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Showing papers on "Narratology published in 2016"


Posted Content
01 Jan 2016
TL;DR: Analytic narratives as discussed by the authors are studies that combine the usual narrative way of historians with the analytic tools that economists and political scientists find in rational choice theory and game theory is prominent among these tools.
Abstract: The recently born expression "analytic narratives" refers to studies that have appeared at the boundaries of history, political science, and economics. These studies purport to explain specific historical events by combining the usual narrative way of historians with the analytic tools that economists and political scientists find in rational choice theory. Game theory is prominent among these tools. The paper explains what analytic narratives are by sampling from the eponymous book Analytic Narratives by Bates, Greif, Levi, Rosenthal, and Weingast (1998) and covering one outside study by Mongin (2008). It first evaluates the explanatory performance of the new genre, using some philosophy of historical explanation and then checks its discursive consistency, using some narratology. The paper concludes that analytic narratives can usefully complement standard narratives in historical explanation, provided they specialize in the gaps that these narratives reveal and that they are discursively consistent, despite the tension that combining a formal model with a narration creates. Two expository modes, called alternation and local supplementation, emerge from the discussion as the most appropriate ones to resolve this tension

122 citations


Book
01 Aug 2016
TL;DR: Transmedial Narratology and Contemporary Media Culture as mentioned in this paper provides a theoretical frame within which medium-specific approaches from literary and film narratology, from comics studies and game studies, and from various other strands of media and cultural studies may be applied to further understand of narratives across media.
Abstract: Narratives are everywhere—and since a significant part of contemporary media culture is defined by narrative forms, media studies need a genuinely transmedial narratology. Against this background, Transmedial Narratology and Contemporary Media Culture focuses on the intersubjective construction of storyworlds as well as on prototypical forms of narratorial and subjective representation. This book provides not only a method for the analysis of salient transmedial strategies of narrative representation in contemporary films, comics, and video games but also a theoretical frame within which medium-specific approaches from literary and film narratology, from comics studies and game studies, and from various other strands of media and cultural studies may be applied to further our understanding of narratives across media.

98 citations


Journal ArticleDOI
TL;DR: In this paper, the authors argue in favour of a narrative approach to European integration through the construction and application of an analytical framework drawing on different theoretical perspectives, and apply it to six European integration narratives to demonstrate the value of narrative approach.
Abstract: The awarding of the Nobel Peace Prize 2012 to the EU (European Union) came as a surprise. Not only was the eurozone economic crisis undermining both policy effectiveness and public support for the EU, but it was also seriously challenging the EU's image in global politics. The eurozone crisis, the Nobel Prize and the search for a ‘new narrative for Europe’ demonstrate that the processes of European integration are always narrated as sense-making activities – stories people tell to make sense of their reality. This article argues in favour of a narrative approach to European integration through the construction and application of an analytical framework drawing on different theoretical perspectives. This framework is then applied to six European integration narratives to demonstrate the value of a narrative approach. The article concludes that narrative analysis provides a means of understanding both EU institutional and non-institutional narratives of European integration.

80 citations


Journal ArticleDOI
TL;DR: A physical narratology of popular movies is explored—narrational structure and how it impacts us—to promote a theory of popular movie form, which shows that movies can be divided into 4 acts—setup, complication, development, and climax—with two optional subunits of prolog and epilog, and a few turning points and plot points.
Abstract: Popular movies grab and hold our attention. One reason for this is that storytelling is culturally important to us, but another is that general narrative formulae have been honed over millennia and that a derived but specific filmic form has developed and has been perfected over the last century. The result is a highly effective format that allows rapid processing of complex narratives. Using a corpus analysis I explore a physical narratology of popular movies-narrational structure and how it impacts us-to promote a theory of popular movie form. I show that movies can be divided into 4 acts-setup, complication, development, and climax-with two optional subunits of prolog and epilog, and a few turning points and plot points. In 12 studies I show that normative aspects in patterns of shot durations, shot transitions, shot scale, shot motion, shot luminance, character introduction, and distributions of conversations, music, action shots, and scene transitions reduce to 5 correlated stylistic dimensions of movies and can litigate among theories of movie structure. In general, movie narratives have roughly the same structure as narratives in any other domain-plays, novels, manga, folktales, even oral histories-but with particular runtime constraints, cadences, and constructions that are unique to the medium.

