This article explores narrative empathy associated with the novels The Ward of Mary Help of Christians and The Cross on the Mountain (both from 1904) by Ivan Cankar (1876–1918) in order to find out why the former, upon its publication, exceeded the readers’ horizon of expectation, thereby achieving less narrative empathy in readers, while the latter met their expectations to a greater degree at the receptive level, thus evoking more narrative empathy. I consider three paths, i.e. autobiographical representation, a high level of author’s empathy, aesthetics of production and the two possibilities for the readers to empathize – identification with the character and the narrative situation. The empathizing is also analyzed according to the three modes, so-called bounded, ambassadorial, and broadcast empathy. The disharmony between the empathy of the author and the reader shows that the novel The Ward of Mary Help of Christians received less empathy not because of the defectiveness of the empathy in the author but because of the defectiveness of the empathy in the readers of the novel. At the beginning of the twentieth century, Slovenian readers were unable to share the emotions and perspectives of this innovative novel, which is why they preferred The Cross on the Mountain. To explain the disharmony between the empathy of the author and the reader, the distinction between literary and trivial empathy also had to be taken into account; this difference again proves that the novel The Cross on the Mountain was suitable for the average reader open to trivial empathy, while The Ward of Mary Help of Christians required more demanding literary readers and their orientation towards literary empathy.
{"title":"Pripovedna empatija ter Cankarjeva romana Hiša Marije Pomočnice in Križ na gori","authors":"Alojzija Zupan Sosič","doi":"10.3986/PKN.V43.I1.13","DOIUrl":"https://doi.org/10.3986/PKN.V43.I1.13","url":null,"abstract":"This article explores narrative empathy associated with the novels The Ward of Mary Help of Christians and The Cross on the Mountain (both from 1904) by Ivan Cankar (1876–1918) in order to find out why the former, upon its publication, exceeded the readers’ horizon of expectation, thereby achieving less narrative empathy in readers, while the latter met their expectations to a greater degree at the receptive level, thus evoking more narrative empathy. I consider three paths, i.e. autobiographical representation, a high level of author’s empathy, aesthetics of production and the two possibilities for the readers to empathize – identification with the character and the narrative situation. The empathizing is also analyzed according to the three modes, so-called bounded, ambassadorial, and broadcast empathy. The disharmony between the empathy of the author and the reader shows that the novel The Ward of Mary Help of Christians received less empathy not because of the defectiveness of the empathy in the author but because of the defectiveness of the empathy in the readers of the novel. At the beginning of the twentieth century, Slovenian readers were unable to share the emotions and perspectives of this innovative novel, which is why they preferred The Cross on the Mountain. To explain the disharmony between the empathy of the author and the reader, the distinction between literary and trivial empathy also had to be taken into account; this difference again proves that the novel The Cross on the Mountain was suitable for the average reader open to trivial empathy, while The Ward of Mary Help of Christians required more demanding literary readers and their orientation towards literary empathy.","PeriodicalId":52032,"journal":{"name":"Primerjalna Knjizevnost","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90649303","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}
Affects and emotions have been recognized as an essential part of literary experience since Antiquity, but they were excluded from the consideration of narrative literature during the dominance of structuralism. An explicit interest in them has only emerged in narratological discourses in recent decades with the emerging paradigm of contemporary affect studies. Various influences have played a role in this, including the tradition of poetics, rhetoric and psychoanalysis, recent neuroscientific, cognitive and evolutionary approaches to narrative, as well as feminist narratology, queer theoretical conceptualizations of feelings, and more recently Deleuzian conceptions of affect. In this article, I draw on a syncretic model of narrative worldmaking developed by Claudia Breger in a dialogue with the influences listed, and taking into account Paul Ricoeur and Bruno Latour. In my reading of the short story “Saint Mary, Help!” from No Voices (2016) by contemporary writer and lesbian activist Suzana Tratnik, I try to probe the narrative productivity of shame and guilt as social affects in the process of narrative worldmaking, and shed light on the type of reader engagement her discourse invites.
