@article{oai:nagoya.repo.nii.ac.jp:00027891,
 author = {Ito, Yuko},
 journal = {IVY},
 month = {Oct},
 note = {In Jacob's Room what is seen as real is dislocated; as the narrator says: "life is but a procession of shadows." What is immediately experienced as real by the reader in reading fiction is undermined by the tendency to imitate fiction itself. This is the metafictional characteristic of this novel. This paper explores how metafictionality un-frames the virtual reality of the novel by the operation of several kinds of narrative levels. Although metafictionality is not a consistent characteristic throughout Jacob's Room, the narrative sometimes partakes of metafictionality when the narrator subordinates a "virtually real level," that is, in Jacob's Room, the primary narrative level where the characters live, to his/her commentary at the "non-virtually-real level." In other words, the metafictionality is generated through the passages where the narrator's commentary converts the virtually real level into an exemplification of his/her commentary. This conversion is caused mainly from two factors. First, the topic of the narrator's commentary which is about characterization relegates the virtually real level into the secondary level. Secondary, since the narrator's usage of the first person pronoun, "I," is sometimes ambiguous and the identity of the "I" can be either the narrator or a character, the virtually real level freely dissolves into the non-virtually-real level. As a result, the frame of the virtually real level which gives this novel authenticity is subverted. However, the force to generate a new sense of verisimilitude should not be ignored. This force takes effect by imitating a new "medium" of the viewpoint. The narration from the viewpoint of "no one" modifies the semiotic system of representation by means of the presentation of pure enumeration of "things" and the point of view of media of communication themselves. Furthermore the points of view overtly mediated by the large number of proper names which are nothing but spatial indexes or a crowd of people make Jacob a metafictional character and at the same time an example of a new verisimilar character. These points of view, generating a new sense of verisimilitude in fiction, contribute also to the metafictional devise in Jacob's Room. The frame of the virtually real level constitutes the authenticity of the novel, but in Jacob's Room the narrator's commentary and the overtly mediated point of view un-frame the virtually real level from the inside. In the unframed level, we cannot easily distinguish the copied and the copy, and the untransformed reality and the transformed reality in fiction. Metafictionality creates the copy of fiction in the copied fiction and the level of the transformed reality in the virtual reality of fiction. In order to establish "the transformed reality," that is, "a new sense of verisimilitude" as fiction, Woolf devoted to the new technique of writing novel itself and the exploration of it in the novel. The experimental technique of Jacob's Room of this kind is an archetype of Woolf's later fictions.},
 pages = {83--105},
 title = {The Converted Fictionality in Virginia Woolf's Jacob's Room},
 volume = {27},
 year = {1994}
}