Abstract This essay places narratology’s emphasis on space-time within the emergence of the discipline of geography and the rise of a materialist, hard science orientation in US institutions after WWII, ultimately arguing that a nascent geographical narratology should aspire to the broad intellectual scope of geography’s origins. “The new geography,” which emerged in 1887 and focused comprehensively on the relation of humans to the earth’s surface, subsequently contracted and fragmented with the post-war emphasis on material science. Likewise expanding in the rationalist post-war climate, classical narratology emphasized logical categories, especially the space-time dichotomy, divorced from human meanings. Today, cognitive research suggests that narratology’s enduring space-time paradigm occludes the constructive realities of both human relations to physical locations and reader processes. Drawing on discussions of space in narrative theory and in current cognitive research on navigation, Easterlin demonstrates that readers and viewers, rather than building spatialized storyworlds, construe space in a functional, piecemeal manner. Finally, maintaining that the area of place studies and an ecological approach to reading are two components of a broadly interdisciplinary geographical narratology providing a nuanced, psychologically contextualized approach to human-environment relations and narrative, Easterlin demonstrates their utility in readings of stories by Raymond Carver and Lydia Davis.
{"title":"“The new geography,” material science, and narratology’s space-time dichotomy: Notes toward a geographical narratology","authors":"Nancy L. Easterlin","doi":"10.1515/fns-2018-0018","DOIUrl":"https://doi.org/10.1515/fns-2018-0018","url":null,"abstract":"Abstract This essay places narratology’s emphasis on space-time within the emergence of the discipline of geography and the rise of a materialist, hard science orientation in US institutions after WWII, ultimately arguing that a nascent geographical narratology should aspire to the broad intellectual scope of geography’s origins. “The new geography,” which emerged in 1887 and focused comprehensively on the relation of humans to the earth’s surface, subsequently contracted and fragmented with the post-war emphasis on material science. Likewise expanding in the rationalist post-war climate, classical narratology emphasized logical categories, especially the space-time dichotomy, divorced from human meanings. Today, cognitive research suggests that narratology’s enduring space-time paradigm occludes the constructive realities of both human relations to physical locations and reader processes. Drawing on discussions of space in narrative theory and in current cognitive research on navigation, Easterlin demonstrates that readers and viewers, rather than building spatialized storyworlds, construe space in a functional, piecemeal manner. Finally, maintaining that the area of place studies and an ecological approach to reading are two components of a broadly interdisciplinary geographical narratology providing a nuanced, psychologically contextualized approach to human-environment relations and narrative, Easterlin demonstrates their utility in readings of stories by Raymond Carver and Lydia Davis.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"423 1","pages":"197 - 214"},"PeriodicalIF":0.4,"publicationDate":"2018-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79623967","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 Although the work of Ian McEwan, one of the most important modern British writers, has been quite thoroughly researched, the narrative space was rarely the subject of narratological treatment. This article tackles a close reading of McEwan’s novel Saturday from a narratological perspective testing the applicability of a series of spatial categories systematized by Marie-Laure Ryan in the already existing narratological tradition and in her own research in narrative space. At the macro level of the story, the circular structure of the novel and the concepts of space as a container and space as a network are being shown and so is the use of local names. In the foreground there is a discussion of the five fundamental levels of narrative space (spatial frames, setting, story space and spaces of intertextuality, storyworld, narrative universe), followed by the treatment of textualization at the micro level (perspectivism and aperspectivism, map, and tour, and the lived experience of space). The analysis of space representation in Saturday eventually makes it possible to conclude that McEwan promotes the conception of space that became prominent within the spatial turn in postmodern humanities.
{"title":"Narrative space in Ian McEwan’s Saturday: A narratological perspective","authors":"A. Koron","doi":"10.1515/fns-2018-0028","DOIUrl":"https://doi.org/10.1515/fns-2018-0028","url":null,"abstract":"Abstract Although the work of Ian McEwan, one of the most important modern British writers, has been quite thoroughly researched, the narrative space was rarely the subject of narratological treatment. This article tackles a close reading of McEwan’s novel Saturday from a narratological perspective testing the applicability of a series of spatial categories systematized by Marie-Laure Ryan in the already existing narratological tradition and in her own research in narrative space. At the macro level of the story, the circular structure of the novel and the concepts of space as a container and space as a network are being shown and so is the use of local names. In the foreground there is a discussion of the five fundamental levels of narrative space (spatial frames, setting, story space and spaces of intertextuality, storyworld, narrative universe), followed by the treatment of textualization at the micro level (perspectivism and aperspectivism, map, and tour, and the lived experience of space). The analysis of space representation in Saturday eventually makes it possible to conclude that McEwan promotes the conception of space that became prominent within the spatial turn in postmodern humanities.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"33 1","pages":"359 - 373"},"PeriodicalIF":0.4,"publicationDate":"2018-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84496316","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 16th century most of Russia is still a terra incognita with a highly dubious and mostly mythologized geography, anthropology, and sociology. In this article we look at some texts of the Early Modern period – Sir Thomas Smithes Voiage and Entertainment in Rushia (1605), Peter Mundy’s Travel Writings of 1640–1641, and The Voiages and Travels of John Struys (1676–1683) – and try to uncover the transformation of the obscure country into a more or less charted space, filled with narratives of adventures and travels in an enigmatic land on the verge of Europe, where exotic cultures are drawn together in a flamboyant mix. It is travel narrative that actually charts the territory and provides an explanation from which stems a partial understanding, physical and cultural, of the “Land of the Unpredictable.”
