Abstract As novels can be mapped, maps in return can be shown to have a narrative dimension. Maps referring to historical events, for instance those of the invasion of the USSR in June 1941, obviously tell a story. Recounted through graphic means, that story has specific aspects in the areas of order, duration, frequency, authorship, and perspective. Yet, similar in this respect to the descriptions that historians provide, narrative maps are neither neutral, nor whole. Grounded in selection, they necessarily develop an argument, are incomplete, and rely on symbols that are both conventional and arbitrary.
{"title":"Mapped stories: Cartography, history, and the representation of time in space","authors":"P. Carrard","doi":"10.1515/fns-2018-0022","DOIUrl":"https://doi.org/10.1515/fns-2018-0022","url":null,"abstract":"Abstract As novels can be mapped, maps in return can be shown to have a narrative dimension. Maps referring to historical events, for instance those of the invasion of the USSR in June 1941, obviously tell a story. Recounted through graphic means, that story has specific aspects in the areas of order, duration, frequency, authorship, and perspective. Yet, similar in this respect to the descriptions that historians provide, narrative maps are neither neutral, nor whole. Grounded in selection, they necessarily develop an argument, are incomplete, and rely on symbols that are both conventional and arbitrary.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"1 1","pages":"263 - 276"},"PeriodicalIF":0.4,"publicationDate":"2018-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91159116","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Ever the devil’s advocate, Richard Walsh argues in a 2017 article that drawing maps based on narrative fiction is a meaningless activity, because (1) narrative cognition is temporal and not spatial; (2) narrative fiction does not project worlds in any experiential sense of the term (i. e. worlds as immersive environments) but only “worlds” as textual constructs, as products of écriture; and (3) reading should lead to meaningful interpretations, and inferences should be limited by a principle of relevance. His example of futile map-making is the floor plan which is included in the English editions of Alain Robbe-Grillet’s La Jalousie but is absent from the original French edition. In this article, I argue that narrative cognition is not a specialized ability distinct from the forms of cognition that we use in practical life, but rather, the product of these abilities; and I defend the validity of narrative mapping as way to engage the imagination with – yes – a storyworld. This is not to say that narrative understanding requires the drawing or mental contemplation of a comprehensive representation of the storyworld; usually the formation of partial mental maps is sufficient to follow the plot. But for some readers (among them Nabokov) drawing graphic maps is a way to engage the imagination with the storyworld and to enhance comprehension. This map-making activity can go far beyond making sense of the text and become an autonomous activity comparable to writing fan fiction. To support this view, I invoke the numerous maps found on the Internet for narratives ranging from Proust’s A la recherche du temps perdu to Tolkien’s Lord of the Rings. While the strictly “textualist” aesthetics of orthodox literary theory would regard these maps as frivolous, a world-oriented approach regards the urge to map and diagram as a legitimate form of active participation in narrative, because, while you can imagine too little to appreciate these texts, you cannot imagine too much.
Richard Walsh在2017年的一篇文章中指出，基于叙事小说绘制地图是一种毫无意义的活动，因为:(1)叙事认知是时间的，而不是空间的;(2)叙事性小说不投射任何经验意义上的世界(即作为沉浸式环境的世界)，而只是作为文本结构的“世界”，作为文学的产物;(3)阅读应该导致有意义的解释，推断应该受到关联原则的限制。他的徒劳无获的地图制作的例子是楼面平面图，它被收录在阿兰·罗布-格里耶的《La Jalousie》英文版中，但在法文原版中却没有。在本文中，我认为叙事认知不是一种区别于我们在实际生活中使用的认知形式的专门能力，而是这些能力的产物;我为叙事映射的有效性辩护，它是一种让想象力融入故事世界的方式。这并不是说叙事理解需要对故事世界的全面呈现进行绘画或心理思考;通常，在脑海中形成部分地图就足以跟上情节的发展。但对于一些读者(包括纳博科夫)来说，绘制图形地图是一种将想象力与故事世界结合起来、增强理解力的方式。这种绘制地图的活动可以远远超越文本的意义，成为一种可以与写同人小说相媲美的自主活动。为了支持这一观点，我引用了从互联网上找到的大量地图，从普鲁斯特的《追根查根》到托尔金的《指环王》。正统文学理论的严格“文本主义”美学认为这些地图是轻佻的，而以世界为导向的方法则认为，绘制地图和图表的冲动是积极参与叙事的一种合法形式，因为，尽管你可以想象得太少，无法欣赏这些文本，但你不能想象得太多。
