Abstract Beginnings of fictional narratives apply various strategies to introduce their readers to the represented world, and even if they select a starting point in the flow of events as definitive, they tend to tell something about how the starting situation has been constituted by earlier events and circumstances. Some literary genres represent fictional worlds so different from the readers’ that a general description of the former is also needed in the beginning. A sequel may seem free of the burden of a descriptive introductory beginning, since readers (if they have read the previous work or works) have sufficient information to be able to cope with in medias res beginning. However, long series of many sequels have to be accessible for new readers as well, therefore they offer introductions for a double audience. The paper analyses several beginnings from Terry Pratchett’s Discworld novels. I show how the early novels use the description of the Discworld as a formal feature to begin the narrative; those descriptions fulfil the double purpose of introducing new readers and entertaining the trained ones by new ways of elaboration and adding some new traits.
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Abstract The article, on the “scope of empirical narratology”, offers a survey of the emerging field of empirical narratology, which arguably originates with the publication of Psychonarratology (Bortolussi and Dixon 2003). To situate empirical approaches in narratology, the article first outlines the current discussion in the field, which is divided as to whether empirical methodologies represent a un‑/helpful addition to the discipline. After that, three major methods of conducting empirical research in narratology are introduced: i. e., a qualitative, quantitative / corpus-based, and quantitative / experimental approach. Each method is discussed and illustrated with a model study from current research. Finally, the article suggests topics for further investigation in the empirical paradigm. By presenting tenets and study models for empirical narratology, the article hopes to highlight its attractiveness for narratology at large, and to advance the developing framework.
本文以“经验叙事学的范围”为主题，对经验叙事学这一新兴领域进行了概述，这一领域可以说是自《心理叙事学》(Bortolussi and Dixon 2003)出版以来兴起的。为了将经验主义方法置于叙事学中，本文首先概述了该领域目前的讨论，这些讨论分为经验主义方法是否代表了对该学科有益的补充。然后介绍了叙事学实证研究的三种主要方法:定性、定量/基于语料库的方法和定量/实验的方法。每种方法都进行了讨论，并通过当前研究中的模型研究进行了说明。最后，文章提出了在实证范式下进一步研究的课题。本文希望通过提出经验叙事学的原则和研究模式，突出其对整个叙事学的吸引力，并推进发展框架。
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Abstract In the midst of the age of memoir, where the demarcation between public discourse and private lives has been eroded, a number of life-writing genres figure prominently as identity narratives. Specifically, illness narratives proliferate in both digital and non-digital forms, thus becoming powerful social and cultural forms to understand illness today. This article aims to analyze how online forms are bringing relevant changes both to the genre and to the actual communication of cancer experience. Nancy K. Miller and Susan Gubar choose different forms (visual diary and blog, respectively) to help readers “acknowledge the place of cancer in the world”. Having lived in cancerland for a while, both reject widespread stereotypes about illness, such as being a cancer survivor, the role of the good patient or the need to reject negative emotions such as anger, fear or sadness. Specifically, I will use the concept of automediality in order to explore how subjectivity is constructed in their use of images and new media. This concept may help us further explore the ways in which online forms offer new ways of self-representation and mediation between technology and subjectivities.