{"title":"Sram in krivda v kratki zgodbi »Marija, pomagaj« Suzane Tratnik","authors":"Alenka Koron","doi":"10.3986/PKN.V43.I1.14","DOIUrl":"https://doi.org/10.3986/PKN.V43.I1.14","url":null,"abstract":"Affects and emotions have been recognized as an essential part of literary experience since Antiquity, but they were excluded from the consideration of narrative literature during the dominance of structuralism. An explicit interest in them has only emerged in narratological discourses in recent decades with the emerging paradigm of contemporary affect studies. Various influences have played a role in this, including the tradition of poetics, rhetoric and psychoanalysis, recent neuroscientific, cognitive and evolutionary approaches to narrative, as well as feminist narratology, queer theoretical conceptualizations of feelings, and more recently Deleuzian conceptions of affect. In this article, I draw on a syncretic model of narrative worldmaking developed by Claudia Breger in a dialogue with the influences listed, and taking into account Paul Ricoeur and Bruno Latour. In my reading of the short story “Saint Mary, Help!” from No Voices (2016) by contemporary writer and lesbian activist Suzana Tratnik, I try to probe the narrative productivity of shame and guilt as social affects in the process of narrative worldmaking, and shed light on the type of reader engagement her discourse invites.","PeriodicalId":52032,"journal":{"name":"Primerjalna Knjizevnost","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77732678","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}
Proceeding from the belief that in a world shaped by violent anthropodomination literature takes important part in the substitution of real nonhuman animals with their false cultural duplicates, the paper offers examples of Bulgarian literary works about nonhuman animals and tries to examine the different angles of focalization in them. In Bulgarian literary history there is a (disputed) tradition of differentiating a certain literary branch called “animalist fiction” or “animalist literature”, distinguished predominantly on thematic basis (stories about nonhuman animals), and considered classical realistic literature for adults (or rather for all ages), not literature for children. Such works include a variety of focalization types: from extreme anthropocentrism, through pseudoanimalist focalization, up to claimed “objectivism”. All these types show that escaping anthropocentrism and achieving real nonhuman animal representation seems impossible, so the inevitable anthropocentrism should at least try to be honest. Bulgarian classical realist “animalist” fiction testifies that “animalist” focalization can never be purely nonhuman, inasmuch as literary narrative always originates from the human imagination, gets expressed through a human language, and is experienced by human perception. Focalization always includes the human, but in the best cases it can resist violent anthropodomination by being empathic for the good of the nonhuman animals.
{"title":"Types of “Animalist” Focalization in Bulgarian Literature","authors":"Kalina Zahova","doi":"10.3986/PKN.V43.I1.12","DOIUrl":"https://doi.org/10.3986/PKN.V43.I1.12","url":null,"abstract":"Proceeding from the belief that in a world shaped by violent anthropodomination literature takes important part in the substitution of real nonhuman animals with their false cultural duplicates, the paper offers examples of Bulgarian literary works about nonhuman animals and tries to examine the different angles of focalization in them. In Bulgarian literary history there is a (disputed) tradition of differentiating a certain literary branch called “animalist fiction” or “animalist literature”, distinguished predominantly on thematic basis (stories about nonhuman animals), and considered classical realistic literature for adults (or rather for all ages), not literature for children. Such works include a variety of focalization types: from extreme anthropocentrism, through pseudoanimalist focalization, up to claimed “objectivism”. All these types show that escaping anthropocentrism and achieving real nonhuman animal representation seems impossible, so the inevitable anthropocentrism should at least try to be honest. Bulgarian classical realist “animalist” fiction testifies that “animalist” focalization can never be purely nonhuman, inasmuch as literary narrative always originates from the human imagination, gets expressed through a human language, and is experienced by human perception. Focalization always includes the human, but in the best cases it can resist violent anthropodomination by being empathic for the good of the nonhuman animals.","PeriodicalId":52032,"journal":{"name":"Primerjalna Knjizevnost","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77321882","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}
The most obvious formal feature of the historical novel as the genre founded by Walter Scott is the duplicity of a fictional foreground story and a historically approved background. Many television series have a historical past setting, and many of them can be seen as similar to historical novels. The 2005–07 series Rome kept something of the Scottian structure of fictional foreground story. The Pullo and Vorenus story line is fictional, and it stages the life of ordinary people, while historical characters like Julius Caesar and Pompey or Antony and Augustus do not merely form a factual background. The fictional and non-fictional stories are in balance, and they together offer a vivid and convincing representation of the past. Many historical television shows use the past only as decorative setting for a story full of intrigue, violence and sex (The Tudors, The Borgias). These may be described as historical (anti)romances, which tend to focus exclusively on the elite. Another kind of historical novel has been developed by some shows that (as if at the other extreme) eliminate the historical facts even from the background and represent everyday life of ordinary people in its (semi-)historical otherness. In shows like Mad Men or The Knick, no event of political history is mentioned, no historical person appears in the background. However, these shows successfully represent the otherness of the past from the viewpoint of public discourse on issues of race, gender, or even morality, phenomena which can be regarded as the development of a new kind of historical novel encouraged by the twentieth-century ideals of historiography.
