Mise en abyme - Theory

This article compares the concepts of “text-within-a-text” and “mise en
abyme”. Until now, there have been no attempts to analyze and differentiate them in Russian literary studies. This paper tries to identify these phenomena by considering the context of their emergence and conceptualization, by studying the semantic and functional criteria for differentiating them in narratives of 19th – 20th century, as well as by regarding the prospects of further integration of these two concepts.

Key words: mise en abyme; text-within-a-text; narrative; semiotic analysis.

Аннотация. В статье сопоставляются такие понятия, как «текст-в-тексте» и «редупликация» (mise en abyme). До сих пор в отечественном литературоведении не предпринимались попытки их анализа и разграничения. Данная работа приближается к идентификации этих феноменов: рассматривается контекст возникновения и концептуализации самих терминов, изучаются критерии их семантического и функционального разграничения в прозе XIX и XX в., а также учитываются перспективы их дальнейшего взаимодействия.

Ключевые слова: редупликация; mise en abyme; текст-в-тексте; нарратив; семиотический анализ.

The maturity of the dramatic genre is marked by the form as it was re-defined in each time and along the history of the theater. The exercise of writing stimulated by the stage, and there returning, demonstrates the interconnection between the authorial thought and his stage execution. The theater is born in the fantasy of the author’s mind, who, besides the fable, dreams about a communication support for it. The dizziness of the conscience and the plurimodal inscription of the playwright in the stage act are a challenging processus for many Portuguese playwrights. This essay has to do with the effect of the narrative paradox of drama in some authors like Gil Vicente, José Daniel Rodrigues da Costa, António Pedro or José Pedro de Andrade.

L’usage de la mise en abyme abonde dans l’art du XVIIe siècle, qui voit une profusion de tableaux figurés dans des toiles. Elle se manifeste notamment sous forme de prolongement ou d'explicitation de la représentation, à l’aide de miroirs enchâssés ou de références à des œuvres antérieures ; ou à travers le phénomène de réduplication (c’est-à-dire l’évocation de l’œuvre dans l’œuvre même). C’est le cas des thèses illustrées que nous étudions dans cet article. Au sein de la typologie très riche de la mise en abyme, nous nous penchons sur une des modalités particulières de ce mode d’inclusion, qui est la dédicace. En effet, les affiches imprimées à l’occasion d’une défense académique illustrent souvent le moment de leur propre don à un mécène, engendrant à l’intérieur d’elles-mêmes une répétition isomorphe du sujet à l’infini. Sur base d’exemples issus d’un corpus de gravures de thèses flamandes, nous souhaitons montrer le rôle et les enjeux de ce procédé structurel qui permet un jeu de relations complexes entre texte et image, et qui offre une visualisation de l’instance de communication dans le contexte de la soutenance publique et du mécénat académique.

O termo "mise en abyme" é geralmente definido como "alguma coisa dentro de uma outra igual a si", mas o conceito revela-se bem mais complexo... O seguinte ensaio corresponde a uma breve leitura à primeira parte do texto de Dallenbach de forma a (tentar) compreender o conceito de "mise en abyme"...

In the twentieth century, few people have influenced perceptions of Zen in the West as much as Daisetz Teitaro Suzuki. Thus far, studies of Suzuki have not addressed the literary forms he used to convey his construction of Zen, thereby ignoring one of the most important ways in which he rendered his ideas attractive to non-Japanese audiences. To address this gap, my article investigates how two accounts of Japanese Zen Buddhism, Suzuki’s An Introduction to Zen Buddhism (1934) and Janwillem Van de Wetering’s memoir The Empty Mirror (1973), frame Zen Buddhist stories known as encounter dialogues. I argue that Suzuki uses these stories 1) to condition the relationship between author and reader as that between a master and a student; and 2) to portray Zen as an a-historical practice centered on “experience.” In The Empty Mirror, however, framed encounter dialogues remain ideal portrayals that contrast with the protagonist’s life in a Zen monastery. The manner in which Van de Wetering uses frame-stories thus implicitly critiques Suzuki’s influential narrative of Zen, and suggests a manner of writing and thinking about this religion that takes into account both the ideals and failures of Zen Buddhist practitioners.

본고는 프로이트의 「언캐니」를 다시 읽으면서 “언캐니”의 의미를 다시 고찰하고, 국문 번역에 나타나는 몇 가지 중요한 오역을 수정하고 있다. “두려운 낯설음”이라는 국내 번역은 옌치의 정의만을 고려하고 있지만, 프로이트가 말하는 언캐니는 오래전부터 알고 있던 친숙한 감정인 모태 회귀 욕망이 초자아의 등장으로 자아에게 두려움으로 변형되어 느껴지는 감정을 말한다. 이를 증명하기 위해서 본고는 독일어 unheimlich의 어원학적 연구를 정신 분석학과 연관 지어 설명한 프로이트의 논증 과정을 재구성하고 있다.
또한, 프로이트의 논문은 뚜렷한 논리 구조를 가지고 언캐니를 설명하지만, 독자에게 오히려 언캐니한 감정을 불러일으키는 독특한 논문이라고 할 수 있다. 그 이유를 본고는 프로이트의 방법론과 수사법에서 찾고 있다. 언캐니한 감정을 쉽게 느낄 수 있는 경우는 자아가 분열되고 뒤바뀌면서 중복되는 현상인 도플갱어 현상을 경험하는 경우라고 프로이트는 설명했는데, 바로 자아(ich/I)를 분열하여 뒤바뀌고(er/he) 이를 다시 중복시키는(wir/we) 수사법을 프로이트가 논문에서 사용하고 있기 때문이다. 그 결과, 프로이트의 「언캐니」는 과학적 연구논문과 예술적 창작 작품 사이를 종횡하는 언캐니한 글이 되고 있음을 본고는 밝히고 있다.
더 나아가, 본고는 프로이트가 저자의 지적 감수성이라는 보다 포스트 모던한 방법론을 사용하고도 있다는 사실에 주목한다. 지적 감수성이란 감정이입을 통한 공감 능력을 말하며, 이는 미적 체험에서 특히나 중요한 역할을 한다. 따라서 프로이트는 언캐니의 대가 에.테.아. 호프만의 『모래 사나이』를 연구의 중심에 놓고 있기도 하다. 본고는 미적 체험이 어린 아이와 원시인 그리고 신경증 환자의 체험을 아우르는 체험을 제공한다는 사실을 프로이트의 「작가와 몽상」과 『토템과 터부』를 바탕으로 설명하고, 더 나아가 이렇게 모든 체험을 아울러 설명할 수 있는 정신 분석학이 무엇보다도 언캐니하다는 사실을 프로이트의 논증을 바탕으로 밝혀내고 있다.
어디선가 본 듯하고, 어쩐지 친숙한 듯도 하지만 동시에 불쾌하고 두렵게 만드는 언캐니한 감정은 경계가 불분명할 때 느껴지는 감정이다. 하지만 이 감정이 어린 아이와 원시인 그리고 신경증 환자의 정신세계에서 출발한다는 사실은 역으로 불분명한 경계가 확장될 수 있는 계기를 바로 언캐니한 감정이 마련한다고 이해할 수 있다. 어린 아이와 원시인 그리고 신경증 환자의 정신세계는 애니미즘과 생각의 전능성의 지배를 받는 철저히 나르시시즘적인 세계이므로, 이때 타자로 간주되는 것은 사실은 자아의 도플갱어를 상징하기 때문이다. 또한, 디지털 시대를 질주하는 오늘날 언캐니 개념은 다양한 학제 간 연구에서 특히나 유용하게 연구, 적용되고 있다. 디지털 세계에서는 무엇보다도 도플갱어가 다시 활성화되고 있다는 점에서 언캐니한 경험이 증가하기 때문일 것이다. 이러한 상황을 배경으로 본고는 좀 더 정확한 언캐니 개념의 이해를 돕고자 한다.

