Abstract Tracking the major narratological trends that give treatment to Jane Austen’s narrators in Northanger Abbey and Persuasion, this paper at once seeks to consolidate a narratorial voice as distinct from an authorial voice in each work while simultaneously collapsing each of these narratorial voices into storyworld characters via metalepsis. This one-two punch of consolidation and collapse allows me to argue for the emergence of a “tangled indeterminacy” in Northanger Abbey, a discovery that leads to two original possibilities: either a second narratorial voice emerges toward the end of the novel, or the initial narratorial voice bifurcates, such that a part of her is left behind in the diegesis while another part of her retreats to the narratorial plane. In either case, any attempt to attribute “the wild imagination” of Northanger Abbey to a specific narratorial persona must account for one or both of these readings.
{"title":"I, theorist: Accrediting the “wild imagination” of Northanger Abbey","authors":"N. Frank","doi":"10.1515/fns-2021-0013","DOIUrl":"https://doi.org/10.1515/fns-2021-0013","url":null,"abstract":"Abstract Tracking the major narratological trends that give treatment to Jane Austen’s narrators in Northanger Abbey and Persuasion, this paper at once seeks to consolidate a narratorial voice as distinct from an authorial voice in each work while simultaneously collapsing each of these narratorial voices into storyworld characters via metalepsis. This one-two punch of consolidation and collapse allows me to argue for the emergence of a “tangled indeterminacy” in Northanger Abbey, a discovery that leads to two original possibilities: either a second narratorial voice emerges toward the end of the novel, or the initial narratorial voice bifurcates, such that a part of her is left behind in the diegesis while another part of her retreats to the narratorial plane. In either case, any attempt to attribute “the wild imagination” of Northanger Abbey to a specific narratorial persona must account for one or both of these readings.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"468 1","pages":"222 - 238"},"PeriodicalIF":0.4,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86958539","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 Marie-Laure Ryan is an independent scholar based in Colorado. She is the author of Possible Worlds, Artificial Intelligence and Narrative Theory (1991), Narrative as Virtual Reality (2001), Avatars of Story (2006), Narrative as Virtual Reality 2 (2015), Narrating Space/Spatializing Narrative (2016, with Kenneth Foote and Maoz Azaryahu), and over 100 articles on narratology, media theory, and digital culture. In October 2021, Dr. Jiayi Chen interviewed Ryan by email about possible worlds narratology, narrative across media, and the recent development of narratology. During the discussion, Ryan elaborates on the productive ways transmedia narratology can complement the language-based enterprise of narrative theory, as well as its position in relation to other strands of narrative inquiry. To conclude, Ryan points out the recent trends that have been enriching and expanding the territory of narratology before mapping out some areas that merit greater attention and future investigation.
{"title":"Storyworld, transmedia storytelling, and contemporary narrative theory: An interview with Marie-Laure Ryan","authors":"Jiayi Chen, Marie-Laure Ryan","doi":"10.1515/fns-2021-0008","DOIUrl":"https://doi.org/10.1515/fns-2021-0008","url":null,"abstract":"Abstract Marie-Laure Ryan is an independent scholar based in Colorado. She is the author of Possible Worlds, Artificial Intelligence and Narrative Theory (1991), Narrative as Virtual Reality (2001), Avatars of Story (2006), Narrative as Virtual Reality 2 (2015), Narrating Space/Spatializing Narrative (2016, with Kenneth Foote and Maoz Azaryahu), and over 100 articles on narratology, media theory, and digital culture. In October 2021, Dr. Jiayi Chen interviewed Ryan by email about possible worlds narratology, narrative across media, and the recent development of narratology. During the discussion, Ryan elaborates on the productive ways transmedia narratology can complement the language-based enterprise of narrative theory, as well as its position in relation to other strands of narrative inquiry. To conclude, Ryan points out the recent trends that have been enriching and expanding the territory of narratology before mapping out some areas that merit greater attention and future investigation.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"66 1","pages":"147 - 155"},"PeriodicalIF":0.4,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75153358","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 addiction to be the central concern of David Foster Wallace’s Infinite Jest (1996), this article sees the human body as both a storytelling agent and a described object. It explores insatiable desire as essence of addiction, focusing on the interaction between characters’ bodies and their desires. This article seeks to further examine corporeal narrative techniques in the novel with a particular focus on the relationship between narrative bodies and time or space, the differential embodiments of bodies, and the text’s manipulation of the reader’s body. Adopting varied corporeal narrative techniques, Wallace warns readers against indulging one’s desire for addictive satisfaction – especially with regard to passive entertainment – and indicates the vulnerability of the human mind and body to desire. In this way, the reader not only observes the characters’ external actions and internal feelings under insatiable desire from a third-person perspective, but they also have the chance to feel similar desires within themselves.