{"title":"Fictionality in Historical Television Series","authors":"P. Hajdu","doi":"10.3986/PKN.V43.I1.05","DOIUrl":"https://doi.org/10.3986/PKN.V43.I1.05","url":null,"abstract":"The most obvious formal feature of the historical novel as the genre founded by Walter Scott is the duplicity of a fictional foreground story and a historically approved background. Many television series have a historical past setting, and many of them can be seen as similar to historical novels. The 2005–07 series Rome kept something of the Scottian structure of fictional foreground story. The Pullo and Vorenus story line is fictional, and it stages the life of ordinary people, while historical characters like Julius Caesar and Pompey or Antony and Augustus do not merely form a factual background. The fictional and non-fictional stories are in balance, and they together offer a vivid and convincing representation of the past. Many historical television shows use the past only as decorative setting for a story full of intrigue, violence and sex (The Tudors, The Borgias). These may be described as historical (anti)romances, which tend to focus exclusively on the elite. Another kind of historical novel has been developed by some shows that (as if at the other extreme) eliminate the historical facts even from the background and represent everyday life of ordinary people in its (semi-)historical otherness. In shows like Mad Men or The Knick, no event of political history is mentioned, no historical person appears in the background. However, these shows successfully represent the otherness of the past from the viewpoint of public discourse on issues of race, gender, or even morality, phenomena which can be regarded as the development of a new kind of historical novel encouraged by the twentieth-century ideals of historiography.","PeriodicalId":52032,"journal":{"name":"Primerjalna Knjizevnost","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76317870","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}
Andrej Blatnik’s short stories are based not on the actions of literary characters, but on their consciousness, which is foregrounded. Therefore, appropriate tools for their analysis are concepts that have evolved within the framework of cognitive narratology. In the article, I specifically highlight the notion of experientiality introduced by Monika Fludernik to explain narrativity. Due to its complexity, I seek to explain the concept by pointing to its connection with readers, literary characters, and storytellers. At the level of literary characters, experientiality can be equated with their consciousness, especially when consciousness is understood in relation to the body or as an embodied mind. Blatnik’s literary characters respond emotionally and physically to events, reflect on their never-realized plans, and often ponder how others see them. As a rule, they are unsuccessful in reading the minds of other characters, which I show by analyzing three selected short stories: the postmodernist “Story about Roslin and Verjanko,” the minimalist “Wet Walls,” and the modernist “Out of Passion.”