In his last novel, El arpa y la sombra (1979), Alejo Carpentier provides the reader with his literary testament through an apocryphal reconstruction of Christopher Columbus´ life and myth. Stemming from this historiographic excuse, the text maintains a parodic dialogue with both its author previous works and the literary/historiographic tradition it belongs to. On proposing the Cuban novelist a notion of history that not only questions hegemonic views, but also those previously expressed by himself, the Borgesian concept of the text as a palimpsest is taken to the extreme here. This article examines the metafictional component of the novel to international postmodernism based on Carpentier´s use of self-consciousness, historiographic revisionism, and the parody of the grand narratives and myths of origin.

Keywords: Alejo Carpentier, postmodernism, metafiction, historical revisionism

Lorsque l'on pense à la modernité littéraire, il nous vient généralement à l'esprit l'importance de la révolution baudelairienne, qui a modifié en profondeur la posture lyrique du poème ainsi que son rapport au réel. Dès lors, dans la deuxième partie du XIXè siècle, le langage littéraire s'est tourné de plus en plus en direction de modes de signification autres, centrés autour de principes fondamentalement autoréférentiels. Pour autant, la littérature moderne n'est pas uniquement l'apanage de la redéfinition d'une position poétique. Ce que nous essayons de montrer à travers cette étude, c'est avant tout que le roman se trouve lui aussi en pleine mutation. En effet, à l'image du texte poétique, il semble que le roman moderniste – dont nous nous appliquons à essayer de cerner au plus près le champ de développement – procède à la mise en place de tout un système de procédés à la fois stylistiques, structurels et poétiques, qui tendent à redéfinir le rapport du langage romanesque au réel. Nous partons ici de l'hypothèse que ce sont les différentes occurrences de la mise en abyme qui constituent autant de points d'ancrage de ces procédés. Ainsi, la mise en abyme posséderait une fonction unifiante qui en permettrait le plein développement. À travers un corpus composé de The Picture of Dorian Gray (1891), d'Oscar Wilde, des Gestes et opinions du docteur Faustroll, pataphysicien (1911) d'Alfred Jarry, et de A Confissão de Lúcio (1914), de Mário de Sá-Carneiro, nous nous proposons ici d'étudier en quoi la mise en abyme permet le plein développement des logiques attachées à la modernité au sein du corpus romanesque moderniste.

When we are thinking about literary modernity, the importance of baudelairian revolution usually come to mind, which had deeply changed the lyrical position of the poem and its connection with reality. Therefore, in the second part of the 19th century, literary language changed progressively its signification ways into new modes, more concentrated around autoreferential principles. However, modern literature is not the exclusive preserve of the redefinition of a poetic posture. What we are trying to demonstrate through this study, is that the novel of this period is involved in a decisive changing period too. Indeed, as the poetic text, it seems that the modernist novel – which we are trying to identify the clear area of development – proceeds to the establishment of a whole new stylistic, structural and poetical system, trying to redefine the link established between the novel and reality. Our main hypothesis is that all the different mise en abyme occurrences are anchor points for those processes. Thereby, mise en abyme would have an unifying function which would permit their full development. Through a corpus composed by Oscar Wilde's The Picture of Dorian Gray, Alfred Jarry's Gestes et opinions du docteur Faustroll, pataphysicien (1911), and Mário de Sá-Carneiro's A Confissão de Lúcio (1914), we intend to study to what extent mise en abyme permits the whole modernity logics and processes development within the modernist novel corpus.

Özet
Bu çalışmada, Fransızca anlamı “sonsuzluğa düşüş” olan ve dilimize “erken
anlatı” olarak çevrilen üstkurmaca tekniği “mise en abyme”in Orhan Pamuk’un
“Kara Kitap” adlı romanındaki kullanımı incelenecektir. Mise en abyme, Balzac
romanına karşı çıkarak postmodern romanın temellerini atan Yeni Romancıların,
Andre Gide’in romanlarından etkilenerek kullandığı bir üstkurmaca tekniğidir.
Andre Gide, bu tekniği oluştururken armalar bilimi “heraldik”ten etkilenmiştir. Bir
armanın içinde aynı armanın yer alması, tekniğin ilham kaynağı olmuştur. Bu şekilde,
iç kısımdaki armanın içinde de, daha içerdeki armanın içinde de yine aynı
arma yer alacak ve bakan kişilerde armanın sonsuza kadar kendi içinde yer aldığı
hissi uyandırılacaktır. Romanda, bir üstkurmaca tekniği olarak “mise en abyme”in
kullanım şekli ise şöyledir: Romanın ana konusu, romanın çeşitli yerlerinde küçük
hikâyeler şeklinde tekrar eder. Okur, okumakta olduğu romanın ana konusunun
oldukça benzerinin küçük bir hikâye halinde yine aynı romanın içinde yer aldığını
gördüğü zaman bir kafa karışıklığı yaşayacak; küçük hikâyede anlatılan olayın ana
konuya ne kadar benzediğini, bu hikâyenin neden anlatıldığını anlamaya çalışacak
ve metne yoğunlaşacaktır. Yazar da, belki, ana hikâyeye oldukça benzeyen küçük
hikâyede okurlara sahte ipuçları vererek onlara sürpriz bir son hazırlayacaktır.