{"title":"Narrative mapping as cognitive activity and as active participation in storyworlds","authors":"Marie-Laure Ryan","doi":"10.1515/fns-2018-0020","DOIUrl":"https://doi.org/10.1515/fns-2018-0020","url":null,"abstract":"Abstract Ever the devil’s advocate, Richard Walsh argues in a 2017 article that drawing maps based on narrative fiction is a meaningless activity, because (1) narrative cognition is temporal and not spatial; (2) narrative fiction does not project worlds in any experiential sense of the term (i. e. worlds as immersive environments) but only “worlds” as textual constructs, as products of écriture; and (3) reading should lead to meaningful interpretations, and inferences should be limited by a principle of relevance. His example of futile map-making is the floor plan which is included in the English editions of Alain Robbe-Grillet’s La Jalousie but is absent from the original French edition. In this article, I argue that narrative cognition is not a specialized ability distinct from the forms of cognition that we use in practical life, but rather, the product of these abilities; and I defend the validity of narrative mapping as way to engage the imagination with – yes – a storyworld. This is not to say that narrative understanding requires the drawing or mental contemplation of a comprehensive representation of the storyworld; usually the formation of partial mental maps is sufficient to follow the plot. But for some readers (among them Nabokov) drawing graphic maps is a way to engage the imagination with the storyworld and to enhance comprehension. This map-making activity can go far beyond making sense of the text and become an autonomous activity comparable to writing fan fiction. To support this view, I invoke the numerous maps found on the Internet for narratives ranging from Proust’s A la recherche du temps perdu to Tolkien’s Lord of the Rings. While the strictly “textualist” aesthetics of orthodox literary theory would regard these maps as frivolous, a world-oriented approach regards the urge to map and diagram as a legitimate form of active participation in narrative, because, while you can imagine too little to appreciate these texts, you cannot imagine too much.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"1 1","pages":"232 - 247"},"PeriodicalIF":0.4,"publicationDate":"2018-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84123287","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The paper proposes to read the British novelist Ian McEwan as an ethically disconcerted post-imperial writer. His early works “gave voice to an anxiety about social, cultural and moral decline after the end of Britain’s imperial power had become vividly apparent” (Groes). Both the writer’s and his characters’ fatherless post-war childhoods testify to the systematic disconnection of the public and private in the late imperial and post-imperial country, which induced the growing feeling of unprotectedness among its inhabitants. McEwan consistently searches for an ethically responsible literary form to cope with the traumatic defenselessness that, much beyond post-imperial Britain, became the experience of both the recent world and literature. In this search, he develops a peculiar technology of his authorial self. By tending to provide a shelter to the defenseless characters, it reproduces the protective attitude of these characters toward the other characters. However, the author simultaneously exposes their remorseful attachment to the victims as selfish. As he thus never stops ethically exempting himself from his Doppelgängers, he continuously wrong-foots the reader. In sum, Atonement draws its characters, narrator, author, and readers into a frenetic pursuit of the final ethical truth by repeatedly entrapping them in this truth’s provisional political surrogates.