{"title":"Narrating and mapping Russia: From Terra Incognita to a charted space on the road to Cathay","authors":"G. Prokhorov, Sergey Saveliev","doi":"10.1515/fns-2018-0023","DOIUrl":"https://doi.org/10.1515/fns-2018-0023","url":null,"abstract":"Abstract In the 16th century most of Russia is still a terra incognita with a highly dubious and mostly mythologized geography, anthropology, and sociology. In this article we look at some texts of the Early Modern period – Sir Thomas Smithes Voiage and Entertainment in Rushia (1605), Peter Mundy’s Travel Writings of 1640–1641, and The Voiages and Travels of John Struys (1676–1683) – and try to uncover the transformation of the obscure country into a more or less charted space, filled with narratives of adventures and travels in an enigmatic land on the verge of Europe, where exotic cultures are drawn together in a flamboyant mix. It is travel narrative that actually charts the territory and provides an explanation from which stems a partial understanding, physical and cultural, of the “Land of the Unpredictable.”","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"42 1","pages":"277 - 290"},"PeriodicalIF":0.4,"publicationDate":"2018-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73821453","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 Narrative space has attracted increasing attention in recent years, yet this attention only sporadically falls on narrative geography. In this article, I consider the possibility of geographical socionarratology and suggest that a geographical approach is able to enrich the perspective of socionarratology. Correspondingly, a social perspective can enhance the interpretative power of geography. Drawing from Jerome Bruner’s (1990, 1991) narrative theory, “canonicity and breach” as well as Reinhart Kosellek’s (2004) theory on the “existential pair” of expectation and experience, I argue that different geographical locations embody different expectations, emotions, and perspectives of action for characters and storytellers. The contradictory play of contested and conflicting expectations is analyzed more closely by reading Ian McEwan’s The Children Act (2014), a novel portraying competing family cultures and ethical principles. By connecting geography to expectations, I argue, the interpretative advantages of geography in narratology increase substantially.
摘要近年来，叙事空间受到越来越多的关注，但这种关注只是零星地落在叙事地理学上。在本文中，我考虑了地理社会叙事学的可能性，并提出地理方法能够丰富社会叙事学的视角。相应地，社会视角可以增强地理学的解释力。根据Jerome Bruner(1990,1991)的叙事理论、“经典与违背”以及Reinhart Kosellek(2004)关于期望和经验的“存在对”理论，我认为不同的地理位置体现了人物和故事讲述者不同的期望、情感和行动视角。通过阅读伊恩·麦克尤恩(Ian McEwan)的小说《儿童法案》(The Children Act, 2014)，我们可以更深入地分析这种充满争议和冲突的期望之间的矛盾，这本小说描绘了相互竞争的家庭文化和伦理原则。我认为，通过将地理学与期望联系起来，地理学在叙事学中的解释性优势大大增加。
{"title":"Toward a geographical socionarratology","authors":"M. Hyvärinen","doi":"10.1515/fns-2018-0019","DOIUrl":"https://doi.org/10.1515/fns-2018-0019","url":null,"abstract":"Abstract Narrative space has attracted increasing attention in recent years, yet this attention only sporadically falls on narrative geography. In this article, I consider the possibility of geographical socionarratology and suggest that a geographical approach is able to enrich the perspective of socionarratology. Correspondingly, a social perspective can enhance the interpretative power of geography. Drawing from Jerome Bruner’s (1990, 1991) narrative theory, “canonicity and breach” as well as Reinhart Kosellek’s (2004) theory on the “existential pair” of expectation and experience, I argue that different geographical locations embody different expectations, emotions, and perspectives of action for characters and storytellers. The contradictory play of contested and conflicting expectations is analyzed more closely by reading Ian McEwan’s The Children Act (2014), a novel portraying competing family cultures and ethical principles. By connecting geography to expectations, I argue, the interpretative advantages of geography in narratology increase substantially.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"29 1","pages":"215 - 231"},"PeriodicalIF":0.4,"publicationDate":"2018-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85170189","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 essay extends political and aesthetic implications in relationships between space and narrative by investigating narrative strategies that displace or disrupt access to narrative setting, spatiotemporal movement, or the space of narration. I fuse Henri Lefebvre’s work on the social production of space to Gabriel Zoran’s systems of narrative space in order to propose a spatial critique that describes and categorizes ways that narrative is central to the politics of spatial practice. I then apply that spatial critique to Flann O’Brien’s prototypically disorienting novel At Swim-Two-Birds (1939). In that intersection between critical geography and narrative theory, At Swim-Two-Birds becomes a narrative about the complicated interplay between creation and control of space – the way that space is configured and reconfigured through spatial practice.