Abstract
In this study, the usage of "mise en abyme", a technique of metafiction,
which means "falling into eternity" in French and translated as early narration, in
Orhan Pamuk's novel named "Black Book" is going to be analysed. Mise en abyme
is a metafictional technique, New Novalists who lay the foundation of post modern
novel by rising against the novel of Balzac, use by being influenced with Andre
Gide. Andre Gide was influenced with the science of arms, heraldic in the process
of creation of this technique. The technique of one arms is placed in another arms is
the inspiration point of the technique. Thus same arms will be both in the same
arms in the interior part and the interior beyond and in impressin of that arms is
placed inside of itself evermore will be aroused on the individuals looking. The
usage of "mise an abyme" as a technique of metafiction is as such: The main plot of
the novel is repeated as short little stories in several parts of the novel. The reader
is going to experience a confusion by the time he sees that quite similar of the main
them of the novel he has been reading is takes part in tha same novel again as in a
form of little story, then he is going to try to understand how the scenes has been
told is very much alike to the main theme and why this story has been told and he
is going to concentrate on the text. And maybe the author will give readers counterfeit
clues in the little stories similar to the main story and prepare them a surprise
ending.

ESCALAS ALTERADAS
La manipulación de la escala como detonante del proceso de diseño

Escalas alteradas está centrada en la reflexión en torno a uno de los atributos fundamentales de la forma y el espacio como lo es la escala, y en particular en su manipulación consciente como detonante o catalizador de los procesos de proyecto, aplicables fundamentalmente en la arquitectura, pero también en el diseño, el arte o incluso en las ciencias. Se propone por lo tanto como investigación en torno al pensamiento proyectual, utilizando como marco de restricción la manipulación de un atributo estratégicamente seleccionado como la escala. La escala es una cualidad genéricamente vinculante. Establece permanentemente relaciones cambiantes. Su relatividad se espeja en la de las tomas de decisión de los procesos de ideación. La escala es, en esencia, un atributo basado en la relatividad dimensional que, como artificio analítico, tiene la capacidad única de hacer emerger determinadas visiones particulares de la realidad. La alteración de la escala opera muchas veces como un eficiente recurso para cuestionar el conjunto de variables y atributos propios del proyecto de arquitectura. La mirada se renueva a partir de una reestructuración de las condiciones de observación, provocando intencionadamente una situación de extrañamiento en el objeto de nuestro diseño. Modificar sensiblemente la percepción de un atributo como la escala con la cual es percibida una entidad volumétrica-espacial, equivale a cambiar por completo la relación con el observador, con su entorno, y el rol que en él desempeñaba. La consistencia original se pone así en tela de juicio y, en este contexto, la modificación de la escala funciona como mecanismo de creación, e hipótesis operativa de evolución del proceso de diseño. El número de testimonios acerca de la manipulación de la escala en los procesos de diseño se ha demostrado abrumador y la red de relaciones, de ecos y resonancias que entre ellos se establece es infinita. Escalas alteradas organiza su reflexión en dos capítulos principales que privilegian la aproximación simultánea y diversa a la manipulación escalar, proyectada desde la mirada de disciplinas cercanas y distantes a la arquitectónica. El primer módulo identifica y reflexiona acerca de algunos conceptos fundantes de la temática propuesta. El segundo analiza el rol de la manipulación de la escala en la lógica de pensamiento proyectual de algunos (re)conocidos autores. La comunicación de la investigación se organiza en estratos paralelos aunque vinculados de manera múltiple. La progresión lineal, desde la reflexión más abstracta hasta la estructuración del material documental concreto, es transversada por inflexiones derivadas de lógicas propias del pensamiento proyectual y por un discurso apoyado fuertemente en la acústica visual de una importante selección de imágenes. Por último cabe acotar que el modo en el cual la reflexión se despliega debe también entenderse como un espejo de las cualidades lúdicas esenciales del tema propuesto, y como una invitación al disfrute de la actividad de proyecto.

ALTERED SCALING
The manipulation of scale as a starting point of the design process

Altered Scaling is centered in the thoughts around one of the main attributes of form and space, the scale, and mainly in its conscious manipulation as a starting point or catalyst of design processes, mainly applied to architecture, but also to the fields of design, art or science. Scale manipulation is therefore proposed as an investigation about project thinking, using the manipulation of such strategically chosen attribute as a restriction frame. Scale is normally a binding attribute. It permanently establishes changing relationships. Its relativity mirrors the decision making process during creation processes. Scale is, essentially, an attribute based in the dimensional relativity that, as an analytic artifice, holds the unique capacity of arising other particular views of reality. Scale altering many times works as an effective resource to question the group of variables and attributes of the architecture project itself. The view is renewed from the restructuring of the observation conditions, intentionally causing a sensation of estrangement in the object of our design. To ostensibly modify the perception of an attribute such as scale, that allows to perceive a spatial-volumetric entity, equals to a complete alteration of the relation with the observer, its surroundings, and the role he used to play. The original consistency is then questioned and, in that context, the alteration of scale operates as a mechanism of creation, and operative hypothesis of the evolution of the design process. The number of testimonies on the manipulation of scale in the design processes proved to be overwhelming, and the net of relations, echoes and resonances that could be established among them is infinite. Altered Scaling is organized in two main chapters that privilege the simultaneous and diverse approximation of scalar manipulation, projected from the view from architecture’s allied and foreign disciplines. The first module identifies and develops some foundational concepts of the proposed theme. The second analyzes the role of the scale manipulation in the project thinking logic of some well-known authors. The communication of the research is organized in parallel layers yet correlated in multiple ways. The linear progression, from the very abstract reflection to the structuration of the documented material, is transversed by inflexions derived from specific logics of architectural thinking and by a discourse strongly supported in the visual acoustics of an important selection of images. Finally, it is worth mentioning that the ways in which the study is presented should also be understood as a mirror of the essential ludic qualities of the proposed research topic, and as an invitation to enjoy the design process.

