Pub Date : 2022-12-01DOI: 10.1215/03335372-10017723
Marina Ludwigs
This essay proposes that understanding a text in narrative terms is based on the reverse causality of what it calls the narrative unconscious. The argument revisits literary and critical treatments of retrospection as a phenomenon of narrative temporality. It considers retrospection from a thematic angle, from the cognitive perspective of mind time, and from a reader-response motivation to fill gaps in the story, arriving at a necessity to postulate “invisible” reverse causality. The backward logic of the narrative unconscious, defined here as consolidation, works hand in hand with the conscious, forward-oriented operation of narrative thinking that appears to us as cumulative and anticipatory. In other words, narrative thinking or narrative processing oscillates between the forward direction of anticipation and backward direction of consolidation. Although we do not have access to the anti-intuitive workings of reverse causality, we can thematize this oscillation on a performative level as the interplay between the narrator's and narratee's perspectives, which are looked at collectively as the two foci of narrative consciousness. Finally, and while leaving the important question of practical application still open, the article considers the relevance of this supposition to the literary field of narratology and suggests that the concept of the narrative unconscious is a productive way to explain the aesthetic narrative effects of “oscillatory” and affective nature.
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Pub Date : 2022-12-01DOI: 10.1215/03335372-10017709
Jeremy Page
Daniel C. Dennett has argued that the self is a “theorists’ fiction,” a narrative self that is spun from the brain and functions like a center of gravity; an abstraction that is “supremely useful,” even if an ontological fiction. Various theorists, including Priscilla Brandon, Richard Menary, and Lynne Rudder Baker have retorted that embodiment and a first-person ownership—a “mineness” in Brandon's terms—are both necessary for and prior to such a narrative self. The article proposes that the self that is evident in autobiographical art problematizes both of these accounts, illuminating the possibility for self-detachment: the point at which the self loses its center of gravity, its embodiment and its “mineness,” yet remains. Through a consideration of the autobiographical poetry of Charles Bukowski, the article argues that autobiographical art is able not only to construct biography, but to construct identity as well.
Daniel C.Dennett认为，自我是“理论家的小说”，是一种从大脑中旋转出来的叙事自我，其功能就像重心；一种“极其有用”的抽象，即使是本体论小说。包括普里西拉·布兰登（Priscilla Brandon）、理查德·梅纳里（Richard Menary）和林恩·鲁德·贝克（Lynne Rudder Baker。这篇文章提出，自传体艺术中显而易见的自我使这两种说法都出现了问题，阐明了自我超然的可能性：自我失去重心、化身和“我”的时刻仍然存在。本文通过对布考斯基自传体诗歌的思考，认为自传体艺术不仅能够建构传记，而且能够建构身份。
{"title":"The Detached Self","authors":"Jeremy Page","doi":"10.1215/03335372-10017709","DOIUrl":"https://doi.org/10.1215/03335372-10017709","url":null,"abstract":"\u0000 Daniel C. Dennett has argued that the self is a “theorists’ fiction,” a narrative self that is spun from the brain and functions like a center of gravity; an abstraction that is “supremely useful,” even if an ontological fiction. Various theorists, including Priscilla Brandon, Richard Menary, and Lynne Rudder Baker have retorted that embodiment and a first-person ownership—a “mineness” in Brandon's terms—are both necessary for and prior to such a narrative self. The article proposes that the self that is evident in autobiographical art problematizes both of these accounts, illuminating the possibility for self-detachment: the point at which the self loses its center of gravity, its embodiment and its “mineness,” yet remains. Through a consideration of the autobiographical poetry of Charles Bukowski, the article argues that autobiographical art is able not only to construct biography, but to construct identity as well.","PeriodicalId":46669,"journal":{"name":"POETICS TODAY","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47179319","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}
Pub Date : 2022-09-01DOI: 10.1215/03335372-9780389
Katra A. Byram
The current reckoning with systemic bias and discrimination calls for centering historical and social context in narrative theory, as in other domains of academic and public life. This article undertakes that centering in rhetorical narrative theory. Informed by genre theory, it argues for theorizing narrative occasion by focusing on two dimensions: 1) the social positions it entails and 2) the conceptual frameworks it engages. Readings of two German-language texts, Goethe's Sorrows of Young Werther (1774/1787) and Babak Ghassim and Usama Elyas's “Behind Us, My Country” (2015), establish continua for mapping these social positions and conceptual frameworks and for evaluating their thematic salience in the narrative. Crucially, these methods are applied not only to text-internal figures like narrators and characters but also to the real-world parties to narrative: authors and actual readers. In addition to providing a framework for describing narrative occasion, this socially attuned analysis highlights problems with rhetorical narrative theory's treatment of audience, particularly its idealization of the authorial audience. The article thus points the way toward dismantling the universal thinking embedded in other narratological categories and suggests that rhetorical and cognitive narrative theories could be combined to understand how cognitive frameworks shape narrative occasion.