{"title":"Deprived of protection: The ethico-politics of authorship in Ian McEwan’s Atonement","authors":"Vladimir Biti","doi":"10.1515/fns-2018-0027","DOIUrl":"https://doi.org/10.1515/fns-2018-0027","url":null,"abstract":"Abstract The paper proposes to read the British novelist Ian McEwan as an ethically disconcerted post-imperial writer. His early works “gave voice to an anxiety about social, cultural and moral decline after the end of Britain’s imperial power had become vividly apparent” (Groes). Both the writer’s and his characters’ fatherless post-war childhoods testify to the systematic disconnection of the public and private in the late imperial and post-imperial country, which induced the growing feeling of unprotectedness among its inhabitants. McEwan consistently searches for an ethically responsible literary form to cope with the traumatic defenselessness that, much beyond post-imperial Britain, became the experience of both the recent world and literature. In this search, he develops a peculiar technology of his authorial self. By tending to provide a shelter to the defenseless characters, it reproduces the protective attitude of these characters toward the other characters. However, the author simultaneously exposes their remorseful attachment to the victims as selfish. As he thus never stops ethically exempting himself from his Doppelgängers, he continuously wrong-foots the reader. In sum, Atonement draws its characters, narrator, author, and readers into a frenetic pursuit of the final ethical truth by repeatedly entrapping them in this truth’s provisional political surrogates.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"26 1","pages":"342 - 358"},"PeriodicalIF":0.4,"publicationDate":"2018-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81529356","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This paper examines how viewers of the ABC television show Lost collaboratively reconstructed the geography of the fictional island at the center of the show’s plot through an online encyclopedic wiki, Wikia’s Lostpedia. Examining participant activity on the wiki site over the course of the show’s six-year run reveals how narrative audiences initially processed information about the storyworld space as well as how those audiences revised their ideas and assumptions as the serialized story progressed. Here I use “The Island” page’s revision history to trace the means by which participants negotiated and organized the information concerning where the island was located in the “real world.” Secondly, I move to approaches used in locating and organizing landmarks. Finally, I address the ways in which participants synthesized this information into the creation of their own maps and the problems they encountered in doing so.
{"title":"Reconstructing LOST: Connecting storyworld geography to narrative comprehension in online Wiki communities","authors":"L. Buchholz","doi":"10.1515/fns-2018-0021","DOIUrl":"https://doi.org/10.1515/fns-2018-0021","url":null,"abstract":"Abstract This paper examines how viewers of the ABC television show Lost collaboratively reconstructed the geography of the fictional island at the center of the show’s plot through an online encyclopedic wiki, Wikia’s Lostpedia. Examining participant activity on the wiki site over the course of the show’s six-year run reveals how narrative audiences initially processed information about the storyworld space as well as how those audiences revised their ideas and assumptions as the serialized story progressed. Here I use “The Island” page’s revision history to trace the means by which participants negotiated and organized the information concerning where the island was located in the “real world.” Secondly, I move to approaches used in locating and organizing landmarks. Finally, I address the ways in which participants synthesized this information into the creation of their own maps and the problems they encountered in doing so.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"33 1","pages":"248 - 262"},"PeriodicalIF":0.4,"publicationDate":"2018-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78470386","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Considering that enacitivsm emerged in rebellion against the representativism of first-generation cognitive science, an enactivist approach to narrative, which after all does relate events, situations, people, necessitates a directly realistic (i. e. anti-representationalist) concept of perspective on literary objects. Ingarden’s description of the spatio-temporal properties of the cognizing of the literary work, in the process of which the reader transgresses the realm of signs (representation) toward embodied and culturally embedded cognition of objects and events in a presented world, may serve as a prototype for an enactive approach narrative, provided the theory in question is situated in its original context, for example that of Ingarden’s ongoing discussion with structuralism regarded at this juncture as a representationist stance. In the first step, I am referring to the philosophical tradition of direct realism, which was apparently invigorated by the theories of embodied and enactive cognition, to propose a way of conceiving first-person perspective on literary objects and events, first-person and temporal perspective on objects being the royal road to all sorts of enaction. In the second step, I am tackling the issue of point of view in East and Central European structuralism by recalling its most general context of the dialectical relationship between synchrony and diachrony. The interpretation of linguistic signs by the receiver is a space in which structuralism and Ingarden’s phenomenology concur as they share a similar model of receptive temporality, rooted in Husserl’s description of the inner consciousness of time and aiming to reduce the ambiguity of linguistic units and increase the predictability of meaning. In Ingarden, however, there is a threshold between the linguistic and the extralinguistic elements of the literary work, which are conceived in a directly realistic manner. I specifically recall the notion of “objectification,” which was suppressed by that of “concretization,” as a borderland between indirect (semiotic) and indirect (objectual and enactive) representation. In the conclusion, I point to the major differences between present-day cognitivist aesthetics and Ingarden’s approach, which was immersed in the culture of his time, and ask whether these differences impede us to achieve as interesting results as Ingarden’s.
