@article{oai:do-bunkyodai.repo.nii.ac.jp:02000020,
 author = {WALZEM, Allen George},
 issue = {24},
 journal = {北海道文教大学論集, Journal of Hokkaido Bunkyo University},
 month = {Mar},
 note = {In today’s media, post-modern forms and techniques have become common, even mainstream in contemporary literature, television shows, and even commercials. However, what seems relatively normal now was radical and highly experimental back in the 1960s. The original purpose of  experimental fiction was not to be colorful and entertaining, but to experiment with and change the established rules of literary representation. By bending and breaking the rules of how narrative forms work, authors forced us to reconsider the methods and practices that we consider normal. This genre is generally referred to as “metafiction.” In this essay, I go back over some of the roots of metafiction, and then take a closer look at one of its most challenging authors,Donald Barthelme. In particular, I will focus on how his novel The Dead Father plays with narrative norms, forcing the reader to face deeper questions about how stories are constructed, how they affect us, and why they are important., 今日のメディアでは，ポストモダンの形式や手法は，現代の文学，テレビ番組，さらにはコマーシャルにおいて一般的なものとなり，主流となってさえいる．しかし，今では比較的普通に見えることでも，1960 年代当時は過激で非常に実験的なものであった．実験小説の本来の目的は，カラフルで面白いことではなく，文学的表現の既成のルールを実験し，変えることだったのである．作家たちは，物語の形式を曲げたり壊したりすることで，私たちが普通だと考えている方法や慣習を再考せざるを得なくなった．このジャンルは，一般に「メタフィクション」と呼ばれている．本論では，メタフィクションのルーツをいくつか振り返り，その最も挑戦的な作家の一人であるドナルド・バーセルミを詳しく見ていく．特に，彼の小説『死んだ父』がいかに物語の規範と戯れ，読者に物語がいかに構築され，それが私たちにどのような影響を与え，なぜそれが重要であるかという深い問いに直面させていくことに焦点を当てる．},
 pages = {1--8},
 title = {Donald Barthelme and the Politics of Metafiction: Radicality and ambivalence towards laying the dead father to rest},
 year = {2023}
}