Masters Thesis for the University of Georgia:

This study examines the bizarre account of the mutiny of the Usipi in Tacitus’ Agricola. It argues that this centrally placed, ostensible digression actually functions as a mise en abyme for the work. Just as the Agricola presents its readers with a complex series of generic and thematic elements, so too does the mutiny narrative contain all of these features and reflect them in a single episode: historiography and the commemoration of great deeds, anti-Domitianic rhetoric and the central theme of liberty versus servitude, ethnography and foreign interactions, and circumnavigation as a symbol for the conquest of Britain. Moreover, by taking these elements to various extremes, the mutiny of the Usipi exhibits the tendency of the mise en abyme to distort the work that it reflects.

"Serious games for learning, used in the professional world, link both game and work practices. This issue concerns designers as well as training managers and human resources managers, all interested in transferring and evaluating professional skills. But serious games, simulating interpersonal relationships through notions of fiction, immersion, realism or referentiality, are also reactivating some problems encountered by documentary films.

Thesis defended: This thesis suggests that the theory and practice of documentary cinema can serve the educational intent of the designer of serious game to facilitate the acquisition of new skills by the user.

Objectives: On the cognitive level, the purpose is to explore the learning related to confrontation of viewpoints (socio- cognitive conflict) through serious game on a single-player mode. The associated communicative purpose is to explain the construction of an interlocutor, a fictitious or a real one, who is able to oppose his point of view to the user. In order to meet these objectives, the sociocultural and historical processes of documentary filmmaking will advise different discursive and relational forms of the serious game.

Method: 4 configurations of the same serious game EHPADSG were tested in a quasi-experimental plan over a period of 5 months, with 250 users from 10 medical institutions. Our investigation is based on self-administered questionnaires and on an activity tracking system. To the statistical treatment arisen from the investigation, 5 focus groups, 3 individual interviews and observational reports are added.

Main results: First, a series of theoretical transpositions supports the analogy between serious games and documentary filmmaking. On the empirical side, our investigation confirms this analogy by pointing out that the use of serious games in a professional context is favorable to engage a documentarizing reading. Second, the comparison between the 4 configurations of the game EHPAGSG demonstrates the significant influence of two narrative figures (mise en abyme and metalepsis) on the increase of "documentarity" and viewpoints confrontation. Finally, our research leads to a "narrato-cognitive grammar" allowing designers to move from a documented to a documentary writing: the targeted competency is no longer confined to fiction but extended by reflexivity to the real enunciators."

This chapter casts a critical eye on various classifications of reflexivity that have been proposed by film and media scholars over a number of decades. These center on the reflexive content of films, their self-referential communicative structures and functions, and intended effects of reflexiveness on spectators. In this context I differentiate (self-)reflexivity and related terms/concepts—metafiction; metacinema, mise en abyme, allusion and intertextuality, self-conscious style and narration—from a twenty-first century standpoint, and outline an alternative classification of reflexive forms in celluloid and digital cinema. The latter are distinct from specific reflexive devices (e.g., the film within the film, direct address, display of the cinematographic “apparatus”) and general modes (e.g., political, formal, ludic). As illustrated through concrete examples, the five transmedial forms posited—environmental; trans-art and intermedial; generic; creator-centered; performance-based—typically occur in complex combinations. Their identification, and the new conception of cinematic reflexivity this typology represents, aids in the analysis and interpretation of reflexive and metacinematic films and styles.

David Lynch is known for its surrealistic and bizarre spectacles in his films in and out of America which puzzle and disturb the viewers and yet force them to ponder on the underlying mystery and meaning of them. Multilayered and disjointed narratives of his films strike most of the viewers to get lost in his magical world or Lynchland. In order to fully apprehend his convoluted cinematic narrative, this article aims at unfolding the different layers of his postmodern award-winning film, Mulholland Drive (2001) and INLAND EMPIRE (2006). To achieve this goal, Brian McHale's thoughts and notions associated with postmodern fiction's characteristic dealing with foregrounding ontological narratives are chosen and used in this research. It is conclude that Mulholland Drive's and INLAND EMPIRE's embedded narratives function as a reflection of the primary narrative or diegetic leading to the construction of abysmal worlds.

