@booklet {_narrative_????, title = {Narrative Structure and Reader Formation in Lady Mary Wroth{\textquoteright}s Urania}, howpublished = {Routledge.com}, year = {Submitted}, note = {00000}, type = {Text}, abstract = {Narrative Structure and Reader Formation in Lady Mary Wroth{\textquoteright}s Urania offers the first systematic formal and thematic analysis of Wroth{\textquoteright}s Urania in its historical context and explores the structural means by which Wroth fashions her{\textellipsis}}, url = {https://www.routledge.com/Narrative-Structure-and-Reader-Formation-in-Lady-Mary-Wroths-Urania/Orgis/p/book/9781472479754} } @inbook {709, title = {Fictionality as a Rhetorical Tool in Political Mockumentary Films: The Interplay of Fictionality and Factuality in C.S.A.: The Confederate States of America}, booktitle = {Truth Claims Across Media}, year = {2023}, publisher = {Palgrave Macmillan}, organization = {Palgrave Macmillan}, chapter = {7}, abstract = {

How can a mockumentary film like Kevin Willmott{\textquoteright}s\ C.S.A.: The\ Confederate States of America\ argue effectively and authenticate its important message about the presence of racism and discrimination in contemporary American society with a narrative that is obviously fictional? Doesn{\textquoteright}t this method of presenting an alternative history of the nation create mistrust and suspicion in the audience, instead of giving them profound insight into the actual states of things? The ambiguity of such mockumentaries stems from the simultaneous application of two major types of rhetorical frames: They always utilize some style or variant of the documentary genre (Juhasz et al.,\ F Is for Phony: Fake Documentary and Truth{\textquoteright}s Undoing. University of Minnesota Press, Minneapolis, 2006, 7) (evoking a factual discourse), but{\textemdash}to a differing degree{\textemdash}also undermining, suspending, or putting it between quotation marks (evoking a fictional discourse). In this paper, I want to argue that with the innovative utilization of fictionality and factuality as communicational tools and rhetorical resources, a politically charged fake documentary such as Willmott{\textquoteright}s film can explore problematic dimensions of social reality and shed light on its subject matter from a novel perspective.

}, keywords = {factuality, fictionality, mockumentaries, political satire}, issn = {9783031420641}, doi = {10.1007/978-3-031-42064-1_7}, url = {https://link.springer.com/chapter/10.1007/978-3-031-42064-1_7}, author = {Cs{\"o}nge, Tam{\'a}s} } @book {697, title = {Handbook of Diachronic Narratology}, series = {Narratologia}, volume = {86}, year = {2023}, pages = {914}, publisher = {De Gruyter}, organization = {De Gruyter}, edition = {1st}, address = {Berlin/Boston}, author = {Peter H{\"u}hn and John Pier and Wolf Schmid} } @book {701, title = {The Narrator: A Problem in Narrative Theory}, series = {Frontiers of Narrative}, year = {2023}, pages = {386}, publisher = {University of Nebraska Press}, organization = {University of Nebraska Press}, address = {Lincoln}, abstract = {

The narrator (the answer to the question {\textquotedblleft}who speaks in the text?{\textquotedblright}) is a commonly used notion in teaching literature and in literary criticism, even though it is the object of an ongoing debate in narrative theory. Do all fictional narratives have a narrator, or only some of them? Can narratives thus be {\textquotedblleft}narratorless{\textquotedblright}? This question divides communicational theories (based on the communication between real or fictional narrator and narratee) and noncommunicational or poetic theories (which aim to rehabilitate the function of the author as the creator of the fictional narrative).

Clarifying the notion of the narrator requires a historical and epistemological approach focused on the opposition between communicational theories of narrative in general and noncommunicational or poetic theories of the fictional narrative in particular. The Narrator offers an original and critical synthesis of the problem of the narrator in the work of narratologists and other theoreticians of narrative communication from the French, Czech, German, and American traditions and in representations of the noncommunicational theories of fictional narrative. Sylvie Patron provides linguistic and pragmatic tools for interrogating the concept of the narrator based on the idea that fictional narrative has the power to signal, by specific linguistic marks, that the reader must construct a narrator; when these marks are missing, the reader is able to perceive other forms and other narrative effects, specially sought after by certain authors.

}, author = {Sylvie Patron} } @book {682, title = {Mental Events. Changes of Mind in European Narratives from the Middle Ages to Postrealism}, year = {2021}, pages = {425}, publisher = {Hamburg University Press}, organization = {Hamburg University Press}, address = {Hamburg}, isbn = {978-3-943423.92.1}, doi = {https://doi.org/10.15460/HUP.215}, author = {Schmid, Wolf} } @book {kukkonen_4e_2019, title = {4E Cognition and Eighteenth-Century Fiction: How the Novel Found its Feet}, year = {2019}, note = {Google-Books-ID: Dx6DDwAAQBAJ}, publisher = {Oxford University Press}, organization = {Oxford University Press}, address = {Oxford}, abstract = {When the novel broke into cultural prominence in the eighteenth century, it became notorious for the gripping, immersive style of its narratives. In this book, Karin Kukkonen explores this phenomenon through the embodied style in Eliza Haywood{\textquoteright}s flamboyant amatory fiction, Charlotte Lennox{\textquoteright}s work as a cultural broker between Britain and France, Sarah Fielding{\textquoteright}s experimental novels, and Frances Burney{\textquoteright}s practice of life-writing and fiction-writing. Four female authors who are often written out of the history of the genre are here foregrounded in a critical account that emphasizes the importance of engaging readers{\textquoteright} minds and bodies, and which invites us to revisit our understanding of the rise of the modern novel. Kukkonen{\textquoteright}s innovative theoretical approach is based on the approach of 4E cognition, which views thinking as profoundly embodied and embedded in social and material contexts, extending into technologies and material devices (such as a pen), and enactive in the inherent links between perceiving the world and moving around in it. 4E Cognition and Eighteenth-Century Fiction investigates the eighteenth-century novel through each of these trajectories and shows how language explores its embodied dimension by increasing the descriptions of inner perception, or the bodily gestures around spoken dialogue. The embodied dimension is then related to the media ecologies of letter-writing, book learning, and theatricality. As the novel feeds off and into these social and material contexts, it comes into its own as a lifeworld technology that might not answer to standards of nineteenth-century realism but that feels {\textquoteright}real{\textquoteright} because it is integrated into the lifeworld and embodied experiences. 4E cognition answers one of the central challenges to cognitive literary studies: how to integrate historical and cultural contexts into cognitive approaches.}, keywords = {Language Arts \& Disciplines / Alphabets \& Writing Systems, Literary Criticism / Modern / 18th Century, Literary Criticism / Renaissance, Psychology / Cognitive Psychology \& Cognition}, isbn = {978-0-19-091306-9}, author = {Kukkonen, Karin} } @book {littschwager_making_2019, title = {Making Sense of Mind-Game Films: Narrative Complexity, Embodiment and the Senses}, year = {2019}, note = {Google-Books-ID: ekBjuQEACAAJ}, publisher = {Bloomsbury Academic}, organization = {Bloomsbury Academic}, address = {London}, abstract = {

Mind-game films and other complex narratives have been a prominent phenomenon of the cinematic landscape during the period 1990-2010, when films like The Sixth Sense, Memento, Fight Club and Source Code became critical and commercial successes, often acquiring a cult status with audiences. With their multiple story lines, unreliable narrators, ambiguous twist endings, and paradoxical worlds, these films challenge traditional ways of narrative comprehension and in many cases require and reward multiple viewings. But how can me make sense of films that don{\textquoteright}t always make sense the way we are used to? While most scholarship has treated these complex films as narrative puzzles that audiences solve with their cognitive skills, Making Sense of Mind-Game Films offers a fresh perspective by suggesting that they appeal to the body and the senses in equal measures. Mind-game films tell stories about crises between body, mind and world, and about embodied forms of knowing and subjective ways of being-in-the-world. Through compelling in-depth case studies of popular mind-game films, the book explores how these complex narratives take their (embodied) spectators with them into such crises. The puzzling effect generated by these films stems from a conflict between what we think and what we experience, between what we know and what we feel to be true, and between what we see and what we sense.

}, keywords = {Art / Film \& Video, Performing Arts / Film / History \& Criticism}, isbn = {978-1-5013-3704-8}, author = {Littschwager, Simin Nina} } @book {grishakova_narrative_2019, title = {Narrative Complexity. Cognition, Embodiment, Evolution}, year = {2019}, publisher = {University of Nebraska Press}, organization = {University of Nebraska Press}, address = {Lincoln (Nebr.)}, abstract = {

The variety in contemporary philosophical and aesthetic thinking as well as in scientific and experimental research on complexity has not yet been fully adopted by narratology. By integrating cutting-edge...

