Lost in the Gutter: Within and Between Frames in Narrative and Narrative Theory

Abstract

One of the most difficult and confusing of narratological concepts is that of the frame. While numerous studies refer to and examine the frame, its defin- ition remains somewhat elusive. The central reason for this is the sheer quantity of concepts and ideas to which this singular appellation refers. Internal narrators and paratexts, advertisements, blurbs, the covers of a book: all of these have been referred to as frames, in addition to more metaphorical applications. In Framing in Wuthering Heights, for example, John Matthews looks not only at em- bedded narratives, but also at the metaphorical of the human body, and the general concept of boundaries in order to elucidate how the novel explores empty middles and Lacanian psycholinguistic lack. That is, a look at a more or less ob- jectively identifiable narrative feature (narratives within other narratives) is soon treated figuratively, as of both form and content, generating a metaphor- ical slippage that may be productive for understanding the individual novel, but is less so for understanding the concept itself. Indeed, as I will argue, constitutive of the difficulty in pinpointing the term is the link between the literary and framing in the visual arts, particularly painting. Some of the earliest discussions of the liter- ary attempt to map the typical notion of the onto literature with problematic and confusing results. In order to address this problem, I divide this essay into two primary parts. First, I discuss the shortcomings of the picture frame model, particularly in its con- flation of two distinct concepts: the physical liminality of frames and their capacity to direct interpretation. Through a use of a simple two-axis graph, I illustrate how the conflation of these two functions blurs understanding of the various kinds of frames