{"title":"From representation to enactment: temporal perspectives on literary objects in East and Central European structuralism and Ingarden’s phenomenology","authors":"M. Mrugalski","doi":"10.1515/FNS-2018-0036","DOIUrl":"https://doi.org/10.1515/FNS-2018-0036","url":null,"abstract":"Abstract Considering that enacitivsm emerged in rebellion against the representativism of first-generation cognitive science, an enactivist approach to narrative, which after all does relate events, situations, people, necessitates a directly realistic (i. e. anti-representationalist) concept of perspective on literary objects. Ingarden’s description of the spatio-temporal properties of the cognizing of the literary work, in the process of which the reader transgresses the realm of signs (representation) toward embodied and culturally embedded cognition of objects and events in a presented world, may serve as a prototype for an enactive approach narrative, provided the theory in question is situated in its original context, for example that of Ingarden’s ongoing discussion with structuralism regarded at this juncture as a representationist stance. In the first step, I am referring to the philosophical tradition of direct realism, which was apparently invigorated by the theories of embodied and enactive cognition, to propose a way of conceiving first-person perspective on literary objects and events, first-person and temporal perspective on objects being the royal road to all sorts of enaction. In the second step, I am tackling the issue of point of view in East and Central European structuralism by recalling its most general context of the dialectical relationship between synchrony and diachrony. The interpretation of linguistic signs by the receiver is a space in which structuralism and Ingarden’s phenomenology concur as they share a similar model of receptive temporality, rooted in Husserl’s description of the inner consciousness of time and aiming to reduce the ambiguity of linguistic units and increase the predictability of meaning. In Ingarden, however, there is a threshold between the linguistic and the extralinguistic elements of the literary work, which are conceived in a directly realistic manner. I specifically recall the notion of “objectification,” which was suppressed by that of “concretization,” as a borderland between indirect (semiotic) and indirect (objectual and enactive) representation. In the conclusion, I point to the major differences between present-day cognitivist aesthetics and Ingarden’s approach, which was immersed in the culture of his time, and ask whether these differences impede us to achieve as interesting results as Ingarden’s.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"36 1","pages":"s146 - s171"},"PeriodicalIF":0.4,"publicationDate":"2018-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88771392","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract As proposed by Olson and Copland (2016), “the politics of form” should help us examine both the ways in which politics condition narrative form and the ways in which narrative forms, in turn, participate in their political contexts. Contextualist approaches in narratology have gained attention since the beginning of the 21st century, but theorists still struggle to determine how political discourses are relevant to narrative form. This article proposes that the modulations of narrative reliability known as “estranging narration” (Phelan 2007) and “discordant narration” (Cohn 2002) are especially dependent on the political discourses that make them possible. Both categories describe forms of narrative reliability based on biased judgment rather than misreported facts, but the use of political ideology in these approaches has not been sufficiently examined. This is evident in Albert Camus’ L’étranger (1942) [The Stranger], which actively uses the École d’Alger colonial discourse of the Méditerranée from contemporaneous French Algeria, to produce an ambivalent version of estranging and discordant narration. The politics of form, therefore, provides an opportunity to delve into and revise the concepts of estranging and discordant narration, which constitute a good starting point for narratologists’ efforts to elucidate both the uses of historical discourse in narrative poetics and the uses of narrative poetics for shaping political ideology.