79 citations




Journal ArticleDOI
TL;DR: The proposed storytelling/narrative theory can be a guide to develop culturally grounded narrative interventions that have the ability to connect with hard-to-reach populations.

66 citations


Journal ArticleDOI
TL;DR: The Notable Brain of Maximilian Ponder as mentioned in this paper is an example of such a collection, containing 1600 books and folders, including 358 volumes of autobiographical monologue painstakingly recorded on note paper and bound in red leather.
Abstract: As J.W. Ironmonger’s 2012 novel The Notable Brain of Maximilian Ponder opens, the protagonist Max is lying face up, dead, on his own front room dining table. On his 21st birthday, Max decided to lock himself in his apartment, curtains drawn, to systematically map his entire brain’s contents for his thesis work in philosophy at the University of Cambridge. The project was supposed to last three years. Three decades later, his fifty-one year old body is surrounded by his life’s work: Shelves filled with 1600 books and folders, including 358 volumes of autobiographical monologue painstakingly recorded on note paper and bound in red leather (the so-called ‘narrative volumes’). His ‘Catalogue’ also includes shelves after shelves of grey A4 lever-arch files (the ‘day logs’) recording experiences that strictly speaking should not have happened. When a leaky pipe, a blown light bulb or a heavy thunderstorm interrupted the project, Max had to record it for the sake of completion. This everyday “mess” should have been “controlled away” to leave Max’s 21-year-old brain pure and pristine and untainted by ongoing events. Unfortunately, life had a habit of intruding on his ongoing storytelling project with new events, making the task never-ending. Max’s life was spent trying to tell his own life’s story without actually living it. Death has now made his catalogue complete. The story has ended. Or has it? What is the end of a story, and where does it begin? The sharing of stories is an important part of the human condition. People seem to have a fundamental drive to tell and listen to them. We use them to communicate and reproduce ingroup solidarity. They may provoke strong emotions. They may be simultaneously entertaining and educational; it is no coincidence that we tell children stories to help them understand and explore a chaotic world. One reason is that storytelling is a basic device for creating, providing and assigning meaning. Stories are good at making simple what is complicated. At the same time, some of the complexity is retained because stories by their very nature are ambiguous and openended. They are an important resource in everyday life and in times of celebration and difficulty; crucial for the way we live, and for the organisation of society. Even our very identity and sense of self is narratively constructed. We make sense of ourselves and our relationships with others by sharing stories and through our individual on-going inner narrative. Stories are, simply put, at the core of what makes us who and what we are. Narrative criminology refers to the study of the role the telling and sharing of stories play in committing, upholding and effecting desistance from crime and other harmful acts. It is hard to say when the story of narrative criminology began. It is, perhaps, one of those stories that have several beginnings. One very early beginning can be traced back to ancient Athens. In Poetics, Aristotle (2013), the grandfather of all narrative analysis, laid out the founding principles of modern-day narratology. Aristotle studied the characteristics of a successful 663558 CMC0010.1177/1741659016663558Crime, Media, Culture research-article2016

60 citations


Journal ArticleDOI
TL;DR: In this paper, a narrative analysis of German media reporting on Germany's abstention in the United Nations Security Council vote on Resolution 1973 in March 2011 regarding the military intervention in Libya is presented.
Abstract: The contribution introduces narrative analysis as a discourse analytical method for investigating the social construction of foreign policy fiascos. Based on insights from literary studies and narratology it shows that stories of failure include a number of key elements, including a particular setting which defines appropriate behaviour; the negative characterization of agents; as well as an emplotment of the ‘fiasco’ through the attribution of cause and responsibility. The contribution illustrates this method through a narrative analysis of German media reporting on Germany's abstention in the United Nations Security Council vote on Resolution 1973 in March 2011 regarding the military intervention in Libya.