在回忆录时代，公共话语和私人生活之间的界限已经被侵蚀，许多生活写作体裁作为身份叙事占据突出地位。具体来说，疾病叙述以数字和非数字形式激增，从而成为当今理解疾病的强大社会和文化形式。本文旨在分析在线形式是如何给癌症体验的类型和实际传播带来相关变化的。Nancy K. Miller和Susan Gubar选择了不同的形式(分别是视觉日记和博客)来帮助读者“认识癌症在世界上的地位”。在癌症世界生活了一段时间后，两人都拒绝接受关于疾病的普遍刻板印象，比如癌症幸存者、好病人的角色，或者拒绝愤怒、恐惧或悲伤等负面情绪的需要。具体来说，我将使用自动性的概念来探索他们在使用图像和新媒体时是如何构建主体性的。这个概念可以帮助我们进一步探索网络形式如何提供新的自我表现方式，以及技术与主体性之间的中介。
{"title":"Virtual labyrinths: Nancy K. Miller’s and Susan Gubar’s narratives of cancer","authors":"R. Baena","doi":"10.1515/fns-2020-0015","DOIUrl":"https://doi.org/10.1515/fns-2020-0015","url":null,"abstract":"Abstract In the midst of the age of memoir, where the demarcation between public discourse and private lives has been eroded, a number of life-writing genres figure prominently as identity narratives. Specifically, illness narratives proliferate in both digital and non-digital forms, thus becoming powerful social and cultural forms to understand illness today. This article aims to analyze how online forms are bringing relevant changes both to the genre and to the actual communication of cancer experience. Nancy K. Miller and Susan Gubar choose different forms (visual diary and blog, respectively) to help readers “acknowledge the place of cancer in the world”. Having lived in cancerland for a while, both reject widespread stereotypes about illness, such as being a cancer survivor, the role of the good patient or the need to reject negative emotions such as anger, fear or sadness. Specifically, I will use the concept of automediality in order to explore how subjectivity is constructed in their use of images and new media. This concept may help us further explore the ways in which online forms offer new ways of self-representation and mediation between technology and subjectivities.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"4 1","pages":"231 - 258"},"PeriodicalIF":0.4,"publicationDate":"2020-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82817012","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, Kenneth Foote, and Maoz Azaryahu pave the way, in Narrating Space/Spatializing Narrative (2016), to think of space in narrative as well as narrative in space. I steer their approach through nonhuman space by examining a narrative traversal of “the mesh,” which is Timothy Morton’s spatial metaphor for human and nonhuman interconnection. “A narrative traversal of the mesh” indicates two distinct aspects of narrative motion, which can be thought of as the motion that occurs within a narrative’s fictional spaces (internal), and as the movement of a narrative through the non-fictional spaces of the mesh (external). A narrative’s internal and external motions suggest that a narrative text is itself an enmeshed pocket of nonhuman space that emulates the meshiness of the space that envelops it. The outcome of each “narrative traversal” is that the text purports to become the mesh, but this outcome registers on two scales – that of the storyworld containing a fictional mesh (the internal scale), and that of the actual, non-fictional mesh containing the storyworld (the external scale). Remarkably, each type of traversal relies on and influences the other, so that the tandem dynamism that obtains between them emerges as my object of inquiry more so than either of them individually. Since a narrative’s spatial situation is precisely that of one nonhuman space within the larger mesh, my reading of Lucy Corin’s short story, “Eyes of Dogs,” engages ultimately with the scalar discrepancy between text and world and concludes that narrative may serve as an extramental shelter from correlationism.
