The paper is a conceptual proposal in favour of employing the metanational, a term and concept born in the economy theories on the multinational, as a descriptor and a theoretical tool in the humanities, here represented by comparative studies. Namely, addressing the lack of target and purpose of transnationalist descriptions, as well as the Romanticization of the uneven character of cultural peripheralities and of scholarship on marginality, the metanational has a useful vectorial definition pointing to a change in how knowledge is produced and used, with a focus on networking, self-reflexiveness, spatialization of historicity, and on recognizing agency when learning "with/ from" the world, via sensing webs of scattered knowledges. The paper discusses differences between metanational and other transnational forms of anti-globalist posits, such as the ones already canonized as mainstream world literature or postcolonial studies.

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The present paper uses theories of interand transmediality to repurpose the traditional relationship between classic books and their cinematic adaptations. It asserts the need for literary scholarship to go beyond the traditional protectionism of the literary medium, here dubbed "media pride", and to tap into the interest that feeds consumption of mash-ups and parodies of the great books for alternative media. Instead of a competitive relationship between related objects (the book, the movie, the graphic novel, the game, etc.), the paper proposes a remedial approach, where the same objects can coexist and actively contribute to each other's reception. The case study is an analysis of Jane Austen's novel Pride and Prejudice, Seth Grahame-Smith's mash-up novel Pride and Prejudice and Zombies and Burr Steer's adaptation for screen of the latter.

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