Metaleptic collapse of narrative levels defines reflexive attention’s target

Evidence

Christophe Hanna’s and Arseniy Zhilyaev’s work share the same paradoxical gesture of attentional adhesion resulting in rejection through over-proximity: through both we are made aware of a staged fiction while at the same time immediately grasping a reality in the making. That towards which our reflexive attention tends (adtendere) belongs to what narratology calls a metalepsis, by which it refers to the collapse of two narrative levels that are imagined to be distinct and impermeable – like when the fictional character Don Quixote meets the real-life character of his author Cervantes. — Yves Citton, The Ecology of Attention, 458

Categorization

• DEFINE: Connects ‘metalepsis’ (narrative levels collapsing) to the structure of reflexive attention.
• XREF: The Don Quixote-Cervantes metalepsis resonates with the mise-en-abyme layers in ‘2001: A Space Odyssey’. — connects to: Trauma’s fragmented memory demanded a nonlinear narrative form — Eddie S. Glaude Jr., Begin Again: James Baldwin’s America…, 374; Literary form mirrors and anticipates platform-shaped attention grammar. — , The Braided Reading EPUB: 5-Year…, 1093; First-person plural narration can render historically silenced collective experience — , The Braided Reading EPUB: 5-Year…, 199

Broader Connections

• Trauma’s fragmented memory demanded a nonlinear narrative form #complicates (0.75) — Eddie S. Glaude Jr., Begin Again, 374
• Literary form mirrors and anticipates platform-shaped attention grammar. #expands (0.75) — , The Braided Reading EPUB, 1093
• First-person plural narration can render historically silenced collective experience #expands (0.70) — , The Braided Reading EPUB, 199