Marie-Laure Ryan、Kenneth Foote和Maoz Azaryahu在《叙事空间/空间化叙事》(2016)中为思考叙事中的空间和空间中的叙事铺平了道路。我通过考察“网格”(Timothy Morton对人类和非人类相互联系的空间隐喻)的叙事穿越，引导他们的方法进入非人类空间。“网格的叙事穿越”表明了叙事运动的两个不同方面，可以将其视为在叙事的虚构空间(内部)内发生的运动，以及通过网格的非虚构空间(外部)的叙事运动。叙事的内部和外部运动表明，叙事文本本身就是一个非人类空间的缠绕口袋，模仿包围它的空间的网状结构。每一次“叙事穿越”的结果都是文本自称成为网格，但这种结果记录在两个尺度上——一个是包含虚构网格的故事世界(内部尺度)，另一个是包含故事世界的实际的、非虚构的网格(外部尺度)。值得注意的是，每一种类型的遍历都依赖并影响着另一种类型，因此，在它们之间获得的串联动力比它们中的任何一种单独的动力更成为我的研究对象。由于叙事的空间情境恰恰是更大网格中的一个非人类空间，我在阅读露西·科林(Lucy Corin)的短篇小说《狗的眼睛》(Eyes of Dogs)时，最终关注的是文本与世界之间的标量差异，并得出结论，叙事可以作为一种外部庇护所，免受相关主义的影响。
{"title":"Viewing the world through Lucy Corin’s “Eyes of Dogs”","authors":"Nathan D. Frank","doi":"10.1515/fns-2020-0013","DOIUrl":"https://doi.org/10.1515/fns-2020-0013","url":null,"abstract":"Abstract Marie-Laure Ryan, Kenneth Foote, and Maoz Azaryahu pave the way, in Narrating Space/Spatializing Narrative (2016), to think of space in narrative as well as narrative in space. I steer their approach through nonhuman space by examining a narrative traversal of “the mesh,” which is Timothy Morton’s spatial metaphor for human and nonhuman interconnection. “A narrative traversal of the mesh” indicates two distinct aspects of narrative motion, which can be thought of as the motion that occurs within a narrative’s fictional spaces (internal), and as the movement of a narrative through the non-fictional spaces of the mesh (external). A narrative’s internal and external motions suggest that a narrative text is itself an enmeshed pocket of nonhuman space that emulates the meshiness of the space that envelops it. The outcome of each “narrative traversal” is that the text purports to become the mesh, but this outcome registers on two scales – that of the storyworld containing a fictional mesh (the internal scale), and that of the actual, non-fictional mesh containing the storyworld (the external scale). Remarkably, each type of traversal relies on and influences the other, so that the tandem dynamism that obtains between them emerges as my object of inquiry more so than either of them individually. Since a narrative’s spatial situation is precisely that of one nonhuman space within the larger mesh, my reading of Lucy Corin’s short story, “Eyes of Dogs,” engages ultimately with the scalar discrepancy between text and world and concludes that narrative may serve as an extramental shelter from correlationism.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"16 1","pages":"191 - 212"},"PeriodicalIF":0.4,"publicationDate":"2020-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87877865","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 Taking Nabokov’s Pale Fire as its tutor text, this chapter seeks to demonstrate that narrative functions as a complex or dynamic system. Due to the novel’s nonlinear and multiply configured format, a series of dissipative structures is provoked whereby states near equilibrium, on reaching states far from equilibrium under the weight of multiple causality, putting the system “beyond the threshold of stability” and “at the edge of chaos,” perpetually self-organize. Taking a cue from nonequilibrium thermodynamics, instabilities, it is argued, are inherent to narrative discourse. This calls into question the pertinence of the logic of linearity (“event A causes event B”) as well as the scope of such postulates as the isomorphic relation between sequence and narrative as a whole, a postulate that frames narrative as a closed system following the principle of conservation of energy in classical mechanics. As the poem “Pale Fire” in Nabokov’s novel advances linearly, it is constantly disrupted by the “Commentary” which is related to the poem only tangentially, each text fragmenting the other and self-organizing into new meanings. The effect is to render salient in narrative discourse the complexity science principles (in addition to those mentioned above) of irreversibility (the “arrow of time”) vs. reversibility, sensitivity to initial conditions, negative vs. positive feedback and the symmetry-breaking effects of bifurcation. The manifestation of these principles in Nabokov’s novel raises fundamental questions about the structuring of narrative, but also about the conceptual framework through which narrative at large might be approached.
