abstract:In many narratives, the narrator's medium of expression—oral language, say, or written language—can be specified or left unspecified and the same can be said of the particular variety of medium used (English, French, Japanese). Moreover, narratives may feature narrators using the same (variety of) medium as the author's or a different one. Similarly, the (variety of) medium used by characters can be left unspecified or be specified and, furthermore, the narrator and the characters may adopt the same (variety of) medium or not. The (non-)exploitation of these possibilities shapes narrative in various ways. Besides clarifying aspects of narrative functioning, a consideration of the (varieties of) media used by narrators and characters not only opens avenues of empirical research on narrative reception, it also draws attention to the ways texts point to these media and their different forms. Most generally, it illuminates the intricacies of narrative silences and sonances.
{"title":"A Note on Medium and Language in Narrative","authors":"G. Prince","doi":"10.5325/style.55.4.0485","DOIUrl":"https://doi.org/10.5325/style.55.4.0485","url":null,"abstract":"abstract:In many narratives, the narrator's medium of expression—oral language, say, or written language—can be specified or left unspecified and the same can be said of the particular variety of medium used (English, French, Japanese). Moreover, narratives may feature narrators using the same (variety of) medium as the author's or a different one. Similarly, the (variety of) medium used by characters can be left unspecified or be specified and, furthermore, the narrator and the characters may adopt the same (variety of) medium or not. The (non-)exploitation of these possibilities shapes narrative in various ways. Besides clarifying aspects of narrative functioning, a consideration of the (varieties of) media used by narrators and characters not only opens avenues of empirical research on narrative reception, it also draws attention to the ways texts point to these media and their different forms. Most generally, it illuminates the intricacies of narrative silences and sonances.","PeriodicalId":45300,"journal":{"name":"STYLE","volume":"55 1","pages":"485 - 492"},"PeriodicalIF":0.8,"publicationDate":"2022-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41725575","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract :William Seeley's new book discusses several of the questions art historians and philosophers of art have been struggling with for a long time and suggests some of the ways recent brain science may help us think about them. In this brief essay, I take up the challenge of cognitive theorizing about these issues. The first is how brains make category judgments and the second is how inferences about meaning derive from category judgments. Recent challenges to the categories according to which museums have sorted, valued, and exhibited their collections raise a third set of issues: What should be exhibited and in what company? What should be stored? How is this decided and by whom? What role do museums have in educating—who?—into who's culture and its art? Seeley describes how audiences learn to categorize works of imagination properly, but the cognitive theory suggests that the most interesting works of art are those categorized as improper.
{"title":"Categorization and Inference, or How do Museums Sort Their Stuff?","authors":"Ellen Spolsky","doi":"10.5325/style.55.4.0524","DOIUrl":"https://doi.org/10.5325/style.55.4.0524","url":null,"abstract":"abstract :William Seeley's new book discusses several of the questions art historians and philosophers of art have been struggling with for a long time and suggests some of the ways recent brain science may help us think about them. In this brief essay, I take up the challenge of cognitive theorizing about these issues. The first is how brains make category judgments and the second is how inferences about meaning derive from category judgments. Recent challenges to the categories according to which museums have sorted, valued, and exhibited their collections raise a third set of issues: What should be exhibited and in what company? What should be stored? How is this decided and by whom? What role do museums have in educating—who?—into who's culture and its art? Seeley describes how audiences learn to categorize works of imagination properly, but the cognitive theory suggests that the most interesting works of art are those categorized as improper.","PeriodicalId":45300,"journal":{"name":"STYLE","volume":"55 1","pages":"524 - 543"},"PeriodicalIF":0.8,"publicationDate":"2022-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46357340","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores the way that interactive digital narratives play with the boundary between reality and fiction in ways that lead reader/players to perceive bidirectional ontological transfers both during and after the narrative experience—a phenomenon that I define as “ontological resonance.” Drawing on empirical research, it examines Blast Theory's app-fiction Karen as a case study but suggests that ontological resonance is becoming increasingly prevalent throughout digital culture. The article demonstrates how empirical research can reveal ways in which such ontological transfers occur and, crucially, how they are conceptualized by readers. It also suggests that ontological resonances can be generated by and felt in response to narratives across media and concludes that empirical research is vital for accessing authentic reader responses to narrative experiences even when those responses suggest that readers have experienced uncertain ontologies that are logically and/or physically impossible.