}, url = {https://www.nebraskapress.unl.edu/9780803296862/narrative-complexity}, author = {Grishakova, Marina and Poulaki, Maria} } @article {mchale_against_2018, title = {Against Nature}, journal = {Partial Answers: Journal of Literature and the History of Ideas}, volume = {16}, number = {2}, year = {2018}, pages = {251{\textendash}261}, abstract = {ARRAY(0x56186993b790)}, issn = {1936-9247}, doi = {10.1353/pan.2018.0016}, url = {https://muse.jhu.edu/article/696172}, author = {McHale, Brian} } @article {476, title = {Brion Gysin, cut-ups, and contemporary painting: Narrating experience}, journal = {Frontiers of Narrative Studies}, volume = {4}, year = {2018}, month = {2018///}, pages = {s126 - s145}, abstract = {In the early 1960 s Brion Gysin, while experimenting in various genres and media, {\textquotedblleft}re-invented{\textquotedblright} the cut-up technique that first had appeared in the 1910-1920s in Dadaists art practices. The accidental selection of texts{\textquoteright} or visuals{\textquoteright} fragments and the randomness in their combination in cut-ups were aimed to represent multiple experiences occupying the human mind. Methodologically I draw upon {\textquotedblleft}natural{\textquotedblright} narratology developed by Monika Fludernik, who redefines narrativity in terms of experientiality. Correspondingly, cut-up technique can be regarded as a means of representing human perception and other mental processes (unobservable directly), especially by mapping the simultaneity of external observations and internal reflections that exist in constant relationships between minds and their environments. The paper brings into correlation the enactivist idea of cognition without content, elaborated by Daniel D. Hutto and Eric Myin, with the idea that cut-up narratives in a sense also have no content. As there are no consistent and coherent story in cut-ups, there could be difficult for the reader to produce a clear mental representation of what is happening in the text. My paper proposes a new reading of texts that initially seem to be uncommunicative.}, keywords = {Cognitive Narratology, Cut-ups, Enactivism, Experimental prose, Representation of mind}, isbn = {2509-4882}, url = {https://www.degruyter.com/view/j/fns.2018.4.issue-s1/fns-2018-0035/fns-2018-0035.xml?format=INT}, author = {Baryshnikova, Daria} } @article {453, title = { The Challenges of Multicultural London in Zadie Smith{\textquoteright}s {\textquotedblright}The Embassy of Cambodia"}, journal = {Interactions, Ege Journal of British and American Studies}, volume = {27}, year = {2018}, month = {03/2018}, pages = {101-112}, type = {Research}, chapter = {101}, abstract = {In most of her works, Zadie Smith presents the challenges of a multicultural society. In {\textquotedblleft}The Embassy of Cambodia,{\textquotedblright} she portrays some of the problems of multicultural contemporary London. These problems are mainly shown through a female immigrant{\textquoteright}s unequal, or second-class, citizenship in a multicultural land, her otherness or split identity, her indeterminate social status, as well as the natives{\textquoteright} ambivalent perspective toward her, microaggressions against her, and inability to recognize her as an equal member of society. As revealed by both the omniscient narrator and the collective first-person plural narrator, the immigrant Other and the natives are disconnected in a multicultural space. The central immigrant character, as my paper demonstrates, is pushed toward her own ethnicity and nationality as a result of the natives{\textquoteright} inherent race consciousness (Englishness) and the highly stratified social structure. Having been ignored, excluded, and repudiated, the immigrant is inevitably driven toward a radical form of religious and racial nationalism. }, keywords = {Ambivalence, Equal Citizenship, Microaggressions, Multicultural London Society, Recognition, The Embassy of Cambodia, Zadie Smith}, url = {https://www.academia.edu/36401397/_The_Challenges_of_Multicultural_London_in_Zadie_Smith_s_The_Embassy_of_Cambodia_}, author = {Nayebpour, Karam} } @article {472, title = {The cinematic mode in fiction}, journal = {Frontiers of Narrative Studies}, volume = {4}, year = {2018}, month = {2018///}, pages = {s24 - s47}, abstract = {This article focuses on the imitation of film form in cinematic novels and short stories on the level of narrative discourse and introduces the concept of {\textquoteleft}para-cinematic narrator{\textquoteright}. The author compares the temporality expressed by verbal tenses in literature and the temporality expressed through film semiosis. The connection between film and literary fiction is explored in terms of foreground and background narrative style. It is argued that the articulation of narrative foreground and background {\textendash} i. e. the {\textquotedblleft}narrative relief{\textquotedblright} (Weinrich 1971) {\textendash} in film form tends to favour the foreground style, and that such narrative relief is {\textquoteleft}flattened{\textquoteright} due to the {\textquotedblleft}monstrative{\textquotedblright} quality (Gaudreault 2009) of the medium. This flattening is remediated in strongly cinematised fiction and conveyed through the use of verbal tenses. The imitation of montage and specific cinematic techniques is conceived, consequently, as a separate feature that can integrate into this remediated, para-cinematic temporality. Finally, the author recalls the concept of {\textquotedblleft}mode{\textquotedblright} in genre theory (Fowler 2002), which describes a {\textquotedblleft}distillation{\textquotedblright} of traits from one genre to another. With the category of cinematic mode the remediation of basic traits from film to literary fiction can be framed in terms of genre-related discourses.}, keywords = {cinematisation, monstration and narration, narrative relief, para-cinematic narrator, remediation}, isbn = {2509-4882}, url = {https://www.degruyter.com/view/j/fns.2018.4.issue-s1/fns-2018-0031/fns-2018-0031.xml?format=INT}, author = {Bellardi, Marco} } @article {473, title = {A communication model for non-fiction interactive digital narratives: A study of cultural heritage websites}, journal = {Frontiers of Narrative Studies}, volume = {4}, year = {2018}, month = {2018///}, pages = {s48 - s75}, abstract = {Interactive digital narrative (IDN) is an umbrella term used to encompass the various formats of digital narrative such as hypertext fiction, transmedia stories, and video games. The study of IDNs transverses the disciplines of narratology, game studies, and media studies. The main question this article addresses is how does the digital medium affect narrative in cultural heritage websites? This question is examined by proposing a new communication model that considers the role of digital media {\textemdash} the Creator-Produser Transaction Model {\textemdash} and adapting existing {\textquotedblleft}tools{\textquotedblright} of narrative analysis into a {\textquotedblleft}narratological toolkit{\textquotedblright} for the study of non-fiction IDNs. The transaction between creators and produsers and how an IDN narratological toolkit can be applied are exemplified through the analysis of three cultural heritage websites: Open Monuments ({\textquotedblleft}Otwarte Zabytki{\textquotedblright}), Belgian Refugees of 1914{\textendash}1919, and Storymap.}, keywords = {cultural heritage, interactive digital narrative, narratological toolkit, non-fiction, rhetorical narratology, transdisciplinary}, isbn = {2509-4882}, url = {https://www.degruyter.com/view/j/fns.2018.4.issue-s1/fns-2018-0032/fns-2018-0032.xml?format=INT}, author = {Basaraba, Nicole} } @article {kukkonen_curse_2018, title = {The Curse of Realism: Cognitive Narratology and the Historical Dimension}, journal = {Partial Answers: Journal of Literature and the History of Ideas}, volume = {16}, number = {2}, year = {2018}, month = {jun}, pages = {291{\textendash}302}, abstract = {ARRAY(0x56186884eb28)}, issn = {1936-9247}, doi = {10.1353/pan.2018.0020}, url = {https://muse.jhu.edu/article/696176}, author = {Kukkonen, Karin} } @inbook {435, title = {Erz{\"a}hler und Erz{\"a}hlstimme}, booktitle = {Grundthemen der Literaturwissenschaft: Erzählen}, year = {2018}, pages = {127{\textendash}149}, publisher = {De Gruyter}, organization = {De Gruyter}, address = {Berlin}, issn = {978-3-11-040118-9}, doi = {10.1515/9783110410747-006}, author = {Natalia Igl} } @article {contzen_experience_2018, title = {Experience, Affect, and Literary Lists}, journal = {Partial Answers: Journal of Literature and the History of Ideas}, volume = {16}, number = {2}, year = {2018}, month = {jun}, pages = {315{\textendash}327}, abstract = {ARRAY(0x561868849588)}, issn = {1936-9247}, doi = {10.1353/pan.2018.0022}, url = {https://muse.jhu.edu/article/696178}, author = {Contzen, Eva von} } @book {koschorke_fact_2018, title = {Fact and Fiction, Elements of a General Theory of Narrative}, year = {2018}, publisher = {De Gruyter}, organization = {De Gruyter}, address = {Berlin, Boston}, abstract = {How can we develop a cultural theory starting with the basic insight that human beings are "storytelling animals"? Within literary studies, narratology is a highly developed field. However, literary historians have not paid much attention to the large and small stories abounding in everyday discourse, guiding all kinds of social activity, and providing common ground for whole societies{\textemdash}but also fueling controversies and hostilities. Moreover, "narrative" is not only a scholarly category but has come into use in many fields of social activity as a tool for cultural self-fashioning. This book is based on the assumption that to a large extent, social dynamics is modeled in an aesthetic manner via narratives. It explores the narrative organization of cultural spaces and time-frames, the mythological shaping of communities and adversaries, and the co-production of narratives and institutions aimed at stabilizing social life. In this framework, the epistemological problem looms large of how an instrument as unreliable as narrative can participate in the creation of a social consensus regarding truth. This problem endows the general topics explored in this book with a particularly contemporary dimension.}, keywords = {Cultural theory, epistemology, institutions, theory of narrative}, isbn = {978-3-11-034708-1}, doi = {10.1515/9783110349689}, url = {https://www.degruyter.com/view/product/248190}, author = {Koschorke, Albrecht} } @article {fludernik_fiction_2018, title = {The Fiction of the Rise of Fictionality}, journal = {Poetics Today}, volume = {39}, number = {1}, year = {2018}, pages = {67{\textendash}92}, issn = {0333-5372}, doi = {10.1215/03335372-4265071}, url = {https://read.dukeupress.edu/poetics-today/article/39/1/67/133527/The-Fiction-of-the-Rise-of-Fictionality}, author = {Fludernik, Monika} } @article {bernaerts_fictional_2018, title = {Fictional Minds}, journal = {Poetics Today}, volume = {39}, number = {3}, year = {2018}, month = {sep}, pages = {523{\textendash}542}, abstract = {In the analysis and interpretation of fictional minds, unnatural and cognitive narratology may seem mutually exclusive. They each highlight different aspects of what narrators and characters think and feel, and their explanatory grounds differ. An unnatural reading unearths the narrative features, such as literal mind reading, that cannot be reduced to real-world possibilities, whereas a cognitive approach may focus on what is analogous to real-world cognition, or it may explain how unusual fiction is made sense of in cognitive terms. This article offers a synthesis in which the contrast between the two is closely examined. Then the article makes a case for a dialectical approach in which readings move from one position to another in order to achieve a more rewarding and encompassing understanding of fictional minds in general and unnatural minds in particular. The argument is developed through a reading of Peter Verhelst{\textquoteright}s The Man I Became and through a discussion of the case of mind reading.}, issn = {0333-5372, 1527-5507}, doi = {10.1215/03335372-7032732}, url = {https://read.dukeupress.edu/poetics-today/article/39/3/523/135660/Fictional-MindsComing-to-Terms-with-the-Unnatural}, author = {Bernaerts, Lars and Richardson, Brian} } @book {447, title = {Fictional Minds and Interpersonal Relationships in George Eliot{\textquoteright}s The Mill on the Floss }, year = {2018}, pages = {180}, publisher = {Cambridge Scholars Publishing}, organization = {Cambridge Scholars Publishing}, address = {Newcastle}, abstract = {George Eliot (1819-1880) is known for her psychoanalysis of the majority of her characters in her literary works. In her second novel, The Mill on the Floss (1860), she focuses on the fictional minds{\textquoteright} subjective first thoughts and intentions. She shows how their unsympathetic workings cause private and collective tragedy by the end of narrative. The novel has frequently been acclaimed by critics and readers alike. However, this book presents a re-evaluation of the text with the help of terminologies borrowed from cognitive narratology in order to shed new light on the significance of one-track minds in this narrative. The book explores the mental functioning of the individual fictional minds, and examines how different modes of mental activities influence the interpersonal relationships between and among the characters. Accordingly, the study argues that the main cause of tragedy in The Mill on the Floss stems from at least two factors. First, the central fictional minds primarily function on the basis of their self-centered thoughts and emotions, over which they usually do not have control. Second, the tragedy is an effect of the social minds{\textquoteright} or public opinion{\textquoteright}s unforgetting, unforgiving, and unsympathetic perspectives of any unconventional behavior.}, keywords = {Cognitive Narratology, Fictional Minds, George Eliot, Interpersonal Relationships, The Mill on the Floss}, isbn = {1-5275-1423-4}, issn = {978-1-5275-1423-2}, url = {https://www.cambridgescholars.com/fictional-minds-and-interpersonal-relationships-in-george-eliots-the-mill-on-the-floss}, author = {Nayebpour, Karam} } @book {nayebpour_fictional_2018, title = {Fictional Minds and Interpersonal Relationships in George Eliots The Mill on the Floss}, year = {2018}, publisher = {Cambridge Scholars Publishing}, organization = {Cambridge Scholars Publishing}, edition = {1 edition}, address = {Newcastle upon Tyne}, abstract = {George Eliot (1819-1880) is known for her psychoanalysis of the majority of the characters in her literary works. In her second novel, The Mill on the Floss (1860), she focuses on the fictional characters subjective first thoughts and intentions. She shows how their unsympathetic workings cause private and collective tragedy by the end of narrative. The novel has frequently been acclaimed by critics and readers alike. However, this book presents a re-evaluation of the text with the help of terminologies borrowed from cognitive narratology in order to shed new light on the significance of one-track minds in this narrative. The book explores the mental functioning of the individual fictional minds, and examines how different modes of mental activities influence the interpersonal relationships between and among the characters. Accordingly, the study argues that the main cause of tragedy in The Mill on the Floss stems from at least two factors. First, the central fictional minds primarily function on the basis of their self-centered thoughts and emotions, over which they usually do not have control. Second, the tragedy is an effect of the social minds or public opinions unforgetting, unforgiving, and unsympathetic perspectives of any unconventional behavior.}, isbn = {978-1-5275-1423-2}, author = {Nayebpour, Karam} } @article {kukkonen_fictionality_2018, title = {Fictionality}, journal = {Poetics Today}, volume = {39}, number = {3}, year = {2018}, month = {sep}, pages = {473{\textendash}494}, issn = {0333-5372, 1527-5507}, doi = {10.1215/03335372-7032704}, url = {https://read.dukeupress.edu/poetics-today/article/39/3/473/135625/FictionalityCognition-and-Exceptionality}, author = {Kukkonen, Karin and Nielsen, Henrik Skov} } @article {477, title = {From representation to enactment: temporal perspectives on literary objects in East and Central European structuralism and Ingarden{\textquoteright}s phenomenology}, journal = {Frontiers of Narrative Studies}, volume = {4}, year = {2018}, month = {2018///}, pages = {s146 - s171}, abstract = {Considering that enacitivsm emerged in rebellion against the representativism of first-generation cognitive science, an enactivist approach to narrative, which after all does relate events, situations, people, necessitates a directly realistic (i. e. anti-representationalist) concept of perspective on literary objects. Ingarden{\textquoteright}s description of the spatio-temporal properties of the cognizing of the literary work, in the process of which the reader transgresses the realm of signs (representation) toward embodied and culturally embedded cognition of objects and events in a presented world, may serve as a prototype for an enactive approach narrative, provided the theory in question is situated in its original context, for example that of Ingarden{\textquoteright}s ongoing discussion with structuralism regarded at this juncture as a representationist stance. In the first step, I am referring to the philosophical tradition of direct realism, which was apparently invigorated by the theories of embodied and enactive cognition, to propose a way of conceiving first-person perspective on literary objects and events, first-person and temporal perspective on objects being the royal road to all sorts of enaction. In the second step, I am tackling the issue of point of view in East and Central European structuralism by recalling its most general context of the dialectical relationship between synchrony and diachrony. The interpretation of linguistic signs by the receiver is a space in which structuralism and Ingarden{\textquoteright}s phenomenology concur as they share a similar model of receptive temporality, rooted in Husserl{\textquoteright}s description of the inner consciousness of time and aiming to reduce the ambiguity of linguistic units and increase the predictability of meaning. In Ingarden, however, there is a threshold between the linguistic and the extralinguistic elements of the literary work, which are conceived in a directly realistic manner. I specifically recall the notion of {\textquotedblleft}objectification,{\textquotedblright} which was suppressed by that of {\textquotedblleft}concretization,{\textquotedblright} as a borderland between indirect (semiotic) and indirect (objectual and enactive) representation. In the conclusion, I point to the major differences between present-day cognitivist aesthetics and Ingarden{\textquoteright}s approach, which was immersed in the culture of his time, and ask whether these differences impede us to achieve as interesting results as Ingarden{\textquoteright}s.}, keywords = {aesthetical experience, direct realism, enaction, point of view, time-consciousness}, isbn = {2509-4882}, url = {https://www.degruyter.com/view/j/fns.2018.4.issue-s1/fns-2018-0036/fns-2018-0036.xml?format=INT}, author = {Mrugalski, Micha{\l}} } @book {434, title = {Grundthemen der Literaturwissenschaft: Erz{\"a}hlen}, year = {2018}, publisher = {De Gruyter}, organization = {De Gruyter}, address = {Berlin}, abstract = {

Das Handbuch leistet eine umfassende historische und systematische Darstellung des Ph{\"a}nomens Erz{\"a}hlen und seiner Erforschung unter Ber{\"u}cksichtigung der internationalen Narratologie. Neben der Betrachtung von grundlegenden Begriffen und Fragestellungen des literarischen und intermedialen Erz{\"a}hlens bietet der Band auch eine Einf{\"u}hrung in transdisziplin{\"a}re Aspekte des Erz{\"a}hlens in Recht, Medizin und Wirtschaft.

}, issn = {978-3-11-040118-9}, author = {Martin Huber and Wolf Schmid} } @article {480, title = {Illness and heroics: On counter-narrative and counter-metaphor in the discourse on cancer}, journal = {Frontiers of Narrative Studies}, volume = {4}, year = {2018}, month = {2018///}, pages = {s213 - s228}, abstract = {This article explores the nexus between narrative and metaphor by examining a specific and widespread metaphor in the discourse on cancer, namely {\textquotedblleft}the war against cancer{\textquotedblright}, and paying attention to the function it has in the narratives we tell about cancer {\textendash} personally as well as culturally and politically. Of special interest is how this dominant metaphor has a negative consequence in relation to the seriously and incurably ill, who are necessarily positioned as {\textquoteleft}losers{\textquoteright}. The concepts of master and counter-narrative are applied to describe this and show how the war metaphor can be generatively turned against itself and function as the basis for counter-narratives of being ill. In the final part of the article, attention is paid to Danish author Maria Gerhardt{\textquoteright}s autofictional novel Transfervindue. Fort{\ae}llinger om de raskes fejl (2017) [Transfer Window: Narratives about the flaws of the healthy] as an example of a productive extension of the war metaphor. The general aim is to argue that the {\textquoteleft}war against cancer{\textquoteright} metaphor is complex and simultaneously plays a positive and negative role in health discourse. On the one hand, it structures the general effort for treatment of and research on cancer. On the other hand, it positions the incurable as losers. It is, however, argued that we cannot eradicate this metaphor from language, and that we should instead find examples of extensions of the metaphor where e. g. {\textquoteleft}protection{\textquoteright}, {\textquoteleft}peace-keeping{\textquoteright} and {\textquoteleft}exile{\textquoteright} are active.}, keywords = {cancer, counter-narrative, metaphor}, isbn = {2509-4882}, url = {https://www.degruyter.com/view/j/fns.2018.4.issue-s1/fns-2018-0039/fns-2018-0039.xml?format=INT}, author = {Hansen, Per Krogh} } @article {481, title = {Introduction: ENN5 special issue of Frontiers of Narrative Studies}, journal = {Frontiers of Narrative Studies}, volume = {4}, year = {2018}, month = {2018///}, pages = {s1 - s4}, isbn = {2509-4882}, url = {https://www.degruyter.com/view/j/fns.2018.4.issue-s1/fns-2018-0040/fns-2018-0040.xml?format=INT}, author = {Iversen, Stefan and Kukkonen, Karin and Martens, Gunther} } @book {482, title = {Jan Mukarovsky. Ecrits 1928-1946}, year = {2018}, pages = {302}, publisher = {Editions des Archives Contemporaines}, organization = {Editions des Archives Contemporaines}, address = {Paris}, issn = {9782813002488}, doi = {10.17184/eac.9782813002488}, url = { eac.ac/books/9782813002488}, author = {Pier, John and Vallance, Laurent and Bilek, Petr A. and Kubicek, Tomas} } @article {470, title = {Le formalisme russe cent ans apr{\`e}s - Communications n{\textdegree} 103}, year = {2018}, author = {C. Depretto and J. Pier and Ph. Rouissin} } @article {475, title = {Lyrical prose and the ritualistic: Lyricality as an interpretative lens for analysing C. C. Krijgelmans{\textquoteright}s short story {\textquotedblleft}Homunculi{\textquotedblright}}, journal = {Frontiers of Narrative Studies}, volume = {4}, year = {2018}, month = {2018///}, pages = {s105 - s125}, abstract = {Homunculi (1967) is the first short story collection by the Flemish-Belgian experimental writer Claude C. Krijgelmans. The stories challenge narrative conventions. The title story of the collection mainly experiments with formal conventions: it foregrounds rhythmic repetition and musicality, and deviates from grammatical rules. These features are conventionally associated with lyrical poetry, rather than with narrative texts. Moreover, the text thematises rituals, which hints at the presence of a ritualistic quality that is often linked with lyrical texts. This article focuses on the lyrical elements in {\textquotedblleft}Homunculi{\textquotedblright} and associates them with the ritualistic. I define lyricality as a literary mode that consists of lyrical tendencies, which can be realised in different ways. The ritualistic quality associated with this mode can be defined as a recurrent combination of lyrical tendencies. The ritualistic involves both semantic and formal aspects. Semantically, it is characterised as an impersonal quality of language. Formally, the ritualistic is memorable, non-representational language. The focus on lyricality enables a working definition of the ritualistic. Approaching {\textquotedblleft}Homunculi{\textquotedblright} with lyricality as an interpretative lens has theoretical as well as analytical advantages. First, it situates the prose text in a wider tradition of lyrical, ritualistic texts. Next, the focus on lyricality reveals new interpretative possibilities for {\textquotedblleft}Homunculi{\textquotedblright}. Against that background, this paper demonstrates the need for a narratology that considers the interaction between narrativity and other modes, like lyricality.}, keywords = {lyricality, Narratology, the ritualistic}, isbn = {2509-4882}, url = {https://www.degruyter.com/view/j/fns.2018.4.issue-s1/fns-2018-0034/fns-2018-0034.xml?format=INT}, author = {Janssens, Nele} } @article {alber_mimesis._2018, title = {Mimesis. The Unnatural between Situation Models and Interpretive Strategies}, journal = {Poetics Today}, volume = {39}, number = {3}, year = {2018}, month = {sep}, pages = {447{\textendash}471}, issn = {0333-5372}, doi = {10.1215/03335372-7032690}, url = {https://read.dukeupress.edu/poetics-today/article-abstract/39/3/447/135653/MimesisThe-Unnatural-between-Situation-Models-and}, author = {Alber, Jan and Caracciolo, Marco and Marchesini, Irina} } @article {grethlein_more_2018, title = {More than Minds: Experience, Narrative, and Plot}, journal = {Partial Answers: Journal of Literature and the History of Ideas}, volume = {16}, number = {2}, year = {2018}, month = {jun}, pages = {279{\textendash}290}, abstract = {ARRAY(0x5618685d2b18)}, issn = {1936-9247}, doi = {10.1353/pan.2018.0019}, url = {https://muse.jhu.edu/article/696175}, author = {Grethlein, Jonas} } @book {walsh_narrating_2018, title = {Narrating Complexity}, year = {2018}, note = {Google-Books-ID: Fm_gswEACAAJ}, publisher = {Springer International Publishing}, organization = {Springer International Publishing}, abstract = {

This book stages a dialogue between international researchers from the broad fields of complexity science and narrative studies. It presents an edited collection of chapters on aspects of how narrative theory from the humanities may be exploited to understand, explain, describe, and communicate aspects of complex systems, such as their emergent properties, feedbacks, and downwards causation; and how ideas from complexity science can inform narrative theory, and help explain, understand, and construct new, more complex models of narrative as a cognitive faculty and as a pervasive cultural form in new and old media. The book is suitable for academics, practitioners, and professionals, and postgraduates in complex systems, narrative theory, literary and film studies, new media and game studies, and science communication.