{"title":"On the politics of discordant, estranging and bonding reliability: Contextualist narratology at work","authors":"Marta Puxan-Oliva","doi":"10.1515/FNS-2018-0038","DOIUrl":"https://doi.org/10.1515/FNS-2018-0038","url":null,"abstract":"Abstract As proposed by Olson and Copland (2016), “the politics of form” should help us examine both the ways in which politics condition narrative form and the ways in which narrative forms, in turn, participate in their political contexts. Contextualist approaches in narratology have gained attention since the beginning of the 21st century, but theorists still struggle to determine how political discourses are relevant to narrative form. This article proposes that the modulations of narrative reliability known as “estranging narration” (Phelan 2007) and “discordant narration” (Cohn 2002) are especially dependent on the political discourses that make them possible. Both categories describe forms of narrative reliability based on biased judgment rather than misreported facts, but the use of political ideology in these approaches has not been sufficiently examined. This is evident in Albert Camus’ L’étranger (1942) [The Stranger], which actively uses the École d’Alger colonial discourse of the Méditerranée from contemporaneous French Algeria, to produce an ambivalent version of estranging and discordant narration. The politics of form, therefore, provides an opportunity to delve into and revise the concepts of estranging and discordant narration, which constitute a good starting point for narratologists’ efforts to elucidate both the uses of historical discourse in narrative poetics and the uses of narrative poetics for shaping political ideology.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"111 1","pages":"s190 - s212"},"PeriodicalIF":0.4,"publicationDate":"2018-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79192837","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract In the early 1960 s Brion Gysin, while experimenting in various genres and media, “re-invented” the cut-up technique that first had appeared in the 1910-1920s in Dadaists art practices. The accidental selection of texts’ or visuals’ fragments and the randomness in their combination in cut-ups were aimed to represent multiple experiences occupying the human mind. Methodologically I draw upon “natural” narratology developed by Monika Fludernik, who redefines narrativity in terms of experientiality. Correspondingly, cut-up technique can be regarded as a means of representing human perception and other mental processes (unobservable directly), especially by mapping the simultaneity of external observations and internal reflections that exist in constant relationships between minds and their environments. The paper brings into correlation the enactivist idea of cognition without content, elaborated by Daniel D. Hutto and Eric Myin, with the idea that cut-up narratives in a sense also have no content. As there are no consistent and coherent story in cut-ups, there could be difficult for the reader to produce a clear mental representation of what is happening in the text. My paper proposes a new reading of texts that initially seem to be uncommunicative.
20世纪60年代初，布里昂·吉辛在尝试各种流派和媒介的同时，“重新发明”了在1910-1920年代首次出现在达达主义艺术实践中的切割技术。文本“或视觉”片段的偶然选择，以及它们在切割中组合的随机性，旨在表现占据人类思维的多种体验。在方法论上，我借鉴了Monika Fludernik发展的“自然”叙事学，她根据经验重新定义了叙事学。相应地，切割技术可以被视为一种表现人类感知和其他心理过程(不可直接观察到的)的手段，特别是通过映射外部观察和内部反射的同时性，这些同时性存在于思想和环境之间的持续关系中。本文将Daniel D. Hutto和Eric Myin阐述的“无内容的认知”这一激进主义观点与切分叙事在某种意义上也没有内容的观点联系起来。由于在分割中没有连贯一致的故事，读者可能很难对文本中发生的事情产生清晰的心理表征。我的论文提出了一种新的解读文本的方法，这种文本最初似乎是不交流的。
{"title":"Brion Gysin, cut-ups, and contemporary painting: Narrating experience","authors":"Daria V. Baryshnikova","doi":"10.1515/FNS-2018-0035","DOIUrl":"https://doi.org/10.1515/FNS-2018-0035","url":null,"abstract":"Abstract In the early 1960 s Brion Gysin, while experimenting in various genres and media, “re-invented” the cut-up technique that first had appeared in the 1910-1920s in Dadaists art practices. The accidental selection of texts’ or visuals’ fragments and the randomness in their combination in cut-ups were aimed to represent multiple experiences occupying the human mind. Methodologically I draw upon “natural” narratology developed by Monika Fludernik, who redefines narrativity in terms of experientiality. Correspondingly, cut-up technique can be regarded as a means of representing human perception and other mental processes (unobservable directly), especially by mapping the simultaneity of external observations and internal reflections that exist in constant relationships between minds and their environments. The paper brings into correlation the enactivist idea of cognition without content, elaborated by Daniel D. Hutto and Eric Myin, with the idea that cut-up narratives in a sense also have no content. As there are no consistent and coherent story in cut-ups, there could be difficult for the reader to produce a clear mental representation of what is happening in the text. My paper proposes a new reading of texts that initially seem to be uncommunicative.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"6 1","pages":"s126 - s145"},"PeriodicalIF":0.4,"publicationDate":"2018-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74354887","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Homunculi (1967) is the first short story collection by the Flemish-Belgian experimental writer Claude C. Krijgelmans. The stories challenge narrative conventions. The title story of the collection mainly experiments with formal conventions: it foregrounds rhythmic repetition and musicality, and deviates from grammatical rules. These features are conventionally associated with lyrical poetry, rather than with narrative texts. Moreover, the text thematises rituals, which hints at the presence of a ritualistic quality that is often linked with lyrical texts. This article focuses on the lyrical elements in “Homunculi” and associates them with the ritualistic. I define lyricality as a literary mode that consists of lyrical tendencies, which can be realised in different ways. The ritualistic quality associated with this mode can be defined as a recurrent combination of lyrical tendencies. The ritualistic involves both semantic and formal aspects. Semantically, it is characterised as an impersonal quality of language. Formally, the ritualistic is memorable, non-representational language. The focus on lyricality enables a working definition of the ritualistic. Approaching “Homunculi” with lyricality as an interpretative lens has theoretical as well as analytical advantages. First, it situates the prose text in a wider tradition of lyrical, ritualistic texts. Next, the focus on lyricality reveals new interpretative possibilities for “Homunculi”. Against that background, this paper demonstrates the need for a narratology that considers the interaction between narrativity and other modes, like lyricality.