Il mio studio si propone di mettere in luce l'importanza dei modelli rappresentativi
- a scopo euristico, cioè a scopo di conoscenza della realtà, 
- e a scopo epistemologico di categorizzazione e costruzione del pensiero e di oggettivazione della realtà.
Traendo queste rappresentazioni
- sia dalla letteratura
- sia dalle arti figurative,
lo scopo traduttologico è stato quello di mostrare che entrambe sono in grado di fornirci un modello rappresentativo adeguato a cogliere descrittivamente, e non prescrittivamente, le caratteristiche del processo di traduzione.
Ho posto l'attenzione sul modo in cui scrittura letteraria e pittura  ci aiutano a riflettere sulla traduzione attraverso le figure e le metafore di traduzione.
Il mio compito è stato guidato nel particolare dalla poetica rintracciata nelle opere
- di Nicole Brossard, scrittrice e traduttrice femminista post-modernista quebbequese, di cui ho analizzato il racconto di traduzione Le Désert mauve e il romanzo Picture Theory,
- e di René Magritte, famoso pittore surrealista del Novecento.
Le opere sono state scelte sulla base del comune interesse a esplorare i margini della rappresentazione tramite metafore che riconfigurano la realtà.
Il punto di vista traduttologico adottato è tratto da studiosi come
- Antoine Berman
- Silvana Borutti
- Henri Meschonnic
- Emilio Mattioli
- Paul Ricoeur
- Jean-René Ladmiral
- e il mio relatore Antonio Lavieri.
Questo approccio teorico alla traduzione, ammettendo l'inadeguatezza di una metafora del «trasporto» del senso da una lingua all’altra, mostra che non è funzionale chiedersi cos’è la traduzione, con un approccio ontologico e normativo, ma piuttosto come si traduce, adottando un punto di vista fenomenologico (Mattioli), storico (Borutti), pragmatico e metarifessivo (Berman), contribuendo alla formazione di una pratica teorica del tradurre(Meshonnic).
L'attenzione si sposta allora dalla teoria pura alla pratica, che rivela un prezioso contributo verso la traduzione, senza perdere però il suo legame con la teoria, e sfruttando anzi la sua potenzialità di « diventare teoria ».
Per quanto riguarda il rapporto produttivo tra letteratura e traduzione
posso citare come esempio dei modelli rappresentativi della traduzione in Brossard la strategia della  mise en abyme presente nel DM.
- ( mod. rappr.in sé e nella fabula) Questo racconto di traduzione vede una concreta rappresentazione di un emboîtement di libri, copertine, numerazioni, editori e autori, che Lavieri paragona alla struttura di un pollittico.
In particolare questo gioco di « libro dentro il libro » mette in scena, all'interno del racconto di Brossard, un'opera originaria di un'autrice fizionale, la traduzione che ne fa una traduttrice fizionale, e una sezione commentativa sull'esperienza di traduzione.
- ( met.trad.) Il gioco di incastri vede un testo originario e una traduzione posti in un continuum paritetico, a uno stesso livello gerarchico, per ribadire che non c'è differenza di valore fra testo originario e traduzione, fra finzione e realtà, lasciando così da parte ogni trasparenza del traduttore, ogni tentativo di fedeltà irraggiungibile, ogni tradimento alla sacralità del messaggio autoriale.
- (cft. pittura) La mise en abyme è una strategia tanto cara ai surrealisti nel motivo del "quadro dentro il quadro" e viene usata da Magritte in dipinti come La condition humaine, La fenêtre, Les signes du soir, Nocturne.
Un esempio, invece, dell’importanza sia epistemologica che traduttiva di un modello rappresentativo della realtà che mette in luce il modo fizionale che abbiamo di categorizzare la realtà in generale e la traduzione nel particolare, si trova nel romanzo brossardiano PT, seconda opera analizzata, ed è l’ologramma.
- (mod rappr nella fabula e in sé) La narratrice, per rivivere la realtà di una notte di amore lesbico, permeabile a un senso soggettivo, rinnovato, in movimento costante e mai oggettivamente interpretabile, con una donna capace di oltrepassare la frontiera del significato univoco e di vedere più sfumature allo stesso tempo, evoca la creazione di un ologramma dell’amata, attraverso l'unione del ricordo di quella notte e dell'esperienza di scrittura che le permette di evocarne la rappresentazione nel suo presente.
Questa fabula sperimentale corrisponde col meccanismo di creazione dell'ologramma per cui un fascio luminoso di riferimento si unisce a un fascio che riflette l'oggetto, su uno schermo che crea l’immagine tridimensionale.
- (metaf epistemol) La medesima struttura, secondo gli studi di Karl Pribram, corrisponde col funzionamento del cervello umano: la nostra memoria si forma tramite ologrammi, cioè rappresentazioni degli oggetti esperiti. Gli impulsi nervosi in entrata delle nuove esperienze interagiscono con gli impulsi nervosi preesistenti nel ricordo, producendo figure d'onda interferente e cambiamenti di coscienza.
- (met trad) La metafora di traduzione espressa dall’ologramma può essere spiegata attraverso una metafora pittorica.
• La prospettiva piatta e bidimensionale della scena d’amore scritta sulla pagina del libro, come quella di un quadro rinascimentale, prevede attraverso un unico punto di fuga, un unico punto di osservazione, deciso a priori dall’autore e non modificabile.
• Allo stesso modo il rapporto binario tra un autore e la sua opera, prevede una sola interpretazione psicologico-autoriale, senza considerare una terza dimensione di un lettore/traduttore.

• Al contrario la prospettiva tridimensionale dell’ologramma prevede un punto di osservazione vario e modificabile, non deciso a priori dall’autore e fisso una volta per tutte, ma lasciato alla libera soggettiva scelta di un osservatore in movimento a tutto tondo.
• Allo stesso modo una visione tridimensionale dell’opera letteraria prevede un rapporto a tre fra autore- opera e lettore/traduttore, prevede un punto di vista sul discorso legato alla scelta soggettiva del traduttore tra vari significati possibili, mai fisso, ma sempre in movimento, perché ogni lettura è interpretazione soggettiva.
Per quanto riguarda il rapporto produttivo tra pittura e traduzione
posso citare come esempio dei modelli rappresentativi della traduzione in Magritte la strategia pittorico-discorsiva della cornice legata alla tecnica del trompe-l'œil.

Anche Magritte usa la prospettiva bidimensionale, ma per costruire illusioni ottiche e trabocchetti.
- (mod. rappr.) La serie di dipinti La condition humaine rappresenta una tela senza cornice, con riempimento paesaggistico, posta sopra un cavalletto, davanti a una finestra che mostra un paesaggio in perfetto continuum con il paesaggio della tela.
- (met. Trad.) Il gioco di cornici mancanti, l'ambiguità fra il fuori e il dentro del quadro, il gioco di soglie in cui l'ipotetica realtà di un paesaggio è posta in continuità con la finzione della “tela dentro la tela”, il dubbio su cosa sia realtà e cosa sia finzione sono sormontati dalla nuova consapevolezza che sia la tela nella tela, sia il paesaggio, come supposta realtà, sono fizionali, in quanto parti paritarie dell' opera pittorica di Magritte – allo stesso modo in cui sono paritari il testo originale (source) e la traduzione(cible), le pratiche traduttive e la traduttologia. La cornice come la traduzione indaga i margini della rappresentazione.
Per citare Magritte “bisogna che la pittura serva ad altro che alla pittura ».

Le mie conclusioni guardano alla teoria che diventa figura, intesa sia come sinonimo di linguaggio figurato, rappresentazione e metafora di traduzione nella scrittura letteraria, sia in senso stretto come immagine nell'arte pittorica. Guardano viceversa alla figura che diventa teoria, un nuovo modo di pensare alla traduzione e attraverso essa ripensare il nostro rapporto con la realtà.

La raccolta poetica di Juan Gelman costruita sulla mistica dei poeti andalusi ebrei sefarditi (Rayuela Edizioni, Milano, 2011 - trad. di Laura Branchini - segnalata sia al premio Monselice sia  all'Achille Marazza per l'alta qualità del suo lavoro).

In che modo un narratore ricorre a quel genere di materiale di scena, articolato e composito, che chiamiamo ‘città’? Per fare un caso specifico, in che modo e con quali obiettivi la pagina dello scrittore Carlo Emilio Gadda – stilisticamente satura, e all’apparenza provvista di scarsa virtù diegetica – può determinare se stessa in chiave urbana? Sulla scorta di queste domande, nelle pagine che seguono si esamina "L’Adalgisa. Disegni milanesi", singolare manufatto testuale che si colloca al confine tra due tipici contenitori di forme narrative. Senza essere ancora un romanzo, infatti, "L’Adalgisa" non è più una raccolta di racconti.

How does a narrator use that scenic, articulate and composite material that we call ‘city’? To give an example, how and to what purpose is Carlo Emilio Gadda’s page – stylistically brimful, and apparently scarcely narrative – named after a city (Milano)? Based on similar questions, this article explores "L’Adalgisa. Disegni milanesi", a peculiar textual product that is located between two typical containers of narrative forms. Without being a novel, indeed, "L’Adalgisa" is no longer a collection of short stories.

