Abstract Realistic conceptions of genuinely fantastic literary or mythical characters, such as Theodor Fontane’s Melusine, represent what Umberto Eco refers to as “floating individuals.” These characters are transfictional as they are highly decontextualized from their narrative origin and thus a challenge for intertextuality and intermedia studies: the name implies a relationship with another text or medium but the representation does not offer any information about the relationship’s quality. To examine the range of (re-)presentation strategies and to shed some light on the transfictional background of the character as it is represented in Theodor Fontane’s novel Der Stechlin, I borrow ‘interfigurality’ as an umbrella term from Wolfgang G. Müller. Fontane’s myth-reflexive intermedia strategies come fully to the fore in contrast with the unknown novel Lady Melusine by Eufemia von Ballestrem on the one hand and in comparison with contemporary art on the other. The localization within an intermedia network reveals that the practice of the literary re-production of realistic characters as a “work on myth” (Blumenberg) is reflexive and critical or affirmative towards popular usage such as branding, labeling, or namedropping.

中文翻译：

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Interfiguralitätsstrategien: Fontanes realistische Melusine als transfiktionales Phänomen

摘要 真正梦幻般的文学或神话人物的现实概念，如西奥多·方丹的梅卢辛，代表了翁贝托·埃科所说的“漂浮的个体”。这些角色是跨小说的，因为它们与叙事起源高度脱节，因此对互文性和跨媒体研究是一个挑战：这个名字暗示了与另一种文本或媒体的关系，但表现形式没有提供关于这种关系质量的任何信息。为了检查（重新）呈现策略的范围，并阐明西奥多·方塔内 (Theodor Fontane) 的小说《德斯泰克林 (Der Stechlin)》中所描绘的角色的转写背景，我借用了沃尔夫冈·G·穆勒 (Wolfgang G. Müller) 的“互形象性”作为总称。一方面与尤菲米娅·冯·巴列斯特雷姆 (Eufemia von Ballestrem) 的不知名小说《梅卢西娜夫人》(Lady Melusine) 形成对比，另一方面与当代艺术相比，方塔纳 (Fontane) 的神话反身性中间媒体策略完全脱颖而出。中间媒体网络中的本地化表明，将现实人物的文学再生产作为“神话作品”（Blumenberg）的实践是对流行用法（如品牌、标签或名称删除）的反思性和批判性或肯定性。