ABSTRACT:Multistability refers to those moments in a narrative when readers are made aware of two mutually exclusive possibilities, conceived as an analogy to the visual illusion of the duck-rabbit, which can be seen either as a duck or as a rabbit, but not as both at the same time. Such mutually exclusive possibilities can arise from image elements that have different functions in different panels, words that refer to different things in the dialogue and the panel images, narration that can be read as either extra-or intradiegetic, or, indeed, moments of hesitation whether a metalepsis (a transgression of narrative boundaries) has taken place or not. Duck-rabbitry, that is, the tendency to create multistable moments (or instances that mimick the "tilt" between one percept and another), is a narrative effect in its own right and therefore needs to be distinguished from multiperspective, polyphonic narration, and allegory (because, in these cases, the two possibilities are not mutually exclusive), as well as from irony (because, in this case, one possibility is considered superior to the other). It extends across the narrative space of the fictional world, the narrative time of the plot construction, and the experience of the reader, leading to particular effects of fluency and rupture. While this article foregrounds comics as a medium that is particularly prone to duck-rabbitry, the conclusion also draws attention to its occurrence in other media and its importance for the project of transmedial narratology.

中文翻译：

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兔兔历险记：图形叙事的多稳态元素

摘要：多重稳定性是指叙事中的那些时刻，当读者意识到两种相互排斥的可能性时，被设想为类似于鸭兔的视觉错觉，它可以被看作是一只鸭子或一只兔子，但不是两者同时进行。这种相互排斥的可能性可能来自在不同面板中具有不同功能的图像元素、在对话和面板图像中指代不同事物的词语、可以被解读为片外或片内的叙述，或者实际上是犹豫的时刻是否发生了metaepsis（对叙事边界的违反）。Duck-rabbitry，即创造多稳态时刻的趋势（或模仿一种感知与另一种感知之间“倾斜”的实例），本身就是一种叙事效果，因此需要与多视角、复调叙述和寓言（因为在这些情况下，这两种可能性并不相互排斥）以及讽刺（因为在这种情况下，一种可能性被认为优于另一种）。它跨越了虚构世界的叙事空间、情节构建的叙事时间、读者的体验，导致了流畅和断裂的特殊效果。虽然这篇文章将漫画作为一种特别容易出现“鸭兔”的媒体进行了展望，但结论也提请注意它在其他媒体中的出现及其对跨媒体叙事学项目的重要性。这两种可能性并不相互排斥），也具有讽刺意味（因为在这种情况下，一种可能性被认为优于另一种可能性）。它跨越了虚构世界的叙事空间、情节构建的叙事时间、读者的体验，导致了流畅和断裂的特殊效果。虽然这篇文章将漫画作为一种特别容易出现“鸭兔”的媒体进行了展望，但结论也提请注意它在其他媒体中的出现及其对跨媒体叙事学项目的重要性。这两种可能性并不相互排斥），也具有讽刺意味（因为在这种情况下，一种可能性被认为优于另一种可能性）。它跨越了虚构世界的叙事空间、情节构建的叙事时间、读者的体验，导致了流畅和断裂的特殊效果。虽然这篇文章将漫画作为一种特别容易出现“鸭兔”的媒体进行了展望，但结论也提请注意它在其他媒体中的出现及其对跨媒体叙事学项目的重要性。导致流利和破裂的特殊效果。虽然这篇文章将漫画作为一种特别容易出现“鸭兔”的媒体进行了展望，但结论也提请注意它在其他媒体中的出现及其对跨媒体叙事学项目的重要性。导致流利和破裂的特殊效果。虽然这篇文章将漫画作为一种特别容易出现“鸭兔”的媒体进行了展望，但结论也提请注意它在其他媒体中的出现及其对跨媒体叙事学项目的重要性。