This study contributes to the arguments of mise-en-abyme and meta-narratives in literature on the issue of production of a text, story, novel and the act of writing itself. The research question is how the characters in Orhan Pamuk’s postmodern fiction The Black Book (1990) being references to each other reflect the mise-en-abyme structure of the novel. Characters are not mirror images but they are the copies of non-existing originals. Various meanings of the novel lay in the authorship challenge in a meta-level. Transformation of identities within infinitely distorted mirror reflections will be dealt through the structuralist frames of Jean Baudrillard’s simulacrum and Roland Barthes’ concept of the death of the author in connection to Lucien Dällenbach’s explanation on the technique of mise-en-abyme.

Toute la difficulté du mode production scripturale du procédé primitif de Raymond Roussel pourrait se résumer à la quête de solutions narratives et matérielles assez économes de moyens qui réussissent la compatibilité, sur une même chaîne narrative et dans le même espace textuel, des univers sémantiques et fictionnels que chacune des matrices, saisie individuellement, projette. La vingtaine de textes à procédé primitif offrent une sorte d’éventail des formules narratives et des agencements sémantiques et matériels aptes à résoudre efficacement ce problème.  Parmi les solutions narratives  le dédoublement fictionnel occupe une place privilégiée.  Mais nous 
verrons aussi souvent les objets changer de fonction, les personnages se déguiser ou représentés sur des dessins, des points éloignés dans le texte reprendre une même structure, dans un même récit les formes de représentation se multiplier (théâtre, tableaux, histoires, poèmes...), comme si l’exploration des rapports entre la forme et le sens rendait spécialement difficile la mise en place de fictions homogènes. Toutes ces formes de complexification et les rapports que les représentations dédoublées entretiennent seront, bien entendu, étroitement liées d’une part la distance sémantique qui sépare les phrases polaires, et d’autre part au degré de complémentarité sémantique des termes dont elles sont composées.

4e de couverture:
Qu'est-ce qu'une « mise en abyme » et en quoi consiste sa puissance de jeu et de réflexion ? Dans une image ou un texte, sait-on toujours déterminer où commence et où s'achève cet enchâssement étonnant, voire vertigineux, de représentations à l'intérieur d'autres représentations ? Quelle est la place, la fonction et la portée de la mise en abyme au sein de la grande famille des phénomènes réflexifs ? Jusqu'où doit-on différencier les approches de la mise en abyme dans tel ou tel art ou dans tel ou tel média : dans la littérature ou dans le cinéma, dans la bande dessinée ou au sein du jeu vidéo ?
Pour répondre à ces questions, l'ouvrage collectif-inédit dans sa vocation ouvertement interdisciplinaire-croise non seulement les objets d'étude mais aussi les méthodes d'analyse. À travers la diversité des points de vue, se révèle alors l'idée rectrice selon laquelle la mise en abyme semble guetter toute représentation et devient par là même un principe incontournable de notre expérience et de notre intelligence de nous-mêmes comme du monde.

Modern and postmodern narrative practices offer a wide range of devices providing the intertextual interaction within narrative. A special case of this interaction is the discursive literary practice which creates an effect of interior reduplication in narrative structure, well known as mise en abyme in Western literary criticism and heraldic construction (M. Yampolskiy) or text-within-a-text (Yu. Lotman) in Russian philology. Mise en abyme is guided by the principle of self-reflexivity in the text: due to this device narrative can reproduce within itself the elements of the story (motives, events, diegetic levels, etc.) or the discourse (the process of its own creation or reception). Despite the fact that mise en abyme evokes a special interest in present-day rhetorical narratology, the figure is practically not studied in the aspect of intertextuality. It can be particularly explained by the fact that, firstly, “mise en abyme – theory” is focused on structural and/or metafictional aspects, secondly, that the interior reduplication is traditionally regarded as a special type of narrative structure. As a result, the links between reduplication and other texts are not taken into consideration. However, all through the XX century the mise en abyme as a principle of narrative and compositional organization of text not only trans- forms classical narrative model, but also refers to precedent texts by way of reinforcement the expressiveness. In the postmodern literature intertextual potential of mise en abyme draws to a head and begins to be used as a specific way of significance. Postmodern literary tradition gives a great number of examples of self-reflexivity in the texts provided both by the mise en abyme structure and by references to precedent texts (e.g. novels by D. Lessing, M. Cunningham, D.M.Thomas, J.R.Fowles, etc.). The article studies the phenomenon of intertextuality of the mise en abyme – figure and for this purpose it is introduced the notion of the intertextual reduplication. It is proposed to define the intertextual reduplication as a narrative structure, in which an embedding fragment refers both to the embedding narrative and to the other text. The article gives the typology of mises en abyme according to the intertextual criterion. Reduplications are divided into “in-textual” and “intertextual reduplications” which are subdivided in their turn into “self-reduplications” and “reduplications of other texts”. The semiotic mechanism of the last type is detailed in the analysis of “The Hours” by M. Cunningham (1999).

The article refers to the problem of representing traumatic experience by means of mise en abyme narrative figure. A methodology for this study was formed at the intersection of rhetorical narratology, cognitive narratology, trauma studies and literary theory. Mise en abyme, specially known as a device creating the self-reflexivity in text, gets new functional impulse in the postmodernist fiction. In particularly, authors resort to the mise en abyme in order to represent individual and collective trauma in narrative. For what purposes this figure is used in the postmodern literary discourse? In which way postmodern narrative practices involve and interpret the historical context of the 20 th century? In this article, we develop the assumption that there exist several special models of mise en abyme, one of which aims to reflect the trauma in narrative. Some relevant characteristics of this model are described and illustrated on the example of " The White Hotel " by D.M. Thomas (1981), they are compositional structure; semantic relations; intermedial and modal realization of the mise en abyme.

Tesi magistrale di teoria del cinema.
Un approfondimento del concetto di riflessività e di meta-linguaggio nel cinema, prendendo come casi di studio la figura di Don Chisciotte nella letteratura e nelle sue due più emblematiche trasposizioni cinematografiche, quella di Orson Welles e la recente versione di Terry Gilliam.

