdtu, (2) heimur \u00e1lfa \u00e1 bor\u00f0 vi\u00f0 Titan\u00edu og \u00d3beron og (3) heimur Kvists, St\u00fats og fleiri handverksmanna. \u00deegar \u00feeir s\u00ed\u00f0astnefndu setja \u00e1 svi\u00f0 \u00ed h\u00f6ll \u00deeseifs leikrit byggt \u00e1 s\u00f6gunni um P\u00edramus og \u00deispu er um enn anna\u00f0 veruleikasvi\u00f0 a\u00f0 r\u00e6\u00f0a sem er \u00ed sj\u00e1lfu s\u00e9r eins sk\u00fdrt a\u00f0greint fr\u00e1 heimi hallarinnar og leikverk Shakespeares er fr\u00e1 veruleika leikh\u00fasgestanna \u00fati \u00ed sal. \u00cd sk\u00e1lds\u00f6gu Calvinos Ef a\u00f0 vetrarn\u00f3ttu fer\u00f0alangur <\/em>er, svo d\u00e6mi s\u00e9 teki\u00f0 markvisst unni\u00f0 me\u00f0 \u00f3l\u00edk veruleikasvi\u00f0. Sk\u00fdrustu skilin eru \u00e1 milli heims lesandans (sem er \u00e1varpa\u00f0ur \u201e\u00fe\u00fa\u201c \u00ed upphafi verksins) og \u00feeirra b\u00f3ka sem hann (og fleiri pers\u00f3nur) eru a\u00f0 lesa \u00ed verkinu. En skilin milli \u00feessara svi\u00f0i eru \u00e1 k\u00f6flum \u00f3lj\u00f3s, eins og til d\u00e6mis \u00ed upphafi kaflans \"Ef a\u00f0 vetrarn\u00f3ttu fer\u00f0alangur\" <\/em>\u00fear sem m\u00e1 finna l\u00fdsingu \u00e1 sk\u00e1lds\u00f6gu sem sk\u00e1lds\u00f6gu og svo texta sem \u00e6tla m\u00e1 a\u00f0 s\u00e9 texti sk\u00e1lds\u00f6gunnar \u201e(Sk\u00e1ldsagan hefst \u00e1 lestarst\u00f6\u00f0; eimrei\u00f0 p\u00faar, gufustr\u00f3kur ... \u00dea\u00f0 eru bla\u00f0s\u00ed\u00f0urnar \u00ed b\u00f3kinni sem eru m\u00f3\u00f0ukenndar eins og r\u00fa\u00f0urnar \u00ed gamalli les; \u00fea\u00f0 er \u00e1 setningarnar sem reykjask\u00fdi\u00f0 sest\u201c). Skilin milli veruleikasvi\u00f0a geta me\u00f0 \u00f6\u00f0rum or\u00f0um or\u00f0i\u00f0 afar \u00f3lj\u00f3s. Samskonar d\u00e6mi m\u00e1 taka \u00far Draumi \u00e1 J\u00f3nsmessun\u00f3tt<\/em> \u00feegar St\u00fatur \u00e1varpar \u00e1horfendur a\u00f0 leikritinu um Pr\u00edamus og \u00deispu: \u201e\u00cd \u00feessum leik \u00fea\u00f0 hefur or\u00f0i\u00f0 \u00far, \/ \u00e1 \u00e9g, sem heiti St\u00fatur, leiki m\u00far; \/ og bakvi\u00f0 eyra\u00f0 \u00e6ttu\u00f0 \u00fei\u00f0 a\u00f0 skrifa \/ a\u00f0 \u00ed \u00feann m\u00far s\u00e9 sprungu-gat og rifa\u201c. A\u00f0 nokkru leyti m\u00e1 heimaf\u00e6ra hugmyndir Calvinos um \u00f3l\u00edk veruleikasvi\u00f0\u00a0 upp \u00e1 hinn \u00e1\u00fereifanlega veruleika. \u00cd daglegu l\u00edfi fl\u00f6kkum vi\u00f0 st\u00f6\u00f0ugt \u00e1 milli reynsluheima, til d\u00e6mis \u00feegar vi\u00f0 hlustum \u00e1 \u00fatvarp, v\u00f6frum \u00e1 Netinu, horfum \u00e1 sj\u00f3nvarp og lesum sk\u00e1ldverk. H\u00f6fu\u00f0vi\u00f0fangsefni Calvinos er hins vegar a\u00f0 kanna e\u00f0li \u00feeirra veruleikasvi\u00f0a sem tengjast beinl\u00ednis fr\u00e1sagnarh\u00e6tti sk\u00e1ldverka. Algengast er a\u00f0 raunverulegur h\u00f6fundur skapi \u00ed texta s\u00ednum s\u00f6guh\u00f6fund sem segir okkur fr\u00e1 pers\u00f3num sem s\u00ed\u00f0an eiga sj\u00e1lfar \u00ed samr\u00e6\u00f0um vi\u00f0 a\u00f0rar pers\u00f3nur. Til sk\u00fdringar \u00e1 sl\u00edku stigveldi radda \u00ed sk\u00e1ldskap fjallar Calvino um fr\u00e1sagnarh\u00e1tt \u00d3dysseifskvi\u00f0u<\/em> me\u00f0 hli\u00f0sj\u00f3n af setningunni: \u201e\u00c9g skrifa - a\u00f0 H\u00f3mer segi - a\u00f0 \u00d3dysseifur segi: - \u00c9g hef hlusta\u00f0 \u00e1 s\u00f6ng S\u00edrenanna.\u201c<\/p>\n

magias parcialis <\/em>(Borges): deiligaldur.\u00a0<\/strong>\u00c1ri\u00f0 1939 skrifar argent\u00ednski rith\u00f6fundurinn Jorge Luis Borges stutta bla\u00f0agrein sem hann kallar \u201e\u00deegar sk\u00e1ldskapur lifir \u00ed sk\u00e1ldskap\u201c (\u201eCuando la ficci\u00f3n vive en la ficci\u00f3n\u201c). Hann byrjar \u00e1 a\u00f0 l\u00fdsa \u00fev\u00ed \u00feegar hann komst \u00ed fyrsta sinn \u00ed t\u00e6ri vi\u00f0 \u00feversagnir \u00f3endanleikans, sex e\u00f0a sj\u00f6 \u00e1ra a\u00f0 aldri. \u00c1 heimili hans var st\u00f3r k\u00f6kudunkur, me\u00f0 mynd fr\u00e1 Japan \u00e1 annarri hli\u00f0inni. Borges (1999, 160) kve\u00f0st ekki muna eftir b\u00f6rnunum e\u00f0a herm\u00f6nnunum sem \u00fear br\u00e1 fyrir en hins vegar muni hann vel a\u00f0 \u00ed horni myndarinnar var mynd af \u00feessum sama k\u00f6kudunki og framan \u00e1 honum birtist \u00feessi sama mynd aftur, \u201eog \u00feannig koll af kolli (a\u00f0 \u00fev\u00ed er \u00e6tla m\u00e1tti) \u00fat \u00ed hi\u00f0 \u00f3endanlega ...\u201c. Borges segist hafa s\u00ed\u00f0ar \u00e1 \u00e6vinni kynnst fleiri d\u00e6mum af svipu\u00f0u tagi, me\u00f0al annars \u00ed kortager\u00f0 og myndlist. Meginefni greinar Borgesar eru \u00fe\u00f3 \u00feau tilvik \u00fear sem sk\u00e1ldskapur er ramma\u00f0ur inn af \u00f6\u00f0rum sk\u00e1ldskap. Mestum t\u00edma ver Borges \u00ed umfj\u00f6llun um austurlenska \u00e6vint\u00fdrasafni\u00f0 \u00de\u00fasund og eina n\u00f3tt<\/em> (Haz\u0101r-o Yak \u0160ab) \u00fear sem hver fr\u00e1s\u00f6gnin er r\u00f6mmu\u00f0 inn af annarri. Ysti fr\u00e1sagnarramminn er saga af j\u00f3mfr\u00fanni Sjerasade sem giftist sold\u00e1ni nokkrum er hefur heiti\u00f0 \u00fev\u00ed a\u00f0 kvongast a\u00f0eins til einnar n\u00e6tur \u00ed senn og l\u00e1ta kyrkja br\u00fa\u00f0ina morguninn eftir br\u00fa\u00f0kaupi\u00f0 til a\u00f0 koma \u00ed veg fyrir a\u00f0 h\u00fan s\u00e9 honum \u00f3tr\u00fa. Sjerasade segir sold\u00e1ninum hins vegar upphafi\u00f0 a\u00f0 svo t\u00f6frandi s\u00f6gu \u00e1 br\u00fa\u00f0kaupsn\u00f3ttina a\u00f0 hann sl\u00e6r aft\u00f6kunni \u00e1 frest \u00ed von um a\u00f0 heyra s\u00f6gulokin n\u00e6stu n\u00f3tt. \u00deannig gengur \u00feetta n\u00f3tt eftir n\u00f3tt \u00fear til \u00fe\u00fasund og ein er li\u00f0in og Sjerasade hefur f\u00e6tt sold\u00e1ninum son. Borges (1999, 162) telur a\u00f0 magna\u00f0asti galdur fr\u00e1sagnarinnar birtist 602. n\u00f3ttina \u00feegar sold\u00e1ninn heyri Sjerasade segja honum \u00feeirra eigin s\u00f6gu: \u201eHann heyrir upphafi\u00f0 a\u00f0 s\u00f6gunni sem felur \u00ed s\u00e9r allar hinar, og einnig \u2013 me\u00f0 \u00f3gnv\u00e6nlegum h\u00e6tti \u2013 sj\u00e1lfa sig.\u201c\u00a0 Af n\u00fdrri verkum af svipu\u00f0u tagi nefnir Borges me\u00f0al annars sk\u00e1lds\u00f6gurnar G\u00f3leminn (Der Golem) eftir Gustav Meyrink og \u00c1 sund-tveimur-fuglum (At Swim-Two-Birds) eftir \u00edrska rith\u00f6fundinn Flann O'Brien (dulnefni Brians O\u2019Nolan).\u00a0 Borges v\u00edkur aftur a\u00f0 \u00feessum s\u00f6mu hugmyndum \u00ed annarri bla\u00f0agrein \u00e1ri\u00f0 1949. \u00cd upphafi beinir hann a\u00f0allega sj\u00f3num a\u00f0 \u00fev\u00ed hvernig Cervantes leiki s\u00e9r a\u00f0 \u00fev\u00ed a\u00f0 blanda \u00ed sk\u00e1lds\u00f6gu sinni saman heimi lesandans og heimi b\u00f3karinnar. \u00cd sj\u00f6tta kafla fyrri hlutans (sem kom \u00fat \u00e1ri\u00f0 1605) rekast tv\u00e6r pers\u00f3nur verksins, presturinn og rakarinn, til a\u00f0 mynda \u00e1 sk\u00e1lds\u00f6guna Galatea eftir Cervantes \u00ed b\u00f3kaherbergi Don K\u00edk\u00f3ta. Kve\u00f0st rakarinn vera kunningi Cervantesar og raunar ekki hafa of miki\u00f0 \u00e1lit \u00e1 honum sem rith\u00f6fundi. \u00deessi leikur heldur \u00e1fram \u00ed s\u00ed\u00f0ari hluta Don K\u00edk\u00f3ta (sem kom \u00fat \u00e1ri\u00f0 1615) \u00feegar \u00ed lj\u00f3s kemur a\u00f0 einhverjar pers\u00f3nur hafa lesi\u00f0 fyrri hluta verksins. Borges segir \u00feessi einkenni minna \u00e1 leikriti\u00f0 sem svi\u00f0sett er \u00ed Hamlet og s\u00f6gulokin \u00ed hinu fornindverska s\u00f6gulj\u00f3\u00f0i Ramajana (R\u00e3m\u00e3ya\u0146a) en hann rifjar l\u00edka aftur upp \u2013 svo til or\u00f0r\u00e9tt \u2013 fyrri l\u00fdsingu s\u00edna \u00e1 602. n\u00f3ttinni \u00ed \u00de\u00fasund og einni n\u00f3tt<\/em>, auk \u00feess a\u00f0 v\u00edkja aftur a\u00f0 hugmynd Josiah Royce um hi\u00f0 endalausa landakort af Englandi. Markver\u00f0asti munurinn \u00e1 \u00feessari grein og eldri bla\u00f0agreininni felst \u00ed \u00fev\u00ed a\u00f0 n\u00fa notar Borges hugtaki\u00f0 deiligaldur (magias parciales<\/em>) um \u00feessi listbr\u00f6g\u00f0 \u2013 titill greinarinnar er \u201eDeildigaldur \u00ed K\u00edk\u00f3ta\u201c (\u201eMagias parciales del Quijote\u201c). Skrif Borgesar h\u00f6f\u00f0u s\u00ed\u00f0ar \u00feau \u00e1hrif \u00e1 Robert Alter (1975) a\u00f0 hann nefndi s\u00f6gulega ranns\u00f3kn s\u00edna \u00e1 sk\u00e1lds\u00f6gunni sem sj\u00e1lfsme\u00f0vita\u00f0ri b\u00f3kmenntagrein Deiligaldur <\/em>(Partial Magic<\/em>).<\/p>\n

