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:

(E): This paper investigates the question of narrative agency in comics by way of analyzing the medium-specific features of speech and thought representation in two vastly different graphic adaptations of Gustave Flaubert’s novel Madame Bovary: Posy Simmonds’s Gemma Bovery (1999) and Daniel Bardet’s and Michel Janvier’s Madame Bovary (2008). The focus of the discussion is on the transformations that the literary style of free indirect discourse, and the accompanying techniques of perspective (or focalization), have undergone in the adaptations, including both limitations in their use and creative reformulations. The analysis of such transformations enables us to pose the question of the so-called implicit narrator, a highly problematic notion in visual narratives, in a new transmedial context. This involves the thorny question to whom attribute textual elements that imply perception or voice when the narrative has no identifiable narrator figure, or when a narrator figure (or character-narrator) is clearly not responsible for showing the images. Resume (F): Cet article pose la question de « l'agent de la narration » dans la bande dessinee. « L’agent de la narration » est defini ici comme cette personne ou cette chose qui est percue comme le responsable de la presentation narrative, y compris dans les fonctions du choix, de l'organisation, du commentaire et de la distribution de l’histoire. Plus precisement, cet article se concentre sur les transformation du procede litteraire du style indirect libre dans le contexte de l’adaptation entre le roman et la bande dessinee, concernant une version « libre », Gemma Bovery, par Posy Simmonds et une version « fidele », Madame Bovary, par Daniel Bardet et Michel Janvier de chef d’œuvre de Gustave Flaubert. L’analyse des transformations du style indirect libre dans la narration graphique montre la necessite de reevaluer l’etendue de la notion de narrateur, surtout vis-a.vis du soi-disant narrateur implicite, et la logique de la distinction entre la voix narrative et la focalisation. La question importante est de savoir s’il faut accepter une notion de « narrateur graphique » base sur les criteres fonctionnels et organisationnels plutot que purement linguistiques ou textuels. Dans la narration visuelle et multimodale comme les bandes dessinees, la notion d'un narrateur implicite est beaucoup moins une propriete du texte qu'une fonction, et une option, de la methode descriptive que le lecteur peut utiliser.

http://www.tireview.be/index.php/imagenarrative/article/download/119/92

Le narrateur implicite dans la bande dessinée. La transformation du style indirect libre dans deux adaptations en bandes dessinées de Madame Bovary

This paper poses the question of what it means to be ‘inside’ the terrorist’s mind and explore the terrorist’s mentality by means of a narrative, such as the terrorist novel and the terrorist memoir. Consequently, the paper focuses on authorial strategies of empathy and sympathy in texts that privilege the terrorist character’s subjective viewpoint and experience. The discussion operates on the premise that narrative techniques have bearing on the readers’ response to the story, even if it there is no guaranteed correspondence between a certain technique and a certain effect. Thus, the paper asks how first-person narration, the interior representation of a person’s consciousness, and extended direct representation of speech, can contribute to empathic and sympathetic effects in specific ways. After a brief look on the ironic method, i.e. alternation between ironic distance and sympathy for the terrorist character, and the narrative of changing minds, i.e. a story where a character abandons his plot for destruction, the discussion moves into an extended analysis of three examples where the narrative as a whole suggests sympathy for terrorist cause and tactics. The examples include Yukio Mishima’s novel Runaway Horses (Honba 1969), Richard Jackson’s dialogue novel Confessions of a Terrorist (2014), and Omar Nasiri’s memoir Inside the Global Jihad (2006).

What does a terrorist want?: Empathising and sympathising with terrorist voices

Abstract:J. M. Barrie's Neverland functions as a fantasy space of alternative energy that defies the laws of thermodynamics. Barrie, whose interest in science remains underrepresented, studied under the eminent physicist Peter Guthrie Tait. In Peter and Wendy (1911), the mysterious forces in Neverland amass and reuse reality's waste, ultimately demonstrating the cyclical immortality of stories.

Memoria

This article suggests a new analysis of Jean-Paul Sartre’sQu’est-ce que la literature? (1948) by examining a densely intertextual passage in the text where Sartre associates words with sickness. By the ‘sickness” of words Sartre understands not only wartime ideological contamination of language but also modern literary expression in some of its forms. The hyperbolic statement that is, in itself, marked by wartime rhetoric includes amongst its references a satiric comment on Georges Bataille’sL’Experience interieure (1943).

Kai Mikkonen

Papers

Le narrateur implicite dans la bande dessinée. La transformation du style indirect libre dans deux adaptations en bandes dessinées de Madame Bovary

What does a terrorist want?: Empathising and sympathising with terrorist voices

Memoria

Words that are sick. Literary guile and narrative trouble in sartre