}, keywords = {Computers / Desktop Applications / Design \& Graphics, Computers / Intelligence (AI) \& Semantics, Computers / Interactive \& Multimedia, Computers / Software Development \& Engineering / General, Computers / User Interfaces, Language Arts \& Disciplines / Composition \& Creative Writing, Performing Arts / General, Social Science / Media Studies}, isbn = {978-3-319-64712-8}, author = {Walsh, Richard and Stepney, Susan} } @article {makela_narration_2018, title = {Narration and Focalization. A Cognitivist and an Unnaturalist, Made Strange}, journal = {Poetics Today}, volume = {39}, number = {3}, year = {2018}, month = {sep}, pages = {495{\textendash}521}, issn = {0333-5372}, doi = {10.1215/03335372-7032718}, url = {https://read.dukeupress.edu/poetics-today/article/39/3/495/135661/Narration-and-FocalizationA-Cognitivist-and-an}, author = {M{\"a}kel{\"a}, Maria and Polvinen, Merja} } @article {471, title = {Narrative representation and fictionality in performative media}, journal = {Frontiers of Narrative Studies}, volume = {4}, year = {2018}, month = {2018///}, pages = {s5 - s23}, abstract = {The transmedial discussion in this article shows that the terms narrative mediation and representation should be carefully distinguished from fiction or fictionality. The constitutive use of {\textquoteleft}real{\textquoteright} (or factual) artifacts in performative media (i. e. media which present embodied events, such as theater or film) provides a good example for the necessity of this distinction. Frequently these artifacts serve the purpose of a fictional discourse and certain definitions of fictionality (cf. Walton 1990) can be said to be fulfilled. However, a real-world artifact can by no means become itself fictive, but is rather used to represent a fictive entity. By focusing on representation and mediation instead, it becomes possible to compare theater with other performative media in terms of narrative representation: even though it is sense-physiologically unmediated, the functions of narrative mediation (i. e. selecting, ordering, presenting, commenting; cf. e. g. Chatman 1990) apply. The article establishes a dynamic system of representation that can be used for the analysis of all kinds of multichannel narrative media and thus rests the ongoing scholarly discussions of transmedial narrative representation on a much sounder theoretical basis. It distinguishes representation clearly from fictionality, and highlights the significance of theater in this discussion.}, keywords = {fictionality, mediation, narrative representation, performative media, transmedial narratology}, isbn = {2509-4882}, url = {https://www.degruyter.com/view/j/fns.2018.4.issue-s1/fns-2018-0030/fns-2018-0030.xml?format=INT}, author = {Horstmann, Jan} } @inbook {scheffel_narratologie_2018, title = {Narratologie {\textendash} eine aus dem Geist des Strukturalismus geborene Disziplin?}, booktitle = {Strukturalismus, heute: Br{\"u}che, Spuren, Kontinuit{\"a}ten}, series = {Abhandlungen zur Literaturwissenschaft}, year = {2018}, pages = {45{\textendash}59}, publisher = {J.B. Metzler}, organization = {J.B. Metzler}, address = {Stuttgart}, abstract = {Der folgende Beitrag1 ist dem Verh{\"a}ltnis von Strukturalismus und Erz{\"a}hlforschung gewidmet, sein Aufbau ist an zwei Fragen orientiert: Erstens der Frage nach den Formen dieses Verh{\"a}ltnisses in der Vergangenheit und zweitens der Frage nach seiner m{\"o}glichen Bedeutung f{\"u}r die Gegenwart und Zukunft der Narratologie.}, isbn = {978-3-476-04551-5}, doi = {10.1007/978-3-476-04551-5_4}, url = {https://doi.org/10.1007/978-3-476-04551-5_4}, author = {Scheffel, Michael}, editor = {Endres, Martin and Herrmann, Leonhard} } @book {wagner_narratology_2018, title = {The Narratology of Observation, Studies in a Technique of European Literary Realism}, year = {2018}, publisher = {De Gruyter}, organization = {De Gruyter}, address = {Berlin, Boston}, abstract = {How does literature evoke reality? This book takes cues from the history of scientific observation to provide a new approach to this longstanding question of literary studies. It reconstructs a narrative technique of {\textquoteleft}literary{\textquoteright} observation in which reality appears by mimicking processes of visual perception, and it traces the functioning of this technique through a wide range of European fiction from the early 18th to the late 19th centuries.}, keywords = {description and narration, literary realism, literature and knowledge, Observation}, isbn = {978-3-11-059518-5}, url = {https://www.degruyter.com/view/product/502393}, author = {Wagner, Martin} } @article {culler_naturalization_2018, title = {Naturalization in "Natural" Narratology}, journal = {Partial Answers: Journal of Literature and the History of Ideas}, volume = {16}, number = {2}, year = {2018}, month = {jun}, pages = {243{\textendash}249}, abstract = {ARRAY(0x561869e04e70)}, issn = {1936-9247}, doi = {10.1353/pan.2018.0015}, url = {https://muse.jhu.edu/article/696171}, author = {Culler, Jonathan} } @article {672, title = {Nonlinearity and focalisation in Attila Janisch{\textquoteright}s M{\'a}snap}, journal = {Frontiers of Narrative Studies}, volume = {4}, year = {2018}, month = {07/2018}, chapter = {96}, abstract = {The essay{\textquoteright}s aim is to examine the relationship between perspective andnonlinear temporal structure in Attila Janisch{\textquoteright}s 2004 film,M{\'a}snap, which isloosely based on Alain Robbe-Grillet{\textquoteright}sLe Voyeur(1955). My analysis revolvesaround the understanding of two important narratological distinctions, thatbetween a nonlinear presentation of events and a paradoxical plot, and thatbetween narrative focalizalization and textual focalization. According to DavidBordwell, the most widespread definition of linearity is when the successiveevents of A, B and C are presented in the narrative in their chronological order.Any other form of their presentation results in a nonlinear narrative. ButM{\'a}snapis a special type of narrative, which highlights the limitation of such traditionaldichotomies, because a consistent order of events cannot be reconstructed. Manycritics tried to grasp the core of the film{\textquoteright}s narrative by trying to put together theoriginal timeline of events, relying on false indicators of logic and coherence,while they failed to recognize the narrative{\textquoteright}s real rhetorical purpose in preventinga consistent and unambiguous plot to be established. The narrative{\textquoteright}s complexitylies in the fact that both assumptions{\textendash}that it depicts asubjective experience oftimeanda storyworld with strange temporality{\textendash}are necessary to explain the film{\textquoteright}sunusual, fragmented structure and interpret its events. I point out how the filmrequires us to reinterpret the meanings attached to the familiar techniques ofcontinuity editing and how it converts the practices of the early Nouveau Roman,which marginalizes traditional plot-structures, the notion of character, and con-ventional descriptions of objects, to interact with a subjective vision governed bya fictional mind.}, keywords = {Attila Janisch, continuityediting, focalization, nonlinearity, ocularization, perspectivation}, doi = {10.1515/fns-2018-0007}, author = {Cs{\"o}nge, Tam{\'a}s} } @article {478, title = {Notes for an econarratological theory of character}, journal = {Frontiers of Narrative Studies}, volume = {4}, year = {2018}, month = {2018///}, pages = {s172 - s189}, abstract = {Scientists and scholars in multiple fields have been discussing the current geological epoch under the heading of the {\textquotedblleft}Anthropocene{\textquotedblright} {\textendash} an era marked by the planetary impact of human activities (Crutzen and Stoermer 2000). The epistemological shift brought about by this notion exposes the latent anthropocentrism of narrative practices, raising a challenge taken up by narrative theorists such as Erin James (2015) and Alexa Weik von Mossner (2017) in the context of an {\textquotedblleft}econarratology.{\textquotedblright} In this article, I examine the prime suspect for anthropocentrism in narrative {\textendash} namely, the notion of character as intrinsically human-like. My point of departure is A. J. Greimas{\textquoteright}s (1976) actantial model of narrative, which I revisit and revise in light of work in the field of ecolinguistics (Goatly 1996). I thus explore five strategies through which narrative may integrate nonhuman characters that challenge both anthropocentrism and the subject-object binary that anthropocentrism entails. I exemplify these strategies by discussing contemporary novels that deal with the Anthropocenic entanglement of humanity and the nonhuman world.}, keywords = {Anthropocene, Contemporary fiction, Ecocriticism, narrative, Nonhuman}, isbn = {2509-4882}, url = {https://www.degruyter.com/view/j/fns.2018.4.issue-s1/fns-2018-0037/fns-2018-0037.xml?format=INT}, author = {Caracciolo, Marco} } @article {figlerowicz_novel_2018, title = {The Novel of Infinite Storage}, journal = {Poetics Today}, volume = {39}, number = {1}, year = {2018}, month = {feb}, pages = {201{\textendash}219}, issn = {0333-5372}, doi = {10.1215/03335372-4265143}, url = {https://read.dukeupress.edu/poetics-today/article/39/1/201/133533/The-Novel-of-Infinite-Storage}, author = {Figlerowicz, Marta} } @article {479, title = {On the politics of discordant, estranging and bonding reliability: Contextualist narratology at work}, journal = {Frontiers of Narrative Studies}, volume = {4}, year = {2018}, month = {2018///}, pages = {s190 - s212}, abstract = {As proposed by Olson and Copland (2016), {\textquotedblleft}the politics of form{\textquotedblright} should help us examine both the ways in which politics condition narrative form and the ways in which narrative forms, in turn, participate in their political contexts. Contextualist approaches in narratology have gained attention since the beginning of the 21st century, but theorists still struggle to determine how political discourses are relevant to narrative form. This article proposes that the modulations of narrative reliability known as {\textquotedblleft}estranging narration{\textquotedblright} (Phelan 2007) and {\textquotedblleft}discordant narration{\textquotedblright} (Cohn 2002) are especially dependent on the political discourses that make them possible. Both categories describe forms of narrative reliability based on biased judgment rather than misreported facts, but the use of political ideology in these approaches has not been sufficiently examined. This is evident in Albert Camus{\textquoteright} L{\textquoteright}{\'e}tranger (1942) [The Stranger], which actively uses the {\'E}cole d{\textquoteright}Alger colonial discourse of the M{\'e}diterran{\'e}e from contemporaneous French Algeria, to produce an ambivalent version of estranging and discordant narration. The politics of form, therefore, provides an opportunity to delve into and revise the concepts of estranging and discordant narration, which constitute a good starting point for narratologists{\textquoteright} efforts to elucidate both the uses of historical discourse in narrative poetics and the uses of narrative poetics for shaping political ideology.}, keywords = {Camus, contextualist narratology, narrative unreliability, politics of form}, isbn = {2509-4882}, url = {https://www.degruyter.com/view/j/fns.2018.4.issue-s1/fns-2018-0038/fns-2018-0038.xml?format=INT}, author = {Puxan-Oliva, Marta} } @article {caracciolo_posthuman_2018, title = {Posthuman Narration as a Test Bed for Experientiality: The Case of Kurt Vonnegut{\textquoteright}s Gal{\'a}pagos}, journal = {Partial Answers: Journal of Literature and the History of Ideas}, volume = {16}, number = {2}, year = {2018}, month = {jun}, pages = {303{\textendash}314}, abstract = {ARRAY(0x56186796ad40)}, issn = {1936-9247}, doi = {10.1353/pan.2018.0021}, url = {https://muse.jhu.edu/article/696177}, author = {Caracciolo, Marco} } @book {jobert_pragmatics_2018, title = {The Pragmatics of Irony and Banter}, year = {2018}, note = {Google-Books-ID: FSVWDwAAQBAJ}, publisher = {John Benjamins Publishing Company}, organization = {John Benjamins Publishing Company}, address = {Amsterdam}, abstract = {The Pragmatics of Irony and Banter is the first book-length study analysing irony and banter together. This approach, inherited from Geoffrey Leech{\textquoteright}s research, implies that the two notions are intrinsically related. In this thought-provoking volume, the various contributors (linguists, stylisticians, discourse analysts and literary scholars), while not necessarily agreeing on every aspect of this theoretical premise, discuss and develop the idea. In turn, they consider the workings of these two discursive practices in various corpora (face-to-face or digitally-mediated interactions, novels, comedy shows, etc.) thus providing a wealth of examples and case studies. This well-balanced positioning helps the reader to develop a better understanding of these complex discursive practices that play a crucial part in everyday interaction. Steering a course between traditional perspectives and new theoretical approaches, this innovative and exciting way of looking at irony and banter will no doubt open new avenues for research.}, keywords = {Language Arts \& Disciplines / Linguistics / General, Language Arts \& Disciplines / Linguistics / Pragmatics}, isbn = {978-90-272-6423-7}, author = {Jobert, Manuel and Sorlin, Sandrine} } @article {candel_report_2018, title = {A report on the reports of the stanford literary lab: A reason why the digital humanities may find it difficult to change literary history}, journal = {Semiotica}, volume = {2018}, number = {224}, year = {2018}, pages = {111{\textendash}134}, abstract = {The present article studies eight of the twelve reports of the Stanford Literary Lab (SLL) to understand why the revolutionary practices of the lab, and by extension of the digital humanities, have not yet changed literary history, as the lab itself admits. The article examines the reports with two related cultural-semantic tools, each of which is introduced via the Pixar movie Brave. First, the interpretations of the reports are placed within a basic semantic grid organized into four quadrants by a nature-society axis and a past-present axis, which shows that the interpretations are invariably situated in the present-society quadrant. This analysis, while necessary, merely proves that SLL operates within a certain cultural climate. The real test lies in ascertaining whether this cultural climate affects the interpretation of novel data. To do so, the article looks for the reaction of SLL to novel data in two reports. The reports are shown to domesticate novelty by explaining it through standard alethic/deontic patterns, even though the data are novel precisely because the patterns largely fail to explain them. The article closes by asking whether such patterns limit or enable thinking and what this means for the digital humanities.}, keywords = {digital humanities, literary history, literary semantics, modal logic}, issn = {0037-1998}, doi = {10.1515/sem-2016-0223}, url = {https://www.degruyter.com/view/j/semi.2018.2018.issue-224/sem-2016-0223/sem-2016-0223.xml?rskey=FtDnWr\&result=9}, author = {Candel, Daniel} } @book {koppe_show_2018, title = {Show, don{\textquoteright}t tell: Konzepte und Strategien anschaulichen Erz{\"a}hlens}, year = {2018}, note = {Google-Books-ID: NX2huAEACAAJ}, publisher = {Aisthesis Verlag}, organization = {Aisthesis Verlag}, isbn = {978-3-8498-1281-2}, author = {K{\"o}ppe, Tilmann and Singer, R{\"u}diger} } @book {horstmann_theaternarratologie_2018, title = {Theaternarratologie, Ein erz{\"a}hltheoretisches Analyseverfahren f{\"u}r Theaterinszenierungen}, year = {2018}, publisher = {De Gruyter}, organization = {De Gruyter}, address = {Berlin, Boston}, abstract = {How does theater narrate? Theater narratology thinks narrativity and performativity together. On the basis of narratology and theater studies it develops for the first time an heuristic, analytic model of performative narration that can be practically employed for narratological performance analysis, where the narrative dimension has been hitherto underrepresented.}, keywords = {analysis, multimodality, narrativity, Performativity}, isbn = {978-3-11-059500-0}, url = {https://www.degruyter.com/view/product/502376}, author = {Horstmann, Jan} } @book {vogt_theorie_2018, title = {Theorie und Typologie narrativer Unzuverl{\"a}ssigkeit am Beispiel englischsprachiger Erz{\"a}hlliteratur}, year = {2018}, publisher = {De Gruyter}, organization = {De Gruyter}, address = {Berlin, Boston}, abstract = {Unzuverl{\"a}ssiges Erz{\"a}hlen geh{\"o}rt zu den meist diskutierten Ph{\"a}nomenen der Narratologie. Fragen betreffen die Semantik des Konzepts, Differenzierungskriterien, den Ma{\ss}stab f{\"u}r eine Unzuverl{\"a}ssigkeitszuschreibung, die Explikation des Konzepts sowie dessen Reichweite. Die Arbeit widmet sich systematisch diesen verschiedenen Problemfeldern. Dabei weitet sie jedoch den Blick auf narrative Unzuverl{\"a}ssigkeit, welches sowohl verschiedene Formen des unzuverl{\"a}ssigen Erz{\"a}hlens als auch unzuverl{\"a}ssige Fokalisierung beinhaltet. Mit R{\"u}ckgriff auf Konzepte der possible-worlds theory und der kognitiven Narratologie werden Modelle und Kategorien entwickelt, um die verschiedenen Arten der narrativen Unzuverl{\"a}ssigkeit differenziert beschreiben und das Rezeptionsverhalten von Lesern erkl{\"a}ren zu k{\"o}nnen. Anhand von exemplarischen Analysen englischsprachiger Erz{\"a}hlwerke wird die Leistungsf{\"a}higkeit der Theorie illustriert, bevor die metakognitiven Funktionspotenziale narrativer Unzuverl{\"a}ssigkeit aufgezeigt werden.}, keywords = {English literature, Narratology, Unreliable narration}, isbn = {978-3-11-054852-5}, url = {https://www.degruyter.com/view/product/489934}, author = {Vogt, Robert} } @article {makela_toward_2018, title = {Toward the Non-Natural: Diachronicity and the Trained Reader in Fludernik{\textquoteright}s Natural Narratology}, journal = {Partial Answers: Journal of Literature and the History of Ideas}, volume = {16}, number = {2}, year = {2018}, month = {jun}, pages = {271{\textendash}277}, abstract = {ARRAY(0x5618683632b8)}, issn = {1936-9247}, doi = {10.1353/pan.2018.0018}, url = {https://muse.jhu.edu/article/696174}, author = {M{\"a}kel{\"a}, Maria} } @article {fludernik_towards_2018, title = {Towards a {\textquoteright}Natural{\textquoteright} Narratology Twenty Years After}, journal = {Partial Answers: Journal of Literature and the History of Ideas}, volume = {16}, number = {2}, year = {2018}, month = {jun}, pages = {329{\textendash}347}, abstract = {ARRAY(0x561867a927c8)}, issn = {1936-9247}, doi = {10.1353/pan.2018.0023}, url = {https://muse.jhu.edu/article/696179}, author = {Fludernik, Monika} } @article {shen_two_2018, title = {Two Conceptions of Experientiality and Narrativity: Functions, Advantages, and Disadvantages}, journal = {Partial Answers: Journal of Literature and the History of Ideas}, volume = {16}, number = {2}, year = {2018}, month = {jun}, pages = {263{\textendash}270}, abstract = {ARRAY(0x561868a72a70)}, issn = {1936-9247}, doi = {10.1353/pan.2018.0017}, url = {https://muse.jhu.edu/article/696173}, author = {Shen, Dan} } @article {pier_two_2018, title = {Two Decades after the Publication of Monika Fludernik{\textquoteright}s Towards a {\textquoteright}Natural{\textquoteright} Narratology: Introduction to the Forum}, journal = {Partial Answers: Journal of Literature and the History of Ideas}, volume = {16}, number = {2}, year = {2018}, month = {jun}, pages = {239{\textendash}242}, abstract = {ARRAY(0x561868a72830)}, issn = {1936-9247}, doi = {10.1353/pan.2018.0014}, url = {https://muse.jhu.edu/article/696170}, author = {Pier, John} } @article {454, title = {The Uses of Storytelling in Khaled Hosseini{\textquoteright}s The Kite Runner}, journal = {Hacettepe University Journal of Faculty of Letters}, volume = {35}, year = {2018}, month = {06/2018}, pages = {1-11}, type = {Research}, chapter = {1}, abstract = {In his The Kite Runner (2003), Khaled Hosseini uses storytelling for at least two purposes: to show how the first-person narrator yearns to alleviate or at least control the profoundly destructive impact of a single past experience on his adult mind and to show how, through such a recollection and reconstruction process, the narrator feels satisfied with his atonement by the end of his narration. Storytelling helps Hosseini{\textquoteright}s narrator to reconfigure his unfavourable experiences, which act both as the central concern of the narrative plot and as a shared quality weaving the central characters together. Cognitive narratologists, such as Monika Fludernik and David Herman, consider representation of experience an important basic element of narrativity or the qualities that make a narrative accepted as narrative. By focusing on his personal and human-like experiences, the protagonist Amir{\textquoteright}s storytelling not only functions as a significant tool to alleviate his intense suffering, but also facilitates the readers{\textquoteright} emotional engagement in Hosseini{\textquoteright}s storyworld. }, keywords = {Atonement, Khaled Hosseini, Psychological Trauma, Storytelling, The Kite Runner}, url = {http://dergipark.gov.tr/huefd/issue/37547/434221}, author = {Nayebpour, Karam} } @article {474, title = {What narrative is}, journal = {Frontiers of Narrative Studies}, volume = {4}, year = {2018}, month = {2018///}, pages = {s76 - s104}, abstract = {Unacknowledged by its practitioners, narratology has often been revisionary rather than descriptive when categorizing narratives. This is because definitions, expert judgment and personal intuition, traditionally the main tools for categorization, are vulnerable to media blindness and to being theory loaded. I argue that to avoid revisionary accounts of ordinary everyday practices such as narrative or gameplay of which non-experts have a firm understanding, expert categorizations have to be tested against folk intuitions as they become apparent in ordinary language. Pictorial narrative in single pictures is introduced as a specific case of categorization dispute and an experiment laid out in which non-experts assess if different pictures tell stories. As the chosen pictures correspond to different criteria of narrative to varying degrees, the experiment also serves as an implicit test of these criteria. Its results confirm monochrony compatibilism, the position that single monochronic pictures can autonomously convey stories. While the pictures rated high in narrativity correspond to traditional criteria of narrative, I argue that the way in which these criteria are usually interpreted by narratologists is problematic because they exclude these pictures from the realm of narratives. It is argued that the way marginal phenomena are categorized is essential for a sound understanding of even the most paradigmatic objects of a domain because categorizations influence definitions and definitions ultimately guide interpretations.}, keywords = {Experimental Narratology, Intuition, Ordinary Language, Theory of Definition, Visual Narrative}, isbn = {2509-4882}, url = {https://www.degruyter.com/view/j/fns.2018.4.issue-s1/fns-2018-0033/fns-2018-0033.xml?format=INT}, author = {Speidel, Klaus} } @article {452, title = {Activation of Empathy Feelings in Raymond Carver{\textquoteright}s "A Small, Good Thing"}, journal = {Sel{\c c}uk {\"U}niversitesi Edebiyat Fak{\"u}ltesi Dergisi (SEFAD) / Sel{\c c}uk University Journal of Faculty of Letters}, volume = {38}, year = {2017}, month = {12/2017}, pages = {265-278}, type = {Research}, chapter = {265}, abstract = {Raymond Carver{\textquoteright}s A Small, Good Thing portrays affective and cognitive empathy feelings between the characters. The narrative presents affective discourse in two situations. The protagonist Ann{\textquoteright}s empathy with her husband and with a Negro family enables her to communicate with them through sharing their mental states. Likewise, the narrative represents two situations in which cognitive empathy is generated. Dr. Francis{\textquoteright}s awareness about Ann{\textquoteright}s mental state alleviates her suffering. Additionally, when, at the narrative{\textquoteright}s end, Ann and her husband tell the baker the news of their son{\textquoteright}s death and he tells them his own childless life story, they mutually show cognitive empathy toward each other through identification of their mental states. My essay argues that engagement with evoked cognitive and affective empathy feelings between the characters in Carver{\textquoteright}s story is likely to generate narrative reader{\textquoteright}s cognitive empathy. Carver{\textquoteright}s narrative has the potential to elicit a reader{\textquoteright}s cognitive empathy through manipulation of the narrative perspective and representation of a familiar emotion, sadness evoked by death, as well as anthropomorphic or human-like reactions to this emotion.}, keywords = {A Small, Good Thing, empathy (affective and cognitive) / sympathy, narrative and emotion, Raymond Carver., reader}, doi = {10.21497/sefad.377103}, url = {http://sefad.selcuk.edu.tr/sefad/article/view/817} } @article {449, title = {The Ambivalent Nature of Colonial Mimicry in Hanif Kureishi{\textquoteright}s {\textquotedblleft}My son the fanatic{\textquotedblright}}, journal = { ANQ-A QUARTERLY JOURNAL OF SHORT ARTICLES NOTES AND REVIEWS}, volume = {31}, year = {2017}, month = {11/2017}, pages = {55-60}, type = {Reseacrh}, chapter = {55}, abstract = {