metafiction (Gass): s\u00f6gusagnir<\/strong>.\u00a0Hugtaki\u00f0 er oftast raki\u00f0 til greinar eftir bandar\u00edska rith\u00f6fundinn og gagnr\u00fdnandann William H. Gass, \u201ePhilosopy and the Form of Fiction\u201c (\u201eHeimspeki og form sk\u00e1ldskaparins\u201c), sem birtist upphaflega vori\u00f0 1970 \u00ed greinasafni sem ritst\u00fdrt var af Robert Scholes\u00a0en var endurbirt s\u00ed\u00f0ar sama \u00e1r \u00ed b\u00f3k Gass Fiction and the Figures of Life<\/em> (Sk\u00e1ldskapur og pers\u00f3nur l\u00edfsins). Me\u00f0al \u00feess sem Gass r\u00e6\u00f0ir \u00fear er vaxandi tilhneigingu rith\u00f6funda til a\u00f0 skrifa s\u00f6gur sem eru \u00f6\u00f0rum \u00fer\u00e6\u00f0i \u00fatlistun \u00e1 heimspekilegum kenningum. Sl\u00edkar kenningar s\u00e9u ekki a\u00f0eins bygg\u00f0ar \u00e1 fl\u00f3knu kerfi heimspekilegra hugtaka, segir Gass (1970, 24), heldur hafa \u00fe\u00e6r \u00feann kost a\u00f0 vera, \u201esem l\u00fdsingar, svo a\u00f0 segja \u00f3vi\u00f0komandi hinum raunverulega heimi. \u00de\u00e6r eru, me\u00f0 \u00f6\u00f0rum or\u00f0um, a\u00f0 umtalsver\u00f0u leyti \u00feegar sk\u00e1lda\u00f0ar og tilvaldar til a\u00f0 breg\u00f0a \u00e1 leik me\u00f0\u201c.\u00a0 Ein \u00e1st\u00e6\u00f0a \u00feess a\u00f0 rith\u00f6fundar notf\u00e6ri s\u00e9r sl\u00edkar kenningar s\u00e9 a\u00f0 skilningur \u00feeirra \u00e1 listbr\u00f6g\u00f0um sk\u00e1lds\u00f6gunnar hafi aukist, \u00feeir s\u00e9u h\u00e6ttir a\u00f0 \u00feykjast vera l\u00fdsa heiminum en l\u00edti \u00feess \u00ed sta\u00f0 \u00e1 \u00fea\u00f0 sem hlutverk sitt a\u00f0 skapa heim \u00far \u00feeim eina efnivi\u00f0i sem \u00feeim s\u00e9 tilt\u00e6kur, \u00fea\u00f0 er a\u00f0 segja tungum\u00e1linu. Gass (1970, 25) tekur fram a\u00f0 hann eigi h\u00e9r ekki a\u00f0eins vi\u00f0 fyrirsj\u00e1anleg verk um rith\u00f6funda sem eru a\u00f0 skrifa um \u00fea\u00f0 sem \u00feeir eru a\u00f0 skrifa heldur hafi hann s\u00e9rstaklega \u00ed huga s\u00f6gur sk\u00e1lda \u00e1 bor\u00f0 vi\u00f0 Borges, Barth og \u00cdrann Flann O' Brian, \u201e\u00fear sem formger\u00f0 sk\u00e1ldskaparins er efnivi\u00f0ur sem h\u00e6gt er a\u00f0 byggja a\u00f0rar formger\u00f0ir \u00e1. Margar hinna svok\u00f6llu\u00f0u andsagna eru \u00ed rauninni s\u00f6gusagnir\u201c.\u00a0 \u00d6fugt vi\u00f0 Roland Barthes \u00ed grein sinni um *m\u00e9ta-litteratur<\/em> vir\u00f0ist Gass l\u00edta svo \u00e1 a\u00f0 s\u00f6gusagnir s\u00e9u undirflokkur *andsagna <\/em>en a\u00f0 \u00f6\u00f0ru leyti er erfitt a\u00f0 \u00e1tta sig n\u00e1kv\u00e6mlega \u00e1 hva\u00f0 hann \u00e1 vi\u00f0 me\u00f0 hugtakinu metafiction. \u00cd ne\u00f0anm\u00e1lsgrein v\u00edsar hann reyndar til annarra kafla \u00ed greinasafni s\u00ednu \u00fear sem hann kve\u00f0st \u00fatf\u00e6ra \u00feessar hugmyndir betur, \u00fear \u00e1 me\u00f0al \u00ed kafla sem fjallar um sm\u00e1s\u00f6gur og hugmyndaheim Borgesar. Gass r\u00e6\u00f0ir \u00fear hvernig argent\u00ednska sk\u00e1ldi\u00f0 leikur s\u00e9r me\u00f0 kenningar \u00fdmissa heimspekinga, til a\u00f0 mynda Schopenhauers, sem hafi haldi\u00f0 \u00fev\u00ed fram a\u00f0 minningar okkar um eigin fort\u00ed\u00f0 m\u00f3tist a\u00f0 verulegu leyti af \u00fev\u00ed hvernig vi\u00f0 segjum og endursegjum \u00fe\u00e6r, \u00e1kve\u00f0um a\u00f0 muna sumt en gleyma \u00f6\u00f0ru. Me\u00f0 sama h\u00e6tti, b\u00e6tir Gass (1970, 127) vi\u00f0,\u00a0s\u00e9 mannkynssagan afur\u00f0 st\u00f6\u00f0ugrar endurritunar, n\u00fdrra verka sem bygg\u00f0 s\u00e9u \u00e1 eldri heimildum og ver\u00f0i s\u00ed\u00f0an sj\u00e1lf efnivi\u00f0ur frekari gagnr\u00fdni og endursko\u00f0unnar, \u201e\u00fear til \u00fea\u00f0 gerist stundum a\u00f0 frumtextarnir eru a\u00f0 fullu grafnir, yfirbuga\u00f0ir ... Vi\u00f0 getum lent \u00ed \u00fev\u00ed a\u00f0 lesa gagnr\u00fdnendurnar fyrst, e\u00f0a eing\u00f6ngu; og er raunin ekki s\u00fa a\u00f0 \u00feekking okkar \u00e1 flestum b\u00f3kum byggist \u00e1 millili\u00f0inum, r\u00e9tt eins \u00feekking okkar \u00e1 n\u00e6stum \u00f6llu \u00f6\u00f0ru?\u201c\u00a0 \u00cd verkum s\u00ednum afhj\u00fapi Borges gjarnan hve svikul sagnfr\u00e6\u00f0in er \u00ed \u00feessu tilliti, skrif sagnfr\u00e6\u00f0inga l\u00fati \u00ed raun fremur fr\u00e1sagnarl\u00f6gm\u00e1lum go\u00f0sagna og sk\u00e1ldskapar en sta\u00f0reyndunum sem \u00feeir hyggjast mi\u00f0la. Af \u00feessari umfj\u00f6llun a\u00f0 d\u00e6ma m\u00e1 \u00e6tla a\u00f0 s\u00f6gusagnir hafi \u00e1\u00feekka merkingu hj\u00e1 Gass og *\u00ferotab\u00f3kmenntir<\/em> hj\u00e1 Barth, a\u00f0 hugtakinu s\u00e9 \u00e6tla\u00f0 a\u00f0 n\u00e1 yfir sk\u00e1ldskap sem s\u00e9 \u00f6\u00f0ru fremur endurritun e\u00f0a \u00farvinnsla eldri verka (sk\u00e1ldskapar, sagnfr\u00e6\u00f0i, heimspeki, o.s.frv.). \u00deess m\u00e1 geta a\u00f0 \u00e1\u00f0ur en \u00e1ri\u00f0 1970 var li\u00f0i\u00f0 t\u00f3k Robert Scholes upp \u00fer\u00e1\u00f0inn fr\u00e1 Gass \u00ed grein sem hann kalla\u00f0i einfaldlega \u201eMetafiction\u201c (S\u00f6gusagnir). Hann vann \u00fear \u00e1fram me\u00f0 \u00fe\u00e6r hugmyndir sem hann haf\u00f0i kynnt \u00ed b\u00f3k sinni um *d\u00e6misagnalist <\/em>\u00feremur \u00e1rum fyrr. Svo vir\u00f0ist sem hann l\u00edti \u00e1 s\u00f6gusagnir sem undirgrein hinnar n\u00fat\u00edmalegu d\u00e6misagnalistar, vettang \u00fear sem vi\u00f0komandi h\u00f6fundar stundi r\u00f3tt\u00e6kar tilraunir, enda eru d\u00e6mi um a\u00f0 hann noti hugt\u00f6kin tilraunakennd d\u00e6misagnalist (e. experimental fabulation) og s\u00f6gusagnir sem samheiti.<\/p>\n

