ﾒﾀﾌｨｸｼｮﾝ (metafiction) とはﾌｨｸｼｮﾝ(虚構､作り話)の一種で､ﾌｨｸｼｮﾝの仕掛けを意図的に描き出すものを指す｡
ﾒﾀﾌｨｸｼｮﾝは1960年代の初めにｼﾞｮﾝ･ﾊﾞｰｽ､ﾛﾊﾞｰﾄ･ｸｰｳﾞｧｰ､ｳｨﾘｱﾑ･H･ｷﾞｬｽといった作家たちを通じて脚光を浴びた｡この時期に書かれた古典的な例として､ﾊﾞｰｽ『びっくりﾊｳｽの迷子』､ｸｰｳﾞｧｰ『The Babysitter』､ｷﾞｬｽ『Willie Master's Lonesome Wife』が挙げられる｡
Metafiction is a type of fiction that self-consciously addresses the devices of fiction. It is the literary term describing fictional writing that self-consciously and systematically draws attention to its status as an artifact in posing questions about the relationship between fiction and reality, usually, irony and self-reflection. In a sense, it can be compared to presentational theatre, that does not let the audience forget they are viewing a play; metafiction does not let the reader forget he or she is reading a fictional work.
Metafiction is primarily associated with Modernist and Postmodernist literature, but is found at least as early as the 9th century One Thousand and One Nights, Cervantes' Don Quixote and Chaucer's 14th Century Canterbury Tales.
In the 1950s, several French novelists published works whose styles were collectively dubbed "nouveau roman" ("new novel"). These "new novels" were characterized by their bending of genre and style and often included elements of metafiction. It became prominent in the 1960s, with authors such as John Barth, Robert Coover, Kurt Vonnegut, and William H. Gass. The classic examples from that time include: Barth's Lost in the Funhouse, Coover's The Babysitter and The Magic Poker, Vonnegut's Slaughterhouse Five, Ara 13's Drawers & Booths, and Gass's Willie Master's Lonesome Wife.