本文通过研究替代或破坏对叙事设置、时空运动或叙事空间的访问的叙事策略，扩展了空间与叙事之间关系的政治和美学含义。我将亨利·列斐伏尔关于空间的社会生产的作品与加布里埃尔·佐兰的叙事空间系统融合在一起，以提出一种空间批判，描述和分类叙事是空间实践政治的核心。然后，我将这种空间批判应用于弗兰·奥布莱恩(Flann O 'Brien)的典型的迷失方向的小说《在游泳-两只鸟》(At Swim-Two-Birds, 1939)。在批判地理学和叙事理论的交叉中，《在游泳-两只鸟》成为了一种关于空间创造与控制之间复杂相互作用的叙事——空间通过空间实践被配置和重新配置的方式。
{"title":"The middle, the east, the west of Erin: Narrative disorientation and the production of space","authors":"B. McAllister","doi":"10.1515/fns-2018-0025","DOIUrl":"https://doi.org/10.1515/fns-2018-0025","url":null,"abstract":"Abstract This essay extends political and aesthetic implications in relationships between space and narrative by investigating narrative strategies that displace or disrupt access to narrative setting, spatiotemporal movement, or the space of narration. I fuse Henri Lefebvre’s work on the social production of space to Gabriel Zoran’s systems of narrative space in order to propose a spatial critique that describes and categorizes ways that narrative is central to the politics of spatial practice. I then apply that spatial critique to Flann O’Brien’s prototypically disorienting novel At Swim-Two-Birds (1939). In that intersection between critical geography and narrative theory, At Swim-Two-Birds becomes a narrative about the complicated interplay between creation and control of space – the way that space is configured and reconfigured through spatial practice.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"167 1","pages":"312 - 326"},"PeriodicalIF":0.4,"publicationDate":"2018-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89251552","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 essay presents an interdisciplinary theory of what it will call “innerscapes”: artefactual representations of the mind as a spatially extended world. By bringing examples of innerscapes from literature (Kafka’s short story The Bridge), radio plays (Samuel Beckett’s Embers), and a creative documentary about auditory-verbal hallucinations (a voice-hearer’s short film, Adam + 1), it suggests that these spatial renditions of the mind are constructed by transforming the quasi-perceptual elements of inner experience into affording ecologies. In so doing, they enable an enactive exploration of inner worlds as navigable environments. The resulting storyworlds display features that resemble the logic and ontology of dreams. Cognitive research on dreams and cartographical studies of the personal geographies of dreamscapes will thus inform the understanding of what innerscapes are, do and can do if used, as the essay argues they should be, as enhancing devices for what Jesse Butler has called ‘extended introspection” (2013: 95).
{"title":"Affording innerscapes: Dreams, introspective imagery and the narrative exploration of personal geographies","authors":"M. Bernini","doi":"10.1515/fns-2018-0024","DOIUrl":"https://doi.org/10.1515/fns-2018-0024","url":null,"abstract":"Abstract The essay presents an interdisciplinary theory of what it will call “innerscapes”: artefactual representations of the mind as a spatially extended world. By bringing examples of innerscapes from literature (Kafka’s short story The Bridge), radio plays (Samuel Beckett’s Embers), and a creative documentary about auditory-verbal hallucinations (a voice-hearer’s short film, Adam + 1), it suggests that these spatial renditions of the mind are constructed by transforming the quasi-perceptual elements of inner experience into affording ecologies. In so doing, they enable an enactive exploration of inner worlds as navigable environments. The resulting storyworlds display features that resemble the logic and ontology of dreams. Cognitive research on dreams and cartographical studies of the personal geographies of dreamscapes will thus inform the understanding of what innerscapes are, do and can do if used, as the essay argues they should be, as enhancing devices for what Jesse Butler has called ‘extended introspection” (2013: 95).","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"23 1","pages":"291 - 311"},"PeriodicalIF":0.4,"publicationDate":"2018-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73170298","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 Narrative has often been considered “an art of time.” This essay traces some of the historical reasons for this state of the field, or fields, of narratology, pinpointing spots in classical, postclassical and contemporary narrative theory where compensation was attempted or is being made through a focus on space instead of time. It suggests that as geography and geographers have become increasingly interested in narrative approaches in dealing with concepts, visualization, and digitalization, it is perhaps (once again) time narratology itself, while continuing to focus on and explore space and place, took account of its history of treating them and looked at how geography has implemented narratological concepts in its technical and philosophical approaches.