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Pub Date : 2022-09-01DOI: 10.1215/03335372-9780445
S. Gross
{"title":"Die Geschichte(n) gefalteter Bücher. Leporellos, Livres-accordéon und Folded Panoramas in Literatur und bildender Kunst. [The (Hi)stories of Folded Books. Leporellos, Livres-accordéon, and Folded Panoramas in Literature and the Visual Arts.]","authors":"S. Gross","doi":"10.1215/03335372-9780445","DOIUrl":"https://doi.org/10.1215/03335372-9780445","url":null,"abstract":"","PeriodicalId":46669,"journal":{"name":"POETICS TODAY","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49362473","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}
Pub Date : 2022-09-01DOI: 10.1215/03335372-9780403
Jueunhae Knox
The phrase “Do it for the ’gram” has become extremely popular among the tech-savvy Generation Z, born in the 1990s and early 2000s and raised on social media. An escalation of the now long-established selfie, this colloquialism refers to the behavior of doing something specifically for the sake of posting a picture on Instagram. Publishing polished pictures for the sake of popularity does not merely apply to activities like brewing kombucha or practicing yoga, however, but in posting inspirational micro-poems. The extremely visual short-form genre of Instapoetry boasts 14.2 million posts to #poetsofinstagram alone, yet this so-called fidget-spinner literature has received little scholarly attention. While some magazines have featured the well-known Rupi Kaur, no academic work to date has extensively analyzed the aesthetics and cultural antecedents of Instapoetry. This article combines quantitatively collected data of common trends with in-depth analysis of case studies featured in Instagram's “Top 9” to show how the material and linguistic features of Instapoetry are in fact shaped and assimilated by their digital platform. By manually analyzing Instapoets’ practices in writing, stylization, and promotion, the author demonstrates that the sheer volume and rapidity of content production in turn encourages posts that are not only visually appealing but also immediately recognizable as Instapoems. Conforming to generic trends while simultaneously claiming genuineness and autonomy is a crucial method of increasing followers in a culture in which rapid swiping instantly consumes and buries masses of content. Examining the constant evolution of algorithmic “gatekeepers” and the pressures of the creative economy also contextualizes the challenges ingrained in creating “authentic” discourse on this heteronomous visual platform.
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Pub Date : 2022-09-01DOI: 10.1215/03335372-9780375
S. Lanser, Shlomith Rimmon-Kenan
As a thought experiment, this article conjoins the approaches of two theorists with very different worldviews, Mikhail Bakhtin and Gérard Genette, in the hope of generating a model for a “postclassical chronotope” within the framework of a situated narratology. Our exploration begins with a juxtaposition of Virginia Woolf's Mrs Dalloway (1925), confined to one day but structured through the characters’ movements in space, with Amor Towles's A Gentleman in Moscow (2016), restricted to a single location but encompassing thirty-two years of time. To enrich the historical and ideological dimensions of the time-space relations, we extend our experiment to three other English-language novels that span two centuries: Jane Austen's Persuasion (1818), Zora Neale Hurston's Their Eyes Were Watching God (1937), and Mohsin Hamid's Exit West (2017). Although the authors’ choice of novels was almost arbitrary, the insights the exploration has yielded suggest that the “postclassical chronotope” warrants further research.