{"title":"Lyrical prose and the ritualistic: Lyricality as an interpretative lens for analysing C. C. Krijgelmans’s short story “Homunculi”","authors":"Nel Janssens","doi":"10.1515/FNS-2018-0034","DOIUrl":"https://doi.org/10.1515/FNS-2018-0034","url":null,"abstract":"Abstract Homunculi (1967) is the first short story collection by the Flemish-Belgian experimental writer Claude C. Krijgelmans. The stories challenge narrative conventions. The title story of the collection mainly experiments with formal conventions: it foregrounds rhythmic repetition and musicality, and deviates from grammatical rules. These features are conventionally associated with lyrical poetry, rather than with narrative texts. Moreover, the text thematises rituals, which hints at the presence of a ritualistic quality that is often linked with lyrical texts. This article focuses on the lyrical elements in “Homunculi” and associates them with the ritualistic. I define lyricality as a literary mode that consists of lyrical tendencies, which can be realised in different ways. The ritualistic quality associated with this mode can be defined as a recurrent combination of lyrical tendencies. The ritualistic involves both semantic and formal aspects. Semantically, it is characterised as an impersonal quality of language. Formally, the ritualistic is memorable, non-representational language. The focus on lyricality enables a working definition of the ritualistic. Approaching “Homunculi” with lyricality as an interpretative lens has theoretical as well as analytical advantages. First, it situates the prose text in a wider tradition of lyrical, ritualistic texts. Next, the focus on lyricality reveals new interpretative possibilities for “Homunculi”. Against that background, this paper demonstrates the need for a narratology that considers the interaction between narrativity and other modes, like lyricality.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"21 1","pages":"s105 - s125"},"PeriodicalIF":0.4,"publicationDate":"2018-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80950851","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Scientists and scholars in multiple fields have been discussing the current geological epoch under the heading of the “Anthropocene” – an era marked by the planetary impact of human activities (Crutzen and Stoermer 2000). The epistemological shift brought about by this notion exposes the latent anthropocentrism of narrative practices, raising a challenge taken up by narrative theorists such as Erin James (2015) and Alexa Weik von Mossner (2017) in the context of an “econarratology.” In this article, I examine the prime suspect for anthropocentrism in narrative – namely, the notion of character as intrinsically human-like. My point of departure is A. J. Greimas’s (1976) actantial model of narrative, which I revisit and revise in light of work in the field of ecolinguistics (Goatly 1996). I thus explore five strategies through which narrative may integrate nonhuman characters that challenge both anthropocentrism and the subject-object binary that anthropocentrism entails. I exemplify these strategies by discussing contemporary novels that deal with the Anthropocenic entanglement of humanity and the nonhuman world.
