Note on Translation Introduction by Michael Holquist Response to a Question from the Novy Mir Editorial Staff The Bildungsroman and Its Significance in the History of Realism (Toward a Historical Typology of the Novel) The Problem of Speech Genres The Problem of the Text in Linguistics, Philology, and the Human Sciences: An Experiment in Philosophical Analysis From Notes Made in 1970-71 Toward a Methodology for the Human Sciences Index

Speech Genres and Other Late Essays

In the first two volumes of this work, Paul Ricoeur examined the relations between time and narrative in historical writing, fiction, and theories of literature. This final volume, a comprehensive reexamination and synthesis of the ideas developed in volumes 1 and 2, stands as Ricoeur's most complete and satisfying presentation of his own philosophy.

Time and Narrative

Preface Introduction: The Role of the Reader I. Open 1. The Poetics of the Open Work 2. The Semantics of Metaphor 3. On the Possibility of Generating Aesthetic Messages in an Edenic Language II. Closed 4. The Myth of Superman 5. Rhetoric and Ideology in Sue's Les Mysteres de Paris 6. Narrative Structures in Fleming III. Open/Closed 7. Peirce and the Semiotic Foundations of Openness: Signs as Texts and Texts as Signs 8. Lector in Fabula: Pragmatic Strategy in a Metanarrative Text Appendix 1 Appendix 2 Bibliography

The Role of the Reader: Explorations in the Semiotics of Texts

A pioneering attempt to relate the theory of literary fiction to a more general theory of fiction, using fictions of apocalypse as a model. This pioneering exploration of the relationship of fiction to age-old conceptions of chaos and crisis offers many new insights into some of the most unyielding philosophical and aesthetic enigmas. Examining the works of a wide range of writers from Plato to William Burroughs, Kermode demonstrates how writers have persistently imposed their \"fictions\" upon the face of eternity and how these have reflected the apocalyptic spirit.

Frank Kermode and the Invented World@@@The Sense of an Ending: Studies in the Theory of Fiction

This article explores interpersonal meaning in social media photographs, using the representation of motherhood in Instagram images as a case study. It investigates the visual choices that are made in these images to construe relationships between the represented participants, the photographer, and the ambient social media viewer. The author draws upon existing work on the visual systems of point of view and focalization to explore interpersonal meaning in these images, and proposes that an additional system – subjectification – is needed to account for the kinds of relationship between the viewer and the photographer that are instantiated in social photographs, as well as the ways in which subjectivity is signaled in these images. The dataset analyzed is the entire Instagram feed of a single user who posts images of her experience of motherhood and a collection of 500 images using the hashtag #motherhood.

Social media photography: construing subjectivity in Instagram images:

The understanding of narratives is closely tied to the experience of travel. In narrative theory, the travel story features regularly as either the model narrative or the model for narrative. In Vladimir Propp’s classic study of story grammar, for instance, the narrative functions are structured along a travel pattern between the hero’s departure and return. In more recent narratology and literary history, and in certain interdisciplinary approaches to the study of narrative, the notion of travel may even function as a code or key revealing how the narrative works. In the history of the novel, travel writing has helped to shape the genre. Narratives of travel to exotic lands have informed the modern novel with detailed foreign settings and a sense of authenticity in viewpoint. 1 Since the time of the Greek epics different types of journey—the quest, the odyssey, and the adventure—have served as powerful masterplots in literary narratives. For instance, the chronotope of the road, and the metaphor of “the path of life” that it realizes, is a central feature in Mikhail Bakhtin’s history of novelistic plot patterns and especially important for what Bakhtin calls the adventure novel of everyday life (120). The journey is universally recognized as a narrative in our culture. The narrative potential of travel lies in the fact that we recognize in it temporal and spatial structures that call for narration. The different stages of travel—departure, voyage, encounters on the road, and return—provide any story with a temporal structure that raises certain expectations of things to happen. Perhaps because of this pervasiveness of the travel narrative, we have come to understand personal life and mental development as a voyage. The travel metaphor is therefore not only a way to think about narrative; it also provides one with the means to think through narrative.

The "Narrative is Travel" Metaphor: Between Spatial Sequence and Open Consequence

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.

The Narratology of Comic Art

The paper deals with the presentation of minds in the mixed media environment of graphic narratives, inspired by the notion of narrative experientiality as it is defined in recent narratology. Focusing specifically on three interrelated medium-specific issues, it examines the way graphic narratives can also be said to stimulate the viewer'sengagement with the minds of characters and narrators: the mimetic aspect of the graphic image; the problem of the narrative agent; and the interaction between visual focalization, verbal focalization and verbal narration. Graphic narratives pose a challenge to common narratological analytical categories concerning narratorial authority, enunciation and control in that they display diverse and shifting relationships between verbal narration and visual presentations. The analysis of the graphic means of thought and mind presentation aims to illuminate some of the challenges that narrative theory meets in its transmedial extension. The main examples include first-person autobiographical narratives as well as third-person historical fiction that uses various focalizers and "behaviorist" graphic narratives that are structured around dialogue and action.

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Presenting Minds in Graphic Narratives

Focalization in comics. From the specificities of the medium to conceptual reformulation

Abstract As has been argued in various theories of fiction, there can be no such thing as a totally fictional world. This paper seeks to examine the principle of minimal departure, defined by David Lewis and Marie-Laure Ryan, as an explanation for the impossibility of total fiction that would undermine all assumptions based on our actual world. The principle says that readers reconstrue the fictional world as being the closest possible to the reality we know, unless otherwise indicated. By drawing examples from the ontologically fluid worlds in Jasper Fforde's Thursday Next series, I suggest new areas in narrative analysis where the principle could be applied and point out some limitations in earlier definitions of this notion. On the one hand, we can examine those narrative and literary devices that directly play upon the principle of mimimal departure and allow fiction to enlarge the scope of the world that must be explained. On the other hand, I argue that questions of modality in fiction may be relatively immune to this principle. I thus introduce the rule of suspension of modal claims, indicating the need to refrain from making assumptions, in any strong sense, about what may be possible, necessary, or contingent in a fictional world. The principle of suspension of modal claims emphasizes the way fiction may encourage epistemological and ontological doubt rather than mimetic or antimimetic expectations (i.e. principles of minimal and maximal departure), compelling our judgement of the possibility and reality of fiction to hesitate, to linger over a range of possibilities.

Kai Mikkonen

Papers

The "Narrative is Travel" Metaphor: Between Spatial Sequence and Open Consequence

The Narratology of Comic Art

Presenting Minds in Graphic Narratives

Focalization in comics. From the specificities of the medium to conceptual reformulation

"There is no such thing as pure fiction": Impossible Worlds and the Principle of Minimal Departure Reconsidered