INDICE
Introduzione
Capitolo 1: La Riflessività
Il concetto di riflessività
1.2 Riflessività e arte
1.3 Evoluzione nell’arte
Capitolo 2: Cinema e riflessività
2.1 Linguaggio, Testualità e ruolo del fruitore
2.2 Le Riflessività e il Metacinema
2.3 Riflessività filmica e cinematografica
2.4 La Mise En Abyme
Capitolo 3: dal cinema classico al contemporaneo
3.1 Il rapporto tra riflessività e narrazione nel cinema
3.2 La convergenza dei linguaggi nel post-moderno
3.3 Il cinema contemporaneo
Capitolo 4: Terry Gilliam e il Don Chisciotte
4.1 Il metacinema di Gilliam
4.2 Don Chisciotte da Cervantes a Welles
4.3 L’uomo che uccise Don Chisciotte
Conclusioni
Bibliografia
Filmografia

The paper  is  an  attempt  at  drawing  the  relationships  between  realism  and  mise  en  abyme. Starting with Artur Sandauer’s concept, who understood the development of mise en abyme poetics as a result of the demise of realist ideas, the text discusses the connections that take place between those seemingly contradictory tendencies in the history of literature, referring to philosophy and linguistics. The proposed theses are supported by an interpretation of the poem  “Kochana  liryko”  by  Tomasz  Pułka  which  shows  how  modern  Polish  poetry  positions  itself against the possibility to experience reality in art and the very definition of art.

O mise en abyme em "O espelho", de Machado de Assis Cássia Macieira UEMG Universidade do Estado de MG É inelutável criar analogias entre obras de arte, e, particularmente provocativo, quando se tem o mesmo objeto privilegiado em narrativas distintas, e por dois grandes autores, como Machado de Assis e Guimarães Rosa. É o que ocorre nos contos homônimos "O espelho", nos quais se pode, entre outras possibilidades, evocar os conceitos de "artifício", "semelhança", "dualidade" e "poética". Mas, além disso, "O espelho" de Machado traz algo de vertiginoso e encantador; o efeito especular-o mise en abyme-, o mesmo artifício que o pintor holandês Jan van Eyck e o espanhol Velásquez usaram em suas pinturas. O espelho, superfície refratora que, às vezes, mascara, engana e distorce a realidade, é, também, obrigatoriamente, um objeto presente em narrativas fantásticas, nas quais, toda "aparição de um elemento sobrenatural é acompanhada pela introdução paralela de um elemento pertencente ao domínio do olhar. São em particular os óculos e o espelho que permitem penetrar no universo maravilhoso". 1 Machado e Rosa, cientes desse objeto atribuído de dualidade, deixaram-se contaminar. O espelho exerceu fascínio, no século XIX, em cientistas, escritores, filósofos e pintores. E é nesse século que o Impressionismo reivindica a verdade objetiva da perspectiva renascentista e, ao mesmo tempo, rivaliza com a fotografia, como o grande representador de imagens da natureza. Para os impressionistas, a fotografia era um engodo, uma vez que a pintura não precisava de instrumento, bastava olhar para ela. 1 TODOROV, Tzvetan. Introdução à literatura fantástica, p. 229.

La « réflexivité » est au centre de toutes les disciplines des sciences humaines, bien que traitée à travers une myriade d’approches et même de dénominations. Cette étude en deux parties se propose la double tâche de montrer, premièrement, qu’une question générale de la réflexivité existe et est incontournable pour rendre compte des faits de sens ; deuxièmement, qu’un certain nombre de distinguos s’impose au sein des phénomènes réflexifs. Un cadre à la fois unique et varié est proposé, où l’on discute plusieurs approches relevant de la linguistique, la philosophie du langage, la sémiotique, la sociologie, l’esthétique et les études des arts, autour de notions telles que signification, représentation, énonciation, comportement, image. Sont mises en cause, entre autres, les théories du « méta- » et les approches figurales, ainsi qu’un attachement abusif aux marques de l’énonciation et à la notion d’autoréflexivité.

Jorge Luis Borges had a habit for rewriting facts, or reading them arbitrarily
in his own writings. This is an element of his style that is now known as
the “Borgesian hoax.” One of the best-known examples of this is Borges’ idea of the six hundred and second night of the Arabian Nights. This article
discusses an example of the Borgesian hoax related to the six hundred and
second night that until now has remained unexplored, namely, Borges’ use
of an apocryphal publication date for Hamlet and Don Quixote, in the year
1602. Furthermore, the article sets to explore a conjecture that could be used as the basis for future research: the possibility that Borges may have deliberately chosen the year 1602 to reference Night 602 following an aesthetic principle for brevity that he derived from his association with the Spanish Ultraist movement.

Mise en abyme, according to Gregory Minissale's definition, is "a process of representation within representation". It is a narrative technique characterised by eternal extension of repetitive images. Under Paul Ricoeur's framework of narrative-metaphor analogy, mise en abyme can be regarded not as a blank intertextuality, but as an allegorical infinity structurally performed by textual arrangement. Following his discussion, it is important to explore the functions of allegory from the connection of text and reality to the integration of different elements of text, such as plots, rhetoric usage, ideas, personal characters, etc. As both narrative and the reality imitated by narrative are bound with time, the temporality of mise en abyme enables narrative to be more internally referable. This referability is significant to understand how narrative constitutes reader reception. Structured with this central idea, this paper examines Nietzsche's "eternal recurrence" mentioned in Milan Kundera's novel The Unbearable Lightness of Being and the Sisyphusian life mode in the enclosed communist countryside shown in Ah Cheng's novella "The King of Children".

Guy Maddin is recognized as one of the most enigmatic filmmakers working today and is often compared (ironically, in reductive terms) to Luis Bunuel and David Lynch. Maddin’s films are complex and expound the affective dimensions of surrealism in terms that are not yet well-rehearsed academically. Comparisons of Maddin to other filmmakers will always be found wanting. That being said, his films do evoke the photogenic energy of Abel Gance and Maddin has also made remarks that he was guided early on by Josef von Sternberg. There is a cornucopia of inspiration ever-present in Maddin’s oeuvre. Once this encyclopedic referential quality of Maddin’s films is accepted on its own terms, the notion of categorizing his work as kitsch or camp becomes absurd. Maddin is a mad scientist in the cinematic laboratory (a Docteur Tube, if you will), always working in experimental stages, always inventing – always theorizing. For Maddin, nothing is complete and his work will always be haunted by the ghosts of what-might-have-been – the experimental failures that never were because a formula was achieved and the trials moved on. The absurd of Guy Maddin’s work lies in the fact that what is presented could have been presented a thousand different ways. The tension of Maddin presenting merely one way is played out through juxtapositions in the narrative and editing giving rise to a sense of absurdity. The absurd is an affective reaction by audiences who must disavow experiencing a Maddin film as the myriad of narratives that it really is.