{"title":"Narrative instabilities","authors":"John Pier","doi":"10.1515/fns-2020-0011","DOIUrl":"https://doi.org/10.1515/fns-2020-0011","url":null,"abstract":"Abstract Taking Nabokov’s Pale Fire as its tutor text, this chapter seeks to demonstrate that narrative functions as a complex or dynamic system. Due to the novel’s nonlinear and multiply configured format, a series of dissipative structures is provoked whereby states near equilibrium, on reaching states far from equilibrium under the weight of multiple causality, putting the system “beyond the threshold of stability” and “at the edge of chaos,” perpetually self-organize. Taking a cue from nonequilibrium thermodynamics, instabilities, it is argued, are inherent to narrative discourse. This calls into question the pertinence of the logic of linearity (“event A causes event B”) as well as the scope of such postulates as the isomorphic relation between sequence and narrative as a whole, a postulate that frames narrative as a closed system following the principle of conservation of energy in classical mechanics. As the poem “Pale Fire” in Nabokov’s novel advances linearly, it is constantly disrupted by the “Commentary” which is related to the poem only tangentially, each text fragmenting the other and self-organizing into new meanings. The effect is to render salient in narrative discourse the complexity science principles (in addition to those mentioned above) of irreversibility (the “arrow of time”) vs. reversibility, sensitivity to initial conditions, negative vs. positive feedback and the symmetry-breaking effects of bifurcation. The manifestation of these principles in Nabokov’s novel raises fundamental questions about the structuring of narrative, but also about the conceptual framework through which narrative at large might be approached.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"24 1","pages":"148 - 156"},"PeriodicalIF":0.4,"publicationDate":"2020-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89748971","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 discusses the first season of the television series Russian Doll (2019–), analyzing its time-loop structure through a narratological lens with focus on the significance of its setting to the narrative’s overall message on social connection in the city. The narrative’s chronotope of urban space and repetitive temporality works to reflect the internal struggles of its two protagonists (Natasha Lyonne and Charlie Barnett), but also a contemporary collective trauma and inability to imagine a different future – a narrative mode that Gomel and Karti Shemtov (2018) term “limbotopia”. However, Russian Doll is ultimately optimistic, allowing its protagonists to break out of their limbotopic time loops and move towards a transformative conclusion of regained hope for the future. The narrative device of the time loop pushes the characters to immerse themselves in their space: joining other people in the city and creating a community.
{"title":"Re-living the city: The urban time-loop of Russian Doll","authors":"Orin Posner","doi":"10.1515/fns-2020-0014","DOIUrl":"https://doi.org/10.1515/fns-2020-0014","url":null,"abstract":"Abstract This article discusses the first season of the television series Russian Doll (2019–), analyzing its time-loop structure through a narratological lens with focus on the significance of its setting to the narrative’s overall message on social connection in the city. The narrative’s chronotope of urban space and repetitive temporality works to reflect the internal struggles of its two protagonists (Natasha Lyonne and Charlie Barnett), but also a contemporary collective trauma and inability to imagine a different future – a narrative mode that Gomel and Karti Shemtov (2018) term “limbotopia”. However, Russian Doll is ultimately optimistic, allowing its protagonists to break out of their limbotopic time loops and move towards a transformative conclusion of regained hope for the future. The narrative device of the time loop pushes the characters to immerse themselves in their space: joining other people in the city and creating a community.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"70 1","pages":"213 - 230"},"PeriodicalIF":0.4,"publicationDate":"2020-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85736081","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 Drawing on Janet Murray (1997), Katie Salen and Eric Zimmerman (2004), and other previous proposals, this article conceptualizes player agency as the possibility space for “meaningful” choice expressed via player action that translates into avatar action, afforded and constrained by a videogame’s design. It further distinguishes between four core dimensions of agency thus conceptualized: First, spatial-explorative agency is afforded by those elements of a videogame’s design that determine the player’s ability to navigate and traverse the game spaces via their avatar. Second, temporal-ergodic agency is afforded by those elements of a videogame’s design that determine the player’s options for interacting with the videogame as a temporal system. Third, configurative-constructive agency is afforded by those elements of a videogame’s design that allow the player to configure their avatar and/or (re)construct the game spaces. Fourth, narrative-dramatic agency is afforded by those elements of a videogame’s design that determine the player’s “meaningful” impact on the unfolding story. The article then moves on to analyze two case studies of independently developed videogames: ZA/UM’s role-playing game Disco Elysium (2019), whose complex nonlinear narrative structure primarily affords configurative and narrative agency, and System Era Softworks’s sandbox adventure game Astroneer (2019), whose procedurally generated game spaces and “open” game mechanics primarily afford explorative, constructive, and dramatic agency.