{"title":"“It all feels too real”: Digital Storyworlds and “Ontological Resonance”","authors":"Alice Bell","doi":"10.5325/style.55.3.0430","DOIUrl":"https://doi.org/10.5325/style.55.3.0430","url":null,"abstract":"This article explores the way that interactive digital narratives play with the boundary between reality and fiction in ways that lead reader/players to perceive bidirectional ontological transfers both during and after the narrative experience—a phenomenon that I define as “ontological resonance.” Drawing on empirical research, it examines Blast Theory's app-fiction Karen as a case study but suggests that ontological resonance is becoming increasingly prevalent throughout digital culture. The article demonstrates how empirical research can reveal ways in which such ontological transfers occur and, crucially, how they are conceptualized by readers. It also suggests that ontological resonances can be generated by and felt in response to narratives across media and concludes that empirical research is vital for accessing authentic reader responses to narrative experiences even when those responses suggest that readers have experienced uncertain ontologies that are logically and/or physically impossible.","PeriodicalId":45300,"journal":{"name":"STYLE","volume":"1 1","pages":""},"PeriodicalIF":0.8,"publicationDate":"2021-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42537274","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:This article attempts to explain the alternate use of narrative tenses in Sally Rooney’s 2018 novel Normal People by contrasting the novel’s frequent reference to the use of contemporary online communication tools with the act of producing and receiving literary writings—the act whose value this novel clearly advocates—in terms of temporal difference in eliciting a response. I propose utilizing the anthropological concept of gift reciprocation and Bourdieu’s idea of the relationship between the nature of gift/exchange and the length of lag time until a response is received. My contention is that in Normal People the past tense, the established tense for storytelling and literature, represents a metaphorical invitation to a deferential and time-consuming gift exchange of texts, whereas the present tense is related unfavorably to instantaneous online interchanges of texts as mundane and quickly consumable commodities.
{"title":"Stories and Emails and Response-Times: Poetics of Textual Gift-Exchange in Sally Rooney’s Normal People","authors":"Kazunari Miyahara","doi":"10.5325/style.55.2.0172","DOIUrl":"https://doi.org/10.5325/style.55.2.0172","url":null,"abstract":"abstract:This article attempts to explain the alternate use of narrative tenses in Sally Rooney’s 2018 novel Normal People by contrasting the novel’s frequent reference to the use of contemporary online communication tools with the act of producing and receiving literary writings—the act whose value this novel clearly advocates—in terms of temporal difference in eliciting a response. I propose utilizing the anthropological concept of gift reciprocation and Bourdieu’s idea of the relationship between the nature of gift/exchange and the length of lag time until a response is received. My contention is that in Normal People the past tense, the established tense for storytelling and literature, represents a metaphorical invitation to a deferential and time-consuming gift exchange of texts, whereas the present tense is related unfavorably to instantaneous online interchanges of texts as mundane and quickly consumable commodities.","PeriodicalId":45300,"journal":{"name":"STYLE","volume":"55 1","pages":"172 - 189"},"PeriodicalIF":0.8,"publicationDate":"2021-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41650160","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:This study is a stylometric analysis of the works authored by Ælfric, a well-known Old English (OE) writer and translator. While the basic aim of the investigation is to identify the most typical linguistic features of his texts, the general idea behind the study is to show the extent of inter-textual variation of OE prose works. Ælfric, a very prolific writer, is responsible for ca. 25% of all prose records of this language. We employ stylometric techniques to show that Ælfric’s style involves relatively frequent use of specific phrases initiated by function words (e.g., the prepositions mid and on) and grammatical constructions (e.g., adverbial clauses of reason). Our analysis demonstrates that there are some striking discrepancies between Ælfric and other (mostly anonymous) OE authors. This finding leads to the more general conclusion that individual stylistic preferences are an important aspect of research on Old English syntax and phraseology. keywords: Ælfric, style markers, stylometry, Old English