metafiction <\/strong><\/em>(Waugh): sj\u00e1lfs\u00f6gur<\/strong>. Eftir \u00fev\u00ed sem lei\u00f0 \u00e1 n\u00edunda \u00e1ratug 20. aldar var\u00f0 hugtaki\u00f0 metafiction<\/em> sm\u00e1m saman a\u00f0 al\u00fej\u00f3\u00f0legu samheiti fyrir \u00fe\u00e6r fj\u00f6lbreyttu b\u00f3kmenntas\u00f6gulegar hr\u00e6ringar og listbr\u00f6g\u00f0 sem menn h\u00f6f\u00f0u reynt a\u00f0 fanga \u00ed net \u00f3l\u00edkra hugtaka \u00e1ratugina \u00e1 undan (m\u00f6rg \u00feessara hugtaka eru r\u00e6dd \u00e1 \u00feessari s\u00ed\u00f0u). \u00deessi \u00fer\u00f3un endurspeglast \u00ed titlinum \u00e1 yfirlitsriti Patriciu Waugh, Metafiction. A Theory and Practice of Self-Conscious Fiction<\/em>. \u00cd inngangskafla \u00feess segir Waugh: \u201eMetafiction er hugtak sem nota\u00f0 er um sk\u00e1ldverk sem markvisst og sj\u00e1lfsme\u00f0vita\u00f0 vekur athygli \u00e1 \u00fea\u00f0 s\u00e9 tilb\u00faningur (artifact) \u00ed \u00feeim tilgangi a\u00f0 vekja upp spurningar um samband sk\u00e1ldskapar og veruleika\u201c (s. 2). \u00dea\u00f0 sem einkennir sj\u00e1lfs\u00f6gur, samkv\u00e6mt Waugh, er vegs\u00f6mun \u00e1 hinu skapandi \u00edmyndunarafli um lei\u00f0 og l\u00fdst er yfir efasemdum um gildi afur\u00f0a \u00feess, fr\u00e1sagnir eru me\u00f0vita\u00f0ar um tungum\u00e1li\u00f0, b\u00f3kmenntaform og \u00fea\u00f0 a\u00f0 skrifa sk\u00e1ldskap, \u00f3vissa r\u00edkir um samband b\u00f3kmennta vi\u00f0 veruleikann og loks er st\u00edllinn par\u00f3d\u00edskur, l\u00e9ttleikandi, yfirgengilegur e\u00f0a \u00feykist a\u00f0 vera einfeldningslegur (\u00feetta er afar frj\u00e1lsleg \u00fe\u00fd\u00f0ing \u00e1 fyrstu m\u00e1lsgrein PW). Waugh, sem skrifar b\u00f3k s\u00edna 1984, telur a\u00f0 sj\u00e1lfs\u00f6gur hafi or\u00f0i\u00f0 afar \u00e1berandi \u00e1 sj\u00f6unda \u00e1ratug s\u00ed\u00f0ustu aldar en a\u00f0 hef\u00f0irnar sem h\u00e9r um r\u00e6\u00f0ir s\u00e9u jafngamlar ef ekki eldri en sk\u00e1ldsagan sem listform (s. 5). Eins og fleiri telur Waugh a\u00f0 aukin sj\u00e1lfsme\u00f0vitund stafi a\u00f0 einhverju leyti af n\u00fat\u00edmav\u00e6\u00f0ingu. P\u00f3sit\u00edfismi 19. aldar s\u00e9 \u00e1 undanhaldi, menn s\u00e9u a\u00f0 gera s\u00e9r grein fyrir a\u00f0 veruleikinn, eins og vi\u00f0 sj\u00e1um hann a\u00f0 minnsta kosti, byggi \u00e1 svi\u00f0setningum, str\u00fakt\u00farum, mynstrum (s. 7).<\/p>\n

metalanguage<\/em> (Tarski): framsetningarm\u00e1l.<\/strong>\u00a0Hugsanlegt er a\u00f0 rekja s\u00f6gu enska fr\u00e6\u00f0ihugtaksins *metafiction<\/em> og hins franska forvera \u00feess, *m\u00e9ta-litt\u00e9ratur<\/em>, aftur til Forn-Grikkja en \u00feeir skeyttu forli\u00f0num meta- (sem merkir oftast til hli\u00f0ar e\u00f0a \u00e1 eftir) framan vi\u00f0 \u00fdmis or\u00f0 sem enn eru gjaldgeng \u00ed ind\u00f3evr\u00f3pskum tungum\u00e1l. \u00deekktast \u00feeirra er metaphusika, al\u00fej\u00f3\u00f0legt heiti frumspekinnar, en \u00fea\u00f0 merkir b\u00f3kstaflega \u201e\u00e1 eftir (meta) E\u00f0lisfr\u00e6\u00f0inni (phusika)\u201c. Er sk\u00fdringin s\u00fa a\u00f0 skrif Arist\u00f3telesar um frumspeki birtust \u00ed kj\u00f6lfar umfj\u00f6llunar hans um e\u00f0lisfr\u00e6\u00f0i.\u00a0 \u00d6llu n\u00e6rt\u00e6kara er \u00fe\u00f3 a\u00f0 rekja s\u00f6gu vi\u00f0komandi or\u00f0a til skrifa p\u00f3lska st\u00e6r\u00f0fr\u00e6\u00f0ingsins og r\u00f6kfr\u00e6\u00f0ingsins Alfreds Tarski, en um l\u00edkt um og eftir 1930 \u00fer\u00f3a\u00f0i Tarski merkar hugmyndir um sannleika og merkingarfr\u00e6\u00f0i og setti fram \u00ed nokkrum tengdum fyrirlestrum og greinum. Ein \u00feessara greina, \u201eThe Semantic Conception of Truth and the Foundations of Semantics\u201c (\u201eMerkingarfr\u00e6\u00f0ilegar hugmyndir um sannleikann og undirst\u00f6\u00f0ur merkingarfr\u00e6\u00f0innar\u201c), sem Tarski sendi fr\u00e1 s\u00e9r \u00e1 ensku \u00e1ri\u00f0 1944, hefur birst \u00e1 \u00edslensku \u00ed \u00fe\u00fd\u00f0ingu \u00c1stu Kristj\u00f6nu Sveinsd\u00f3ttur og Arn\u00f3rs Hannibalssonar og er stu\u00f0st vi\u00f0 hana h\u00e9r. Me\u00f0al \u00feess sem Tarski (1994, 85)\u00a0bendir \u00fear \u00e1 er a\u00f0 gera \u00feurfi greinarmun \u00e1 tveimur stigum tungum\u00e1lsins \u00feegar r\u00e6tt s\u00e9 um skilgreiningu \u00e1 sannleikanum og vi\u00f0fangsefni merkingarfr\u00e6\u00f0innar: \"Hi\u00f0 fyrra \u00feessara tungum\u00e1la er m\u00e1li\u00f0 sem \u201eum er r\u00e6tt\u201c og er vi\u00f0fangsefni allrar umr\u00e6\u00f0unnar; s\u00fa skilgreining sannleikans sem vi\u00f0 leitum a\u00f0, \u00e1 vi\u00f0 setningar \u00feessa tungum\u00e1ls. \u00c1 hinu tungum\u00e1linu \u201er\u00e6\u00f0um vi\u00f0 um\u201c hi\u00f0 fyrra, og \u00e1 \u00fev\u00ed viljum vi\u00f0 s\u00e9r \u00ed lagi skilgreina sannleikann fyrir fyrra m\u00e1li\u00f0. Fyrra tungum\u00e1li\u00f0 skulum vi\u00f0 kalla \u201evi\u00f0fangsm\u00e1l\u201c og hi\u00f0 s\u00ed\u00f0ara \u201eframsetningarm\u00e1l\u201c.\" Framsetningarm\u00e1l er \u00fe\u00fd\u00f0ing \u00c1stu og Arn\u00f3rs \u00e1 enska hugtakinu metalanguage <\/em>en \u00fea\u00f0 kynnti Tarski til s\u00f6gunnar sem metaj\u0119zyk <\/em>\u00ed b\u00f3k sem hann sendi fr\u00e1 s\u00e9r \u00e1 p\u00f3lsku \u00e1ri\u00f0 1933.\u00a0 Taldi hann \u00e6skilegt a\u00f0 merkingarfr\u00e6\u00f0ilegar ranns\u00f3knir \u00e1 tungum\u00e1li v\u00edsindagreina yr\u00f0u hluti af umr\u00e6\u00f0unni um a\u00f0fer\u00f0afr\u00e6\u00f0i vi\u00f0komandi greina og s\u00e1 fyrir s\u00e9r a\u00f0 til yr\u00f0u eins konar yfirv\u00edsindi s\u00e9rhverrar greinar. \u00ddmsir fr\u00e6\u00f0imenn t\u00f3ku upp \u00fer\u00e1\u00f0inn fr\u00e1 Tarski \u00e1 n\u00e6stu \u00e1ratugum og sm\u00e1m saman var\u00f0 hugtak hans \u00fatbreitt \u00ed umr\u00e6\u00f0um um \u00f3l\u00edkustu efni. \u00cd b\u00f3kinni Omkring Sprogteoriens Grundl\u00e6ggelse<\/em> (Tilraun um grundv\u00f6ll m\u00e1lfr\u00e6\u00f0innar<\/em>) sty\u00f0st danski m\u00e1lfr\u00e6\u00f0ingurinn Louis Hjelmslev (1943, 105-106) til d\u00e6mis vi\u00f0 skrif Tarskis \u00feegar hann skilgreinir framsetningarm\u00e1l (d. metasprog) sem \u201etungum\u00e1l sem fjallar um tungum\u00e1l\u201c og tekur m\u00e1lfr\u00e6\u00f0ina sem d\u00e6mi um \u00fea\u00f0.\u00a0 Hjelmslev bendir jafnramt \u00e1 a\u00f0 \u00fea\u00f0 megi hugsa s\u00e9r fr\u00e6\u00f0ilega or\u00f0r\u00e6\u00f0u e\u00f0a v\u00edsindagrein sem hafi \u201em\u00e1lfr\u00e6\u00f0i a\u00f0 vi\u00f0fangsm\u00e1li\u201c og gefur hann henni danska nafni\u00f0 metasemiology <\/em>sem m\u00e6tti \u00fe\u00fd\u00f0a sem framsetningarm\u00e1lv\u00edsindi e\u00f0a jafnvel m\u00e1lv\u00edsindam\u00e1lv\u00edsindi.\u00a0 Sl\u00edk v\u00edsindi \u2013 sem \u00ed raun eru tungum\u00e1l sem fjallar um tungum\u00e1l sem fjallar um tungum\u00e1l \u2013 hafa me\u00f0al annars \u00fea\u00f0 hlutverk a\u00f0 endursko\u00f0a \u00feann fr\u00e6\u00f0ilega or\u00f0afor\u00f0a sem m\u00e1lfr\u00e6\u00f0ingar hafa komi\u00f0 s\u00e9r upp til a\u00f0 l\u00fdsa hversdagslegu tungum\u00e1li.<\/p>\n