{"title":"What we talk about when we talk about space and narrative (and why we’re not done talking about it)","authors":"J. Parker","doi":"10.1515/fns-2018-0017","DOIUrl":"https://doi.org/10.1515/fns-2018-0017","url":null,"abstract":"Abstract Narrative has often been considered “an art of time.” This essay traces some of the historical reasons for this state of the field, or fields, of narratology, pinpointing spots in classical, postclassical and contemporary narrative theory where compensation was attempted or is being made through a focus on space instead of time. It suggests that as geography and geographers have become increasingly interested in narrative approaches in dealing with concepts, visualization, and digitalization, it is perhaps (once again) time narratology itself, while continuing to focus on and explore space and place, took account of its history of treating them and looked at how geography has implemented narratological concepts in its technical and philosophical approaches.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"4 1","pages":"178 - 196"},"PeriodicalIF":0.4,"publicationDate":"2018-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89516423","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 looks at Ian McEwan’s latest novel, Nutshell, as a great innovative contribution to narrative art. As far as its basic plot is concerned, it looks like crime fiction with Shakespearean resonances, but the choice of an unborn child as narrator and the consistent perspective from within the body of a heavily pregnant woman result in the disclosure and exploration of an entirely new world. Aspects investigated are the novel’s narrative situation, its relation to Shakespeare’s Hamlet as a reference text, the use of quotations and allusions and the representation of bodily processes and the relation between the I-narrator and the author. The ethical substance of the work is shown to be generated by its specific narrative form.
{"title":"The body within the body: Ian McEwan’s creation of a new world in Nutshell","authors":"W. Müller","doi":"10.1515/fns-2018-0029","DOIUrl":"https://doi.org/10.1515/fns-2018-0029","url":null,"abstract":"Abstract This article looks at Ian McEwan’s latest novel, Nutshell, as a great innovative contribution to narrative art. As far as its basic plot is concerned, it looks like crime fiction with Shakespearean resonances, but the choice of an unborn child as narrator and the consistent perspective from within the body of a heavily pregnant woman result in the disclosure and exploration of an entirely new world. Aspects investigated are the novel’s narrative situation, its relation to Shakespeare’s Hamlet as a reference text, the use of quotations and allusions and the representation of bodily processes and the relation between the I-narrator and the author. The ethical substance of the work is shown to be generated by its specific narrative form.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"78 1","pages":"374 - 392"},"PeriodicalIF":0.4,"publicationDate":"2018-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78271582","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 Description and experience of the form of landscape are the core of geographical methodology and are explicitly theorized in humanist geography, particularly by Edward Relph. This essay outlines how his ideas about “seeing, thinking, and describing” – particularly the primacy of description – are relevant to a reformation for how narratologists handle the relationship between fiction and environment. Though the narratologist deals with reading and analyzing descriptions rather than producing descriptions as the geographer does, the phenomenological relationship between self, environment, and description of the latter can curiously expand what we normally think of as the reader-text dyad in the former. This new perspective is put into practice by studying three examples from American novels that offer descriptions of the environment from above.
{"title":"Description in space: Geography and narrative form","authors":"David Rodríguez","doi":"10.1515/fns-2018-0026","DOIUrl":"https://doi.org/10.1515/fns-2018-0026","url":null,"abstract":"Abstract Description and experience of the form of landscape are the core of geographical methodology and are explicitly theorized in humanist geography, particularly by Edward Relph. This essay outlines how his ideas about “seeing, thinking, and describing” – particularly the primacy of description – are relevant to a reformation for how narratologists handle the relationship between fiction and environment. Though the narratologist deals with reading and analyzing descriptions rather than producing descriptions as the geographer does, the phenomenological relationship between self, environment, and description of the latter can curiously expand what we normally think of as the reader-text dyad in the former. This new perspective is put into practice by studying three examples from American novels that offer descriptions of the environment from above.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"31 1","pages":"327 - 341"},"PeriodicalIF":0.4,"publicationDate":"2018-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86623055","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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