摘要：本研究是对著名古英语作家和翻译家lfric作品的风格分析。虽然调查的基本目的是确定其文本中最典型的语言特征，但研究背后的总体思路是显示OE散文作品的语篇间变异程度。lfric是一位非常多产的作家，约占该语言所有散文记录的25%。我们使用风格计量技术来表明，Ælfric的风格涉及相对频繁地使用由虚词（例如介词mid and on）和语法结构（例如原因状语从句）引发的特定短语。我们的分析表明，Ælfric和其他（大多数是匿名的）OE作者之间存在一些显著的差异。这一发现导致了一个更普遍的结论，即个人风格偏好是古英语句法和短语研究的一个重要方面。关键词：Ælfric，风格标记，风格测量，古英语
{"title":"Markers of Ælfric’s Style","authors":"A. Cichosz, Piotr Pęzik","doi":"10.5325/style.55.2.0223","DOIUrl":"https://doi.org/10.5325/style.55.2.0223","url":null,"abstract":"abstract:This study is a stylometric analysis of the works authored by Ælfric, a well-known Old English (OE) writer and translator. While the basic aim of the investigation is to identify the most typical linguistic features of his texts, the general idea behind the study is to show the extent of inter-textual variation of OE prose works. Ælfric, a very prolific writer, is responsible for ca. 25% of all prose records of this language. We employ stylometric techniques to show that Ælfric’s style involves relatively frequent use of specific phrases initiated by function words (e.g., the prepositions mid and on) and grammatical constructions (e.g., adverbial clauses of reason). Our analysis demonstrates that there are some striking discrepancies between Ælfric and other (mostly anonymous) OE authors. This finding leads to the more general conclusion that individual stylistic preferences are an important aspect of research on Old English syntax and phraseology. keywords: Ælfric, style markers, stylometry, Old English","PeriodicalId":45300,"journal":{"name":"STYLE","volume":"55 1","pages":"223 - 252"},"PeriodicalIF":0.8,"publicationDate":"2021-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46626193","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:This article traces the stylistic consequences of the attempt to map seemingly infinitely expanding networks of trade and value in Frank Norris’s The Octopus (1901). It focuses on the rehearsal at the level of the sentence of characters’ grappling with the “terror of sheer bigness,” and the complex interrelation of public and private, political and personal, local and global inaugurated by the railroad’s management of the distribution of wheat. The textures of Norris’s style—his grammar, syntax, and diction—are implicated in the novel’s interrogation and negotiation of these dislocations. From the failures of mimetic phrasing spiralling across lengthy cumulative sentences to patterns of phrasal repetition, the various microplots at work within the novel’s verbal landscapes represent an essential and often overlooked facet of the force of The Octopus.
{"title":"“the terror of sheer bigness”: Microplotting Immensity in Frank Norris’s The Octopus","authors":"Joseph Hankinson","doi":"10.5325/style.55.2.0253","DOIUrl":"https://doi.org/10.5325/style.55.2.0253","url":null,"abstract":"abstract:This article traces the stylistic consequences of the attempt to map seemingly infinitely expanding networks of trade and value in Frank Norris’s The Octopus (1901). It focuses on the rehearsal at the level of the sentence of characters’ grappling with the “terror of sheer bigness,” and the complex interrelation of public and private, political and personal, local and global inaugurated by the railroad’s management of the distribution of wheat. The textures of Norris’s style—his grammar, syntax, and diction—are implicated in the novel’s interrogation and negotiation of these dislocations. From the failures of mimetic phrasing spiralling across lengthy cumulative sentences to patterns of phrasal repetition, the various microplots at work within the novel’s verbal landscapes represent an essential and often overlooked facet of the force of The Octopus.","PeriodicalId":45300,"journal":{"name":"STYLE","volume":"55 1","pages":"253 - 269"},"PeriodicalIF":0.8,"publicationDate":"2021-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43755153","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Response to Gerald Prince","authors":"Brian A. Richardson","doi":"10.5325/style.55.2.0219","DOIUrl":"https://doi.org/10.5325/style.55.2.0219","url":null,"abstract":"","PeriodicalId":45300,"journal":{"name":"STYLE","volume":"55 1","pages":"219 - 222"},"PeriodicalIF":0.8,"publicationDate":"2021-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47264136","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:This is a review essay of Monika Fludernik’s Metaphors of Confinement: The Prison in Fact, Fiction and Fantasy (2019). It examines Fludernik’s methodological approach to historicizing imaginaries, and, in particular, the carceral imaginary.