m\u00e9ta-litt\u00e9rature<\/em><\/em> (Barthes): s\u00f6gusagnir<\/strong>. \u00c1ri\u00f0 1957 birti franski t\u00e1knfr\u00e6\u00f0ingurinn Roland Barthes stutta en hnitmi\u00f0a\u00f0a grein, \u201eLitt\u00e9rature et m\u00e9ta-langage\u201c (B\u00f3kmenntir og framsetningarm\u00e1l), sem vir\u00f0ist vera samin undir \u00e1hrifum fr\u00e1 skrifum Tarskis um *metalanguage<\/em>. A\u00f0 s\u00f6gn Barthes (1972, 97) felst r\u00f6kleg yfirvegun \u00ed \u00fev\u00ed a\u00f0 \u201el\u00fdsa me\u00f0 t\u00e1knr\u00e6nu tungum\u00e1li (framsetningarm\u00e1li) venslum, formger\u00f0 raunverulegs tungum\u00e1ls (vi\u00f0fangsm\u00e1ls)\u201c.\u00a0 \u00deennan greinarmun notar hann s\u00ed\u00f0an til a\u00f0 l\u00fdsa \u00feeim t\u00edmam\u00f3tum \u00ed b\u00f3kmenntas\u00f6gunni \u00feegar franskir rith\u00f6fundar f\u00f3ru a\u00f0 \u00e1tta sig \u00e1 a\u00f0 h\u00e6gt v\u00e6ri a\u00f0 l\u00edta \u00e1 b\u00f3kmenntir sem tungum\u00e1l sem taka m\u00e6tti til umfj\u00f6llunar \u00ed b\u00f3kmenntum. B\u00f3kmenntirnar hafi me\u00f0 \u00f6\u00f0rum or\u00f0um fari\u00f0 a\u00f0 \u201esegja sig sj\u00e1lfar ... l\u00edta svo \u00e1 a\u00f0 \u00fe\u00e6r v\u00e6ru tv\u00f6faldar \u00ed ro\u00f0inu: \u00ed senn fyrirb\u00e6ri og ranns\u00f3kn \u00e1 \u00fev\u00ed fyrirb\u00e6ri; or\u00f0r\u00e6\u00f0a og or\u00f0r\u00e6\u00f0a um \u00fe\u00e1 or\u00f0r\u00e6\u00f0u, saga og s\u00f6gusagnir\u201c.\u00a0 \u00cd grein sinni skiptir Barthes b\u00f3kmenntas\u00f6gulegum t\u00edmam\u00f3tum franskra s\u00f6gusagna \u00ed fimm stig e\u00f0a \u00e1fanga. \u00cd upphafi, um og eftir mi\u00f0ja n\u00edtj\u00e1ndu \u00f6ld, hafi g\u00e6tt vaxandi og n\u00e6stum yfir\u00feyrmandi me\u00f0vitundar h\u00f6fundarins fyrir \u00fev\u00ed a\u00f0 b\u00f3kmenntirnar v\u00e6ri tilb\u00fainn heimur. Helsti fulltr\u00fai \u00feessa vi\u00f0horfs var, a\u00f0 s\u00f6gn Barthes, sk\u00e1ldsagnah\u00f6fundurinn Gustave Flaubert. \u00cd \u00f6\u00f0rum \u00e1fanga hafi h\u00f6fundurinn haft hugrekki til a\u00f0 fl\u00e9tta b\u00f3kmenntir og b\u00f3kmenntafr\u00e6\u00f0i saman \u00ed einum og sama textanum en sl\u00edka tilhneigingu telur Barthes a\u00f0 megi greina \u00ed verkum lj\u00f3\u00f0sk\u00e1ldsins St\u00e9phanes Malarm\u00e9. Marcel Proust er fulltr\u00fai \u00feri\u00f0ja \u00e1fangans, segir Barthes (1972, 98), d\u00e6mi um h\u00f6fund sem gerir s\u00e9r vonir um sleppa undan sk\u00e1ldlegum klisjum me\u00f0 \u00fev\u00ed a\u00f0 sl\u00e1 b\u00f3kmenntunum endalaust \u00e1 frest, \u201eme\u00f0 \u00fev\u00ed a\u00f0 l\u00fdsa \u00fev\u00ed yfir a\u00f0 ma\u00f0ur \u00e6tli a\u00f0 fara a\u00f0 skrifa og breyta \u00feeirri yfirl\u00fdsingu \u00ed b\u00f3kmenntirnar sj\u00e1lfar\u201c.\u00a0 \u00cd fj\u00f3r\u00f0a \u00e1fanga hafi h\u00f6fundurinn teki\u00f0 upp \u00e1 \u00fev\u00ed a\u00f0 fj\u00f6lga \u00f3t\u00e6pilega \u00feeim t\u00e1knmi\u00f0um sem s\u00e9rhver t\u00e1knmynd gat v\u00edsa\u00f0 til og \u00ed raun r\u00e9ttri hafna\u00f0 hugmyndinni um einhverja eina k\u00f3rr\u00e9tta merkingu. Barthes telur verk franskra s\u00farrealista d\u00e6miger\u00f0a fyrir \u00feessa hneig\u00f0. \u00cd fimmta \u00e1fanga, til a\u00f0 mynda \u00ed verkum Alains Robbe-Grillet, hafi h\u00f6fundurinn hins vegar gengi\u00f0 \u00ed \u00fever\u00f6fuga \u00e1tt, reynt a\u00f0 ydda merkingu t\u00e1knanna svo a\u00f0 eftir st\u00e6\u00f0i \u201ekjarni hins sk\u00e1ldlega tungum\u00e1ls, hlutleysi (en samt ekki sakleysi) skrifa\u201c.\u00a0 \u00cd ni\u00f0urlagi dregur Barthes (1972, 98) \u00fe\u00e1 \u00e1lyktun a\u00f0 undanfarin \u00f6ld \u00ed franskri b\u00f3kmenntas\u00f6gu hafi markast af gl\u00edmu vi\u00f0 h\u00f6fundarins vi\u00f0 spurninguna: Hva\u00f0 eru b\u00f3kmenntir? Hann segir a\u00f0 landi sinn, heimspekingurinn og rith\u00f6fundurinn Jean Paul Sartre, hafi gert tilraun til a\u00f0 svara \u00feessari spurningu utan fr\u00e1 \u00ed samnefndri b\u00f3k sem komi\u00f0 haf\u00f0i \u00fat \u00e1ri\u00f0 1947 en \u00fear sem \u00feessi leit hafi jafnframt fari\u00f0 fram innan sj\u00e1lfra b\u00f3kmenntanna, e\u00f0a n\u00e1nar tilteki\u00f0 \u00e1 ja\u00f0ri \u00feeirra, hafi h\u00fan stefnt b\u00f3kmenntunum (sj\u00e1lfri s\u00e9r) \u00ed vo\u00f0a, veri\u00f0 leikur a\u00f0 dau\u00f0anum. B\u00f3kmenntirnar spyrji, l\u00edkt og \u00d6dipus: Hver er \u00e9g? En \u00feeim s\u00e9 fyrirmuna\u00f0 a\u00f0 takast \u00e1 vi\u00f0 spurninguna: Hva\u00f0 er til r\u00e1\u00f0a? S\u00fdnist Barthes a\u00f0 vegna \u00feeirrar s\u00f6gulegu blindg\u00f6tu sem samf\u00e9lagi\u00f0 er \u00e1 s\u00e9u franskar b\u00f3kmenntir a\u00f0 hverfa inn \u00ed spegilmynd s\u00edna: \u201e\u00fe\u00e6r eru gr\u00edma sem bendir \u00e1 sj\u00e1lfa sig\u201c.<\/p>\n

mise en abyme\u00a0<\/em>(Gide):\u00a0mynd \u00ed mynd.<\/strong>\u00a0\u00cd dagb\u00f3k sinni fr\u00e1 \u00e1rinu 1893 l\u00fdsir franski rith\u00f6fundurinn Andr\u00e9 Gide\u00a0 yfir vel\u00fe\u00f3knun \u00e1 listaverkum \u00fear sem brug\u00f0i\u00f0 er upp mynd af fyrirb\u00e6rum sem endurspegla vi\u00f0fangsefni listaverksins sj\u00e1lfs. Me\u00f0al d\u00e6ma sem hann tekur til sk\u00fdringar eru \u00f3nefnd m\u00e1lverk eftir Hans Memling, Quentin Metzys og Diego Velasquez \u00fear sem breg\u00f0ur fyrir speglum sem s\u00fdna hluta af \u00fev\u00ed r\u00fdmi sem m\u00e1lverki\u00f0 er af. Gide nefnir l\u00edka leikriti\u00f0 Hamlet eftir Shakespeare, \u00fear sem pers\u00f3nur setja \u00e1 svi\u00f0 leikrit fyrir a\u00f0rar pers\u00f3nur verksins, og sm\u00e1s\u00f6guna \u201eFall Usher-\u00e6ttarinnar\u201c (\u201eThe Fall of the House of Usher\u201c) eftir Edgar Allan Poe \u00fear sem ein pers\u00f3nan fer me\u00f0 lj\u00f3\u00f0 sem kallast \u00e1 vi\u00f0 efni s\u00f6gunnar. Gide (1948, 41) telur \u00fe\u00f3 a\u00f0 n\u00e1kv\u00e6masta myndl\u00edkingin fyrir \u00fea\u00f0 sem hann eigi vi\u00f0 s\u00e9 s\u00edgild a\u00f0fer\u00f0 sem notu\u00f0 hafi veri\u00f0 vi\u00f0 ger\u00f0 skjaldarmerkja og \u201efelst \u00ed \u00fev\u00ed a\u00f0 setja a\u00f0ra mynd af upprunalega skildinum \u201e\u00ed hyld\u00fdpi\u201c innan hans\u201c. Meginatri\u00f0i \u00ed m\u00e1lflutningi Gides er a\u00f0 um s\u00e9 a\u00f0 r\u00e6\u00f0a formlegt einkenni listaverksins \u2013 mynd inni \u00ed mynd, leikrit innan leikrits, lj\u00f3\u00f0 inni \u00ed s\u00f6gu \u2013 sem hefur \u00feann tilgang a\u00f0 afhj\u00fapa form verksins og vi\u00f0fangsefni. Dagb\u00e6kur Gides\u00a0fr\u00e1 t\u00edmabilinu 1889 til 1939 komu \u00fat \u00ed Frakklandi \u00e1ri\u00f0 1948 og \u00ed kj\u00f6lfari\u00f0 f\u00f3r hugtaki\u00f0 mise en abyme (sem merkir b\u00f3kstaflega a\u00f0 \u201esetja \u00ed hyld\u00fdpi\u201c) a\u00f0 skj\u00f3ta upp kollinum \u00ed umr\u00e6\u00f0um um b\u00f3kmenntir, me\u00f0al annars \u00ed umfj\u00f6llun um sk\u00e1lds\u00f6gur Gides sj\u00e1lfs og verk hinna svok\u00f6llu\u00f0u fr\u00f6nsku n\u00fds\u00f6guh\u00f6funda. Skrif Gides h\u00f6f\u00f0u s\u00ed\u00f0ar \u00feau \u00e1hrif \u00e1 Lucien D\u00e4llenbach(1977) a\u00f0 hann skrifa\u00f0i \u00edtarlegt rit um \u00feetta\u00a0listbrag\u00f0 undir titilinum\u00a0Hinn \u00edhugula fr\u00e1s\u00f6gn: Tilraun um mise en abyme<\/em> (Le R\u00e9cit speculaire: essai sur la misen en abyme<\/em>).<\/p>\n

