Les mondes fictionnels de W : une approche intermédiale des interactions entre réel et virtuel dans un drama coréen fantastique by Suk-Hee Joo

“…This struggle between creator and creature is being addressed in the second section on a metafictional level, by combining the analysis of key scenes of the drama and the reading of quotes by its celebrated screenwriter. …”
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Myths of Violence and Female Storytelling in Margaret Atwood’s The Handmaid’s Tale and Kate Atkinson’s Human Croquet by Trivellini, Samanta

“…On the other hand, Atkinson’s Human Croquet is a metafictional family saga where Ovidian imagery, fairy tales and Shakespearean texts shape throughout the hyperliterate narrator’s vision of the world, leaving her (and the reader) with a sense of inescapable and at times threatening déjà-vu. …”
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A Tale within a Tale: Mise en Abyme Adaptations of the Twenty-first Century by Željka Flegar

“…Generally defined as spin-offs that are otherwise a part of a complex inter- and hypertextual web, these fairy tale collections constitute a metafictional body of knowledge and wisdom. In the digital era much focus is placed on multimodal, hypertextual, and transmedia narratives with a significant influence of fandom on the production of such literary works. …”
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Interrupting the Illusion in the Closet: Literary Tableaux of Contemplation in Henry Fielding’s Novel Tom Jones by Christian ARFFMANN

“…These instances are metafictional moments in which the narrator interrupts the narrative to converse with the reader about an event or a character in the novel. …”
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A funhouse of reading: ontological foregrounding in John Barth’s “Lost in the Funhouse” by Madahiian, Masoud

“…His story foregrounds different planes, each of which stands independently as an ontological world: the world of language and text, the metafictional level, the projected world level, and the external world of the author. …”
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UTOPIA … DISTOPICĂ ÎN COPILĂRIA LUI ISUS DE J. M. COETZEE by USM ADMIN

“…Coetzee prezintă un univers metaficțional, o parabolă despre (re)descoperirea sensurilor într-o „lume nouă”, posibil, postapocaliptică. …”
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How presuppositions and illocutionary force become components of sense: some implications from the analysis of fictitious names in Frege’s philosophy by Ivan B. Mikirtumov

“…I will now elucidate three intensionalization pro­cedures that Frege proposes for constructing a sentence that expresses a thought, even if cer­tain components within it lack denotation: the articulation of a naming relation, the formula­tion of a propositional attitude of intention, and the formulation of a propositional attitude that conveys a metafictional context. Through these methods, the speaker's intent to indicate a real or fictional object becomes a constituent of thought, i. e., the sense of the sentence. …”
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Ambiguous and ambivalent signatures by Dunn, J, Dunn, Jennifer E.

“…</p> <p>Developing theories of the "signature" that return the writer-as-agent to the otherwise anonymous field of intertextuality, this thesis traces Tennant's figurations of writing, metafictional devices, and intertextual allusions to show how these relate to themes in the fiction. …”

The sub-stance of Joyce's gramma(r) and language(s) at the Wake by Milesi, L

“…This will include a brief discussion of the reflexive, metafictional dimension of Joyce’s work.</p> <p>The second section will consider some significant aspects of how language(s) and meaning operate in the text. …”

Written in “Women’s Ink”: French Translation and Female Power in Carol Shields’s Unless by Nora Foster Stovel

“…Third, Reta transfers her realization about women’s powerlessness, which she suspects instigated Norah’s disappearance, to her theory of fiction in this metafictional text. Finally, Reta's reflection on fiction is transformed into a feminist manifesto. …”
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Memoirs of a taboo : a novel. Volume 1 -- Women in pre- and post-Victorian India : the use of historical research in the writing of fiction. Volume 2 by Praveen, Radhika

“…The fourth chapter elaborates upon the narrative devices used in the novel; its metafictional element and the inspiration for it. …”
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«Atonement», Novel to Film by Carlos REDONDO SÁNCHEZ

“…</span>This<span style="letter-spacing: 1.25pt;"> </span><span>analysis<span style="letter-spacing: .25pt;"> </span></span>attends to<span style="letter-spacing: .9pt;"> </span>the<span style="letter-spacing: 1.65pt;"> </span><span>adaptation<span style="letter-spacing: .35pt;"> </span></span>of<span style="letter-spacing: .85pt;"> </span>the<span style="letter-spacing: 1.65pt;"> </span><span>metafictional<span style="letter-spacing: -.1pt;"> </span>aspects<span style="letter-spacing: .65pt;"> </span></span>of<span style="letter-spacing: .85pt;"> </span>the<span style="letter-spacing: 1.65pt;"> </span><span>novel, </span>which <span>thematize </span>its<span style="letter-spacing: .75pt;"> </span><span>process </span>of<span style="letter-spacing: .5pt;"> </span><span>enunciation, </span>and<span style="letter-spacing: 1.85pt;"> </span>which are<span style="letter-spacing: 1.8pt;"> </span><span>echoed<span style="letter-spacing: -.05pt;"> </span></span>in<span style="letter-spacing: .95pt;"> </span>the<span style="letter-spacing: 1.3pt;"> </span><span>autore</span>flexive and<span style="letter-spacing: 2.25pt;"> </span><span>self-conscious<span style="letter-spacing: .45pt;"> </span></span>filmic<span style="letter-spacing: 2.1pt;"> </span><span>discourse.…”
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