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

List of Illustrations. The Elements. Preface . The Scope and Aims of This Book. Storytelling Media and Modes of Narration. Acknowledgments . 1. Getting Started: A Thumbnail Sketch of the Approach Developed in This Book. Toward a Working Definition of Narrative. Profiles of Narrative. Narrative: Basic Elements. 2. Background and Context: Framing the Approach. Interdisciplinary Perspectives on Narrative and Narrative Theory. Major Trends in Recent Scholarship on Narrative. 3. Back to the Elements: Narrative Occasions . Situating Stories. Sociolinguistic Approaches. Positioning Theory. The Narrative Communication Model. Conclusion. 4. Temporality, Particularity, and Narrative: An Excursion into the Theory of Text Types. From Contexts of Narration to Narrative as a Type of Text. Text Types and Categorization Processes. Narrative as a Text-Type Category: Descriptions vs. Stories vs. Explanations. Summing up: Text Types, Communicative Competence, and the Role of Stories in Science. 5. The Third Element: Or, How to Build a Storyworld . Narratives as Blueprints for Worldmaking. Narrative Ways of Worldmaking. Narrative Worlds: A Survey of Approaches. Configuring Narrative Worlds: The WHAT, WHERE, and WHEN Dimensions of Storyworlds. Worlds Disrupted: Narrativity and Noncanonical Events. 6. The Nexus of Narrative and Mind . The Consciousness Factor. Consciousness Across Narrative Genres. Experiencing Minds: What It's Like, Qualia, Raw Feels. Storied Minds: Narrative Foundations of Consciousness?. Appendix . Reproduction of Ernest Hemingway's "Hills Like White Elephants" (1927). Transcript of a Story Told during Face-to-Face Interaction: UFO or the Devil. Pages from Daniel's Clowes's Graphic Novel Ghost World (1997). Screenshots from Terry Zwigoff's Film Version of Ghost World (2001). Glossary . References. Index

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Basic elements of narrative

The Cambridge Introduction to Narrative: Index of authors and narratives

This paper aims to (re)ignite debate about the role of narrative in the medical humanities. It begins with a critical review of the ways in which narrative has been mobilised by humanities and social science scholars to understand the experience of health and illness. I highlight seven dangers or blind spots in the dominant medical humanities approach to narrative, including the frequently unexamined assumption that all human beings are “naturally narrative.” I then explore this assumption further through an analysis of philosopher Galen Strawson’s influential article “Against Narrativity.” Strawson rejects the descriptive claim that “human beings typically see or live or experience their lives as a narrative” and the normative claim that “a richly Narrative outlook is essential to a well-lived life, to true or full personhood.” His work has been taken up across a range of disciplines but its implications in the context of health and illness have not yet been sufficiently discussed. This article argues that “Against Narrativity” can and should stimulate robust debate within the medical humanities regarding the limits of narrative, and concludes by discussing a range of possibilities for venturing “beyond narrative.”

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The limits of narrative: provocations for the medical humanities

where he teaches English literature and film. He is the author of a critical monograph entitled Narrating the Prison and the editor/co-editor of numerous volumes, such as Stones of Law, Bricks of Shame: Narrating Imprisonment in the Victorian Age and Postclassical Narratology: Approaches and Analyses. Alber has written articles that were published or are forthcoming in international journals such as Dickens Studies Annual, The Journal of Popular Culture, Short Story Criticism, Storyworlds, and Style, and he has contributed to the Routledge Enyclopedia of Narrative Theory, the Handbook of Narratology, and the online dictionary Literary Encyclopedia. Stefan Iversen received his PhD in 2008 from the Scandinavian Department at Aarhus University where he is a postdoctoral scholar working on a project on Danish narratives from concentration camps. Iversen is the organizer of the Intensive Programme in Narratology (www.ipin.dk). He is co-editing Moderne Litteraturteori (a series of anthologies on modern literary theory) and has written articles and books on narrative theory, on trauma narratives, and on the Scandinavian fin de siecle. Henrik Skov Nielsen is Associate Professor and Director of Studies at the Scandinavian Institute, University of Aarhus, Denmark. In the first half of 2010 he is a visiting scholar at Project Narrative at The Ohio State University. He is the editor of a series of anthologies on literary theory and is currently working on a narratological research project on the relation between authors and narrators. Brian Richardson is Professor at the University of Maryland. He is the author of Unnatural Stories: Causality and the Nature of Modern Narrative and Unnatural Voices: Extreme Narration in Modern and Contemporary Fiction, which was awarded the Perkins Prize for the best book in narrative studies in 2006. He has edited two anthologies, Narrative Dynamics: Essays on Time, Plot, Closure, and Frames and Narrative Beginnings: Theories and Practices, and has published essays on many aspects of narrative theory. He is currently working on unnatural and antimimetic narratives.

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Unnatural Narratives, Unnatural Narratology: Beyond Mimetic Models

letter's language in the poem. Embedded in a text that is both the signal act of a poet claiming full authority and \"range\" and the voicing of romantic yearning cycled directly from letters to Boldereff, Olson's Maximus hovers in what can be read as the poem's trans-subjective borderland. \"Flashing more than a wing, / than any romantic thing, than memory, than place,\" Olson's poetic text blurs the boundaries between the private and the public acknowledgment, the mythic and the ordinary self a shift that, if not carried forward in the life, has clear consequences for the art:

Living to Tell about It: A Rhetoric and Ethics of Character Narration (review)

The celebrated ubiquity of narrative in culture is both a fecund premise and, I claim, the bane of narrative theory today. While not outright against narrative, nor against theorizing about narratives, in this paper I nonetheless aim to remain fairly sceptical towards broad, overly eager uses of the notion: not necessarily the most promising stance in a collection devoted to narrative \"as a way of thinking.\" No less ominously, my paper comes with the subtitle \"A Boring Story\" though this is also the title of the story by Chekhov (\"Skuchnaia istoriia,\" 1889) that I shall use to boost my argument, once we are done with theory. Everybody knows the lure of broad notions. One well remembers such early, once eye-opening statements as those by Roland Barthes (1975: 235): \"Like life itself, narrative is there, international, transhistorical, transcultural.\"1 Or by Hayden White (1987: 1): \"To raise the question of narrative is to invite reflection on the very nature of culture, and, possibly, even on the nature of humanity itself.\" Hence, obviously, the

https://muse.jhu.edu/journals/partial_answers/v004/4.2.tammi.pdf

Against Narrative ("A Boring Story")

her taxonomy, or \"emotions,\" as they would be under some other analytic dispensation. Martha Nussbaum's grand book and I do think it grand, notwithstanding my reservations convinces me that some emotions, and some gradations of certain emotions, are eudaimonistic, but not that all emotions, or emotional registers are thus configured. It seems to me that, both within and beyond literature, the relations between affectivity and cognition are more variable and mobile than she allows. This is not to deny that literature's emotional content has much to offer normative ethics; but to propose an indissoluble and inflexible link between such content and cognitive appraisal is to risk reducing the literary, with its vast emotional spectrum, to the rational proclivities of philosophical analytics something that the critic in Martha Nussbaum knows we cannot afford to do. The price of doing so is just too high for the reader, and for the polity that Nussbaum strives so magnificently to enlighten.

Pekka Tammi

Papers

Living to Tell about It: A Rhetoric and Ethics of Character Narration (review)

Against Narrative ("A Boring Story")

Nabokov's World (review)