Biblical narrative employs various kinds of repetition and analogy, and this work concerns the specific device called the mise-en-abyme. A mise-en-abyme is a device in which the part duplicates the whole, as in the play within the play in Shakespeare's Hamlet. Genesis 38, 1 Samuel 25, and 1 Kings 13 are examples of mise-en-abyme within the narratives in which they occur. The first chapter lays out the theory of the mise-en-abyme in some detail, and each of the following chapters argues that the biblical passages reduplicate the narratives in which they are embedded. Scholars have noted that each of these passages seems to be a distraction from the main story line in which they appear, but this is an expected feature os a mise-en-abyme. The conclusion correlates the biblical evidence with the wider theory of the mise-en-abyme.

"El discurso cinematográfico no ha dejado de luchar por adaptarse y competir con las pantallas rivales que le han surgido con la revolución digital, lo cual ha transformado su propia textura. Podemos clasificar estas transformaciones en dos grandes órdenes. Por un lado, la puesta en escena y la propia concepción del raccord han dado lugar a lo que denominaremos hiperencuadre, en el que la pantalla fílmica se ofrece como receptáculo de todas las pantallas con las que rivaliza (ordenador, vídeos de vigilancia, imágines de satélite, etc.). Por otro lado, el cine posclásico opta por la deconstrucción de la linealidad narrativa y el despliegue de distintas tramas y niveles de acción y representación que nos llevan a la noción de hiperrelato

The film discourse has constantly fought to adapt and struggle with the competitor screens that have arisen with the digital revolution, which has transformed its own texture. We can sort these transformations in two large kinds. On the one hand, the staging and conception of the raccord have given rise to what we'll denominate hyperframe, in which the cinematic screen is being offered as enclosure of all the screens that contends with (computer, video surveillance, satellite images, etc. ). On the other hand, the cinema postclassic chooses the deconstruction of the narrative linearity and the deployment of different plots and levels of action and representation that lead us to the notion of hipernarration"

Cette étude consiste à analyser l'intertexte des Mille et une nuits dans les trois romans de Ben Jelloun : La prière de l'absent, L'enfant de sable et La nuit sacrée et d'en relever les enjeux. L'intertexte explicite consiste dans l'utilisation de la structure en abyme, où le texte ne cesse de se réfléchir et de se répéter,  les récits s'emboîtent également les uns dans les autres comme les contes des Nuits. Dans les romans de Ben Jelloun, les conteurs s'organisent en halqa prenant successivement la parole, le conteur pourrait ainsi devenir narrataire et vice versa. L'intertexte est également implicite où Ben Jelloun ne cesse d'emprunter le style contique facile et simple des Mille et une nuits, des métaphores des Nuits jalonnent son œuvre : le corps de la femme, dans L'enfant de sable, à la fois objet de désir et d'incarcération nous rappelle les corps des reines persécutées dans le récit-cadre des Nuits. Ben Jelloun emprunte aux Mille et une nuits l'onomastique de personnages clés, Schéhérazade, Sindbad et Tawaddud jalonnent la trilogie. Il contextualise l'intertexte au contexte sociopolitique maghrébin afin de déconstruire les fondements du régime patriarcal, les doxas et les habitudes quotidiennes, le regard de l'homme envers la femme. La valeur interculturelle du livre des Nuits, construit au fil du temps et en traversant plusieurs civilisations, meilleur exemple de passation de cultures, a imprégner l'auteur marocain, qui devient à son tour passeur de cultures.

How is a “just war” defined? Don Quijote appeals to reason, saying that none of the five reasons for taking up arms apply in this case. He goes even further, appealing to Christian morality, in particular, Matthew 5.44, which Cervantes cited in Latin in the prologue to part one: “taking unjust revenge, for there’s no such thing as just revenge, goes directly against the holy law that we profess, according to which we are commanded to do good to our enemies and to love those who hate us.”

Este estudo propõe investigar aspectos autorreferenciais presentes na produção cinematográfica e televisual de David Lynch, realizador frequentemente associado à noção de complexidade narrativa. Para tanto, foram destacados para análise a série Twin Peaks (ABC, 1990-91) e o filme Twin Peaks, Fire Walk With Me (1992). Embora sejam de naturezas distintas (televisual e cinematográfica), tais obras compreendem um único universo diegético, estabelecendo entre si uma relação de complementação e expansão narrativa. A partir de uma análise narratológica dessas obras, busca-se contribuir para a investigação da complexidade narrativa audiovisual, especialmente em seus aspectos autorreferênciais e em seus desdobramentos na poética narrativa lynchiana.

Dans le domaine cinématographique, la métaphore du miroir trouve dans les mots de Maurice Merleau-Ponty l’un des plus précieux soutiens herméneutiques, surtout en ce qui concerne l’explicitation de la relation « chiasmatique » des individus avec eux-mêmes et avec le monde autour d’eux. L’image cinématographique nous permet de déchiffrer et de prélever, comme si on était face à un miroir, les individus et leurs modes d’agir. Mais le cinéma n’est pas que l’espace de la duplication par lequel le spectateur prend conscience de sa propre subjectivité et de son corps en tant qu’objet ; la métaphore spéculaire met également en avant certains traits de l’échange transtextuel et des mécanismes qui lui sont sous-jacents, tout en diffusant ses propres capacités dioptriques sur un plan dialogique, dans un jeu de renvois et reflets autotextuels assez complexe. J’analyserai ici le phénomène de l’autocitation cinématographique en m’appuyant sur les principaux chapitres de la filmographie de João César Monteiro (1939-2003), dont l’oeuvre se caractérise par la pratique systématique des différentes stratégies appartenant au domaine de l’autoréflexivité. En ce qui concerne l’étude des occurrences autoréférentielles, j’identifierai plusieurs sousarticulations intertextuelles, soulignant la mise en abyme et ses modalités réflexives spécifiques. En effet, le but de cet article est de faire une analyse sémiotique des différentes stratégies par lesquelles l’autoréflexivité se manifeste, afin que je puisse délimiter une casuistique sommaire de ses manifestations filmiques, essayant de dévoiler la duplicité, les stratifications sémantiques et la réversibilité spéculaire de l’image autoréférentielle qui se voit soi-même tandis qu’elle voit autre chose.