Abstract
Hybrid narratives challenge the theoretical attempt to line out different genres with reliable features. Since the rise of the picaresque novel the ›intermingling‹ of different modes, styles and discourses in one text is a frequent phenomenon that causes an inflationary use of terminology. Actually, romance, confession, anatomy and Menippean Satire are the most prominent but not the only ones. The problem of genre demarcation is also reflected in Bakhtin’s concepts of polyphony, heteroglossia, and dialogism. Briefly considering three examples — a literary sketch in Cortazar’s Rayuela (1963), Barth’s Sot-Weed-Factor (1967) und Flann O’Brien’s The Third Policeman (1967) — this article reflects on the productivity of inter-generic writing in the (post-) modern novel.
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