多个领域的科学家和学者一直在“人类世”的标题下讨论当前的地质时代——一个以人类活动对地球的影响为标志的时代(Crutzen and Stoermer 2000)。这一概念带来的认识论转变暴露了叙事实践中潜在的人类中心主义，提出了艾琳·詹姆斯(Erin James, 2015)和亚历克·维克·冯·莫斯纳(Alexa Weik von Mossner, 2017)等叙事理论家在“叙事学”背景下提出的挑战。在这篇文章中，我考察了人类中心主义在叙事中的主要嫌疑——即人物本质上与人类相似的概念。我的出发点是A. J. Greimas(1976)的实际叙事模型，我根据生态语言学领域的工作(Goatly 1996)对其进行了重新审视和修订。因此，我探索了五种叙事策略，通过这些策略，叙事可以整合非人类角色，挑战人类中心主义和人类中心主义所带来的主客体二元对立。我通过讨论处理人类与非人类世界之间的人类世纠缠的当代小说来举例说明这些策略。
{"title":"Notes for an econarratological theory of character","authors":"Marco Caracciolo","doi":"10.1515/FNS-2018-0037","DOIUrl":"https://doi.org/10.1515/FNS-2018-0037","url":null,"abstract":"Abstract Scientists and scholars in multiple fields have been discussing the current geological epoch under the heading of the “Anthropocene” – an era marked by the planetary impact of human activities (Crutzen and Stoermer 2000). The epistemological shift brought about by this notion exposes the latent anthropocentrism of narrative practices, raising a challenge taken up by narrative theorists such as Erin James (2015) and Alexa Weik von Mossner (2017) in the context of an “econarratology.” In this article, I examine the prime suspect for anthropocentrism in narrative – namely, the notion of character as intrinsically human-like. My point of departure is A. J. Greimas’s (1976) actantial model of narrative, which I revisit and revise in light of work in the field of ecolinguistics (Goatly 1996). I thus explore five strategies through which narrative may integrate nonhuman characters that challenge both anthropocentrism and the subject-object binary that anthropocentrism entails. I exemplify these strategies by discussing contemporary novels that deal with the Anthropocenic entanglement of humanity and the nonhuman world.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"30 1","pages":"s172 - s189"},"PeriodicalIF":0.4,"publicationDate":"2018-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80746658","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Interactive digital narrative (IDN) is an umbrella term used to encompass the various formats of digital narrative such as hypertext fiction, transmedia stories, and video games. The study of IDNs transverses the disciplines of narratology, game studies, and media studies. The main question this article addresses is how does the digital medium affect narrative in cultural heritage websites? This question is examined by proposing a new communication model that considers the role of digital media — the Creator-Produser Transaction Model — and adapting existing “tools” of narrative analysis into a “narratological toolkit” for the study of non-fiction IDNs. The transaction between creators and produsers and how an IDN narratological toolkit can be applied are exemplified through the analysis of three cultural heritage websites: Open Monuments (“Otwarte Zabytki”), Belgian Refugees of 1914–1919, and Storymap.
交互式数字叙事(Interactive digital narrative, IDN)是一个总称，用于涵盖各种数字叙事格式，如超文本小说、跨媒体故事和电子游戏。对idn的研究跨越了叙事学、游戏研究和媒体研究等学科。本文的主要问题是数字媒体如何影响文化遗产网站的叙述?通过提出一种考虑数字媒体角色的新传播模型——创作者-产品用户交易模型——并将现有的叙事分析“工具”改编为非虚构idn研究的“叙事学工具包”，研究了这个问题。通过对三个文化遗产网站(Open Monuments，“Otwarte Zabytki”)、1914-1919年的比利时难民和Storymap)的分析，可以举例说明创作者和生产者之间的交易，以及如何应用IDN叙事工具包。
{"title":"A communication model for non-fiction interactive digital narratives: A study of cultural heritage websites","authors":"N. Basaraba","doi":"10.1515/FNS-2018-0032","DOIUrl":"https://doi.org/10.1515/FNS-2018-0032","url":null,"abstract":"Abstract Interactive digital narrative (IDN) is an umbrella term used to encompass the various formats of digital narrative such as hypertext fiction, transmedia stories, and video games. The study of IDNs transverses the disciplines of narratology, game studies, and media studies. The main question this article addresses is how does the digital medium affect narrative in cultural heritage websites? This question is examined by proposing a new communication model that considers the role of digital media — the Creator-Produser Transaction Model — and adapting existing “tools” of narrative analysis into a “narratological toolkit” for the study of non-fiction IDNs. The transaction between creators and produsers and how an IDN narratological toolkit can be applied are exemplified through the analysis of three cultural heritage websites: Open Monuments (“Otwarte Zabytki”), Belgian Refugees of 1914–1919, and Storymap.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"51 1","pages":"s48 - s75"},"PeriodicalIF":0.4,"publicationDate":"2018-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83406779","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：