mise en abyme<\/em> (D\u00e4llenbach): fr\u00e1sagnarspegill<\/strong>. \u00cd upphafi b\u00f3kar sinnar Le R\u00e9cit speculaire <\/em>beinir Lucien D\u00e4llenbach\u00a0athyglinni a\u00f0 dagb\u00f3karf\u00e6rslu Gides fr\u00e1 1893 um *mise en abyme<\/em> og bendir \u00e1 a\u00f0 saml\u00edkingin af skjaldarmerkinu geri r\u00e1\u00f0 fyrir a\u00f0 listaverki\u00f0 feli \u00ed s\u00e9r n\u00e1kv\u00e6ma vasa\u00fatg\u00e1fu af sj\u00e1lfri s\u00e9r. Sl\u00edkt eigi \u00fe\u00f3 vi\u00f0 f\u00e6st \u00feeirra verka sem Gide telji upp dagb\u00f3k sinni. Til a\u00f0 mynda s\u00e9 leikriti\u00f0 sem sett er \u00e1 svi\u00f0 \u00ed Hamlet endurger\u00f0 \u00e1 atbur\u00f0um sem eiga s\u00e9r sta\u00f0 \u00e1\u00f0ur en atbur\u00f0ar\u00e1sin \u00ed leikriti Shakespeares hefst. D\u00e4llenbach sk\u00fdrir \u00feetta misr\u00e6mi \u00feannig a\u00f0 \u00ed raun hafi Gide fyrst og fremst veri\u00f0 a\u00f0 hugsa um tiltekin verk eftir sj\u00e1lfan sig \u00fear sem a\u00f0st\u00e6\u00f0ur s\u00f6guh\u00f6fundar og s\u00f6gupers\u00f3nu eru svo a\u00f0 segja hli\u00f0st\u00e6\u00f0ar: S\u00f6guh\u00f6fundur er a\u00f0 segja e\u00f0a skrifa s\u00f6gu um pers\u00f3nu sem er sj\u00e1lf a\u00f0 segja e\u00f0a skrifa s\u00f6gu. D\u00e4llenbach (1989, 19) vill \u00fe\u00f3 ekki takmarka merkingu mise en abyme<\/em> svo mj\u00f6g heldur kemst a\u00f0 \u00feeirri ni\u00f0urst\u00f6\u00f0u a\u00f0 hugtaki\u00f0 n\u00e1i l\u00edka yfir \u00fea\u00f0 sem sem kalla\u00f0 hafi veri\u00f0 \u201everk inni \u00ed verki e\u00f0a innri endurtekning\u201c. Sj\u00e1lfum er honum einnig tamt a\u00f0 tala um spegilinn \u00ed textanum<\/em> e\u00f0a fr\u00e1sagnarspegil<\/em> \u00ed \u00feessu sambandi og hefur \u00fev\u00ed ford\u00e6mi veri\u00f0 fylgt h\u00e9r. D\u00e4llenbach (1989, 35) telur gagnlegt a\u00f0 gera greinarmun \u00e1 \u00feremur afbrig\u00f0um fr\u00e1sagnarspeglunar eftir \u00fev\u00ed hvernig sambandinu \u00e1 milli spegilsins og vi\u00f0komandi verks er h\u00e1tta\u00f0: (1) Einf\u00f6ld speglun (\u00ed speglinum er mynd sem l\u00edkist verkinu sem rammar hana inn). (2) Endalaus speglun (\u00ed speglinum er mynd sem l\u00edkist verkinu sem rammar hana inn en s\u00fa mynd rammar \u00fear a\u00f0 auki sj\u00e1lf inn spegilmynd sem l\u00edkist verkinu, o.s.frv.). (3) Hrings\u00f3landi e\u00f0a \u00feversagnakennd speglun (\u00ed speglinum er mynd sem vir\u00f0ist ramma inn verki\u00f0 sem rammar hana sj\u00e1lfa inn). \u00cd samr\u00e6mi vi\u00f0 \u00feennan greinarmun setur D\u00e4llenbach (1989, 36) fram \u00fe\u00e1 skilgreiningu a\u00f0 fr\u00e1sagnarspegill s\u00e9 \u201es\u00e9rhver innri spegill sem endurspeglar alla fr\u00e1s\u00f6gnina me\u00f0 einfaldri, endalausri e\u00f0a \u201evillandi\u201c (e\u00f0a \u00feversagnakenndri) endurtekningu\u201c.\u00a0\u00dev\u00ed n\u00e6st\u00a0skiptir D\u00e4llenbach fr\u00e1sagnarspeglum \u00ed a\u00f0ra \u00ferj\u00e1 flokka eftir \u00fev\u00ed hvort \u00feeir endurspegli (1) s\u00f6gu\u00fer\u00e1\u00f0 verksins, (2) sk\u00f6pun \u00feess e\u00f0a vi\u00f0t\u00f6kur, e\u00f0a (3) t\u00e1knkerfi\u00f0 sem verki\u00f0 er hluti af. Hlutverk fr\u00e1sagnarspegla sem varpa lj\u00f3si \u00e1 s\u00f6gu\u00fer\u00e1\u00f0inn er gjarnan a\u00f0 \u00edtreka hvert s\u00e9 meginefni e\u00f0a \u00feema verksins og f\u00e1 lesandanum t\u00falkunarlykil \u00ed hendur. \u00cd \u00feeim tilvikum \u00feegar fr\u00e1sagnarspegill varpar lj\u00f3si \u00e1 tilur\u00f0 verks e\u00f0a vi\u00f0t\u00f6kur beinist athyglin \u00fdmist a\u00f0 h\u00f6fundinum og lesandanum, skrifunum og lestrinum sem sl\u00edkum, e\u00f0a \u00feeim a\u00f0st\u00e6\u00f0um sem m\u00f3ti \u00feetta tvennt. Hlutverk spegils af \u00feessu tagi getur veri\u00f0 a\u00f0 vekja tilfinningu fyrir h\u00f6fundarverkinu sem vi\u00f0komandi verk tilheyrir e\u00f0a \u00fe\u00e1 a\u00f0 fjalla um sambandi\u00f0 \u00e1 milli l\u00edfs (fr\u00e1sagnarinnar) og listar (spegilsins). \u00deri\u00f0ja og s\u00ed\u00f0asta tilviki\u00f0 sem D\u00e4llenbach (1989, 94\u2013106) r\u00e6\u00f0ir um er \u00feegar fr\u00e1sagnarspegillinn varpar lj\u00f3si \u00e1 t\u00e1knkerfi\u00f0 sem verki\u00f0 er hluti af. \u00de\u00e1 ver\u00f0ur oft til eins konar t\u00falkunarhringur; vi\u00f0 \u00e1ttum okkur t.d. \u00e1 a\u00f0 b\u00fatasaumsteppi \u00ed s\u00f6gu varpar lj\u00f3si \u00e1 \u00fea\u00f0 hvernig h\u00f6fundur vinnur en um lei\u00f0 er forsenda \u00feess skilnings me\u00f0vitund okkar um a\u00f0 h\u00f6fundur hafi veri\u00f0 a\u00f0 sauma saman b\u00fata. Algeng t\u00e1kn sem h\u00f6fundar nota \u00ed \u00feessu augnami\u00f0i eru vefna\u00f0ur, l\u00edkamleg fyrirb\u00e6ri e\u00f0a v\u00e9lb\u00fana\u00f0ur, en a\u00f0 mati D\u00e4llenbachs er vefst\u00f3llinn eitt besta t\u00e1kn b\u00f3kmenntask\u00f6punarinnar.<\/p>\n