借鉴Janet Murray(1997)、Katie Salen和Eric Zimmerman(2004)以及其他之前的建议，本文将玩家代理概念化为通过玩家动作表达的“有意义”选择的可能性空间，这种选择可以转化为虚拟角色的动作，并受到电子游戏设计的限制。它进一步区分了代理的四个核心维度:首先，空间探索代理是由电子游戏设计元素提供的，这些元素决定了玩家通过角色导航和穿越游戏空间的能力。其次，时间遍历代理是由电子游戏设计元素提供的，这些元素决定了玩家与电子游戏作为时间系统进行互动的选择。第三，配置-建设性代理是由电子游戏设计元素提供的，这些元素允许玩家配置他们的角色和/或(重新)构建游戏空间。第四，剧情代理是由电子游戏设计元素提供的，这些元素决定了玩家对展开故事的“有意义”影响。本文接着分析了独立开发电子游戏的两个案例:ZA/UM的角色扮演游戏《Disco Elysium》(2019)，其复杂的非线性叙事结构主要提供配置和叙事代理，以及System Era Softworks的沙盒冒险游戏《Astroneer》(2019)，其程序生成的游戏空间和“开放”游戏机制主要提供探索性、建设性和戏剧性代理。
{"title":"Playing stories?","authors":"Bettina Bódi, Jan-Noël Thon","doi":"10.1515/fns-2020-0012","DOIUrl":"https://doi.org/10.1515/fns-2020-0012","url":null,"abstract":"Abstract Drawing on Janet Murray (1997), Katie Salen and Eric Zimmerman (2004), and other previous proposals, this article conceptualizes player agency as the possibility space for “meaningful” choice expressed via player action that translates into avatar action, afforded and constrained by a videogame’s design. It further distinguishes between four core dimensions of agency thus conceptualized: First, spatial-explorative agency is afforded by those elements of a videogame’s design that determine the player’s ability to navigate and traverse the game spaces via their avatar. Second, temporal-ergodic agency is afforded by those elements of a videogame’s design that determine the player’s options for interacting with the videogame as a temporal system. Third, configurative-constructive agency is afforded by those elements of a videogame’s design that allow the player to configure their avatar and/or (re)construct the game spaces. Fourth, narrative-dramatic agency is afforded by those elements of a videogame’s design that determine the player’s “meaningful” impact on the unfolding story. The article then moves on to analyze two case studies of independently developed videogames: ZA/UM’s role-playing game Disco Elysium (2019), whose complex nonlinear narrative structure primarily affords configurative and narrative agency, and System Era Softworks’s sandbox adventure game Astroneer (2019), whose procedurally generated game spaces and “open” game mechanics primarily afford explorative, constructive, and dramatic agency.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"21 1","pages":"157 - 190"},"PeriodicalIF":0.4,"publicationDate":"2020-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85046349","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 Svend Erik Larsen is Professor Emeritus of Comparative Literature at Aarhus University, Denmark, and a member of Academia Europaea. He has authored more than 10 books and 400 articles. His latest works include journal articles, ‘Australia between White Australia and Multiculturalism: A World Literature Perspective’ (2017), ‘Migration and Translation in a World Literature Perspective’ (2017), ‘World Literature in an Extended Media Landscape’ (2017), Yingyong Fuhaoxue (2018) and the monograph Literature and the Experience of Globalization: Texts without Borders (2017), translated as Wu bianjie wenben: wenxue yu quanqiuhua (2020). Professor Larsen was interviewed by Doctor Li Shuling while he was in China to give a series of lectures on literature and globalisation. Speaking about the problems in the current research on literature and globalisation, Professor Larsen suggests viewing globalisation as a cultural process and to reread literary works from both historical and global perspectives. This implies studying literature and world literature framed against the concrete everyday experience of globalisation in highly developed societies as well as in poor marginalised regions. He expounds the focal points of literary studies in globalised conditions, the dynamic relationship between local literature and world literature, the challenges and opportunities before minor literature and micro literature today, and the path for local literature to become global. He believes that world literature will help democratise the study of literature in global conditions.