{"title":"Corporeal narrative of insatiable desire in David Foster Wallace’s Infinite Jest","authors":"Xiaomeng Wan","doi":"10.1515/fns-2021-0011","DOIUrl":"https://doi.org/10.1515/fns-2021-0011","url":null,"abstract":"Abstract Considering addiction to be the central concern of David Foster Wallace’s Infinite Jest (1996), this article sees the human body as both a storytelling agent and a described object. It explores insatiable desire as essence of addiction, focusing on the interaction between characters’ bodies and their desires. This article seeks to further examine corporeal narrative techniques in the novel with a particular focus on the relationship between narrative bodies and time or space, the differential embodiments of bodies, and the text’s manipulation of the reader’s body. Adopting varied corporeal narrative techniques, Wallace warns readers against indulging one’s desire for addictive satisfaction – especially with regard to passive entertainment – and indicates the vulnerability of the human mind and body to desire. In this way, the reader not only observes the characters’ external actions and internal feelings under insatiable desire from a third-person perspective, but they also have the chance to feel similar desires within themselves.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"25 1","pages":"193 - 206"},"PeriodicalIF":0.4,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73492264","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}
{"title":"Bob Fischer, ed. The routledge handbook of animal ethics. New York: Routledge, 2020. xviii+584 pp. ISBN: 9781138095069.","authors":"Xinyi Cao","doi":"10.1515/fns-2021-0014","DOIUrl":"https://doi.org/10.1515/fns-2021-0014","url":null,"abstract":"","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"7 1","pages":"239 - 244"},"PeriodicalIF":0.4,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76276726","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 article introduces an experimental mode of contemporary writing and bookmaking that I call multimodal book-archives, an emergent mode of contemporary literature that constructs narratives and textual sequences through the collection and representation of reproduced texts and other artifacts. In multimodal book-archives the book-object is presented as a container designed to preserve and transmit textual artifacts. In this article, I examine Anne Carson’s Nox (2010) as a case study in archival poetics, exemplifying the “archival turn” in contemporary literature. My analysis draws attention to how writing, subjectivity, knowledge, history, and memory in the digital age are increasingly configured through distributed networks of people and artifacts in different social and institutional spaces, demonstrating how Nox functions not only as an instrument of psychological rejuvenation, but as an aesthetic instrument for documenting, ordering, listing, and juxtaposing disparate bits of information and memory into cathartic self-knowledge. Carson’s archival poetics is deeply personal, laden with private symbols and metaphors that readers are asked to collocate, cross-reference, and translate as part of the archival reading process. If grief is a kind of chaos, then Carson’s archival poetics instrumentalizes the book as a tool for ordering that chaos into something manageable, useful, even beautiful.
{"title":"Instrumentalizing the book: Anne Carson’s Nox and books as archives","authors":"Brian Davis","doi":"10.1515/fns-2021-0005","DOIUrl":"https://doi.org/10.1515/fns-2021-0005","url":null,"abstract":"Abstract This article introduces an experimental mode of contemporary writing and bookmaking that I call multimodal book-archives, an emergent mode of contemporary literature that constructs narratives and textual sequences through the collection and representation of reproduced texts and other artifacts. In multimodal book-archives the book-object is presented as a container designed to preserve and transmit textual artifacts. In this article, I examine Anne Carson’s Nox (2010) as a case study in archival poetics, exemplifying the “archival turn” in contemporary literature. My analysis draws attention to how writing, subjectivity, knowledge, history, and memory in the digital age are increasingly configured through distributed networks of people and artifacts in different social and institutional spaces, demonstrating how Nox functions not only as an instrument of psychological rejuvenation, but as an aesthetic instrument for documenting, ordering, listing, and juxtaposing disparate bits of information and memory into cathartic self-knowledge. Carson’s archival poetics is deeply personal, laden with private symbols and metaphors that readers are asked to collocate, cross-reference, and translate as part of the archival reading process. If grief is a kind of chaos, then Carson’s archival poetics instrumentalizes the book as a tool for ordering that chaos into something manageable, useful, even beautiful.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"49 1","pages":"84 - 109"},"PeriodicalIF":0.4,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78291601","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 article reconstructs the theory of political storytelling as outlined by political strategist Mark McKinnon. Stories that conform to this theory feature a suspense structure, and as such they invoke hope and fear in recipients, thereby instilling pro- or contra-attitudes. This is potentially problematic in four respects: Political storytelling (1) can be used to induce attitude-change without a rational foundation, thereby infringing on the receiver’s right to epistemic self-determination; (2) political storytelling may involve a misrepresentation of the teller’s communicative intentions, thereby disclosing the truth about them in a way that is potentially harmful to society; (3) by expressing rather than stating crucial elements of his or her “message,” the political storyteller may immunize him- or herself from critique and mask the true content of the message; (4) by attempting to influence recipients’ preferences, the political storyteller does not conform to some fundamental principle of representative democracy.