n<\/em><\/strong>arcissistic narrative <\/strong><\/i>(<\/strong>Hutcheon) sj\u00e1lfhverf fr\u00e1s\u00f6gn<\/strong>: <\/i>\u00cd b\u00f3kinni Narcissistic Narrative<\/i> (1980) r\u00e6\u00f0ir Linda Hutcheon me\u00f0al annars tilraunir fr\u00e6\u00f0imanna til a\u00f0\u00a0 kortleggja \u00fea\u00f0 sem h\u00fan sj\u00e1lf kallar sj\u00e1lfhverfar b\u00f3kmenntir. V\u00edsar h\u00fan me\u00f0al annars til kenninga Roberts Alters og Luciens D\u00e4llenbach, en sj\u00e1lfri \u00feykir henni a\u00f0 franski rith\u00f6fundurinn og fr\u00e6\u00f0ima\u00f0urinn Jean Ricardou hafi gert veigamestu atl\u00f6guna a\u00f0 \u00feessu vi\u00f0fangsefni. \u00cd grein sem Ricardou birti \u00e1ri\u00f0 1975 fjallar hann um \u00f3l\u00edk afbrig\u00f0i \u00feess sem hann kallar sj\u00e1lfl\u00fdsingu (fr. auto-repr\u00e9sentation)<\/i> \u00ed sk\u00e1ldskap, me\u00f0al annars \u00e1 grundvelli \u00feess hvort l\u00f6g\u00f0 er \u00e1hersla \u00e1 s\u00f6guna (\u00fea\u00f0 sem er sagt) e\u00f0a fr\u00e1sagnarh\u00e1ttinn (hvernig \u00fea\u00f0 er sagt). Hutcheon gagnr\u00fdnir flokkun Ricardous \u00e1 \u00fdmsum forsendum en h\u00f6fu\u00f0gagnr\u00fdni hennar beinist a\u00f0 \u00fev\u00ed a\u00f0 Ricardou geri ekki greinarmun \u00e1 sk\u00e1ldverkum sem varpa lj\u00f3si \u00e1 sj\u00e1lf sig sem fr\u00e1sagnir<\/i> og \u00feeim sem eru me\u00f0vitu\u00f0 um sig sem tungum\u00e1l<\/i>. Sj\u00e1lf leggur h\u00fan \u00feessa skiptingu til grundvallar sinnar eigin flokkunarfr\u00e6\u00f0i og gerir s\u00ed\u00f0an greinarmun \u00e1 tveimur undirflokkum beggja greina, eftir \u00fev\u00ed hvort sj\u00e1lfsl\u00fdsingin er \u00e1berandi <\/i>e\u00f0a dulin<\/i>. \u00cd s\u00ed\u00f0ari tilvikinu geti veri\u00f0 um a\u00f0 r\u00e6\u00f0a texta sem eru \u201esj\u00e1lfl\u00fdsandi en ekki endilega sj\u00e1lfsme\u00f0vita\u00f0ir\u201c. Flokkar hennar eru: 1. Sk\u00e1lds\u00f6gur sem me\u00f0 \u00e1berandi h\u00e6tti vekja athygli \u00e1 \u00fev\u00ed a\u00f0 st\u00f6\u00f0u sinni sem sk\u00e1ldskapar; 2. Sk\u00e1lds\u00f6gur sem me\u00f0 \u00e1berandi h\u00e6tti vekja athygli \u00e1 eiginleikum tungum\u00e1lsins sem \u00fe\u00e6r eru sm\u00ed\u00f0a\u00f0ar \u00far; 3. Sk\u00e1lds\u00f6gur sem me\u00f0 duldum h\u00e6tti vekja athygli \u00e1 a\u00f0 st\u00f6\u00f0u sinni sem sk\u00e1ldskapar (\u00feetta geta \u00fe\u00e6r me\u00f0al annars gert me\u00f0 eins konar myndhv\u00f6rfum sem v\u00edsa til verks, h\u00f6fundar e\u00f0a lesenda en d\u00e6mi um sl\u00edk myndhv\u00f6rf eru leynil\u00f6greglusagan \u00fear sem leynil\u00f6gregluma\u00f0urinn sem sta\u00f0gengill lesandans); 4. Sk\u00e1lds\u00f6gur sem me\u00f0 duldum h\u00e6tti vekja athygli \u00e1 eiginleikum tungum\u00e1lsins sem \u00fe\u00e6r eru sm\u00ed\u00f0a\u00f0ar \u00far. Hutcheon nefnir til d\u00e6mis verk sem leika s\u00e9r me\u00f0 tv\u00edr\u00e6\u00f0ni m\u00e1lsins e\u00f0a byggjast \u00e1 g\u00e1tum og br\u00f6ndurum.<\/p>\n

po\u00e9tique<\/strong> <\/em>(Todorov): sk\u00e1ldskaparfr\u00e6\u00f0i<\/strong>. \u00cd ritinu La Po\u00e9tique de la prose<\/em> (Sk\u00e1ldskaparfr\u00e6\u00f0i fr\u00e1sagnarinnar), fr\u00e1 \u00e1rinu 1971 gerir Tzvetan Todorov greinarmun \u00e1 b\u00f3kmenntagagnr\u00fdni (e. criticism) og sk\u00e1ldskaparfr\u00e6\u00f0um (e. poetic), greinarmun sem m\u00e1 a\u00f0 sk\u00fdra me\u00f0 samanbur\u00f0i vi\u00f0 n\u00fat\u00edmam\u00e1lv\u00edsindi \u00ed anda Saussures. Hlutverk m\u00e1lv\u00edsindamanna er ekki a\u00f0 t\u00falka merkingu einstakra setninga heldur a\u00f0 uppg\u00f6tva \u00fe\u00e6r reglur og hef\u00f0ir sem liggja m\u00e1lkerfinu til grundvallar. Me\u00f0 sama h\u00e6tti l\u00edtur Todorov svo \u00e1 a\u00f0 \u00fea\u00f0 s\u00e9 ekki markmi\u00f0 b\u00f3kmenntafr\u00e6\u00f0innar sem v\u00edsindagreinar a\u00f0 t\u00falka einst\u00f6k b\u00f3kmenntaverk heldur a\u00f0 skilja b\u00f3kmenntir sem tj\u00e1ningarform, skilgreina \u201eb\u00f3kmenntaleika\u201c b\u00f3kmenntanna, varpa lj\u00f3si \u00e1 \u00fe\u00e6r formger\u00f0ir og hef\u00f0ir sem \u00f6ll b\u00f3kmenntask\u00f6pun hv\u00edlir \u00e1. Flestir kaflar b\u00f3kar hans eru eins konar \u00fatlegging \u00e1 \u00feessari stefnuskr\u00e1. \u00cd einum kaflanum, \"Leitin a\u00f0 fr\u00e1s\u00f6gninni\", kvartar Todorov til d\u00e6mis yfir \u00fev\u00ed hve fr\u00e6\u00f0imenn hafi haft l\u00edtinn \u00e1huga \u00e1 mi\u00f0aldab\u00f3kmenntum sem b\u00f3kmenntum; \u00feeir hafi \u00feess \u00ed sta\u00f0 lagt megin\u00e1herslu a\u00f0 draga af verkunum einhverjar \u00e1lyktanir um samf\u00e9lag mi\u00f0aldamanna e\u00f0a h\u00f6fundana sem skrifu\u00f0u \u00feau. \u00c1 \u00feessu s\u00e9u \u00fe\u00f3 markver\u00f0ar undantekningar, \u00fear \u00e1 me\u00f0al b\u00f3k Alberts Pauphilet, Etudes sur la Queste del Saint Graal<\/em> og kve\u00f0st Todorov vilja taka upp \u00fer\u00e1\u00f0inn fr\u00e1 henni. Vitnar hann til \u00feeirrar athugasemdar Pauphilets a\u00f0 \u00ed grals\u00f6gninni s\u00e9 ekki n\u00f3g me\u00f0 a\u00f0 sagt s\u00e9 fr\u00e1 tilteknum atbur\u00f0um heldur s\u00e9u atbur\u00f0irnir jafnan t\u00falka\u00f0ir jafn\u00f3\u00f0um sem svipu\u00f0um h\u00e6tti og gu\u00f0fr\u00e6\u00f0ingar hafi t\u00falka\u00f0 \u00fe\u00e1 atbur\u00f0i sem sagt er fr\u00e1 \u00ed Bibl\u00edunni. \u00deannig s\u00e9 algengt a\u00f0 riddararnir \u00ed s\u00f6gunni rekist \u00e1 vitringa sem fr\u00e6\u00f0i \u00fe\u00e1 um a\u00f0 \u00e6vint\u00fdrin sem \u00feeir hafi gegni\u00f0 \u00ed gegnum v\u00edsi til atvika \u00far l\u00edfi Krists og arftaka hans e\u00f0a jafnvel til annarra atbur\u00f0a \u00ed grals\u00f6gninni. Gawain dreymir til d\u00e6mis nautahj\u00f6r\u00f0 sem hyggst leita s\u00e9r a\u00f0 betri bitahaga og f\u00e6r sk\u00f6mmu s\u00ed\u00f0ar a\u00f0 heyra a\u00f0 draumurinn fjalli \u00ed raun um leit riddara hringbor\u00f0ins a\u00f0 hinum heilaga gral, sem Gawain er \u00fe\u00e1tttakandi \u00ed. Todorov talar \u00ed \u00feessu sambandi um a\u00f0 fr\u00e1s\u00f6gnin s\u00e9 samsett \u00far texta og texta um \u00feann sama texta (metatexta), sem fl\u00e9ttist \u00fe\u00f3 saman: \u201eAnnar helmingur textans sn\u00fdst um \u00e6vint\u00fdri, hinn helmingurinn um textann sem l\u00fdsir \u00feeim.\u201c Eftir a\u00f0 hafa r\u00e6tt \u00fdmis d\u00e6mi af \u00feessu tagi \u00far grals\u00f6gnunum kemst Todorov a\u00f0 \u00feeirri ni\u00f0urst\u00f6\u00f0u a\u00f0 sj\u00e1lf leitin a\u00f0 gralnum s\u00e9 \u00ed rauninni leit a\u00f0 t\u00falkunarlykli. \u201eA\u00f0 finna gralin er a\u00f0 l\u00e6ra a\u00f0 r\u00e1\u00f0a hi\u00f0 gu\u00f0lega tungum\u00e1l, sem merkir [...] a\u00f0 n\u00e1 t\u00f6kum \u00e1 frumforsendum kerfisins.\u201c Hann vill \u00fev\u00ed d\u00fdpka s\u00edna fyrri t\u00falkun og l\u00edta svo \u00e1 a\u00f0 leitin a\u00f0 gralnum s\u00e9 ekki bara leit a\u00f0 t\u00falkunarlykli og merkingu heldur einnig leit a\u00f0 s\u00f6gu sem er f\u00e6r um a\u00f0 tj\u00e1 \u00fea\u00f0 \u00f3segjanlega. Og hann gefur jafnframt \u00ed skyn a\u00f0 h\u00e9r s\u00e9 um a\u00f0 r\u00e6\u00f0a einkenni sem setji mark sitt \u00e1 allar b\u00f3kmenntir:\u201e\u00dear me\u00f0 vir\u00f0ist fr\u00e1s\u00f6gnin vera h\u00f6fu\u00f0minni Leitarinnar a\u00f0 hinum helga gral (eins og allra fr\u00e1sagna, en \u00fe\u00f3 alltaf me\u00f0 \u00f3l\u00edkum h\u00e6tti).\u201c<\/p>\n