The negative aspects of the underlying narrative dichotomy in Hanif Kureishi{\textquoteright}s {\textquotedblleft}My son the fanatic{\textquotedblright} have not yet been explored through the lens of Homi Bhabha{\textquoteright}s theory of colonial mimicry. Taking its cue from Bhabha{\textquoteright}s theory, the main question of this essay is to examine how colonial mimicry in Kureishi{\textquoteright}s storyworld functions as a menace to the colonizer{\textquoteright}s Western structure and values. Colonial mimicry, in Bhabha{\textquoteright}s words, is {\textquotedblleft}structured around ambivalence [{\textellipsis}] an indeterminacy.{\textquotedblright} Therefore, it is {\textquotedblleft}at once resemblance and menace{\textquotedblright} (122, 123). In Kureishi{\textquoteright}s story, the father{\textquoteright}s nearly fulfilled desire to mime the hegemonic culture is challenged by his son{\textquoteright}s revolt against it by attempting to remove everything that represents Western culture. The son fundamentally questions his father{\textquoteright}s ability to enact cultural reform by mimicking the colonial culture, accepting his inferiority to it, and deviating from his Islamic obligations. Kureishi{\textquoteright}s story, therefore, represents the two aspects of colonial mimicry. On the one hand, the father has been enacting a full imitation, resemblance, or cultural integration into the colonizer{\textquoteright}s land in order to fulfil his dreams. On the other hand, his son revolts against what represents the Western culture and way of life. The conflict between the two poles brings about the central conflict of the story as well.

}, keywords = {Colonial Mimicry, Hanif Kureishi, Homi Bhabha, Resemblance and Menace, {\textquotedblleft}My son the fanatic{\textquotedblright}}, doi = {https://doi.org/10.1080/0895769X.2017.1361313}, url = {https://www.tandfonline.com/doi/abs/10.1080/0895769X.2017.1361313?scroll=top\&needAccess=true\&journalCode=vanq20}, author = {Nayebpour, Karam} } @booklet {garcia_landa_bibliography_2017, title = {A Bibliography of Literary Theory, Criticism and Philology (22nd Edition)}, year = {2017}, url = {http://www.unizar.es/departamentos/filologia_inglesa/garciala/bibliography.html}, author = {GARC{\'I}A LANDA, Jos{\'e} {\'A}ngel} } @book {323, title = {Case, strip, action ! Les feuilletons en bandes dessin{\'e}es dans les magazines pour la jeunesse (1946-1959)}, year = {2017}, publisher = {infolio}, organization = {infolio}, abstract = {

\ Pr{\'e}curseurs des s{\'e}ries t{\'e}l{\'e}vis{\'e}es, les histoires {\`a} suivre qui paraissaient en bandes dessin{\'e}es dans des hebdomadaires pour la jeunesse tels que Le Journal de Tintin, Spirou ou Tarzan ont tenu en haleine les jeunes lecteurs de l{\textquoteright}apr{\`e}s-guerre et fa{\c c}onn{\'e} leur imaginaire, mais n{\textquoteright}ont {\`a} ce jour gu{\`e}re fait l{\textquoteright}objet d{\textquoteright}{\'e}tudes d{\'e}taill{\'e}es. Richement illustr{\'e}, cet ouvrage se propose de faire conna{\^\i}tre une production foisonnante et embl{\'e}matique de la culture populaire de la p{\'e}riode 1946-1959 en l{\textquoteright}envisageant sous l{\textquoteright}angle de l{\textquoteright}histoire de la bande dessin{\'e}e, de l{\textquoteright}{\'e}tude du r{\'e}cit et de l{\textquoteright}interm{\'e}dialit{\'e}. Les auteurs y soulignent notamment les liens entre BD et cin{\'e}ma, tant sur un plan th{\'e}orique (logique du feuilleton, rythme narratif, d{\'e}coupage de l{\textquoteright}action) qu{\textquoteright}analytique (adaptations de films en BD).

Alain Boillat est professeur {\`a} la Section d{\textquoteright}histoire et esth{\'e}tique du cin{\'e}ma de la Facult{\'e} des lettres de l{\textquoteright}Universit{\'e} de Lausanne. Ses derni{\`e}res recherches portent sur l{\textquoteright}histoire des liens entre bande dessin{\'e}e et cin{\'e}ma. Marine Borel r{\'e}alise actuellement une th{\`e}se de doctorat en linguistique fran{\c c}aise {\`a} l{\textquoteright}Universit{\'e} de Fribourg et {\`a} l{\textquoteright}Universit{\'e} de Lorraine. Rapha{\"e}l Oesterl{\'e} est licenci{\'e} en Histoire et esth{\'e}tique du cin{\'e}ma {\`a} l{\textquoteright}Universit{\'e} de Lausanne. Il m{\`e}ne une th{\`e}se sur les p{\'e}riodiques de bandes dessin{\'e}es francophones de l{\textquoteright}apr{\`e}s-guerre. Fran{\c c}oise Revaz est professeure de linguistique fran{\c c}aise {\`a} la Facult{\'e} des Lettres de l{\textquoteright}Universit{\'e} de Fribourg. Elle a fond{\'e}, avec R. Baroni, le R{\'e}seau Romand de Narratologie.