{"title":"On the alethic and moral status of political storytelling","authors":"N. Klenner, Tilmann Köppe","doi":"10.1515/fns-2021-0003","DOIUrl":"https://doi.org/10.1515/fns-2021-0003","url":null,"abstract":"Abstract The article reconstructs the theory of political storytelling as outlined by political strategist Mark McKinnon. Stories that conform to this theory feature a suspense structure, and as such they invoke hope and fear in recipients, thereby instilling pro- or contra-attitudes. This is potentially problematic in four respects: Political storytelling (1) can be used to induce attitude-change without a rational foundation, thereby infringing on the receiver’s right to epistemic self-determination; (2) political storytelling may involve a misrepresentation of the teller’s communicative intentions, thereby disclosing the truth about them in a way that is potentially harmful to society; (3) by expressing rather than stating crucial elements of his or her “message,” the political storyteller may immunize him- or herself from critique and mask the true content of the message; (4) by attempting to influence recipients’ preferences, the political storyteller does not conform to some fundamental principle of representative democracy.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"2 1","pages":"44 - 61"},"PeriodicalIF":0.4,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73167462","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 J. M. Coetzee’s Elizabeth Costello consists of eight “lessons,” which in their turn play host to seven lectures as given either by Coetzee himself or his fictional doppelganger. When a fiction consists of lessons that embed lectures, the latter are delivered simultaneously to the present direct addressees and to absent indirect ones. Both Costello and Coetzee refuse to accept the consensual illusion of their lecture halls by preferring to address a scattered and heterogeneous readership. Their lectures break the realist illusion by drawing attention to their unreliable performers who cannot act as unbiased agents of commonality. The best way to provoke dissent is to put emphasis on the consensual reality’s discarded “real,” such as violated children, exterminated peoples, or suffering animals. By responding to its call from an ever-new point of view and establishing a migrating point of view, Costello and Coetzee untiringly distance themselves from the artifice of reality that surrounds them.
{"title":"From lectures to lessons and back again:The deterritorialization of transmission in Elizabeth Costello","authors":"Vladimir Biti","doi":"10.1515/fns-2021-0002","DOIUrl":"https://doi.org/10.1515/fns-2021-0002","url":null,"abstract":"Abstract J. M. Coetzee’s Elizabeth Costello consists of eight “lessons,” which in their turn play host to seven lectures as given either by Coetzee himself or his fictional doppelganger. When a fiction consists of lessons that embed lectures, the latter are delivered simultaneously to the present direct addressees and to absent indirect ones. Both Costello and Coetzee refuse to accept the consensual illusion of their lecture halls by preferring to address a scattered and heterogeneous readership. Their lectures break the realist illusion by drawing attention to their unreliable performers who cannot act as unbiased agents of commonality. The best way to provoke dissent is to put emphasis on the consensual reality’s discarded “real,” such as violated children, exterminated peoples, or suffering animals. By responding to its call from an ever-new point of view and establishing a migrating point of view, Costello and Coetzee untiringly distance themselves from the artifice of reality that surrounds them.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"35 1","pages":"21 - 43"},"PeriodicalIF":0.4,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73166763","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 Over the years, narratologists have established a unitary view of narrative structure based on the principles of Aristotle’s Poetics. I propose in this essay to describe the general features of an alternative epistemological framework based on a renewed interpretation of Friedrich Nietzsche’s The Birth of Tragedy. Through this analysis, I wish to show how the adoption of the Aristotelian model as a framework for narratological research could have led to neglecting certain fundamental aspects of narrativity that the adoption of a Nietzschean perspective, conversely, would highlight. In particular, I want to emphasize that the abandonment of the Aristotelian perspective in favor of a Nietzschean approach can be extremely useful in order to highlight the über-natural character of so-called “unnatural narratives”. I will test my hypotheses through the analysis of David Foster Wallace’s short story “Mister Squishy” (2004), which represents an emblematic case of “Nietzschean narrative”.
{"title":"Aristotelian and/or Nietzschean narratology","authors":"Antonino Sorci","doi":"10.1515/fns-2021-0004","DOIUrl":"https://doi.org/10.1515/fns-2021-0004","url":null,"abstract":"Abstract Over the years, narratologists have established a unitary view of narrative structure based on the principles of Aristotle’s Poetics. I propose in this essay to describe the general features of an alternative epistemological framework based on a renewed interpretation of Friedrich Nietzsche’s The Birth of Tragedy. Through this analysis, I wish to show how the adoption of the Aristotelian model as a framework for narratological research could have led to neglecting certain fundamental aspects of narrativity that the adoption of a Nietzschean perspective, conversely, would highlight. In particular, I want to emphasize that the abandonment of the Aristotelian perspective in favor of a Nietzschean approach can be extremely useful in order to highlight the über-natural character of so-called “unnatural narratives”. I will test my hypotheses through the analysis of David Foster Wallace’s short story “Mister Squishy” (2004), which represents an emblematic case of “Nietzschean narrative”.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"47 1","pages":"62 - 83"},"PeriodicalIF":0.4,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81258448","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}
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