作为一项思想实验，本文将米哈伊尔·巴赫金和热拉尔·热内特这两位世界观截然不同的理论家的方法结合起来，希望在情境叙事学的框架内生成一个“后古典时间托普”的模型。我们的探索始于弗吉尼亚·伍尔夫（Virginia Woolf）的《达洛维夫人》（Mrs Dalloway，1925）与阿莫尔·托尔斯（Amor Towles）的《莫斯科绅士》（a Gentleman in Moscow，2016）的并置，前者仅限于一个地点，但涵盖了三十二年的时间。为了丰富时空关系的历史和意识形态维度，我们将实验扩展到其他三部跨越两个世纪的英语小说：简·奥斯汀的《劝导》（1818年）、佐拉·尼尔·赫斯特的《他们的眼睛在看上帝》（1937年）和莫辛·哈米德的《西部出口》（2017年）。尽管作者对小说的选择几乎是任意的，但探索所产生的见解表明，“后古典时代”值得进一步研究。
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Pub Date : 2022-09-01DOI: 10.1215/03335372-9780417
P. Smyth
Italo Calvino's Castle of Crossed Destinies is unique among his later novels for failing to uphold the rules and constraints that he was increasingly fond of imposing on his works of fiction. To explain the novel's structural failure, this essay puts aside the framework for analysis which is commonly adopted, a structuralist reading rooted in Saussure's linguistics and Propp's narratology, and suggests a framework stemming from the comics that Calvino would have read in newspapers as a child. An unlikely source of inspiration, these comics actually tell us a great deal about the novel, about its origin, its tone, and its unraveling, as well as help us pinpoint the problem in a clash of interpretative strategies, between one that treats images as changeable and another that treats them as stable points in a narrative continuum.
{"title":"Mixing Comics and Literature in Calvino's Castle of Crossed Destinies","authors":"P. Smyth","doi":"10.1215/03335372-9780417","DOIUrl":"https://doi.org/10.1215/03335372-9780417","url":null,"abstract":"\u0000 Italo Calvino's Castle of Crossed Destinies is unique among his later novels for failing to uphold the rules and constraints that he was increasingly fond of imposing on his works of fiction. To explain the novel's structural failure, this essay puts aside the framework for analysis which is commonly adopted, a structuralist reading rooted in Saussure's linguistics and Propp's narratology, and suggests a framework stemming from the comics that Calvino would have read in newspapers as a child. An unlikely source of inspiration, these comics actually tell us a great deal about the novel, about its origin, its tone, and its unraveling, as well as help us pinpoint the problem in a clash of interpretative strategies, between one that treats images as changeable and another that treats them as stable points in a narrative continuum.","PeriodicalId":46669,"journal":{"name":"POETICS TODAY","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47903918","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}
Pub Date : 2022-09-01DOI: 10.1215/03335372-9780459
Elizabeth Allen
{"title":"“Piers Plowman” and the Reinvention of Church Law in the Late Middle Ages","authors":"Elizabeth Allen","doi":"10.1215/03335372-9780459","DOIUrl":"https://doi.org/10.1215/03335372-9780459","url":null,"abstract":"","PeriodicalId":46669,"journal":{"name":"POETICS TODAY","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43211113","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}
Pub Date : 2022-09-01DOI: 10.1215/03335372-9780431
Ignasi Ribó
This article exposes the principles of an ecosemiotic theory of oral poiesis, which conceives of singing as a highly specific habit or skilled practice within the human domain of languaging. It is claimed that oral poiesis may contribute to the semiotic alignment of human and nonhuman own-worlds (Umwelten), playing a role in processes of structural coupling within a habitat, understood as a hybrid assemblage or collective of multispecies inhabitants. The article describes how oral poiesis, as a modeling system, contributes to sustaining the various modes of identification that characterize collective human ontologies (animism, naturalism, totemism, analogism) through distinctive operations of symbolization (literality, metaphor, metonymy, analogy). These modes of ecopoetic symbolization serve to bring nonhumans, such as animals, plants, mountains, or rivers, into human own-worlds. Moreover, as one of many skilled practices of humans, oral poiesis is characterized by certain intrinsic features, such as attention, play, feeling, ritualization, musicality, or remembrance, which contribute to human sociality and hence to a system-wide relationality. All these elements constitute the foundations of a poetics of cohabitation.