self-begetting novel<\/em> (Kellman): sj\u00e1lfgetin sk\u00e1ldsaga<\/strong>. Samkv\u00e6mt Steven G. Kellman (1980, 3) \u00e1\u00a0hugtaki\u00f0 vi\u00f0 \u201efr\u00e1s\u00f6gn, venjulega \u00ed fyrstu pers\u00f3nu, af \u00feroska einstaklings upp a\u00f0 \u00fev\u00ed marki \u00feegar hann getur teki\u00f0 upp penna sinn og sami\u00f0 sk\u00e1lds\u00f6guna sem vi\u00f0 h\u00f6fum r\u00e9tt loki\u00f0 vi\u00f0 a\u00f0 lesa\u201c. Verk \u00ed \u00feessum anda sameina gjarnan tv\u00e6r eldri b\u00f3kmenntahef\u00f0ir, \u00feroskas\u00f6guna (\u00fe. Bildungsroman<\/em>) og sk\u00e1lds\u00f6gur um listamanninn (\u00fe. K\u00fcnstlerroman<\/em>), en hafa \u00fea\u00f0 s\u00e9rkenni a\u00f0 l\u00fdsa sinni eigin tilur\u00f0. Af \u00fev\u00ed lei\u00f0ir a\u00f0 fr\u00e1s\u00f6gn sj\u00e1lfgetinna sk\u00e1ldsagna b\u00edtur jafnan \u00ed skotti\u00f0 \u00e1 sj\u00e1lfri s\u00e9r. A\u00f0 mati Kellmans er helsta brautry\u00f0jendaverk sj\u00e1lfgetnu sk\u00e1lds\u00f6gunnar \u00e1 Vesturl\u00f6ndum \u00cd leit a\u00f0 gl\u00f6tu\u00f0um t\u00edma<\/em> (A la recherche du temps perdu<\/em>) sem franski rith\u00f6fundinn Marcel Proust sendi fr\u00e1 s\u00e9r \u00e1 \u00e1runum 1913 til 1927. S\u00fa saga, segir Kellmann (1980, 3), fjallar \u201eum s\u00e1rsaukafulla leit Marcels a\u00f0 \u00e6vistarfi; en um lei\u00f0 er tilvist sj\u00e1lfrar b\u00f3karinnar \u00e1\u00fereifanleg s\u00f6nnun \u00feess a\u00f0 Marcel hafi a\u00f0 endingu kosi\u00f0 a\u00f0 helga l\u00edf sitt b\u00f3kmenntum\u201c. Hugtaki\u00f0 sj\u00e1lfgetin sk\u00e1ldsaga hefur\u00a0\u00fe\u00f3 ekki bara\u00a0fagurfr\u00e6\u00f0ilega og b\u00f3kmenntas\u00f6gulega sk\u00edrskotun heldur tekur \u00fea\u00f0 beinl\u00ednis til merkingarsk\u00f6punar vi\u00f0komandi verka. Kellman bendir \u00e1 a\u00f0 s\u00f6gumennirnir \u00ed sj\u00e1lfgetnum sk\u00e1lds\u00f6gum eigi oftar en ekki \u00ed einhvers konar innri bar\u00e1ttu sem tengist hugmyndum um kynl\u00edf, getna\u00f0 og f\u00e6\u00f0ingu. Kellman (1980, 19) hefur b\u00f3k s\u00edna \u00e1 \u00fev\u00ed a\u00f0 vitna til \u00feeirrar sko\u00f0unar austurr\u00edska s\u00e1lgreinandans Ottos Rank a\u00f0 \u00d6d\u00edpusargo\u00f0s\u00f6gnin fjalli ekki fyrst og fremst um afbr\u00fd\u00f0isama l\u00f6ngun sonarins til a\u00f0 drepa f\u00f6\u00f0urinn og koma fram vilja s\u00ednum vi\u00f0 m\u00f3\u00f0urina, l\u00edkt og Sigmund Freud h\u00e9lt fram, heldur s\u00e9 \u201ebl\u00f3\u00f0sk\u00f6mm t\u00e1kn um sj\u00e1lfsk\u00f6punar\u00e1r\u00e1ttu mannsins\u201c. Karlma\u00f0urinn \u00f3ttist kynl\u00edfi\u00f0 \u00fev\u00ed a\u00f0 fyrir tilstilli \u00feess \u00feurfi hann a\u00f0 gangast vi\u00f0 eigin \u00f3dau\u00f0leika, horfast \u00ed augu vi\u00f0 a\u00f0 hann s\u00e9 hverfull hlekkur \u00ed l\u00edfke\u00f0junni, eins og hver \u00f6nnur skepna sem h\u00f6f\u00f0 er til undaneldis. \u00cd verkum s\u00ednum beinir Rank me\u00f0al annars athyglinni a\u00f0 go\u00f0s\u00f6gnum og hetjus\u00f6gum \u00fear sem fj\u00f6lskyldunni er me\u00f0 einhverjum h\u00e6tti hafna\u00f0. Hin sj\u00e1lfskapa\u00f0a, go\u00f0s\u00f6gulega hetja \u00e1 s\u00e9r oft \u00f3lj\u00f3san uppruna, er eingetin e\u00f0a muna\u00f0arlaus. Rank r\u00e6\u00f0ir \u00ed \u00feessu sambandi um fornar pers\u00f3nur \u00e1 bor\u00f0 vi\u00f0 Sargon, Lohengrin og Jes\u00fas Krist, Kellman b\u00e6tir bandar\u00edsku d\u00e6gurhetjunum Lone Ranger og S\u00faperman \u00ed \u00feann h\u00f3p og l\u00edtur svo \u00e1 a\u00f0 sj\u00e1lfgetna sk\u00e1ldsagan s\u00e9 framhald \u00feessarar hef\u00f0ar: \"\u201eSj\u00e1lfgetna\u00f0ur\u201c er ekki einungis n\u00fdst\u00e1rlegur fr\u00e6\u00f0ilegur merkimi\u00f0i \u00e1 \u00feessi verk, heldur afkv\u00e6mi \u00feeirra eigin t\u00e1knm\u00e1ls [...] Hetju sj\u00e1lfgetnu sk\u00e1lds\u00f6gunnar, sem er einmana, a\u00f0 eldast og me\u00f0 kynl\u00edf \u00e1 heilanum, au\u00f0nast a\u00f0 geta af s\u00e9r tv\u00edbura \u2013 sj\u00e1lf og sk\u00e1lds\u00f6gu. A\u00f0alpers\u00f3nan er jafnan einhleypur einfari, og samt er striti hans svo l\u00fdst a\u00f0 \u00fev\u00ed lj\u00faki me\u00f0 pers\u00f3nulegri endurf\u00e6\u00f0ingu\" (Kellman 1980, 8).<\/p>\n

self-conscious fiction<\/strong><\/em> (Stonehill): me\u00f0vita\u00f0 sk\u00e1ldverk<\/strong>. \u00cd fr\u00e6\u00f0iritinu The Self-Conscious Novel<\/em>, 1988) segir Brian Stonehill a\u00f0 titilhugtakinu s\u00e9 \u00e6tla\u00f0 a\u00f0 n\u00e1 utan um \u201elengri fr\u00e1s\u00f6gn \u00ed \u00f3bundnu m\u00e1li sem dregur athygli a\u00f0 \u00fev\u00ed a\u00f0 h\u00fan er sk\u00e1ldskapur\u201c (s. 3).<\/a> \u00dea\u00f0 geri h\u00fan me\u00f0 \u00fev\u00ed a\u00f0 hleypa h\u00f6fundinum, lesendum, b\u00f3kmenntas\u00f6gunni og \u201eraunveruleikanum\u201c inn \u00ed textann. B\u00f3k Stonehills samanstendur af greiningum \u00e1 s\u00f6gum eftir James Joyce (1882\u20131941), Vladimir Nabokov (1899\u20131977), William Gaddis (1922\u20131988), Thomas Pynchon (f. 1937) og John Barth (f. 1930) en \u00ed fyrstu k\u00f6flunum fjallar hann almennt um einkenni me\u00f0vita\u00f0ra sk\u00e1ldsagna og birtir lista yfir \u00feau. Stonehill flokkar \u00feessi einkenni me\u00f0 hli\u00f0sj\u00f3n af vi\u00f0fangsefnum, st\u00edl, pers\u00f3nusk\u00f6pun, fr\u00e1sagnarh\u00e6tti og uppbyggingu. H\u00e9r fylgir \u00edslensk \u00fe\u00fd\u00f0ing \u00e1 \u00feessum einkennum (sj\u00e1 s. 30-31 \u00ed riti Stonehill): Fr\u00e1s\u00f6gn: <\/strong>1. S\u00f6gumenn eru s\u00fdnilega a\u00f0 f\u00e1st vi\u00f0 a\u00f0 semja. 2. \u00c1minningar um a\u00f0 \u00e1 bakvi\u00f0 r\u00f6\u00f0 s\u00f6gumanna hafi h\u00f6fundurinn stj\u00f3rnina. 3. Lesandinn \u00e1varpa\u00f0ur beint, sem lesandi. 4. Textinn v\u00edsar til sj\u00e1lfs s\u00edn; \u00fe.e. annars konar \u00e1minningar um a\u00f0 b\u00f3kin s\u00e9 b\u00f3k. 5. Beinar s\u00e9rviskulegar si\u00f0apredikanir. 6. Framandgerving; pers\u00f3num og atbur\u00f0um er v\u00edsvitandi l\u00fdst \u00e1 \u00f3sannf\u00e6randi h\u00e1tt. 7. L\u00fdsingar sem af-l\u00fdsa. 8. \u00d3v\u00e6nt skipti milli sj\u00f3narhorna. 9. Fyrirvaralaus st\u00f6kk \u00e1 milli sena. 10. M\u00f3tsagnir og \u201efalskar\u201c senur. 11. \u201e\u00d3\u00fatsk\u00fdrt\u201c h\u00f6kt \u00ed r\u00f6klegri framvindu fr\u00e1sagnarinnar. St\u00edll: <\/strong>12. Me\u00f0vitu\u00f0 tilger\u00f0arleg st\u00edlbrig\u00f0i, einkum h\u00e1timbra\u00f0ur st\u00edll. 13. Auglj\u00f3st \u00f3samr\u00e6mi milli st\u00edls og merkingar. 14. Torr\u00e6tt tungum\u00e1l. 15. \u201eHli\u00f0arspor\u201c, \u201eskyndileg afhj\u00fapun \u00e1 \u00f3samr\u00e6minu milli tveggja m\u00e6lskuhef\u00f0a\u201c. 16.\u201eFramhleypni\u201c; ofv\u00f6xtur st\u00edlbrag\u00f0a \u00e1 kostna\u00f0 fr\u00e1sagnar. 17. Or\u00f0arunur sem v\u00edsa ekki \u00fat fyrir sj\u00e1lfa sig, \u00fear \u00e1 me\u00f0al s\u00e6ringar. 18. Or\u00f0aleikir, \u00fear \u00e1 me\u00f0al tv\u00edr\u00e6\u00f0ni, anagr\u00f6m og or\u00f0runur sem m\u00e1 lesa aftur \u00e1 bak og \u00e1fram. Uppbygging:<\/strong> 19. S\u00f6gu\u00fer\u00e1\u00f0ur l\u00fdtur lj\u00f3slega \u00ed l\u00e6gra haldi fyrir utana\u00f0komandi reglum. 20. \u201eR\u00fdmisform\u201c;<\/a> fr\u00e1sagnarform sem eru skynju\u00f0 sem r\u00fdmi, eins og um tilteki\u00f0 augnablik s\u00e9 a\u00f0 r\u00e6\u00f0a, me\u00f0 notkun \u201e\u00edmynda\u00f0ra tilv\u00edsanna\u201c. 21. \u201eByggingarfr\u00e6\u00f0ileg\u201c e\u00f0a \u201eloku\u00f0\u201c fr\u00e1sagnarmynstur sem \u201egeta l\u00fdst yfir svo til algj\u00f6ru frelsi undan l\u00f6gm\u00e1lum veruleikans\u201c. 22. Fr\u00e1sagnarspeglar. 23. \u00d3endanleg endurtekning s\u00f6mu fr\u00e1sagnarmynstra; hyld\u00fdpisfr\u00e1sagnir og fr\u00e1sagnir sem b\u00edta \u00ed skotti\u00f0 \u00e1 s\u00e9r. Pers\u00f3nusk\u00f6pun: <\/strong>24. Pers\u00f3nur sviptar mannlegum eiginleikum. 25. Pers\u00f3nur me\u00f0vita\u00f0ar um st\u00f6\u00f0u s\u00edna sem sk\u00e1ldskapar, \u00e1varpa h\u00f6fund sinn, o.s.frv. 26. Tv\u00edfarar sem \u00fej\u00f3na par\u00f3d\u00edsku hlutverki e\u00f0a auka hli\u00f0st\u00e6\u00f0ur \u00ed verkinu. 27. Afk\u00e1raleg e\u00f0a skopleg n\u00f6fn.\u00a0 Vi\u00f0fangsefni: <\/strong>28. Umfj\u00f6llun um tengsl sk\u00e1ldskapar og veruleika. 29. Me\u00f0vitu\u00f0 og auglj\u00f3s andspyrna gagnvart hef\u00f0um og listbr\u00f6g\u00f0um rauns\u00e6isb\u00f3kmennta. 30. Inni \u00ed textanum er b\u00f3kmenntagagnr\u00fdni um textann. 31. Sj\u00e1lfs-skopst\u00e6ling. 32. \u00deversagnir. 33. Sj\u00e1lfhverfar t\u00e1knmyndir, b\u00e6\u00f0i svi\u00f0smunir (speglar sem sn\u00faa hver gegn \u00f6\u00f0rum, sammi\u00f0ja hringir, o.s.frv.) og sj\u00e1lfhverf heg\u00f0un pers\u00f3na (bl\u00f3\u00f0sk\u00f6mm, sj\u00e1lfsfr\u00f3un, endurtekningar \u00e1 fort\u00ed\u00f0 manns, o.s.frv.). 34. Dau\u00f0anum l\u00fdst b\u00e6\u00f0i sem einhverju sem ey\u00f0ir blekkingu og skapar \u00fe\u00f6rf fyrir sk\u00e1ldskap. 35. V\u00edsbendingar um a\u00f0 sk\u00e1ldskapurinn s\u00e9 sj\u00e1lfum s\u00e9r n\u00e6gur leikur. 36. Lofa\u00f0 frelsi \u00edmyndunaraflsins til a\u00f0 yfirst\u00edga \u00fer\u00e1l\u00e1tar skor\u00f0ur veruleikans.<\/p>\n

