Part I. Experimental Studies: 2. Experiment in psychology 3. Experiments on perceiving III Experiments on imaging 4-8. Experiments on remembering: (a) The method of description (b) The method of repeated reproduction (c) The method of picture writing (d) The method of serial reproduction (e) The method of serial reproduction picture material 9. Perceiving, recognizing, remembering 10. A theory of remembering 11. Images and their functions 12. Meaning Part II. Remembering as a Study in Social Psychology: 13. Social psychology 14. Social psychology and the matter of recall 15. Social psychology and the manner of recall 16. Conventionalism 17. The notion of a collective unconscious 18. The basis of social recall 19. A summary and some conclusions.

Remembering. A Study in Experimental and Social Psychology, Cambridge (University Press) 1964.

語用論(Pragmatics)を考える

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

To raise the question of the nature of narrative is to invite reflection on the very nature of culture and, possibly, even on the nature of humanity itself. So natural is the impulse to narrate, so inevitable is the form of narrative for any report of the way things really happened, that narrativity could appear problematical only in a culture in which it was absent-absent or, as in some domains of contemporary Western intellectual and artistic culture, programmatically refused. As a panglobal fact of culture, narrative and narration are less problems than simply data. As the late (and already profoundly missed) Roland Barthes remarked, narrative "is simply there like life itself. . international, transhistorical, transcultural."' Far from being a problem, then, narrative might well be considered a solution to a problem of general human concern, namely, the problem of how to translate knowing into telling,2 the problem of fashioning human experience into a form assimilable to structures of meaning that are generally human rather than culture-specific. We may not be able fully to comprehend specific thought patterns of another culture, but we have relatively less difficulty understanding a story coming from another culture, however exotic that

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The Value of Narrativity in the Representation of Reality

What is narrative? How does it work and how does it shape our lives? H. Porter Abbott emphasizes that narrative is found not just in literature, film, and theatre, but everywhere in the ordinary course of people's lives. This widely used introduction, now revised and expanded in its third edition, is informed throughout by recent developments in the field and includes one new chapter. The glossary and bibliography have been expanded, and new sections explore unnatural narrative, retrograde narrative, reader-resistant narratives, intermedial narrative, narrativity, and multiple interpretation. With its lucid exposition of concepts, and suggestions for further reading, this book is not only an excellent introduction for courses focused on narrative but also an invaluable resource for students and scholars across a wide range of fields, including literature and drama, film and media, society and politics, journalism, autobiography, history, and still others throughout the arts, humanities, and social sciences.

The Cambridge Introduction to Narrative

The Poetics of Biblical Narrative: Ideological Literature and the Drama of Reading

Chapter One What is Exposition? An Essay in Temporal Delimitation Chapter Two Exposition and Order of Presentation: Some Preliminary Notes Chapter Three Delayed and Distributed Exposition in the Odyssey: The Dynamics of Narrative Interest Chapter Four Order of Presentation, Delayed and Distributed Exposition, and Strategies of Rhetorical Control Chapter Five The Rhetoric of Anticipatory Caution: First Impressions in OFirst ImpressionsO and the Poetics of Jane Austen Chapter Six Retardatory Structure, Expositional Suspension, and the Detective Story Chapter Seven A Plea for Preliminary and Concentrated Exposition: The Cases of Trollope and Balzac Chapter Eight Expositional Motivation, Temporal Structure, and Point of View (1): Varieties of Omniscient Narration Chapter Nine Expositional Motivation, Temporal Structure, and Point of View (2): Restricted and Self-Restricted Narration Notes Index

Expositional Modes and Temporal Ordering in Fiction

Proteus in Quotation-Land: Mimesis and the Forms of Reported Discourse

Translators and theorists of translation naturally recall with gratitude the incident of the Tower of Babel as the felix culpa responsible for the crisscross of interlingual chasms which they are constantly urged to survey and as far as possible to bridge. The attitude of writers to this sociolinguistic turning-point is, however, less uniform and certainly more ambivalent. True, it has widened their range of both materials and devices far beyond anything conceivable in a state where "the whole earth was of one language and of one speech." But from another viewpoint, this very asset may be regarded as a liability or at least a mixed blessing. For the disruption of the state of world-wide linguistic homogeneity has made the profusion and confusion of tongues not only a verbal but also an existential fact, and, in addition to the basic tasks of referring to extraverbal reality and reporting verbal messages within the same code, it has laid on each language the burden of reporting messages originally encoded in other languages. This forms of course the common source of all translational problems. But what should be noted is that the complications arising are intratextual as well as intertextual and representational as well as communicative. These complications manifest themselves to some extent whenever we try not, as in standard translation, to substitute our own discourse for an utterance made in another language, but to incorporate this utterance into our own discourse. Such framing and juxtaposition of differently-encoded speech are, however, particularly common within the fictive worlds created in literature, with their variegated referential contexts, frequent shifts from milieu to milieu, abundance of dialogue scenes, and keen interest in the language of reality and the reality

Meir Sternberg

Papers

The Poetics of Biblical Narrative: Ideological Literature and the Drama of Reading

Expositional Modes and Temporal Ordering in Fiction

Proteus in Quotation-Land: Mimesis and the Forms of Reported Discourse

The Poetics of Biblical Narrative: Ideological Literature and the Drama of Reading

Polylingualism as Reality and Translation as Mimesis