{"title":"Poetics of Cohabitation: An Ecosemiotic Theory of Oral Poiesis","authors":"Ignasi Ribó","doi":"10.1215/03335372-9780431","DOIUrl":"https://doi.org/10.1215/03335372-9780431","url":null,"abstract":"\u0000 This article exposes the principles of an ecosemiotic theory of oral poiesis, which conceives of singing as a highly specific habit or skilled practice within the human domain of languaging. It is claimed that oral poiesis may contribute to the semiotic alignment of human and nonhuman own-worlds (Umwelten), playing a role in processes of structural coupling within a habitat, understood as a hybrid assemblage or collective of multispecies inhabitants. The article describes how oral poiesis, as a modeling system, contributes to sustaining the various modes of identification that characterize collective human ontologies (animism, naturalism, totemism, analogism) through distinctive operations of symbolization (literality, metaphor, metonymy, analogy). These modes of ecopoetic symbolization serve to bring nonhumans, such as animals, plants, mountains, or rivers, into human own-worlds. Moreover, as one of many skilled practices of humans, oral poiesis is characterized by certain intrinsic features, such as attention, play, feeling, ritualization, musicality, or remembrance, which contribute to human sociality and hence to a system-wide relationality. All these elements constitute the foundations of a poetics of cohabitation.","PeriodicalId":46669,"journal":{"name":"POETICS TODAY","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46649380","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}
Pub Date : 2022-06-01DOI: 10.1215/03335372-9642637
M. Nurminen
The article analyzes how allusive cognitive metaphors (ACMs) function as a persuasive narrative strategy in contemporary social media–fueled storytelling cultures. The ACM is a concise way of combining intertextual and metaphorical meaning-making for use in viral storytelling. Well-known works of fiction function as a shared baseline that can be easily alluded to. This narrative-metaphorical strategy has been adopted especially frequently by populists and online groups advocating extreme ideologies, one of the prominent and influential cases being “the red pill,” coined by the antifeminist manosphere. The popularity of ACMs suggests that the interpretive contexts and target texts that narrative scholarship has grown accustomed to are changing, and that scholars of narrative and fiction need to adapt to the new challenges stemming from the ever-expanding digital sphere.
{"title":"From Swallowing the Red Pill to Failing to Build the Wall: Allusive Cognitive Metaphors in Advocating Political and Extremist Views","authors":"M. Nurminen","doi":"10.1215/03335372-9642637","DOIUrl":"https://doi.org/10.1215/03335372-9642637","url":null,"abstract":"\u0000 The article analyzes how allusive cognitive metaphors (ACMs) function as a persuasive narrative strategy in contemporary social media–fueled storytelling cultures. The ACM is a concise way of combining intertextual and metaphorical meaning-making for use in viral storytelling. Well-known works of fiction function as a shared baseline that can be easily alluded to. This narrative-metaphorical strategy has been adopted especially frequently by populists and online groups advocating extreme ideologies, one of the prominent and influential cases being “the red pill,” coined by the antifeminist manosphere. The popularity of ACMs suggests that the interpretive contexts and target texts that narrative scholarship has grown accustomed to are changing, and that scholars of narrative and fiction need to adapt to the new challenges stemming from the ever-expanding digital sphere.","PeriodicalId":46669,"journal":{"name":"POETICS TODAY","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43240352","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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