}, isbn = {978-2-88474-821-6}, issn = {978-2-88474-821-6}, url = {http://www.decitre.fr/livres/case-strip-action-9782884748216.html}, author = {Borel, Marine and Oesterl{\'e}, Rapha{\"e}l}, editor = {Boillat, Joanna and Revaz, Fran{\c c}oise} } @book {hven_cinema_2017, title = {Cinema and Narrative Complexity: Embodying the Fabula}, year = {2017}, publisher = {Amsterdam University Press}, organization = {Amsterdam University Press}, address = {Amsterdam}, abstract = {Since the mid-1990s, a number of films from international filmmakers have experimented with increasingly complicated narrative strategies{\textemdash}including such hits as Run, Lola, Run, 21 Grams, and Memento. This book sets those films, among others, in context with earlier works that tried new narrative approaches, including Stage Fright and Hiroshima, Mon Amour, to show how they reveal the limitations of most of our usual tools for analyzing film. In light of that, Steffen Hven argues for the deployment of an {\textquotedblleft}embodied{\textquotedblright} reconfiguration of the cinematic experience, one that allows us to rethink such core constituents of narrative understanding as cognition, emotion, and affect.}, isbn = {978-94-6298-077-8}, author = {Hven, Steffen} } @book {hven_cinema_2017, title = {Cinema and narrative complexity: embodying the Fabula}, year = {2017}, note = {Google-Books-ID: LMJFDgAAQBAJ}, publisher = {Amsterdam University Press}, organization = {Amsterdam University Press}, address = {Amsterdam}, abstract = {Since the mid-1990s, a number of films from international filmmakers have experimented with increasingly complicated narrative strategies-including such hits as Run, Lola, Run, 21 Grams, and Memento. This book sets those films and others in context with earlier works that tried new narrative approaches, including Stage Fright and Hiroshima, Mon Amour, to show how they reveal the limitations of most of our usual tools for analysing film. In light of that, Steffen Hven argues for the deployment of an {\textquoteright}embodied{\textquoteright} reconfiguration of the cinematic experience, one that allows us to rethink such core constituents of narrative understanding as cognition, emotion, and affect.}, keywords = {Art / Film \& Video}, isbn = {978-90-485-3025-0}, author = {Hven, Steffen} } @book {harrison_cognitive_2017, title = {Cognitive Grammar in Contemporary Fiction}, year = {2017}, note = {Google-Books-ID: hbm_nQAACAAJ}, month = {may}, publisher = {John Benjamins Publishing Company}, organization = {John Benjamins Publishing Company}, abstract = {This book proposes an extension of Cognitive Grammar (Langacker 1987, 1991, 2008) towards a cognitive discourse grammar, through the unique environment that literary stylistic application offers. Drawing upon contemporary research in cognitive stylistics (Text World Theory, deixis and mind-modelling, amongst others), the volume scales up central Cognitive Grammar concepts (such as construal, grounding, the reference point model and action chains) in order to explore the attenuation of experience - and how it is simulated - in literary reading. In particular, it considers a range of contemporary texts by Neil Gaiman, Jennifer Egan, Jonathan Safran Foer, Ian McEwan and Paul Auster. This application builds upon previous work that adopts Cognitive Grammar for literary analysis and provides the first extended account of Cognitive Grammar in contemporary fiction.}, keywords = {Literary Criticism / Semiotics \& Theory}, isbn = {978-90-272-3415-5}, author = {Harrison, Chloe} } @book {garcia_landa_corporalidad_2017, title = {Corporalidad, Temporalidad, Afectividad. Perspectivas filos{\'o}fico-antropol{\'o}gicas}, year = {2017}, publisher = {Logos Verlag}, organization = {Logos Verlag}, address = {Berlin}, abstract = {Este volumen colectivo es resultado de la colaboraci{\'o}n de especialistas universitarios interesados en fenomenologia, hermen{\'e}utica, antropol{\'o}gica filos{\'o}fica y cultural. Las aportaciones recogidas en {\'e}l examinan desde distintas aproximaciones la complejidad de la experiencia humana con respecto a la manera en que se vive el propio cuerpo, los afectos y emociones en sus dimensiones intersubjetivas, y las caracteristicas especificamente humanas del tiempo vivido y del tiempo socialmente organizado. Los capitulos iniciales de este libro sit{\'u}an el lugar de la antropologia fenomenol{\'o}gica en el marco de los actuales discursos sobre la experiencia corporal, vital y emocional humana, en especial los formulados por las perspectivas cientificas actuales como son la psicologia evolucionista y las ciencias cognitivas. De ahi se pasa a examinar diversas cuestiones relativas al pensamiento sobre la corporalidad, la temporalidad y la afectividad desde perspectivas filos{\'o}fico-antropol{\'o}gicas de inspiraci{\'o}n diversa -ya sea heideggeriana o interaccionista-, atendiendo a cuestiones como la experiencia del cuerpo, del vestido, la percepci{\'o}n subjetiva y la organizaci{\'o}n social del tiempo, el pensamiento de la diferencia, la empatia literaria, la perspectiva feminista y la construcci{\'o}n social del g{\'e}nero o la experiencia del amor como fen{\'o}meno {\'e}tico distintivo. Las aportaciones te{\'o}ricas que se han tenido en cuenta son, entre otras, las de Arist{\'o}teles, Husserl, Heidegger, Scheler, Mead, Ortega y Gasset, Butler o Braidotti. Se trata de un libro que quiere abrir nuevas perspectivas a estudiantes e investigadores interesados en la comprensi{\'o}n del cuerpo humano, la experiencia temporal y las emociones.}, isbn = {978-3-8325-4380-8}, url = {http://www.logos-verlag.de/cgi-bin/buch/isbn/4380}, editor = {GARC{\'I}A LANDA, Jos{\'e} {\'A}ngel and Rodr{\'\i}guez Su{\'a}rez, Luisa Paz} } @book {letzler_cruft_2017, title = {The Cruft of Fiction: Mega-Novels and the Science of Paying Attention}, year = {2017}, note = {Google-Books-ID: S4u7DgAAQBAJ}, publisher = {U of Nebraska Press}, organization = {U of Nebraska Press}, abstract = {A 2017 Choice Outstanding Academic Title What is the strange appeal of big books? The mega-novel, a genre of erudite tomes with encyclopedic scope, has attracted wildly varied responses, from fanatical devotion to trenchant criticism. Looking at intimidating mega-novel masterpieces from The Making of Americans to 2666, David Letzler explores reader responses to all the seemingly random, irrelevant, pointless, and derailing elements that comprise these mega-novels, elements that he labels "cruft" after the computer science term for junk code. In The Cruft of Fiction, Letzler suggests that these books are useful tools to help us understand the relationship between reading and attention. While mega-novel text is often intricately meaningful or experimental, sometimes it is just excessive and pointless. On the other hand, mega-novels also contain text that, though appearing to be cruft, turns out to be quite important. Letzler posits that this cruft requires readers to develop a sophisticated method of attentional modulation, allowing one to subtly distinguish between text requiring focused attention and text that must be skimmed or even skipped to avoid processing failures. The Cruft of Fiction shows how the attentional maturation prompted by reading mega-novels can help manage the information overload that increasingly characterizes contemporary life.}, keywords = {Education / Educational Psychology, Literary Criticism / Modern / 20th Century}, isbn = {978-1-4962-0164-5}, author = {Letzler, David} } @book {hansen_emerging_2017, title = {Emerging Vectors of Narratology}, series = {Narratologia}, number = {57}, year = {2017}, publisher = {De Gruyter}, organization = {De Gruyter}, address = {Berlin, Boston}, abstract = {Narratology has been flourishing in recent years thanks to investigations into a broad spectrum of narratives, at the same time diversifying its theoretical and disciplinary scope as it has sought to specify the status of narrative within both society and scientific research. The diverse endeavors engendered by this situation have brought narrative to the forefront of the social and human sciences and have generated new synergies in the research environment.Emerging Vectors of Narratology brings together 27 state-of-the-art contributions by an international panel of authors that provide insight into the wealth of new developments in the field. The book consists of two sections. "Contexts" includes articles that reframe and refine such topics as the implied author, narrative causation and transmedial forms of narrative; it also investigates various historical and cultural aspects of narrative from the narratological perspective. "Openings" expands on these and other questions by addressing the narrative turn, cognitive issues, narrative complexity and metatheoretical matters.The book is intended for narratologists as well as for readers in the social and human sciences for whom narrative has become a crucial matrix of inquiry.}, keywords = {comparative narrative studies, narrative cognition, narrative turn, Narratology}, isbn = {978-3-11-055515-8}, url = {https://www.degruyter.com/view/product/491438}, author = {Hansen, Per Krogh and Pier, John and Roussin, Philippe and Schmid, Wolf} } @article {martinez_erzahlen_2017, title = {Erz{\"a}hlen und Wissen}, journal = {DIEGESIS Interdisziplin{\"a}res. E-Journal f{\"u}r Erz{\"a}hlforschung}, volume = {6}, number = {1}, year = {2017}, url = {https://www.diegesis.uni-wuppertal.de/index.php/diegesis/issue/view/14}, author = {Mart{\'\i}nez, Mat{\'\i}as and Scheffel, Michael}, editor = {Sommer, Roy and Heinen, Sandra and Chihaia, Matei} } @book {rundquist_free_2017, title = {Free Indirect Style in Modernism: Representations of consciousness}, year = {2017}, publisher = {John Benjamins Publishing Company}, organization = {John Benjamins Publishing Company}, address = {Amsterdam}, abstract = {Free Indirect Style (FIS) is a linguistic technique that defies the logic of human subjectivity by enabling readers to directly observe the subjective experiences of third-person characters. This book consolidates the existing literary-linguistic scholarship on FIS into a theory that is based around one of its most important effects: consciousness representation. Modernist narratives exhibit intensified formal experimentation and a heightened concern with characters{\textquoteright} conscious experience, and this provides an ideal context for exploring FIS and its implications for character consciousness. This book focuses on three novels that are central to the Modernist canon: Virginia Woolf{\textquoteright}s To the Lighthouse, D.H. Lawrence{\textquoteright}s The Rainbow and James Joyce{\textquoteright}s Ulysses. It applies the revised theory of FIS in close semantic analyses of the language in these narratives and combines stylistics with literary criticism, linking interpretations with linguistic features in distinct manifestations of the style.}, keywords = {Literary Criticism / General, Literary Criticism / Subjects \& Themes / General}, isbn = {978-90-272-6453-4}, author = {Rundquist, Eric} } @book {schiff_life_2017, title = {Life and Narrative: The Risks and Responsibilities of Storying Experience}, year = {2017}, note = {00000 Google-Books-ID: Q1DjDQAAQBAJ}, publisher = {Oxford University Press}, organization = {Oxford University Press}, abstract = {The challenge of life and literary narrative is the central and perennial mystery of how people encounter, manage, and inhabit a self and a world of their own - and others{\textquoteright} - creations. With a nod to the eminent scholar and psychologist Jerome Bruner, Life and Narrative: The Risks and Responsibilities of Storying Experience explores the circulation of meaning between experience and the recounting of that experience to others. A variety of arguments center around the kind of relationship life and narrative share with one another. In this volume, rather than choosing to argue that this relationship is either continuous or discontinuous, editors Brian Schiff, A. Elizabeth McKim, and Sylvie Patron and their contributing authors reject the simple binary and masterfully incorporate a more nuanced approach that has more descriptive appeal and theoretical traction for readers. Exploring such diverse and fascinating topics as {\textquoteright}Narrative and the Law,{\textquoteright} {\textquoteright}Narrative Fiction, the Short Story, and Life,{\textquoteright} {\textquoteright}The Body as Biography,{\textquoteright} and {\textquoteright}The Politics of Memory,{\textquoteright} Life and Narrative features important research and perspectives from both up-and-coming researchers and prominent scholars in the field - many of which who are widely acknowledged for moving the needle forward on the study of narrative in their respective disciplines and beyond.}, keywords = {Psychology / Social Psychology, Social Science / Social Classes \& Economic Disparity}, isbn = {978-0-19-025666-1}, author = {Schiff, Brian and McKim, A. Elizabeth and Patron, Sylvie} } @book {448, title = {Mind Presentation in Ian McEwan{\textquoteright}s Fiction: Consciousness and the Presentation of Character in Amsterdam, Atonement, and On Chesil Beach}, year = {2017}, publisher = {ibidem Press (via Colombia University Press)}, organization = {ibidem Press (via Colombia University Press)}, address = {Stuttgart}, abstract = {This book explores the central fictional minds in three of Ian McEwan{\textquoteright}s most popular narratives. Mind presentation constitutes the main part of characterization in the second phase of McEwan{\textquoteright}s writing, where his plot structure depends to a large degree on the presentation of the characters{\textquoteright} mental workings. In Amsterdam (1998), Atonement (2003), and On Chesil Beach (2007), the construction process of the fictional minds, the degree their functioning is impacted by their experiences, and the way their mental aspect controls their behavior and relationships are critical to the stories. Relying on insights and methods from cognitive narratology, this study follows two purposes: It firstly analyzes the function of fictional minds and their operational modes in these narratives. Secondly, it explores the impact of the characters{\textquoteright} experiences on both their mental functioning and their behavior, especially with view of their relationships. Nayebpour reveals that the plot structure of these narratives highly depends on the lack of a sound balance between the two aspects of the represented minds (intermental/joint thought and intramental/individual thought) as well as on the dominance of the intramental one. The tragic atmosphere in these narratives, Nayebpour argues, is the result of this imbalance.}, keywords = {Cognitive Narratology, Ian McEwan, Intermental vs Intramental Minds, Presentation,}, issn = {3838209796}, url = {https://cup.columbia.edu/book/mind-presentation-in-ian-mcewans-fiction/9783838210292}, author = {Nayebpour, Karam} } @book {nayebpour_mind_2017, title = {Mind Presentation in Ian McEwan{\textquoteright}s Fiction: Consciousness and the Presentation of Character in Amsterdam, Atonement, and On Chesil Beach}, year = {2017}, publisher = {ibidem Press}, organization = {ibidem Press}, address = {Stuttgart}, abstract = {This book explores the central fictional minds in three of Ian McEwan{\textquoteright}s most popular narratives. Mind presentation constitutes the main part of characterization in the second phase of McEwan{\textquoteright}s writing, where his plot structure depends to a large degree on the presentation of the characters{\textquoteright} mental workings. In Amsterdam (1998), Atonement (2003), and On Chesil Beach (2007), the construction process of the fictional minds, the degree their functioning is impacted by their experiences, and the way their mental aspect controls their behavior and relationships are critical to the stories. Relying on insights and methods from cognitive narratology, this study follows two purposes: It firstly analyzes the function of fictional minds and their operational modes in these narratives. Secondly, it explores the impact of the characters{\textquoteright} experiences on both their mental functioning and their behavior, especially with view of their relationships. Nayebpour reveals that the plot structure of these narratives highly depends on the lack of a sound balance between the two aspects of the represented minds (intermental/joint thought and intramental/individual thought) as well as on the dominance of the intramental one. The tragic atmosphere in these narratives, Nayebpour argues, is the result of this imbalance.}, isbn = {978-3-8382-6979-5}, author = {Nayebpour, Karam} } @book {olmos_narration_2017, title = {Narration as Argument}, year = {2017}, note = {Google-Books-ID: IGLTDgAAQBAJ}, publisher = {Springer}, organization = {Springer}, abstract = {This book presents reflections on the relationship between narratives and argumentative discourse. It focuses on their functional and structural similarities or dissimilarities, and offers diverse perspectives and conceptual tools for analyzing the narratives{\textquoteright} potential power for justification, explanation and persuasion. Divided into two sections, the first Part, under the title {\textquotedblleft}Narratives as Sources of Knowledge and Argument{\textquotedblright}, includes five chapters addressing rather general, theoretical and characteristically philosophical issues related to the argumentative analysis and understanding of narratives. We may perceive here how scholars in Argumentation Theory have recently approached certain topics that have a close connection with mainstream discussions in epistemology and the cognitive sciences about the justificatory potential of narratives. The second Part, entitled {\textquotedblleft}Argumentative Narratives in Context{\textquotedblright}, brings us six more chapters that concentrate on either particular functions played by argumentatively-oriented narratives or particular practices that may benefit from the use of special kinds of narratives. Here the focus is either on the detailed analysis of contextualized examples of narratives with argumentative qualities or on the careful understanding of the particular demands of certain well-defined situated activities, as diverse as scientific theorizing or war policing, that may be satisfied by certain uses of narrative discourse.}, keywords = {Language Arts \& Disciplines / Linguistics / Pragmatics, Language Arts \& Disciplines / Linguistics / Semantics, Language Arts \& Disciplines / Linguistics / Sociolinguistics, Literary Criticism / Semiotics \& Theory, Philosophy / Epistemology, Philosophy / General, Philosophy / Language, Philosophy / Logic, Philosophy / Reference}, isbn = {978-3-319-56883-6}, author = {Olmos, Paula} } @article {lwin_narrativity_2017, title = {Narrativity and creativity in oral storytelling: Co-constructing a story with the audience}, journal = {Language and Literature}, volume = {26}, number = {1}, year = {2017}, note = {00000}, pages = {34{\textendash}53}, abstract = {Drawing on concepts from narratology and stylistics, this article examines narrativity and creativity in an interactive oral storytelling context where the teller engages the audience directly in the storytelling process by calling for their outward responses and then incorporating these responses into her representations of events and characters. I analyse one storytelling performance of a contemporary professional storyteller as an example of interactive storytelling and discuss how she established narrativity and displayed creativity in the process of co-constructing an oral story with an adult audience. Challenges an oral storyteller may face in this process are also discussed.}, issn = {0963-9470}, doi = {10.1177/0963947016686602}, url = {http://journals.sagepub.com/doi/abs/10.1177/0963947016686602}, author = {Lwin, Soe Marlar} } @article {456, title = {Narrativity in The Thousand and One Nights}, journal = {Advances in Language and Literary Studies}, volume = {8}, year = {2017}, month = {08/2017}, pages = {85-90}, type = {Research}, chapter = {85}, abstract = {

Scheherazade{\textquoteright}s art of storytelling is the main vehicle for the fictional worldmaking in The Thousand and One Nights. The overall structure of the folktale narrative depends on the tales she recounts to King Shahriyar, and it is through these tales that she finally is able to change his mind. The richness of the narrative qualities, properties, and techniques in The Thousand and One Nights has attracted narrative scholars and narratologists for a long time. Besides applying the frame narrative as a basic narrative technique for storytelling practices, Scheherazade{\textquoteright}s tales include many other narrative aspects, including narrativity-affecting features. Narrativity generally refers to the qualities and features that cause a narrative to be accepted or evaluated as a (prototype) narrative. This paper argues that Scheherazade{\textquoteright}s first tale for the king Shahryar, {\textquotedblleft}The Tale of the Merchant and the Ifrit,{\textquotedblright} includes some narrativity-affecting features which have the potential to inspire its narratee{\textquoteright}s, Shahryar{\textquoteright}s, emotional and cognitive responses, and hence facilitate his transportation into the storyworld. By capturing his interest with her art of storytelling, Scheherazade is able to avert the king{\textquoteright}s heinous crime against herself.

