Elika Ortega  Cultureplex Lab University of Western Ontario Feb 3, 2012 The metafictional world of  Orsai *
A bit of history <ul><li>Started as a blog in 2006 </li></ul><ul><li>The print magazine project took form in 2010 </li></u...
What is metafiction? <ul><li>Narrative mode or tendency that appears in different genres and media </li></ul><ul><ul><li>P...
An ontological question Metafiction plays with the seemingly obvious (Platonist, Realist) divide between reality and ficti...
<ul><li>Orsai tells its own story  </li></ul><ul><li>Even though before being a magazine,  Orsai  blog narrated all kinds ...
“ Otherworldly elements” <ul><li>Use of PD$ as currency </li></ul><ul><li>Selling of magazines in a communal way </li></ul...
<ul><li>Readers’ prominent role </li></ul><ul><li>Distribution system dependent on the readers (grouping and pre-ordering)...
Intermediality <ul><li>Ubiquitous presence: </li></ul><ul><ul><li>“ Real” </li></ul></ul><ul><ul><ul><ul><li>Print magazin...
So what? <ul><li>The concept of metafiction can help cut across arbitrary ontological boundaries separating off-screen and...
<ul><li>Opening up new editorial models that rely on readers’ involvement (economic, affective, intellectual) </li></ul><u...
Works cited <ul><li>Hutcheon, Linda.  Narcissistic Narrative: The Metafictional Paradox . New York: Methuen, 1984. </li></...
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The Metafictiona World of Orsai

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The Metafictiona World of Orsai

  1. 1. Elika Ortega Cultureplex Lab University of Western Ontario Feb 3, 2012 The metafictional world of Orsai *
  2. 2. A bit of history <ul><li>Started as a blog in 2006 </li></ul><ul><li>The print magazine project took form in 2010 </li></ul><ul><li>October 2011, OrsaiBar opens in Buenos Aires </li></ul><ul><li>December 2011 the new distribution, editorial model is announced </li></ul>*
  3. 3. What is metafiction? <ul><li>Narrative mode or tendency that appears in different genres and media </li></ul><ul><ul><li>Print and digital text </li></ul></ul><ul><ul><li>Film, theater and other performative arts, </li></ul></ul><ul><ul><li>Visual arts </li></ul></ul><ul><li>General characteristics </li></ul><ul><ul><li>Self-consciousness and self-referentiality, </li></ul></ul><ul><ul><li>Mimesis of the writing and reading processes, </li></ul></ul><ul><ul><li>Draws attention to its own artefactual status, and </li></ul></ul><ul><ul><li>The role of reader is prominent in the fiction making </li></ul></ul>
  4. 4. An ontological question Metafiction plays with the seemingly obvious (Platonist, Realist) divide between reality and fiction Fiction might not be “true” but it is “real”, as it is created in the “true” world Metafiction problematizes the representation of experience as histories/stories narrated through the same means: language.
  5. 5. <ul><li>Orsai tells its own story </li></ul><ul><li>Even though before being a magazine, Orsai blog narrated all kinds of stories. From the start of print Orsai , the narrative thread of blog entries is the creation of the magazine and the other side projects. </li></ul><ul><li>Print Orsai has a framed narrative structure: multiple stories chained together by editorial comments narrating the process of the print magazine coming into being. The frame is also established through the blog. </li></ul>What makes Orsai metafictional?
  6. 6. “ Otherworldly elements” <ul><li>Use of PD$ as currency </li></ul><ul><li>Selling of magazines in a communal way </li></ul><ul><li>Denial to publish advertisements </li></ul>“ For metafictional writers the most fundamental assumption is that composing a novel is basically no different from composing or constructing one’s ‘reality’” (Patricia Waugh 24)
  7. 7. <ul><li>Readers’ prominent role </li></ul><ul><li>Distribution system dependent on the readers (grouping and pre-ordering) </li></ul><ul><li>Reader participation on magazine matters through the blog </li></ul><ul><li>Physical presence of the readers on print Orsai </li></ul><ul><li>Readers have become authors (Rodrigo Solís) </li></ul><ul><li>Authors have agreed to collaborate after reading Orsai </li></ul><ul><li>Reader participation on other Orsai projects </li></ul>What makes Orsai metafictional? *
  8. 8. Intermediality <ul><li>Ubiquitous presence: </li></ul><ul><ul><li>“ Real” </li></ul></ul><ul><ul><ul><ul><li>Print magazine </li></ul></ul></ul></ul><ul><ul><ul><ul><li>OrsaiBar </li></ul></ul></ul></ul><ul><ul><li>Digital </li></ul></ul><ul><ul><ul><ul><li>Blog </li></ul></ul></ul></ul><ul><ul><ul><ul><li>Social networks </li></ul></ul></ul></ul><ul><ul><ul><ul><li>Online payment </li></ul></ul></ul></ul><ul><ul><ul><li>Why would digital not be real? </li></ul></ul></ul><ul><li>Negotiates the ontological divide between reality (off-screen) and fiction (on-screen) </li></ul><ul><li>Allowing for a broader participation of readers in the newly created world </li></ul><ul><li>Becoming part of the story by jumping from one medium to another </li></ul><ul><ul><li>A blog comment or tweet might become the subject of the next entry </li></ul></ul><ul><ul><li>A reader might become the next collaborator </li></ul></ul><ul><li>Causing readers’ real “ intelectual and afective responses ” (L. Hutcheon) </li></ul>
  9. 9. So what? <ul><li>The concept of metafiction can help cut across arbitrary ontological boundaries separating off-screen and on-screen contexts (Timothy Welsh) </li></ul><ul><li>Increasing self-consciousness of readers navigating both realities. </li></ul><ul><li>Metaficional participation is not just possible thanks to new media, it is expected and sought for, otherwise one might “just” read a book </li></ul>
  10. 10. <ul><li>Opening up new editorial models that rely on readers’ involvement (economic, affective, intellectual) </li></ul><ul><li>The overtness of reader participation seems to indicate a shift in the notion of fiction-making and thus, also, reality-making </li></ul><ul><li>In the end might really be building up a new literary world </li></ul>So what?
  11. 11. Works cited <ul><li>Hutcheon, Linda. Narcissistic Narrative: The Metafictional Paradox . New York: Methuen, 1984. </li></ul><ul><li>Waugh, Patricia. Metafiction: The Theory and Practice of Self-Conscious Fiction . London & New York: Methuen, 1984. </li></ul><ul><li>Welsh, Timothy. “Just a Story: Video gaming and Metafiction.” Dice Thrown . www.timothyjwelsh.com January 11,2012. Web. January 22, 2012. </li></ul><ul><li>*All images taken from </li></ul><ul><li>orsai.bitacoras.com </li></ul>

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