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101:), or to parts, or the entirety, of the medial system. It is, therefore, the recipient's awareness of an artifact's medial quality that distinguishes meta-reference from more general forms of self-reference. Thus, meta-reference triggers media-awareness within the recipient, who, in turn "becomes conscious of both the medial (or "fictional" in the sense of artificial and, sometimes in addition, "invented") status of the work" as well as "the fact that media-related phenomena are at issue, rather than (hetero-)references to the world outside the media." Although certain devices, such as
889:: Generic Titles: On Paratextual Metareference in Music / Tobias Janz: “Music about Music”: Metaization and Intertextuality in Beethoven's Prometheus Variations op. 35 / René Michaelsen: Exploring Metareference in Instrumental Music – The Case of Robert Schumann / David Francis Urrows: Phantasmic Metareference: The Pastiche 'Operas' in Lloyd Webber's The Phantom of the Opera / Jörg-Peter Mittmann: Intramedial Reference and Metareference in Contemporary Music / Martin Butler: “Please Play This Song on the Radio”: Forms and Functions of Metareference in Popular Music
25:
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confines of lyrics, meta-reference in music is much harder to create or detect. Music, therefore, would be a less typical medium for the occurrence of meta-reference. Nöth argues in this context that although non-verbal media can be the home of meta-reference, the contained meta-reference can only be implicit because non-verbal media can only show similarities, but never point directly (or explicitly) to meta-referential elements. Others, however, argue that meta-reference is explicit as long as it is clear.
137:. The first study to underscore the problem resulting from the lack of cohesive terminology, as well as the necessity to acknowledge meta-reference as transmedial and trans-generic phenomenon, was published in 2007 by Hauthal et al. Publications by Nöth and Bishara as well as Wolf followed suit, raised similar concerns, included case studies from various media, coined and helped establish the more uniform umbrella term meta-reference as define above.
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production process of the fictional reality TV show, which makes the audience aware of the same features being used in the movie at the time of watching. Further examples of meta-reference in the movie include spotlights falling from the sky seemingly out of the blue, or a raincloud which is curiously only raining on Truman following him around on
Seahaven Beach. Both instances point to the artificiality of Truman's life as well as the film itself.
285:
883:: Metareference from a Semiotic Perspective / Andreas Mahler: The Case is 'this': Metareference in Magritte and Ashbery / Irina O. Rajewsky: Beyond 'Metanarration': Form-Based Metareference as a Transgeneric and Transmedial Phenomenon / Sonja Klimek: Metalepsis and Its (Anti-)Illusionist Effects in the Arts, Media and Role-Playing Games
328:, by mimicking both the setting of the balcony as well as the poses of the depicted people, but places them in coffins. Thus, the recipient's attention is drawn to the fact that not only are the people in the painting long dead and only still "alive" in the representation, but arguably also that the artist (
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Janine
Hauthal: When Metadrama Is Turned into Metafilm: A Media-Comparative Approach to Metareference / Andreas Böhn: Quotation of Forms as a Strategy of Metareference / Erika Greber: 'The Media as Such': Meta-Reflection in Russian Futurism – A Case Study of Vladimir Mayakovsky's Poetry, Paintings,
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Hans Ulrich Seeber: Narrative
Fiction and the Fascination with the New Media Gramophone, Photography and Film: Metafictional and Media-Comparative Aspects of H. G. Wells' A Modern Utopia and Beryl Bainbridge's Master Georgie / Daniella JancsĂł: Metareference and Intermedial Reference: William Carlos
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Henry Keazor : "L'architecture n'est pas un art rigoureux": Jean Nouvel, Postmodernism and Meta-Architecture / Katharina
Bantleon, Jasmin Haselsteiner-Scharner: Of Museums, Beholders, Artworks and Photography: Metareferential Elements in Thomas Struth's Photographic Projects Museum Photographs
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is a movie that contains a high degree of meta-reference. Truman, the protagonist, is unaware that he is part of a reality TV show, but the audience knows about the artificiality of both Truman's life and, by extension, the movie that is being watched. This is underscored by putting emphasis on the
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like published texts/documents, films, paintings, TV series, comic strips, or video games. It includes all references to, or comments on, a specific medium, medial artifact, or the media in general. These references and comments originate from a logically higher level (a "meta-level") within any
145:
While every medium has the potential for meta-reference, some media can transport meta-reference more easily than others. Media that can easily realise its meta-referential potential includes, for instance, literature, painting, and film. Although music can be meta-referential even outside the
124:
in order to deliver the epic better), the term itself is relatively new. Earlier discussions of meta-referential issues often opt for more specific terminology tied to the respective discipline. Notable discussions of meta-reference include, but are not limited to, William H. Gass's and Robert
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Ingrid Pfandl-Buchegger, Gudrun
Rottensteiner: Metareferentiality in Early Dance: The Jacobean Antimasque / Karin Kukkonen: Textworlds and Metareference in Comics / Doris Mader: Metareference in the Audio-/Radioliterary Soundscape / Fotis Jannidis: Metareference in Computer
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This is an example of explicit meta-reference because the text draws attention to the fact that the novel the recipient is reading is merely a fiction created by the author. It also foregrounds the convention that readers of
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Metareference across Media: Theory and Case
Studies. Dedicated to Walter Bernhart on the Occasion of his Retirement. Wolf, Werner (Ed.), Katharina Bantleon and Jeff Thoss (Collaborators). Amsterdam/New York, NY,
117:
While meta-reference as a concept is not a new phenomenon and can be observed in very early works of art and media not tied to specific purposes (e.g. Homer's invocation of the muses at the beginning of the
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Jean-Marc
Limoges: The Gradable Effects of Self-Reflexivity on Aesthetic Illusion in Cinema / Barbara Pfeifer: Novel in/and Film: Transgeneric and Transmedial Metareference in Stranger than Fiction
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given artifact, and draw attention to—or invite reflection about—media-related issues (e.g. the production, performance, or reception) of said artifact, specific other artifacts (as in
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accept the presence of an all-knowing narrator, and breaks it by allowing the narrator to take centre stage which invites meta-reflections by the recipient.