}, keywords = {Narratee (Recipient), Narrativity and Narrativity-Affecting Features, Scheherazade, Storytelling, The Thousand and One Nights}, issn = {2203-4714}, doi = {http://dx.doi.org/10.7575/aiac.alls.v.8n.4p.85}, url = {http://www.journals.aiac.org.au/index.php/alls/article/view/3707}, author = {Nayebpour, Karam} } @booklet {lass_obituary_2017, title = {Obituary Lubom{\'\i}r Dole{\v z}el}, year = {2017}, url = {https://zpravy.org/02/Obituary.html}, author = {Lass, Andrew} } @book {copland_politics_2017, title = {The Politics of Form}, year = {2017}, note = {Google-Books-ID: CmRiswEACAAJ}, publisher = {Routledge}, organization = {Routledge}, address = {London}, abstract = {This volume enacts a project we term {\textquoteright}a politics of form{\textquoteright}, working to politicise the formal analysis of narrative in novels, life narratives, documentaries, dramas, short prose works and multimodal texts while retaining the form specificity that is distinctive of narratology. The introduction offers an overview of how to perform narrative analysis in conjunction with ideological critique, while the chapters unite the formal analysis of texts with readings that uncover how structures of social power are expressed in, as well as challenged by, aesthetic forms. The contributors address the need to develop sustained political analysis of aesthetic and narrative forms, and they articulate methods for performing such analysis while reflecting on the politics of the work they undertake. By establishing criteria to describe the politicised use of narrative forms, and by historicising narratological concepts, the volume bridges theoretical gaps between narratology, critical theory and cultural analysis, resulting in the refinement of existing narratological models. This book was originally published as a special issue of the European Journal of English Studies.}, isbn = {978-1-138-56333-9}, author = {Copland, Sarah and Olson, Greta} } @book {kukkonen_prehistory_2017, title = {A Prehistory of Cognitive Poetics: Neoclassicism and the Novel}, year = {2017}, note = {Google-Books-ID: uOMwDgAAQBAJ}, publisher = {Oxford University Press}, organization = {Oxford University Press}, address = {Oxford}, abstract = {This study provides an introduction to the neoclassical debates around how literature is shaped in concert with the thinking and feeling human mind. Three key rules of neoclassicism, namely, poetic justice (the rewards and punishments of characters in the plot), the unities (the coherence of the fictional world and its extensions through the imagination) and decorum (the inferential connections between characters and their likely actions), are reconsidered in light of social cognition, embodied cognition and probabilistic, predictive cognition. The meeting between neoclassical criticism and today{\textquoteright}s research psychology, neurology and philosophy of mind yields a new perspective for cognitive literary study. Neoclassicism has a crucial contribution to make to current debates around the role of literature in cultural and cognition. Literary critics writing at the time of the scientific revolution developed a perspective on literature the question of how literature engages minds and bodies as its central concern. A Prehistory of Cognitive Poetics traces the cognitive dimension of these critical debates in seventeenth- and eighteenth-century Britain and puts them into conversation with today{\textquoteright}s cognitive approaches to literature. Neoclassical theory is then connected to the praxis of eighteenth-century writers in a series of case studies that trace how these principles shaped the emerging narrative form of the novel. The continuing relevance of neoclassicism also shows itself in the rise of the novel, as A Prehistory of Cognitive Poetics illustrates through examples including Pamela, Tom Jones and the Gothic novel.}, keywords = {Irish, Literary Criticism / European / English, Literary Criticism / Modern / 18th Century, Scottish, Welsh}, isbn = {978-0-19-065451-1}, author = {Kukkonen, Karin} } @book {grune_realistische_2017, title = {Realistische Narratologie, Otto Ludwigs "Romanstudien" im Kontext einer Geschichte der Erz{\"a}hltheorie}, year = {2017}, publisher = {De Gruyter}, organization = {De Gruyter}, address = {Berlin, Boston}, abstract = {Otto Ludwig{\textquoteright}s Romanstudien is among the most important works of 20th century German narratology history. Matthias Gr{\"u}ne explores the systematic and historical impact of Ludwig{\textquoteright}s reflections on narrative forms. The study clearly discloses the epistemological roots of the text and the reasons it should be valued as a key document of literary realism.}, keywords = {19th century, Historical narratology, realism, theory of the novel}, isbn = {978-3-11-053283-8}, doi = {10.1515/9783110541502}, url = {https://www.degruyter.com/view/product/484896}, author = {Gr{\"u}ne, Matthias} } @article {451, title = {Representation of Trauma as a Political Apparatus in Julian Barnes{\textquoteright}s the Noise of Time}, journal = {The IUP Journal of English Studies}, volume = {12}, year = {2017}, month = {12/2017}, pages = {7-24}, type = {Research}, chapter = {7}, abstract = {

This essay explores the function of trauma as a political apparatus in Julian Barnes{\textquoteright}s latest novel The Noise of Time (2016). Focusing on the artistic life of worldly, well-known Russian composer Dmitri Shostakovich, Barnes{\textquoteright}s narrative shows how trauma, as a dominant political apparatus, is systematically implemented by Stalin{\textquoteright}s State of Terror or Power and how it dramatically impacts the psychological state of an artist. By presenting three stages of the central character{\textquoteright}s traumatic experiences, the omniscient narrator represents trauma{\textquoteright}s continuous impact on Shostakovich{\textquoteright}s mind through his own retrospective perspective. The narrative focuses on Shostakovich{\textquoteright}s constant sense of fear and intense panic at three decisive points of life when he finds himself in humiliating conversations with Power. The narrative presents the manner in which Shostakovich{\textquoteright}s mind is possessed by the horrors, fears, and anxieties of both his traumatic experiences and post-traumatic recollections.

}, keywords = {Julian Barnes, Power, Psychological Trauma, The Noise of Time, Trauma as a Political Apparatus, Traumatic Experiences and Memory}, url = {https://www.iupindia.in/1712/English\%20Studies/Representation_of_Trauma.html}, author = {Nayebpour, Karam} } @article {walsh_special_2017, title = {Special Issue / Num{\'e}ro sp{\'e}cial: A. J. Greimas {\textendash} Life and semiotics / La vie et la s{\'e}miotique d{\textquoteright}A. J. Greimas, Guest Editors / R{\'e}dacteurs du num{\'e}ro: Thomas F. Broden \& St{\'e}phanie Walsh Matthews. Introduction}, journal = {Semiotica}, volume = {2017}, number = {214}, year = {2017}, note = {01646}, pages = {5{\textendash}8}, issn = {0037-1998}, doi = {10.1515/sem-2016-0222}, url = {https://www.degruyter.com/view/j/semi.2017.2017.issue-214/sem-2016-0222/sem-2016-0222.xml?format=INT}, author = {Walsh, St{\'e}phanie Matthews and Broden, Thomas F.} } @proceedings {708, title = {This is why you should attend this talk: Clickbait and the reception of news stories}, volume = {5}, year = {2017}, month = {09/2017}, pages = {1-4}, abstract = {

Narratives have long been considered a\  medially and primarily textually anchored structure. Although cognitive narratology has introduced the methodologies and terminology to discuss the wide scope of human experience from a\ narratological point of view, most practical applications remain grounded in the semiotic-structural paradigm. The Experimental Humanities Lab at Indiana University, headed by Fritz Breithaupt, studies narratives as a\ part of human interaction and behavior. The lab{\textquoteright}s\ approach is centered on story retellings (serial reproductions). Its goal is to reclaim what the humanities have always done: Ask questions, observe, question our world, experiment and gather data. What started out with a\ project on the narrative factors that influence people{\textquoteright}s\ implicit moral judgment soon developed into weekly lab meetings during which students and researchers from different backgrounds (from psychology to neuroscience) tackle a\ range of different topics: interactions between medical doctors and patients, legal affairs, empathy or even what it means to fall in love. This panel presents a\ showcase of recent research done by members of the Experimental Humanities Lab. The papers do not only aim to show the impact of narratives on the breadth of human experience, but also wish to demonstrate that this insight, in turn, challenges conventional interpretations of literary works and the way they affect the reading experience.

}, keywords = {clickbait, experimental humanities, Fritz Breithaupt}, url = {https://www.narratology.net/node/707}, author = {Hermans Tobias} } @book {calame_tragechorale_2017, title = {Trag{\'e}die chorale : po{\'e}sie grecque et rituel musical}, year = {2017}, month = {may}, publisher = {Les Belles Lettres}, organization = {Les Belles Lettres}, address = {Paris}, abstract = {La trag{\'e}die grecque comme dramatisation du h{\'e}ros confront{\'e} {\`a} son implacable destin ? La trag{\'e}die attique comme expression m{\^e}me du {\guillemotleft} tragique {\guillemotright} ? {\`A}...}, isbn = {978-2-251-44704-9}, url = {https://www.lesbelleslettres.com/livre/2972-tragedie-chorale-poesie-grecque-et-rituel-musical}, author = {Calame, Claude} } @article {450, title = {The training impact of experience in Jane Austen{\textquoteright}s Emma}, journal = {Brno studies in English}, volume = {43}, year = {2017}, month = {2017}, pages = {127-149}, type = {Research}, chapter = {127}, abstract = {

Jane Austen{\textquoteright}s Emma foregrounds the impact of experience on the central character{\textquoteright}s cognitive and emotional development. Experience also plays a key role in how the narrative is constructed. Having presented the impact of Emma{\textquoteright}s miscalculations about the other characters{\textquoteright} intentions, the narrative shows how she grows mentally through her experiences and how they mould her character along time. As a result of her experiences, Emma{\textquoteright}s character gradually evolves into a more sympathetic one. Such a transformation brings about some meaningful re-evaluations in Emma{\textquoteright}s thoughts, judgments and behaviour. Likewise, in narrative studies, experience is taken as an inherent quality of narrative and is evoked in its reader. In this essay I argue that the representation of the impact Emma{\textquoteright}s personal experiences have on her should be taken as the most important aspect of Austen{\textquoteright}s narrative plot and as the basic condition for its understanding.

}, keywords = {Emma, human (or anthropomorphic) experience, Jane Austen, narrative and experience, postclassical narratology}, doi = {10.5817/BSE2017-2-7}, url = {https://digilib.phil.muni.cz/handle/11222.digilib/137611}, author = {Nayebpour, Karam} } @conference {muzny_two-stage_2017, title = {A Two-stage Sieve Approach for Quote Attribution}, booktitle = {Proceedings of the 15th Conference of the European Chapter of the Association for Computational Linguistics: Volume 1, Long Papers}, volume = {1}, year = {2017}, pages = {460{\textendash}470}, author = {Muzny, Grace and Fang, Michael and Chang, Angel and Jurafsky, Dan} } @booklet {roussin_tzvetan_2017, title = {Tzvetan Todorov (1939-2017): une vie de penseur europ{\'e}en}, howpublished = {Club de Mediapart}, year = {2017}, month = {feb}, abstract = {Directeur de recherche au CNRS, au sein du m{\^e}me laboratoire, le Centre de recherches sur les arts et le langage (CRAL), Philippe Roussin rend hommage {\`a} son coll{\`e}gue~Tzvetan Todorov, mort le 7 f{\'e}vrier {\`a} Paris. Eloge, {\`a} travers la richesse de son {\oe}uvre, d{\textquoteright}un~{\guillemotleft} exil{\'e} enracin{\'e} en France~{\guillemotright}, ainsi qu{\textquoteright}il se d{\'e}finissait lui-m{\^e}me, d{\'e}fenseur ent{\^e}t{\'e} du pluralisme d{\'e}mocratique contre les autoritarismes et conservatismes de tous bords.}, url = {https://blogs.mediapart.fr/edition/les-invites-de-mediapart/article/170217/tzvetan-todorov-1939-2017-une-vie-de-penseur-europeen}, author = {Roussin, Philippe} } @book {hanebeck_understanding_2017, title = {Understanding Metalepsis, The Hermeneutics of Narrative Transgression}, year = {2017}, note = {00000}, publisher = {De Gruyter}, organization = {De Gruyter}, address = {Berlin, Boston}, abstract = {Understanding Metalepsis provides a state-of-the-art overview of the narratological concept of metalepsis and develops new ways of investigating the forms and functions of metaleptic narratives. Informed by a hermeneutic perspective, this study offers not only an account of the complexities that characterize the process of understanding metaleptic phenomena, but also metatheoretical insights into the hermeneutics of narratology.}, isbn = {978-3-11-051692-0}, url = {https://www.degruyter.com/view/product/477452}, author = {Hanebeck, Julian} } @book {garratt_cognitive_2016, title = {The Cognitive Humanities: Embodied Mind in Literature and Culture}, year = {2016}, note = {00000 Google-Books-ID: QcKWDQAAQBAJ}, publisher = {Palgrave MacMillan}, organization = {Palgrave MacMillan}, address = {London}, abstract = {This book identifies the {\textquoteleft}cognitive humanities{\textquoteright} with new approaches to literature and culture that engage with recent theories of the embodied mind in cognitive science. If cognition should be approached less as a matter of internal representation{\textemdash}a Cartesian inner theatre{\textemdash}than as a form of embodied action, how might cultural representation be rethought? What can literature and culture reveal or challenge about embodied minds? The essays in this book ask what new directions in the humanities open up when the thinking self is understood as a participant in contexts of action, even as extended beyond the skin. Building on cognitive literary studies, but engaging much more extensively with {\textquoteleft}4E{\textquoteright} cognitive science (embodied, embedded, enactive, extended) than previously, the book uses case studies from many different historical settings (such as early modern theatre and digital technologies) and in different media (narrative, art, performance) to explore the embodied mind through culture.}, keywords = {Language Arts \& Disciplines / Library \& Information Science / General, Language Arts \& Disciplines / Linguistics / Historical \& Comparative, Literary Criticism / Comparative Literature, Literary Criticism / General, Literary Criticism / Semiotics \& Theory, Psychology / Cognitive Psychology \& Cognition}, isbn = {978-1-137-59329-0}, author = {Garratt, Peter} } @book {takashi_computational_2016, title = {Computational and Cognitive Approaches to Narratology}, year = {2016}, note = {Google-Books-ID: OfG0DAAAQBAJ}, publisher = {IGI Global}, organization = {IGI Global}, address = {Hershey PA}, abstract = {

Studying narratives is often the best way to gain a good understanding of how various aspects of human information are organized and integrated—the narrator employs specific informational methods to build the whole structure of a narrative through combining temporally constructed events in light of an array of relationships to the narratee and these methods reveal the interaction of the rational and the sensitive aspects of human information.Computational and Cognitive Approaches to Narratology discusses issues of narrative-related information and communication technologies, cognitive mechanism and analyses, and theoretical perspectives on narratives and the story generation process. Focusing on emerging research as well as applications in a variety of fields including marketing, philosophy, psychology, art, and literature, this timely publication is an essential reference source for researchers, professionals, and graduate students in various information technology, cognitive studies, design, and creative fields.

