Sounding Postmodernity: Narrative Voices in the Radio Adaptation of Alasdair Gray's Lanark

Narrativity and Sound in German Radio Play Adaptations of Paul Auster's The New York Trilogy

Abstract: In line with the strong emphasis on visuality in the wake of the “visual turn” in literary and cultural studies, graphic novel adaptations of literary texts have recently been the objects of scholarly study and narratological theory building. Much less attention, if any, has been accorded to radio play adaptations of novels like Paul Auster’s New York Trilogy . An analysis of radio play adaptations acquires a special significance in the case of this highly enigmatic work, which makes a seriously playful use of postmodern narrative strategies. It is perhaps above all this feature which made the adaptation of the novel’s first instalment, City of Glass , into a graphic novel by Paul Karasik and David Mazucchelli so successful. While the graphic novel visualizes characteristic features of its mother text, this paper explores the different modes of narrative sound in three German radio play adaptations of Auster’s novel. Alfred Behrens’ Stadt aus Glas , Katharina Bihler’s Schlagschatten , and Norbert Schaeffer’s Hinter verschlossenen Turen employ narrative devices like voices in both German and English, the evocation of city soundscapes, the narrative uses of music as well as issues of the simultaneity and/or difference of story and discourse time. The narrative auralization of Auster’s novels in the radio plays under discussion can be shown to foreground non-visual aspects of the pre-texts and to add further dimensions for interpretation that underline the usefulness of audionarratological analysis for adaptation studies.

Multisensory Imaginings: An Audionarratological Analysis of Philip Roth's Novel Indignation and its German Radio Play Adaptation Empörung

Abstract: This article analyses the German radio play adaptation of Philip Roth's novel Indignation (Emporung, 2010) from an audionarratological perspective and shows how both the book and the radio play offer potential for multisensory experiences on the part of readers and radio audiences. The article furthermore explores how the two media differ in their semiotic and sensory affordances and possibilities. It is argued that aural signs and signals predetermine certain aspects of the storyworld in the radio play: for example, characters' and the narrator's voices, soundscapes, but also ambient sound and music. Due to its focus on the aural channel, radio drama calls on audiences' imagination in distinct ways, while also complicating narratological concepts. The ‘transcriptivity’ from written to spoken text that is inherent in the transposition of novel into radio play accounts for the fact that the radio play also adds new multisensory and interpretive dimensions to its pre-text. It therefore has to be considered ...

Book and Radio Play Silences: Medial Pauses and Reticence in ‘Murke's Collected Silences’ by Heinrich Böll

Abstract: This article analyses silence at the interface between print and audio media by reading and listening to Heinrich Boll's short story ‘Murke's Collected Silences’ (‘Doktor Murkes gesammeltes Schweig...

Text to Speech: Transportation-Imagery Theory and Outcomes of Narrative Delivery Format

Abstract: This project explores how narrative formats facilitate transportation and related phenomena. Over two hundred subjects encountered fictional stories in different iterations: printed text or audiobo...

The travelling concepts of narrative

Abstract: 1. Introduction, or another story of narrative (by Hatavara, Mari) 2. Exploring the narrative turns 3. Travelling metaphors, transforming concepts (by Hyvarinen, Matti) 4. Why narrative is here to stay: A return to origins (by Freeman, Mark) 5. To the narrative turn and back: The political impact of storytelling in feminism (by Guaraldo, Olivia) 6. Travelling with narrative: From text to body (by Eakin, Paul John) 7. Philosophical underpinnings of the narrative turn in theory and fiction (by Meretoja, Hanna) 8. Travelling between fiction and non-fiction 9. Fact and fiction: Exploring the narrative mind (by Brockmeier, Jens) 10. Broken or unnatural?: On the distinction of fiction in non-conventional first person narration (by Iversen, Stefan) 11. Making sense in autobiography (by Hatavara, Mari) 12. "Unnatural" narratives?: The case of second-person narration (by Mildorf, Jarmila) 13. Storytelling on the go: Breaking news as a travelling narrative genre (by Georgakopoulou, Alexandra) 14. Travelling from body to story 15. Towards an embodied theory of narrative and storytelling (by Hyden, Lars-Christer) 16. Fractured narratives: Psychology's fragmented narrative psychology (by Schiff, Brian) 17. Broken stories: Narrative vs. narration in travelling theories of cultural trauma (by Korhonen, Kuisma) 18. Concluding reflections 19. Twists and turns: The circulation of narrative concepts across disciplines and cultures (by Ritivoi, Andreea Deciu) 20. List of contributors 21. Index

Second-Person Narration in Literary and Conversational Storytelling

Abstract: This article explores areas of intersection between sociolinguistic narrative analysis and literary narratology. Specifi cally, I focus on a phenomenon that has recently received some attention in narratology but hardly any in the study of narratives told in face-toface interaction: namely, second-person narration. Manfred Jahn (2005) defi nes second-person narration as a “story in which the protagonist is referred to by the pronoun you. Second-person stories can be homodiegetic (protagonist and narrator being identical) or heterodiegetic (protagonist and narrator being different)” (522). This initial defi nition, though a useful starting point, requires further elaboration and specifi cation—especially when it comes to literary you-narratives. In particular, studies have shown that in literary contexts the referential scope of you can be much wider than Jahn’s defi nition indicates and may include real readers as well as larger audiences (Herman 1994; Phelan 1994). Indeed, my own research suggests that

Alasdair Gray: The Fiction of Communion

Abstract: Alasdair Gray’s writing, and in particular his great novel Lanark: A Life in Four Books (1981), is often read as a paradigm of postmodern practice. This study challenges that view by presenting an analysis that is at once more conventional and more strongly radical. By reading Gray in his cultural and intellectual context, and by placing him within the tradition of a Scottish history of ideas that has been largely neglected in contemporary critical writing, Gavin Miller re-opens contact between this highly individualistic artist and those Scottish and European philosophers and psychologists who helped shape his literary vision of personal and national identity. Scottish social anthropology and psychiatry (including the work of W. Robertson Smith, J.G. Frazer and R.D. Laing) can be seen as formative influences on Gray’s anti-essentialist vision of Scotland as a mosaic of communities, and of our social need for recognition, acknowledgement and the common life.