{"title":"The Carceral Imaginary","authors":"M. Del Mar","doi":"10.5325/style.55.2.0270","DOIUrl":"https://doi.org/10.5325/style.55.2.0270","url":null,"abstract":"abstract:This is a review essay of Monika Fludernik’s Metaphors of Confinement: The Prison in Fact, Fiction and Fantasy (2019). It examines Fludernik’s methodological approach to historicizing imaginaries, and, in particular, the carceral imaginary.","PeriodicalId":45300,"journal":{"name":"STYLE","volume":"55 1","pages":"270 - 277"},"PeriodicalIF":0.8,"publicationDate":"2021-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46814073","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:Detective fiction has long served as a rich source of examples for illustrating myriad ways of disordering narrative time. But while theorists have routinely made detective stories their go-to genre for discussing temporal inversions such as flashbacks, flashforwards, and delayed exposition, none of them has done a full study of narrative order for any specific detective story. We have developed a method for tracking narrative order throughout complete narratives with simple graphs displaying the relation between story order (fabula) and text order (syuzhet). Our present purpose is to utilize a series of such “time maps” for the detective stories most often cited by critics in order to test and refine the theoretical claims commonly made about time in detective fiction. We close by applying our observations about detective fiction to a brief examination of order in Jane Austen’s Emma and William Faulkner’s Absalom, Absalom!, both frequently compared to detective fiction.
{"title":"Doing Hard Time: Narrative Order in Detective Fiction","authors":"W. Nelles, Linda Williams","doi":"10.5325/style.55.2.0190","DOIUrl":"https://doi.org/10.5325/style.55.2.0190","url":null,"abstract":"abstract:Detective fiction has long served as a rich source of examples for illustrating myriad ways of disordering narrative time. But while theorists have routinely made detective stories their go-to genre for discussing temporal inversions such as flashbacks, flashforwards, and delayed exposition, none of them has done a full study of narrative order for any specific detective story. We have developed a method for tracking narrative order throughout complete narratives with simple graphs displaying the relation between story order (fabula) and text order (syuzhet). Our present purpose is to utilize a series of such “time maps” for the detective stories most often cited by critics in order to test and refine the theoretical claims commonly made about time in detective fiction. We close by applying our observations about detective fiction to a brief examination of order in Jane Austen’s Emma and William Faulkner’s Absalom, Absalom!, both frequently compared to detective fiction.","PeriodicalId":45300,"journal":{"name":"STYLE","volume":"55 1","pages":"190 - 218"},"PeriodicalIF":0.8,"publicationDate":"2021-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48739246","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:Both Ulysses and Lady Chatterley’s Lover portray an incapacitated husband, a sexy adulterous wife and an impressively potent seducer. Both novels describe unrestrained sexual desires in a woman. Molly Bloom has a promiscuous sexual appetite, the comparatively repressed Connie Chatterley has to be gradually liberated from her sexual frustrations and inhibitions. But Joyce and Lawrence had sharply divergent ideas, style, and portrayal of sex. Shortly before Lawrence died, he realized that his influential novel (like Joyce’s) had broken the old taboos and become triumphantly absorbed into modern culture.
{"title":"Joyce and Lawrence: Virtuous Immoralists","authors":"J. Meyers","doi":"10.5325/style.55.2.0161","DOIUrl":"https://doi.org/10.5325/style.55.2.0161","url":null,"abstract":"abstract:Both Ulysses and Lady Chatterley’s Lover portray an incapacitated husband, a sexy adulterous wife and an impressively potent seducer. Both novels describe unrestrained sexual desires in a woman. Molly Bloom has a promiscuous sexual appetite, the comparatively repressed Connie Chatterley has to be gradually liberated from her sexual frustrations and inhibitions. But Joyce and Lawrence had sharply divergent ideas, style, and portrayal of sex. Shortly before Lawrence died, he realized that his influential novel (like Joyce’s) had broken the old taboos and become triumphantly absorbed into modern culture.","PeriodicalId":45300,"journal":{"name":"STYLE","volume":"55 1","pages":"161 - 171"},"PeriodicalIF":0.8,"publicationDate":"2021-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44807806","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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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