}, keywords = {Computers / Information Technology, Language Arts \& Disciplines / Communication Studies, Language Arts \& Disciplines / Rhetoric}, isbn = {978-1-5225-0433-7}, doi = {10.4018/978-1-5225-0432-0}, author = {Takashi, Ogata and Taisuke, Akimoto} } @book {hitzler_conceptual_2016, title = {Conceptual Structures in Practice}, year = {2016}, note = {Google-Books-ID: HxS6ktUMQNEC}, publisher = {CRC Press}, organization = {CRC Press}, address = {Boca Raton/London/New York}, abstract = {Exploring fundamental research questions, Conceptual Structures in Practice takes you through the basic yet nontrivial task of establishing conceptual relations as the foundation for research in knowledge representation and knowledge mining. It includes contributions from leading researchers in both the conceptual graph and formal concept analysis (FCA) communities. This accessible, self-contained book begins by providing the formal background in FCA and conceptual graphs. It then describes various software tools for analysis and computation, including the ToscanaJ suite. Written by the original visionaries of the field, the next section discusses the history and future directions of conceptual structures. The final chapters explore prominent application areas in computer science, including text analysis, web semantics, and intelligent systems. An unprecedented, state-of-the-art overview from innovators in the field, this volume discusses how FCA and conceptual graphs can be used in many computer science areas. It serves as a benchmark of research on conceptual structures, inspiring further exploration in this discipline.}, keywords = {Computers / Databases / Data Mining, Computers / Databases / General, Computers / General, Computers / Software Development \& Engineering / Systems Analysis \& Design, Technology \& Engineering / Automation, Technology \& Engineering / Electronics / General}, isbn = {978-1-4200-6063-8}, author = {Hitzler, Pascal and Scharfe, Henrik} } @article {van_lissa_difficult_2016, title = {Difficult Empathy. The Effect of Narrative Perspective on Readers{\textquoteright} Engagement with a First-Person Narrator}, journal = {DIEGESIS}, volume = {5}, number = {1}, year = {2016}, url = {https://www.diegesis.uni-wuppertal.de/index.php/diegesis/article/view/211}, author = {van Lissa, Caspar J. and Caracciolo, Marco and van Duuren, Thom and van Leuveren, Bram} } @book {huhn_facing_2016, title = {Facing Loss and Death, Narrative and Eventfulness in Lyric Poetry. With contrib. by Goerke, Britta / Plooy, Heilna du / Schenk-Haupt, Stefan}, series = {Narratologia}, volume = {55}, year = {2016}, note = {DOI: 10.1515/9783110486339}, publisher = {De Gruyter}, organization = {De Gruyter}, address = {Berlin, Boston}, abstract = {Lyric poetry as a temporal art-form makes pervasive use of narrative elements in organizing the progressive course of the poetic text. This observation justifies the application of the advanced methodology of narratology to the systematic analysis of lyric poems. After a concise presentation of this transgeneric approach to poetry, the study sets out to demonstrate its practical fruitfulness in detailed analyses of a large number of English (and some American) poems from the early modern period to the present. The narratological approach proves particularly suited to focus on the hitherto widely neglected dimension of sequentiality, the dynamic progression of the poetic utterance and its eventful turns, which largely constitute the raison d{\textquoteright}{\^e}tre of the poem. To facilitate comparisons, the examples chosen share one special thematic complex, the traumatic experience of severe loss: the death of a beloved person, the imminence of one{\textquoteright}s own death, the death of a revered fellow-poet and the loss of a fundamental stabilizing order. The function of the poems can be described as facing the traumatic experience in the poetic medium and employing various coping strategies. The poems thus possess a therapeutic impetus.}, keywords = {eventfulness, Poetry analysis, sequentiality, transgeneric narratology}, isbn = {978-3-11-048633-9}, url = {https://www.degruyter.com/view/product/473871}, author = {H{\"u}hn, Peter} } @book {huhn_facing_2016, title = {Facing Loss and Death: Narrative and Eventfulness in Lyric Poetry}, year = {2016}, note = {Google-Books-ID: j3vqDAAAQBAJ}, month = {aug}, publisher = {Walter de Gruyter GmbH \& Co KG}, organization = {Walter de Gruyter GmbH \& Co KG}, abstract = {This study proposes the application of the methodology of narratology to the analysis of lyric poetry, specifically focusing on the progression and eventful turns in poems. The fruitfulness of this approach is demonstrated by the analyses of English poems from different periods addressing the traumatic experience of loss (death of a beloved person, one{\textquoteright}s own imminent death, loss of a stabilizing order) and employing various coping strategies.}, keywords = {Language Arts \& Disciplines / General, Literary Criticism / General}, isbn = {978-3-11-048498-4}, author = {H{\"u}hn, Peter} } @book {wildfeuer_film_2016, title = {Film Text Analysis: New Perspectives on the Analysis of Filmic Meaning}, year = {2016}, note = {00000 Google-Books-ID: _hwxDQAAQBAJ}, publisher = {Routledge}, organization = {Routledge}, address = {New York}, abstract = {This book examines film as a multimodal text and an audiovisual synthesis, bringing together current work within the fields of narratology, philosophy, multimodal analysis, sound as well as cultural studies in order to cover a wide range of international academic interest. The book provides new insights into current work and turns the discussion towards recent research questions and analyses, representing and constituting in each contribution new work in the discipline of film text analysis. With the help of various example analyses, all showing the methodological applicability of the discussed issues, the collection provides novel ways of considering film as one of the most complex and at the same time broadly comprehensible texts.}, keywords = {Language Arts \& Disciplines / Linguistics / General, Performing Arts / Film \& Video / General, Social Science / Media Studies}, isbn = {978-1-317-43421-4}, author = {Wildfeuer, Janina and Bateman, John A.} } @book {pettersson_how_2016, title = {How Literary Worlds Are Shaped: A Comparative Poetics of Literary Imagination}, year = {2016}, note = {Google-Books-ID: 8OUXDQAAQBAJ}, publisher = {Walter de Gruyter}, organization = {Walter de Gruyter}, address = {Berlin}, abstract = {How Literary Worlds Are Shaped studies a wide variety of literature across cultures and ages. The main aim is to show that literature all over the world has for millennia employed an array of related themes and techniques. By its broad scope and detailed analysis, this volume offers the first extensive comparative account of the makings of literary worlds.}, keywords = {Language Arts \& Disciplines / General, Literary Criticism / General}, isbn = {978-3-11-048631-5}, author = {Pettersson, Bo} } @article {pavel_human_2016, title = {Human action in narrative grammars}, journal = {Semiotica}, volume = {2017}, number = {214}, year = {2016}, note = {00000}, pages = {219{\textendash}229}, abstract = {After sketching out a history of twentieth-century structuralist linguistics and poetics, the article presents Greimas{\textquoteright}s theoretical contribution to the semiotic study of narratives at various levels, including actants, actors and their kinds of competence, the semiotic square that gives narratives their general meaning, the variety of figures employed, and the thematic fields evoked.}, issn = {0037-1998}, doi = {10.1515/sem-2016-0202}, url = {https://www.degruyter.com/view/j/semi.2017.2017.issue-214/sem-2016-0202/sem-2016-0202.xml}, author = {Pavel, Thomas} } @article {306, title = {Introduction: Approaches to Fictional Dialogue}, journal = {International Journal of Literary Linguistics}, volume = {5}, year = {2016}, abstract = {

This special issue is devoted to a cross-disciplinary investigation of a specific literary phenomenon, fictional dialogue. Fictional dialogue is used to refer to passages of character-character conversation within a literary text. More specifically, the articles of the issue deal with fictional dialogue as a narrative mode in prose fiction. The issue aims to engender an appreciation and a better understanding of the workings of dialogue by drawing on the insights and methods from both literary studies and linguistics. These methods include a rhetorical-ethical approach to narrative, cognitive and {\textquotedblleft}natural{\textquotedblright} narratology, the study of everyday conversational storytelling, and Conversation Analysis (CA). Combining these methods helps us to understand that while dialogue is a central means to depict character-character relationships it also serves other levels of communication in a narrative and thus contributes to the reader{\textquoteright}s comprehension of the narrative design{\textquoteright}s rhetorical and ethical dimensions. The articles also suggest that while understanding dialogue depends partly on the reader{\textquoteright}s experiences of real-life conversation, the interpretation of dialogue is determined by the overall design of a literary text and the historically changing conventions.

}, doi = {http://dx.doi.org/10.15462/ijll.v5i2.56}, url = {http://www.ijll.uni-mainz.de/index.php/ijll/article/view/56}, author = {Koivisto, Aino and Nyk{\"a}nen, Elise} } @article {comoy_fusaro_introduction._2016, title = {Introduction. Nouveaux Contours \& D{\'e}tours}, journal = {Cahiers de Narratologie. Analyse et th{\'e}orie narratives}, number = {30}, year = {2016}, note = {00000}, abstract = {Ce num{\'e}ro des Cahiers de Narratologie pr{\'e}sente la deuxi{\`e}me livraison des actes du colloque transdisciplinaire et international de septembre 2015, {\guillemotleft}~Street Art. Contours \& D{\'e}tours~{\guillemotright}. Les six contributions r{\'e}unies ici, comme celles du num{\'e}ro 29, pr{\'e}sentent {\`a} la fois des essais th{\'e}oriques et des {\'e}tudes de cas. Ce num{\'e}ro apporte donc quelques nouvelles pierres {\`a} la mosa{\"\i}que des d{\'e}finitions du ph{\'e}nom{\`e}ne {\textendash}~et mouvement~{\textendash} qu{\textquoteright}est le street art~: mosa{\"\i}que ou kal{\'e}{\"\i}doscope, car c{\textquoteright}est un art in progress,...}, keywords = {Monde}, issn = {0993-8516}, url = {http://narratologie.revues.org/7468}, author = {Comoy Fusaro, Edwige} } @conference {scheible_model_2016, title = {Model architectures for quotation detection}, booktitle = {Proceedings of the 54th Annual Meeting of the Association for Computational Linguistics (Volume 1: Long Papers)}, volume = {1}, year = {2016}, pages = {1736{\textendash}1745}, author = {Scheible, Christian and Klinger, Roman and Pad{\'o}, Sebastian} } @book {ryan_narrating_2016, title = {Narrating Space / Spatializing Narrative: Where Narrative Theory and Geography Meet}, year = {2016}, note = {Google-Books-ID: B9iTjgEACAAJ}, publisher = {Ohio State University Press}, organization = {Ohio State University Press}, address = {Columbus}, abstract = {Narrating Space / Spatializing Narrative: Where Narrative Theory and Geography Meet by Marie-Laure Ryan, Kenneth Foote, and Maoz Azaryahu offers a groundbreaking approach to understanding how space works in narrative and narrative theory and how narratives work in real space. Thus far, space has traditionally been viewed by narratologists as a backdrop to plot. This study argues that space serves important but under-explored narrative roles: It can be a focus of attention, a bearer of symbolic meaning, an object of emotional investment, a means of strategic planning, a principle of organization, and a supporting medium. Space intersects with narrative in two principal ways: {\textquoteright}{\textquoteright}Narrating space{\textquoteright}{\textquoteright} considers space as an object of representation, while {\textquoteright}{\textquoteright}spatializing narrative{\textquoteright}{\textquoteright} approaches space as the environment in which narrative is physically deployed. The inscription of narrative in real space is illustrated by such forms as technology-supported locative narratives, street names, and historical/heritage site and museum displays. While narratologists are best equipped to deal with the narration of space, geographers can make significant contributions to narratology by drawing attention to the spatialization of narrative. By bringing these two approaches together{\textendash}and thereby building a bridge between narratology and geography{\textendash}Narrating Space / Spatializing Narrative yields both a deepened understanding of human spatial experience and greater insight into narrative theory and poetic forms.}, keywords = {Language Arts \& Disciplines / Rhetoric, Literary Criticism / General, Social Science / Human Geography}, isbn = {978-0-8142-1299-8}, author = {Ryan, Marie-Laure and Foote, Kenneth and Azaryahu, Maoz} } @book {babka_narrative_2016, title = {Narrative im Bruch: Theoretische Positionen und Anwendungen}, year = {2016}, note = {Google-Books-ID: fHLpDAAAQBAJ}, publisher = {V\&R Unipress}, organization = {V\&R Unipress}, address = {G{\"o}ttingen}, abstract = {This book centers on narrative rupture, seeking to elucidate its role as a primary epistemological tool. Rupture can be conceived of as a {\textquoteleft}travelling concept{\textquoteright} (Bal 2002), as a basic cognitive instrument. On account of its elementary structure and rich semiotic implications, it has traversed academic time and space, serving ever more as an integral part of a wide variety of artistic, intellectual and ideological paradigms. This first volume of a series dealing with the relationship between narration and rupture approaches the concept of narrative disruption on a meta-methodological level. By laying the foundations for a general cultural theory of narrative rupture, we hope to contribute to the larger project of a narratology-based theory of culture.}, keywords = {Language Arts \& Disciplines / General}, isbn = {978-3-8470-0596-4}, author = {Babka, Anna and Bidwell-Steiner, Marlen and M{\"u}ller-Funk, Wolfgang} } @book {mikkonen_narratology_2016, title = {The Narratology of Comic Art}, year = {2016}, note = {Google-Books-ID: xq3vvQAACAAJ}, publisher = {Taylor \& Francis}, organization = {Taylor \& Francis}, address = {London}, abstract = {By placing comics in a lively dialogue with contemporary narrative theory, "The Narratology of Comic Art" builds a systematic theory of narrative comics, going beyond the typical focus on the Anglophone tradition. This involves not just the exploration of those properties in comics that can be meaningfully investigated with existing narrative theory, but an interpretive study of the potential in narratological concepts and analytical procedures that has hitherto been overlooked. This research monograph is, then, not an application of narratology in the medium and art of comics, but a revision of narratological concepts and approaches through the study of narrative comics. Thus, while narratology is brought to bear on comics, equally comics are brought to bear on narratology.}, isbn = {978-1-138-22155-0}, author = {Mikkonen, Kai} } @article {grishakova_notes_2016, title = {Notes on narrative, cognition, and cultural evolution}, journal = {Sign Systems Studies}, volume = {44}, number = {4}, year = {2016}, note = {00000}, month = {dec}, pages = {542{\textendash}561}, abstract = {Drawing on non-Darwinian cultural-evolutionary approaches, the paper develops a broad, non-representational perspective on narrative, necessary to account for the narrative {\textquotedblleft}ubiquity{\textquotedblright} hypothesis. It considers narrativity as a feature of intelligent behaviour and as a formative principle of symbolic representation ({\textquotedblleft}narrative proclivity{\textquotedblright}). The narrative representation retains a relationship with the {\textquotedblleft}primary{\textquotedblright} pre-symbolic narrativity of the basic orientational-interpretive (semiotic) behaviour affected by perceptually salient objects and {\textquotedblleft}fits{\textquotedblright} in natural environments. The paper distinguishes between implicit narrativity (as the basic form of perceptual-cognitive mapping) of intelligent behaviour or non-narrative media, and the {\textquotedblleft}narrative{\textquotedblright} as a symbolic representation. Human perceptual-attentional routines are enhanced by symbolic representations: due to its attention-monitoring and information-gathering function, narrative serves as a cognitive-exploratory tool facilitating cultural dynamics. The rise of new media and mass communication on the Web has thrown the ability of narrative to shape the public sphere through the ongoing process of negotiated sensemaking and interpretation in a particularly sharp relief.}, keywords = {attention, cognition, complexity, cultural evolution, development, narrative, post-Darwinism, symbolic representation}, issn = {17367409}, doi = {10.12697/SSS.2016.44.4.04}, url = {http://sss.ut.ee/index.php/sss/article/view/SSS.2016.44.4.04}, author = {Grishakova, Marina and Sorokin, Siim} } @book {caracciolo_passion_2016, title = {A Passion for Specificity: Confronting Inner Experience in Literature and Science}, year = {2016}, note = {00000}, publisher = {Ohio State University Press}, organization = {Ohio State University Press}, edition = {1 edition}, address = {Columbus}, abstract = {In an analytical yet increasingly intimate conversation, A Passion for Specificity: Confronting Inner Experience in Literature and Science investigates the differences between experience as conveyed in literature and experience as apprehended through scientific method. Can experiences be shared? How much do language and metaphor shape experiential reports? Where is the dividing line between a humanistic and a scientific approach to experience? In a series of exchanges, Marco Caracciolo and Russell Hurlburt demonstrate that those are necessarily personal issues, and they don{\textquoteright}t flinch{\textemdash}they relentlessly examine whether Caracciolo{\textquoteright}s presuppositions distort his understanding of reading experiences and whether Hurlburt{\textquoteright}s attachment to the method he invented causes him to take an overly narrow view of experience. Delving ever more personally, they aim Hurlburt{\textquoteright}s experience sampling methods{\textemdash}beeping people to discover what was in their stream of inner experience at the moment immediately before the beep{\textemdash}at Caracciolo{\textquoteright}s own experiences, an exercise that puts Caracciolo{\textquoteright}s presuppositions to the test and leads him to discover things about experience (his own and literature{\textquoteright}s) that he had thought impossible. ~~~~~~~~~~~~~~~ A Passion for Specificity, with its personal revelations, unexpected twists, and confrontational style, reads like an epistolary novel, but it is a serious exploration of ideas at the heart of literature and science. It is a thoughtful attempt at advancing the emerging {\textquotedblleft}cognitive humanities,{\textquotedblright} clarifying a number of core issues in the cross-pollination of literature, psychology, philosophy, and consciousness science.}, isbn = {978-0-8142-1320-9}, author = {Caracciolo, Marco and Hurlburt, Russell} } @book {433, title = {Perspectives on Narrativity and Narrative Perspectivization}, series = {Linguistic Approaches to Literature}, volume = {21}, year = {2016}, publisher = {John Benjamins Publishing Company}, organization = {John Benjamins Publishing Company}, address = {Amsterdam ; Philadelphia}, abstract = {

The book offers a novel approach to the question of how to model narrativity against the background of perspectivization. By bringing together contributions from neuro- and cognitive linguistics, literary studies, and picture theory, the volume uncovers basic mechanisms of perspectivization that are common to the different levels of linguistic structure, literary novels, and narrative pictures. As such, it is also a book on narrative perspectivization since its contributions examine in detail the perspectival principles in medieval, romantic and postmodern literature, in the micro-linguistic structure of language, narrative pictures, literary novels, dramatic texts, and everyday stories. In doing so, it contributes both to the theoretical debate on the core definition of narrativity and offers new empirical investigations on perspectival principles in specific historical, medial, and genre constellations. This volume will be of interest to scholars and students of cognitive linguistics, narrative research and (transmedial) narratology, cognitive poetics, and stylistics.