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painting style is just a style that may be copied, which further emphasises the fact that both works are only paintings created in a specific way.
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105:, may be conducive to meta-reference, they are not necessarily meta-referential themselves. However, innately meta-referential devices (e.g.
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Michaelsen, René (2009). "Exploring
Metareference in Instrumental Music -- The Case of Robert Schumann". In Wolf, Werner (ed.).
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Metaisierung in
Literatur und anderen Medien : theoretische Grundlagen, historische Perspektiven, Metagattungen, Funktionen
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Wolf, Werner (2007). "Metafiction and
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and its sequels frequently showed characters referring to the movie script to see what should happen next.
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painting style are just as dead as the portrayed individuals. Furthermore, it is foregrounded that the
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133:. In the context of drama, meta-reference has also become colloquially known as the breaking of the
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Nöth, Winfried (2009). "Metareference from a Semiotic Perspective". In Wolf, Werner (ed.).
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The Self-Aware Image. An Insight into Early Modern Meta-Painting
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Metareference across media : theory and case studies
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alt.tv.simpsons list of Meta References in The Simpsons
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Pages displaying short descriptions of redirect targets
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818:. Amsterdam - New York, NY: Rodopi. pp. 889–121.
768:. Amsterdam - New York, NY: Rodopi. pp. 235–259.
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Metareference across Media. Theory and Case Studies
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Metareference across Media. Theory and Case Studies
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Metareference across Media. Theory and Case Studies
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Metareference across Media. Theory and Case Studies
184:' mind and innermost thoughts, it is because I am
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517:. Amsterdam - New York, NY: Rodopi. p. 73.
492:. Amsterdam - New York, NY: Rodopi. p. 63.
467:. Amsterdam - New York, NY: Rodopi. p. 31.
793:. Berlin: Mouton de Gruyter. pp. 303–325.
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629:. Hauthal, Janine. Berlin: De Gruyter. 2007.
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1148:Meta-object
1081:Metahistory
1061:Metafiction
559:Iowa Review
431:Metatheatre
425:Metafiction
350:Frame story
321:The Balcony
305:The Balcony
292:by Magritte
222:fourth wall
196:: that the
174:imagination
135:fourth wall
131:metatheatre
127:metafiction
51:introducing
1287:Categories
1267:Metatheory
1232:Metapuzzle
1178:Metaethics
1066:Metagaming
1039:Metadesign
1017:Metamemory
450:References
437:Metalepsis
365:Hypostasis
332:) and the
249:, such as
247:Mel Brooks
190:convention
182:characters
178:characters
150:Literature
107:metalepsis
34:references
1272:Metaverse
1183:Metalogic
1123:Metamedia
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645:155834217
389:Meta-joke
377:Metacomic
356:Induction
226:psychosis
1054:Metamood
1034:Metadata
443:Metafilm
344:See also
271:Painting
218:Deadpool
198:novelist
176:. These
141:Examples
59:May 2021
936:, 2011.
303:Manet,
186:writing
172:is all
170:telling
121:Odyssey
113:History
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188:in a
99:parody
36:, but
1293:Drama
971:Meta-
904:Games
877:2009.
371:Meta-
330:Manet
194:story
168:I am
166:story
164:This
845:ISBN
820:ISBN
795:ISBN
770:ISBN
751:link
733:OCLC
723:ISBN
705:link
687:OCLC
677:ISBN
659:link
641:OCLC
631:ISBN
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232:Film
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324:by
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