\u00a0<\/strong><\/em><\/p>\n

<\/p>\n

trompe-l\u2019\u0153il<\/em>\u00a0(McHale): t\u00e1ls\u00fdnir<\/strong>. Flestir \u00feeirra sem fjalla \u00ed s\u00f6gulegu samhengi um hi\u00f0 fagurfr\u00e6\u00f0ilega hugtak trompe-l\u2019\u0153il v\u00edsa til \u00feekktrar fr\u00e1sagnar r\u00f3mverska sagnaritarans Pl\u00edun\u00edusar eldri af r\u00edg forngr\u00edsku m\u00e1laranna Zeuxis og Parrhas\u00edosar sem uppi voru \u00e1 fimmtu \u00f6ld fyrir Krist. A\u00f0 \u00fev\u00ed kom a\u00f0 efnt var til keppni \u00feeirra milli og skyldi d\u00f3mnefnd skera \u00far um hvor v\u00e6ri snjallari listama\u00f0ur. Zeuxis afhj\u00fapa\u00f0i m\u00e1lverk af v\u00ednberjum sem voru svo rauns\u00e6isleg a\u00f0 fuglar himinsins komu flj\u00fagandi og reyndu a\u00f0 kroppa \u00ed \u00feau. Vi\u00f0 \u00feetta fylltist m\u00e1larinn sigurvissu og ba\u00f0 Parrhas\u00edos um a\u00f0 draga tj\u00f6ldin fr\u00e1 sinni mynd. Reyndust \u00feau \u00fe\u00e1 vera hluti af myndinni og var\u00f0 Zeuxis a\u00f0 j\u00e1ta sig sigra\u00f0an.\u00a0S\u00fa t\u00e6kni sem h\u00e9r um r\u00e6\u00f0ir \u00e1 s\u00e9r langa hef\u00f0 \u00ed veggm\u00e1lverkum \u00fear sem svo vir\u00f0ist sem a\u00f0 gluggar, dyr e\u00f0a heilu salirnir blasi vi\u00f0 \u00fear sem \u00ed raun er tv\u00edv\u00ed\u00f0ur veggur. \u00deegar Brian McHale beitir trompe-l\u2019\u0153il<\/em> sem b\u00f3kmenntalegu hugtaki v\u00edsar \u00fea\u00f0 til \u00feess a\u00f0 h\u00f6fundur \u201eblekki v\u00edsvitandi lesandann til a\u00f0 halda a\u00f0 innramma\u00f0ur, annars stigs heimur s\u00e9 grunnheimur fr\u00e1sagnarinnar\u201c (McHale 1987, 115).\u00a0 Yfirleitt er sl\u00edkri blekkingu fylgt eftir me\u00f0 afhj\u00fapun \u00fear sem hin sanna verufr\u00e6\u00f0ilega sta\u00f0a vi\u00f0komandi veruleikasvi\u00f0s kemur \u00ed lj\u00f3s og \u00fear me\u00f0 \u00fea\u00f0 stigveldi veruleikasvi\u00f0a sem um er a\u00f0 r\u00e6\u00f0a. McHale tekur ennfremur d\u00e6mi af verkum \u00fear sem kyrrst\u00e6tt veruleikasvi\u00f0 (t.d. m\u00e1lverk \u00e1 vegg) kemst \u00e1 hreyfingu e\u00f0a \u00f6fugt, verkum \u00fear sem fr\u00e1s\u00f6gninni l\u00fdkur \u00e1 \u00f6\u00f0ru veruleikasvi\u00f0i en h\u00fan hefst og s\u00ed\u00f0ast en ekki s\u00edst af verkum \u00fear sem skammhlaup ver\u00f0ur milli veruleikasvi\u00f0a, t.d. \u00feegar pers\u00f3na af einu svi\u00f0i d\u00fakkar upp \u00e1 \u00f6\u00f0ru. Sj\u00e1lfur tel \u00e9g a\u00f0 \u00feetta hugtak n\u00e1i vel utan um \u00fea\u00f0 \u00feegar s\u00f6guma\u00f0ur e\u00f0a pers\u00f3na \u00ed sk\u00e1ldverki segir fr\u00e1 \u00ed \u00feri\u00f0ju pers\u00f3nu en svo kemur \u00ed lj\u00f3s a\u00f0 s\u00fa fr\u00e1s\u00f6gn fjallar um \u00ed raun um \u00feann sem segir fr\u00e1. Lesandinn er l\u00e1tinn halda a\u00f0 um tvo verkuleikasvi\u00f0 s\u00e9 a\u00f0 r\u00e6\u00f0a en \u00ed raun eru \u00feau eitt og sama veruleikasvi\u00f0i\u00f0.<\/p>\n

\u00a0<\/em><\/strong><\/p>\n

Heimildir<\/strong><\/p>\n

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\u00a0Stonehill, Brian. 1988.\u00e6 The Self-Conscious Novel: Artifice in Fiction from Joyce to. Pynchon. <\/em>Pennsylvania: University of Pennsylvania Press.<\/li>\n
Tarski, Alfred. 1994. \u201eMerkingarfr\u00e6\u00f0ilegar hugmyndir um sannleikann og undirst\u00f6\u00f0ur merkingarfr\u00e6\u00f0innar.\u201c \u00de\u00fd\u00f0. \u00c1sta Kristjana Sveinsd\u00f3ttir og Arn\u00f3r Hannibalsson. Heimspeki \u00e1 tuttugustu \u00f6ld. Safn merkra ritger\u00f0a \u00far heimspeki aldarinnar<\/em>. Reykjav\u00edk: Heimskringla, h\u00e1sk\u00f3laforlag M\u00e1ls og menningar, s. ??.<\/li>\n
Todorov, Tzvetan. The Poetic of Prose<\/em>. \u00de\u00fd\u00f0. Richard Howard. Cornell: Cornell University Press, 1977.<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"
\u00c9g hef \u00fer\u00edvegis kennt n\u00e1mskei\u00f0 \u00e1 Hugv\u00edsindasvi\u00f0i \u00fear sem athyglin beinist a\u00f0 \u00feeim b\u00f3kmenntalegu einkennum sem kennd eru al\u00fej\u00f3\u00f0lega vi\u00f0 metafiction. \u00cd tengslum vi\u00f0 n\u00e1mskei\u00f0i\u00f0 hef \u00e9g sett saman lista yfir al\u00fej\u00f3\u00f0leg hugt\u00f6k sem tengjast \u00feessu ranns\u00f3knarsvi\u00f0i og \u00edslenskar \u00fe\u00fd\u00f0ingar \u00feeirra. antiroman (Sartre): andsaga. Hugaki\u00f0 er oftast raki\u00f0 til form\u00e1la sem Jean-Paul Sartre skrifa\u00f0i \u00e1ri\u00f0 […]<\/p>\n","protected":false},"author":168,"featured_media":0,"parent":2085,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-220","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/uni.hi.is\/jkh\/wp-json\/wp\/v2\/pages\/220","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/uni.hi.is\/jkh\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/uni.hi.is\/jkh\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/uni.hi.is\/jkh\/wp-json\/wp\/v2\/users\/168"}],"replies":[{"embeddable":true,"href":"https:\/\/uni.hi.is\/jkh\/wp-json\/wp\/v2\/comments?post=220"}],"version-history":[{"count":21,"href":"https:\/\/uni.hi.is\/jkh\/wp-json\/wp\/v2\/pages\/220\/revisions"}],"predecessor-version":[{"id":3858,"href":"https:\/\/uni.hi.is\/jkh\/wp-json\/wp\/v2\/pages\/220\/revisions\/3858"}],"up":[{"embeddable":true,"href":"https:\/\/uni.hi.is\/jkh\/wp-json\/wp\/v2\/pages\/2085"}],"wp:attachment":[{"href":"https:\/\/uni.hi.is\/jkh\/wp-json\/wp\/v2\/media?parent=220"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}