}, issn = {9789027234100}, doi = {10.1075/lal.21}, url = {https://benjamins.com/catalog/lal.21/main}, author = {Natalia Igl and Sonja Zeman} } @article {langevin_polyphonies_????, title = {Polyphonies~: voix et valeurs du discours litt{\'e}raire : Introduction}, journal = {Arborescences}, number = {6}, year = {2016}, note = {00000}, pages = {1{\textendash}12}, issn = {1925-5357}, url = {http://www.erudit.org/revue/arbo/2016/v/n6/index.html}, author = {Langevin, Francis and Baroni, Rapha{\"e}l} } @book {heitkemper-yates_practice_2016, title = {The Practice of Narrative: Storytelling in a Global Context \textbar Inter-Disciplinary Press}, year = {2016}, note = {00000}, publisher = {Inter-Disciplinary.Net.}, organization = {Inter-Disciplinary.Net.}, address = {Oxford}, abstract = {Through an array of critical, pedagogical, and professional approaches to the art of storytelling, this volume presents a global context for the comprehension}, isbn = {978-1-84888-380-2}, url = {http://www.interdisciplinarypress.net/product/the-practice-of-narrative-storytelling-in-a-global-context/}, author = {Heitkemper-Yates, Michael and Penjak, Ana} } @book {huber_present_2016, title = {Present Tense Narration in Contemporary Fiction: A Narratological Overview}, year = {2016}, note = {Google-Books-ID: Rz8sDQAAQBAJ}, publisher = {Springer}, organization = {Springer}, abstract = {Present Tense Narration in Contemporary Fiction seeks to account for the growing prevalence and frequency of present tense narration in modern literature. In order to better understand the conditions and effects of the technique, the book situates its discussion in a historical context and examines a variety of present-tense usage in works by prominent contemporary authors, including John Burnside, Will Self and Hilary Mantel.}, keywords = {Fiction / General, Language Arts \& Disciplines / Linguistics / Historical \& Comparative, Literary Criticism / General, Literary Criticism / Modern / General, Literary Criticism / Semiotics \& Theory}, isbn = {978-1-137-56213-5}, author = {Huber, Irmtraud} } @book {reinerth_subjectivity_2016, title = {Subjectivity Across Media: Interdisciplinary and Transmedial Perspectives}, year = {2016}, note = {Google-Books-ID: pwNajwEACAAJ}, publisher = {Taylor \& Francis}, organization = {Taylor \& Francis}, abstract = {Maike Sarah Reinerth is a Research Associate at the Department of Media and Communication of the University of Hamburg, Germany Jan-Noel Thon is a Research Associate at the Department of Media Studies of the University of Tubingen, Germany"}, isbn = {978-1-138-18675-0}, author = {Reinerth, Maike Sarah and Thon, Jan-Nol} } @book {baroni_television_2016, title = {T{\'e}l{\'e}vision 7 : Repenser le r{\'e}cit avec les s{\'e}ries t{\'e}l{\'e}vis{\'e}es}, year = {2016}, note = {00000}, publisher = {CNRS}, organization = {CNRS}, address = {Paris}, abstract = {Depuis une vingtaine d{\textquoteright}ann{\'e}es, de nouvelles s{\'e}ries sont apparues dont on reconna{\^\i}t qu{\textquoteright}elles savent exploiter un formidable levier : une temporalit{\'e} ind{\'e}finie et ouverte. Les h{\'e}ros ne sont plus ces {\^e}tres monolithiques, insensibles au travail du temps, mais des individus qui vieillissent en m{\^e}me temps que nous. De nouvelles fa{\c c}ons d{\textquoteright}articuler les intrigues apparaissent, jouant sur les embo{\^\i}tements entre {\'e}pisodes, saisons et s{\'e}rie. Flashbacks et flashforwards, ench{\^a}ssements et jeux sur les points de vue nous donnent acc{\`e}s {\`a} de nouveaux modes de narration. Si les s{\'e}ries changent nos visions du monde, ce n{\textquoteright}est pas seulement par ce qu{\textquoteright}elles en disent, mais d{\textquoteright}abord par la fa{\c c}on dont elles le racontent. Ainsi, {\`a} leur mani{\`e}re, les s{\'e}ries nous obligent {\`a} repenser le r{\'e}cit.}, isbn = {978-2-271-09161-1}, url = {http://www.cnrseditions.fr/sociologie/7256-television-7.html}, editor = {Baroni, Rapha{\"e}l and Jost, Francois} } @book {324, title = {Th{\'e}{\^a}tre et r{\'e}cit, l{\textquoteright}impossible rupture - Narrativit{\'e} et spectacle postdramatique (1975-2004)}, series = {{\'E}tudes sur le th{\'e}{\^a}tre et les arts de la sc{\`e}ne}, number = {6}, year = {2016}, publisher = {Classiques Garnier}, organization = {Classiques Garnier}, address = {Paris}, abstract = {

L{\textquoteright}ouvrage propose une analyse nuanc{\'e}e de la po{\'e}tique non-narrative de trois artistes postdramatiques au cours des ann{\'e}es 1980 et 1990. {\`A} l{\textquoteright}appui de douze spectacles et de leur r{\'e}ception, l{\textquoteright}auteur y fait dialoguer narratologie contemporaine, {\'e}critures th{\'e}{\^a}trales et intuitions narratives. This work offers a nuanced analysis of the non-narrative poetics of three post-dramatic artists in 1980 and 1990. Drawing on twelve performances and how they were received, the author sets up a dialogue between contemporary narratology, dramatic writing and narrative intuitions.

}, isbn = {978-2-406-06007-9}, url = {https://www.classiques-garnier.com/editions/index.php?option=com_virtuemart\&page=shop.product_details\&flypage=flypage_garnier.tpl\&product_id=2580}, author = {Hennaut, Beno{\^\i}t} } @book {stewart_closed_2015, title = {Closed Circuits: Screening Narrative Surveillance}, year = {2015}, note = {Google-Books-ID: vBsjBgAAQBAJ}, publisher = {University of Chicago Press}, organization = {University of Chicago Press}, address = {Chicago}, abstract = {The recent uproar over NSA dataveillance can obscure the fact that surveillance has been part of our lives for decades. And cinema has long been aware of its power{\textemdash}and potential for abuse. In Closed Circuits, Garrett Stewart analyzes a broad spectrum of films, from M and Rear Window through The Conversation to D{\'e}j{\`a} Vu, Source Code, and The Bourne Legacy, in which cinema has articulated{\textemdash}and performed{\textemdash}the drama of inspection{\textquoteright}s unreturned look. While mainstays of the thriller, both the act and the technology of surveillance, Stewart argues, speak to something more foundational in the very work of cinema. The shared axis of montage and espionage{\textemdash}with editing designed to draw us in and make us forget the omnipresence of the narrative camera{\textemdash}extends to larger questions about the politics of an oversight regime that is increasingly remote and robotic. To such a global technopticon, one telltale response is a proliferating mode of digitally enhanced {\textquotedblleft}surveillancinema.{\textquotedblright}}, keywords = {Art / Film \& Video, Literary Criticism / General, Performing Arts / Film \& Video / History \& Criticism, Performing Arts / General}, isbn = {978-0-226-20135-1}, author = {Stewart, Garrett} } @book {henderson_creating_2015, title = {Creating Legal Worlds: Story and Style in a Culture of Argument}, year = {2015}, note = {Google-Books-ID: pLDoCQAAQBAJ}, publisher = {University of Toronto Press}, organization = {University of Toronto Press}, address = {Toronto}, abstract = {A legal judgment is first and foremost a story, a narrative of facts about the parties to the case. Creating Legal Worlds is a study of how that narrative operates, and how rhetoric, story, and style function as integral elements of any legal argument. Through careful analyses of notable cases from Canada, the United States, and the United Kingdom, Greig Henderson analyses how the rhetoric of storytelling often carries as much argumentative weight within a judgement as the logic of legal distinctions. Through their narrative choices, Henderson argues, judges create a normative universe - the world of right and wrong within which they make their judgements - and fashion their own judicial self-images. Drawing on the work of the law and literature movement, Creating Legal Worlds is a convincing argument for paying close attention to the role of story and style in the creation of judicial decisions.}, keywords = {History / General, Law / Administrative Law \& Regulatory Practice, Law / Jurisprudence}, isbn = {978-1-4426-3708-5}, author = {Henderson, Greig} } @article {673, title = {Moving Picture, Lying Image: Unreliable Cinematic Narratives}, journal = {Acta Universitatis Sapientiae Film and Media Studies }, volume = {10}, year = {2015}, month = {09/2015}, chapter = {89}, abstract = {By coining the term {\textquotedblleft}unreliable narrator{\textquotedblright} Wayne Booth hypothesized another agent in his model besides the author, the implicit author, to explain the double coding of narratives where a distorted view of reality and the exposure of this distortion are presented simultaneously. The article deals with the applicability of the concept in visual narratives. Since unreliability is traditionally considered to be intertwined with first person narratives, it works through subjective mediators. According to scholarly literature on the subject, the narrator has to be strongly characterized, or in other words, anthropomorphized. In the case of film, the main problem is that the narrator is either missing or the narration cannot be attributed entirely to them. There is a medial rupture where the apparatus mediates the story instead of a character{\textquoteright}s oral or written discourse. The present paper focuses on some important but overlooked questions about the nature of cinematic storytelling through a re-examination of |the lying flashback in Alfred Hitchcock{\textquoteright}s Stage Fright. Can a character-narrator control the images the viewer sees? How can the filmic image still be unreliable without having an anthropomorphic narrator? How useful is the term focalization when we are dealing with embedded character-narratives in film?}, keywords = {Alfred Hitchcock, cinematic narrative, focalization, mediation, unreliable narrator}, doi = {10.1515/ausfm-2015-0028}, author = {Cs{\"o}nge, Tam{\'a}s} } @article {458, title = {Representation of a Disrupted Mind and Anguished Self in Samuel Beckett{\textquoteright}s The Unnamable}, journal = {Mediterranean Journal of Social Sciences}, volume = {6}, year = {2015}, month = {12/2015}, pages = {462-468}, type = {Research}, chapter = {462}, abstract = {

This paper explores the main causes of character-narrator{\textquoteright}s linguistic as well as {\textquotedblleft}existential anguish{\textquotedblright} (Esslin, 1968, p. 29) in Samuel Beckett{\textquoteright}s The Unnamable. The paper argues that the Unnamable{\textquoteright}s on-going and exhaustive quest for a real self leads in failure mainly because of his dissemination in the stories of the others as well as his only available medium or language. Although throughout the narrative the voice pretends to be able to deliver itself with either the thoughts of the others or their stories in order to obtain an independent self, the narrative is mainly a representation of the narrating voice{\textquoteright}s failure in coming to terms with the arbitrary nature of language and the other voices. It follows that, the Unnamable, being a purely linguistic self and subjugating to the non-referential power of language, relentlessly searches for a true self throughout the narrative. The present paper thus examines The Unnamable as a poststructural narrative, investigating the function of self, language and their troubled relationship in the novel as well as exploring, as Lance Olsen puts, Beckett{\textquoteright}s and Derrida{\textquoteright}s joint questions concerning {\textquotedblleft}the deconstructive turn{\textquotedblright} and {\textquotedblleft}the dissolution of self, world, and language{\textquotedblright} (1956, p. 4). Accordingly, applying a poststructuralist approach, the present paper examines the Unnamable{\textquoteright}s intramental (or private) perceptions regarding his existential and linguistic anguish within the narrative.

}, keywords = {Language, Other, Samuel Beckett, The Unnamable}, issn = {2039-2117 }, doi = {10.5901/mjss.2015.v6n4s2p462}, url = {http://www.mcser.org/journal/index.php/mjss/article/view/7100}, author = {Nayebpour, Karam} } @article {457, title = {Intramental Fictional Minds in Ian McEwan{\textquoteright}s Amsterdam and On Chesil Beach}, journal = {Forum for World Literature Studies}, volume = {6}, year = {2014}, month = {12/2014}, pages = {618-635}, type = {Research}, chapter = {618}, keywords = {Amsterdam, Fictional Minds, Ian McEwan, intramental/intermental thought, On Chesil Beach}, issn = {1949-8519}, url = {https://www.academia.edu/12450565/Intramental_Fictional_Minds_in_Ian_McEwan_s_Amsterdam_and_On_Chesil_Beach}, author = {Nayebpour, Karam} } @article {jacke_is_2014, title = {Is There a Context-Free Way of Understanding Texts? The Case of Structuralist Narratology}, journal = {Journal of Literary Theory}, volume = {8}, number = {1}, year = {2014}, pages = {118{\textendash}139}, author = {Jacke, Janina} } @book {sanford_mind_2012, title = {Mind, Brain and Narrative}, year = {2012}, note = {Google-Books-ID: iAYhAwAAQBAJ}, publisher = {Cambridge University Press}, organization = {Cambridge University Press}, abstract = {Narratives enable readers to vividly experience fictional and non-fictional contexts. Writers use a variety of language features to control these experiences: they direct readers in how to construct contexts, how to draw inferences and how to identify the key parts of a story. Writers can skilfully convey physical sensations, prompt emotional states, effect moral responses and even alter the readers{\textquoteright} attitudes. Mind, Brain and Narrative examines the psychological and neuroscientific evidence for the mechanisms which underlie narrative comprehension. The authors explore the scientific developments which demonstrate the importance of attention, counterfactuals, depth of processing, perspective and embodiment in these processes. In so doing, this timely, interdisciplinary work provides an integrated account of the research which links psychological mechanisms of language comprehension to humanities work on narrative and style.}, keywords = {Language Arts \& Disciplines / Linguistics / General, Language Arts \& Disciplines / Linguistics / Psycholinguistics, Literary Criticism / General, Psychology / Cognitive Psychology \& Cognition}, isbn = {978-1-139-85159-6}, author = {Sanford, Anthony J. and Emmott, Catherine} } @inbook {lehtimaki_navigatingmaking_2012, title = {Navigating{\textendash}Making Sense{\textendash}Interpreting (The Reader behind La Jalousie)}, booktitle = {Narrative, Interrupted: The Plotless, the Disturbing and the Trivial in Literature}, year = {2012}, note = {Google-Books-ID: NKXualYUt3IC}, publisher = {Walter de Gruyter}, organization = {Walter de Gruyter}, address = {Berlin}, abstract = {

Recent postclassical narratology has constructed top-down reading models that often remain blind to the frame-breaking potential of individual literary narratives. Narrative, Interrupted goes beyond the macro framing typical of postclassical narratology and sets out to sketch approaches more sensitive to generic specificities, disturbing details and authorial interference. Unlike the mainstream cognitive approaches or even the emergent unnatural narratology, the articles collected here explore the artifice involved in presenting something ordinary and realistic in literature. The first section of the book deals with anti-dynamic elements such as dialogue, details, private events and literary boredom. The second section, devoted to extensions of cognitive narratology, addresses spatiotemporal oddities and the possibility of non-human narratives. The third section focuses on frame-breaking, fragmentarity and problems of authorship in the works of Vladimir Nabokov. The book presents readings of texts ranging from the novels of Don DeLillo and Thomas Pynchon to the Animal Man comics. The common denominator for the texts discussed is the interruption of the chain of events or of the experiential flow of human-like narrative agents.

}, keywords = {Irish, Language Arts \& Disciplines / Linguistics / Historical \& Comparative, Literary Criticism / European / Eastern, Literary Criticism / European / English, Literary Criticism / European / General, Literary Criticism / General, Literary Criticism / Semiotics \& Theory, Scottish, Welsh}, isbn = {978-3-11-025997-1}, author = {M{\"a}kel{\"a}, Maria}, editor = {Lehtim{\"a}ki, Markku and Karttunen, Laura and M{\"a}kel{\"a}, Maria} }