{"title":"Literarni liki v kratkih zgodbah Andreja Blatnika","authors":"D. Pavlič","doi":"10.3986/PKN.V43.I1.09","DOIUrl":"https://doi.org/10.3986/PKN.V43.I1.09","url":null,"abstract":"Andrej Blatnik’s short stories are based not on the actions of literary characters, but on their consciousness, which is foregrounded. Therefore, appropriate tools for their analysis are concepts that have evolved within the framework of cognitive narratology. In the article, I specifically highlight the notion of experientiality introduced by Monika Fludernik to explain narrativity. Due to its complexity, I seek to explain the concept by pointing to its connection with readers, literary characters, and storytellers. At the level of literary characters, experientiality can be equated with their consciousness, especially when consciousness is understood in relation to the body or as an embodied mind. Blatnik’s literary characters respond emotionally and physically to events, reflect on their never-realized plans, and often ponder how others see them. As a rule, they are unsuccessful in reading the minds of other characters, which I show by analyzing three selected short stories: the postmodernist “Story about Roslin and Verjanko,” the minimalist “Wet Walls,” and the modernist “Out of Passion.”","PeriodicalId":52032,"journal":{"name":"Primerjalna Knjizevnost","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81959172","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}
Until recently, focalization has been a neglected topic in the theory of the lyric. The apparent lack of research interest results from the fact that the lyric was traditionally understood as a fundamentally monologic discourse. In the last two decades, cross-genre narratological studies of poetry began to include focalization as their subject of research (Huhn, Kiefer and Schonert, Rodriguez). Nevertheless, the concept remains theoretically and analytically poorly discussed. In my article, I attempt to widen the conclusions proposed by these researchers. A fruitful start of the investigation is the application of referential contributions by classical narratologists to the category of the lyric. Recent approaches, especially cognitive ones, should also be taken into account. Jahn’s reconceptualization in terms of “windows of focalization” and “screen” as well as Herman’s understanding of focalization as an expression of specific models of world understanding and epistemic modalities seem important arguments for broadening the concept of focalization in the study of the lyric discourse. After proposing a definition based on the authors mentioned above, I discuss potential objections that could be raised by analysts, interprets, and readers when thinking about focalization in the lyric. Short analyses of poems allow me to define levels where focalization potentially takes place. The paper concludes with an established basic taxonomy for the focalization types of the lyric, citing examples from World and Slovenian poetry, and suggests some topics for further investigation.
{"title":"Fokalizacija v lirskem diskurzu","authors":"Varja Balžalorsky Antić","doi":"10.3986/PKN.V43.I1.11","DOIUrl":"https://doi.org/10.3986/PKN.V43.I1.11","url":null,"abstract":"Until recently, focalization has been a neglected topic in the theory of the lyric. The apparent lack of research interest results from the fact that the lyric was traditionally understood as a fundamentally monologic discourse. In the last two decades, cross-genre narratological studies of poetry began to include focalization as their subject of research (Huhn, Kiefer and Schonert, Rodriguez). Nevertheless, the concept remains theoretically and analytically poorly discussed. In my article, I attempt to widen the conclusions proposed by these researchers. A fruitful start of the investigation is the application of referential contributions by classical narratologists to the category of the lyric. Recent approaches, especially cognitive ones, should also be taken into account. Jahn’s reconceptualization in terms of “windows of focalization” and “screen” as well as Herman’s understanding of focalization as an expression of specific models of world understanding and epistemic modalities seem important arguments for broadening the concept of focalization in the study of the lyric discourse. After proposing a definition based on the authors mentioned above, I discuss potential objections that could be raised by analysts, interprets, and readers when thinking about focalization in the lyric. Short analyses of poems allow me to define levels where focalization potentially takes place. The paper concludes with an established basic taxonomy for the focalization types of the lyric, citing examples from World and Slovenian poetry, and suggests some topics for further investigation.","PeriodicalId":52032,"journal":{"name":"Primerjalna Knjizevnost","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87953554","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}
This essay analyses how since the early twentieth century war novels and memoirs have reflected the challenges which modern warfare poses to narrative. Mechanized warfare, I argue, resists the narrative encoding of experience, creating a crisis of narrative that is frequently made explicit in the assertion, on the part of novelists and memoirists, that the actual experience of combat cannot be narrated. Thus, for instance, the nature of warfare on the Western Front 1914–1918, characterized by the fragmentation of vision in the trenches and the exposure of soldiers to a continuous sequence of acoustic shocks, had a disruptive effect on perceptions of time and space, and consequently on the rendering of the chronotope in narrative accounts of the fighting. Since then, modern military technology has increasingly generated a sense that wars have acquired a dynamic of their own. The “cinematic” nature of technological warfare and the resulting loss of individual agency have suspended the order-creating and meaning-creating function of narrative, leading, in extremis, to the representational impasse emphasized by trauma theory. In my discussion of selected war writings, I shall show how the “cognitive narratology” of modern warfare can be applied to the analysis of aesthetic manifestations in war literature and the “crisis of language” underlying (literary) modernity and postmodernity.