{"title":"Literature as an experience of globalisation: An interview with Svend Erik Larsen","authors":"Li Shuling, Svend Erik Larsen","doi":"10.1515/fns-2020-0010","DOIUrl":"https://doi.org/10.1515/fns-2020-0010","url":null,"abstract":"Abstract Svend Erik Larsen is Professor Emeritus of Comparative Literature at Aarhus University, Denmark, and a member of Academia Europaea. He has authored more than 10 books and 400 articles. His latest works include journal articles, ‘Australia between White Australia and Multiculturalism: A World Literature Perspective’ (2017), ‘Migration and Translation in a World Literature Perspective’ (2017), ‘World Literature in an Extended Media Landscape’ (2017), Yingyong Fuhaoxue (2018) and the monograph Literature and the Experience of Globalization: Texts without Borders (2017), translated as Wu bianjie wenben: wenxue yu quanqiuhua (2020). Professor Larsen was interviewed by Doctor Li Shuling while he was in China to give a series of lectures on literature and globalisation. Speaking about the problems in the current research on literature and globalisation, Professor Larsen suggests viewing globalisation as a cultural process and to reread literary works from both historical and global perspectives. This implies studying literature and world literature framed against the concrete everyday experience of globalisation in highly developed societies as well as in poor marginalised regions. He expounds the focal points of literary studies in globalised conditions, the dynamic relationship between local literature and world literature, the challenges and opportunities before minor literature and micro literature today, and the path for local literature to become global. He believes that world literature will help democratise the study of literature in global conditions.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"80 1","pages":"133 - 147"},"PeriodicalIF":0.4,"publicationDate":"2020-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75639957","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 Plots have been described as having shapes based on the changes in tension that occur across a story. We present here a model of plot shape that is predicated on the alternating rises and falls in the protagonist’s emotional state. The basic tenet of the model is that, once the emotional valence of the beginning and ending of a story has been specified, then the internal phases of the story are constrained to connect these endpoints by oscillating between emotional rises and falls in a wavelike manner. This makes plot structure akin to a musical resonator – such as a flute – which can only conduct sound waves of certain discrete shapes depending on the structure of the tube’s endpoints. Using this metaphor, we describe four fundamental plot-shapes based on a 2 x 2 crossing of the emotional valence of a story’s beginning (happy beginning vs. sad beginning) and ending (happy ending vs. sad ending).
{"title":"The shapes of stories: A “resonator” model of plot structure","authors":"Steven Brown, Carmen Tu","doi":"10.1515/fns-2020-0016","DOIUrl":"https://doi.org/10.1515/fns-2020-0016","url":null,"abstract":"Abstract Plots have been described as having shapes based on the changes in tension that occur across a story. We present here a model of plot shape that is predicated on the alternating rises and falls in the protagonist’s emotional state. The basic tenet of the model is that, once the emotional valence of the beginning and ending of a story has been specified, then the internal phases of the story are constrained to connect these endpoints by oscillating between emotional rises and falls in a wavelike manner. This makes plot structure akin to a musical resonator – such as a flute – which can only conduct sound waves of certain discrete shapes depending on the structure of the tube’s endpoints. Using this metaphor, we describe four fundamental plot-shapes based on a 2 x 2 crossing of the emotional valence of a story’s beginning (happy beginning vs. sad beginning) and ending (happy ending vs. sad ending).","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"85 1","pages":"259 - 288"},"PeriodicalIF":0.4,"publicationDate":"2020-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80466904","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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