{"title":"Narrating Modern War: Technology and the Aesthetics of War Literature","authors":"Martin Löschnigg","doi":"10.3986/PKN.V43.I1.08","DOIUrl":"https://doi.org/10.3986/PKN.V43.I1.08","url":null,"abstract":"This essay analyses how since the early twentieth century war novels and memoirs have reflected the challenges which modern warfare poses to narrative. Mechanized warfare, I argue, resists the narrative encoding of experience, creating a crisis of narrative that is frequently made explicit in the assertion, on the part of novelists and memoirists, that the actual experience of combat cannot be narrated. Thus, for instance, the nature of warfare on the Western Front 1914–1918, characterized by the fragmentation of vision in the trenches and the exposure of soldiers to a continuous sequence of acoustic shocks, had a disruptive effect on perceptions of time and space, and consequently on the rendering of the chronotope in narrative accounts of the fighting. Since then, modern military technology has increasingly generated a sense that wars have acquired a dynamic of their own. The “cinematic” nature of technological warfare and the resulting loss of individual agency have suspended the order-creating and meaning-creating function of narrative, leading, in extremis, to the representational impasse emphasized by trauma theory. In my discussion of selected war writings, I shall show how the “cognitive narratology” of modern warfare can be applied to the analysis of aesthetic manifestations in war literature and the “crisis of language” underlying (literary) modernity and postmodernity.","PeriodicalId":52032,"journal":{"name":"Primerjalna Knjizevnost","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79658483","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}
The present discussion focuses on Juden auf Wanderschaft (1927), the central literary-essayistic work with a Jewish theme by the Jewish-Austrian writer and journalist Joseph Roth (1894–1939). Based on the theory of rhetoric of memory (A. Erll), it sheds light on narrative strategies and the correlation between the narrativization of collective memory and the literary representation of identities and cultural practices of Eastern European Jewry. Anchored in the flexible point between Western European and Eastern Jewish cultures, the author legitimizes cultural practices of Eastern European Jewry embeded between the spiritual and the sensory by connecting, in functional harmony with the monumental, the antagonistic and the experiential modes of the rhetoric of memory. In the prism of critical deconstruction of Western European ideological discourses, the discussion simultaneously reveals Jewish cultural self-deceptions, and, interweaving the antagonistic and the reflexive modes, sensitizes the reader for the perception of “the other status” and for the constructional character of culture. The shift of the barycenter of the rhetoric of memory from the contrastive to that of correspondence models humanity in the trans-ethnic dimension, and exposes it as an ideational postulate for the attitude towards Eastern Jewry as a complementary foreignness (O. Schaffter). Despite cultural binarities as a product of antagonistic rhetoric of memory and irrespective of the historical pessimism relating to the fate of Jews, hybrid identity constructions offer the reader convincing signals for disclosing transdifferences and possibilities of ideational polyphony in intercultural communication.
{"title":"Spominska retorika v literarni esejistiki Josepha Rotha","authors":"Matjaž Birk","doi":"10.3986/pkn.v43.i1.07","DOIUrl":"https://doi.org/10.3986/pkn.v43.i1.07","url":null,"abstract":"The present discussion focuses on Juden auf Wanderschaft (1927), the central literary-essayistic work with a Jewish theme by the Jewish-Austrian writer and journalist Joseph Roth (1894–1939). Based on the theory of rhetoric of memory (A. Erll), it sheds light on narrative strategies and the correlation between the narrativization of collective memory and the literary representation of identities and cultural practices of Eastern European Jewry. Anchored in the flexible point between Western European and Eastern Jewish cultures, the author legitimizes cultural practices of Eastern European Jewry embeded between the spiritual and the sensory by connecting, in functional harmony with the monumental, the antagonistic and the experiential modes of the rhetoric of memory. In the prism of critical deconstruction of Western European ideological discourses, the discussion simultaneously reveals Jewish cultural self-deceptions, and, interweaving the antagonistic and the reflexive modes, sensitizes the reader for the perception of “the other status” and for the constructional character of culture. The shift of the barycenter of the rhetoric of memory from the contrastive to that of correspondence models humanity in the trans-ethnic dimension, and exposes it as an ideational postulate for the attitude towards Eastern Jewry as a complementary foreignness (O. Schaffter). Despite cultural binarities as a product of antagonistic rhetoric of memory and irrespective of the historical pessimism relating to the fate of Jews, hybrid identity constructions offer the reader convincing signals for disclosing transdifferences and possibilities of ideational polyphony in intercultural communication.","PeriodicalId":52032,"journal":{"name":"Primerjalna Knjizevnost","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85131684","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}
The article focuses on the narrative principles of graphic narratives representing a hybrid genre that dwells at the intersection of literary and visual storytelling. The genre’s multimodality is also viewed through the prism of certain principles of postclassical narratology. Graphic narratives occupy the intersection of showing and telling stories; they always tell a story, so they are a narrative genre. Graphic storytelling enables us to pose some fundamental questions that concern, for example, the temporal aspect of narrativity (understood as a collection of formal and contextual traits that define a narrative) and the issue of focalization. Graphic narratives treat time somewhat differently from (merely) verbal narratives, as a sense of time is created through the relationship between the visual and the verbal. Moreover, apart from the (mostly) framed images, graphic narratives also contain the so called “gutter” or an empty space between the frames. Scott McCloud, himself a comics theorist and comics artist, says that gutter is the place where the illusion of the movement of space and time takes place. Using the examples from a few graphic narratives (by Art Spiegelman, Joe Sacco, and Marjane Satrapi), the article shows the specifics of graphic storytelling, which, with its sequential nature, the principles of montage, the composition of individual pages, and other structural characteristics, enables the formation of narratives. When we talk about graphic narratives, it is appropriate to talk about the transgeneric and transmedial narratology, hence the article also exposes the role of postclassical narratology in the process of interpreting and understanding graphic narratives.
{"title":"Grafične pripovedi in pripovednost","authors":"Leonora Flis","doi":"10.3986/PKN.V43.I1.03","DOIUrl":"https://doi.org/10.3986/PKN.V43.I1.03","url":null,"abstract":"The article focuses on the narrative principles of graphic narratives representing a hybrid genre that dwells at the intersection of literary and visual storytelling. The genre’s multimodality is also viewed through the prism of certain principles of postclassical narratology. Graphic narratives occupy the intersection of showing and telling stories; they always tell a story, so they are a narrative genre. Graphic storytelling enables us to pose some fundamental questions that concern, for example, the temporal aspect of narrativity (understood as a collection of formal and contextual traits that define a narrative) and the issue of focalization. Graphic narratives treat time somewhat differently from (merely) verbal narratives, as a sense of time is created through the relationship between the visual and the verbal. Moreover, apart from the (mostly) framed images, graphic narratives also contain the so called “gutter” or an empty space between the frames. Scott McCloud, himself a comics theorist and comics artist, says that gutter is the place where the illusion of the movement of space and time takes place. Using the examples from a few graphic narratives (by Art Spiegelman, Joe Sacco, and Marjane Satrapi), the article shows the specifics of graphic storytelling, which, with its sequential nature, the principles of montage, the composition of individual pages, and other structural characteristics, enables the formation of narratives. When we talk about graphic narratives, it is appropriate to talk about the transgeneric and transmedial narratology, hence the article also exposes the role of postclassical narratology in the process of interpreting and understanding graphic narratives.","PeriodicalId":52032,"journal":{"name":"Primerjalna Knjizevnost","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89564944","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Early Tomaž Šalamun and American Experimental Poetry","authors":"Dubravka Đurić","doi":"10.3986/pkn.v42.i3.09","DOIUrl":"https://doi.org/10.3986/pkn.v42.i3.09","url":null,"abstract":"","PeriodicalId":52032,"journal":{"name":"Primerjalna Knjizevnost","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81651592","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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