48 citations


Book
07 Nov 2016
TL;DR: Puckett's Narrative Theory: A Critical Introduction as discussed by the authors provides an account of a methodology increasingly central to literary studies, film studies, history, psychology, and beyond, in addition to introducing readers to some of the field's major figures and their ideas.
Abstract: Kent Puckett's Narrative Theory: A Critical Introduction provides an account of a methodology increasingly central to literary studies, film studies, history, psychology and beyond. In addition to introducing readers to some of the field's major figures and their ideas, Puckett situates critical and philosophical approaches towards narrative within a longer intellectual history. The book reveals one of narrative theory's founding claims - that narratives need to be understood in terms of a formal relation between story and discourse, between what they narrate and how they narrate it - both as a necessary methodological distinction and as a problem characteristic of modern thought. Puckett thus shows that narrative theory is not only a powerful descriptive system but also a complex and sometimes ironic form of critique. Narrative Theory offers readers an introduction to the field's key figures, methods and ideas, and it also reveals that field as unexpectedly central to the history of ideas.

41 citations


MonographDOI
01 Dec 2016
TL;DR: In this paper, the authors apply affective narratology to study emotional structures in literary works of Kierkegaard, Dostoevsky, Ibsen, Hamsun, J.P. Jacobsen, Schoenberg and Knausgaard.
Abstract: In this book perspectives from affective narratology are applied to study emotional structures in literary works of Kierkegaard, Dostoevsky, Ibsen, Hamsun, J.P. Jacobsen, Schoenberg and Knausgaard. Based on perspectives from literary studies, philosophy, cognitive psychology, neurobiology and media studies, professor Per Thomas Andersen analyzes characters in the novels, temporal and spatial aspects of the narratives, sources of emotional impulses and different ways in which the streams of affects turn out to be as important as events in the narrative style of the chosen authors. Per Thomas Andersen is professor of Scandinavian Literature at the University of Oslo.

Book ChapterDOI
15 Nov 2016
TL;DR: The paper aims to disclose how narrative game mechanics invite game agents, including the player, to perform actions that support the construction of engaging stories and fictional worlds in the embodied mind of the player.
Abstract: This paper explores the notion of narrative game mechanics by apposing theories from the field of cognitive narratology with design theories on game mechanics. The paper aims to disclose how narrative game mechanics invite game agents, including the player, to perform actions that support the construction of engaging stories and fictional worlds in the embodied mind of the player. The theoretical argument is supported by three case studies. The paper discusses examples of games that employ mechanics and rules to create engaging story events, focusing on: building tension through spatial conflict, evoking empathy through characterization and creating moral dilemmas through player choices.

Book ChapterDOI
01 Jan 2016
TL;DR: The authors surveys and discusses interdisciplinary approaches to primarily Artificial Intelligence (AI)based computational narrative or story generation systems by way of introducing cognitive science, and narratology and related literary theories.
Abstract: This chapter surveys and discusses interdisciplinary approaches to primarily Artificial Intelligence (AI)based computational narrative or story generation systems by way of introducing cognitive science, and narratology and related literary theories. The first part of this chapter provides a general description (from the perspective of the research framework of the author) and the second part presents processes, theories, designs, and implementations of narrative generation by the author. In particular, the first part includes an overview of narratology and the relevant literary theories, computational and cognitive theories and techniques related to narratology and narrative generation, and narrative generation systems. The second part presents, in relative detail, components that constitute a systematic study for narrative generation by the author and an integrated narrative generation system of all of the previous attempts.

Journal ArticleDOI
TL;DR: In this paper, the authors propose a hermeneutic framework that enables us to categorise and interpret technologies according to two hermemeutic distinctions: first, they consider the extent to which technologies close in on the paradigm of the written text by assessing their capacity to actively configure characters and events into a meaningful whole; thereby introducing a linguistic aspect in the theory of technological mediation.
Abstract: Contemporary philosophy of technology, in particular mediation theory, has largely neglected language and has paid little attention to the social-linguistic environment in which technologies are used. In order to reintroduce and strengthen these two missing aspects we turn towards Ricoeur’s narrative theory. We argue that technologies have a narrative capacity: not only do humans make sense of technologies by means of narratives but technologies themselves co-constitute narratives and our understanding of these narratives by configuring characters and events in a meaningful temporal whole. We propose a hermeneutic framework that enables us to categorise and interpret technologies according to two hermeneutic distinctions. Firstly, we consider the extent to which technologies close in on the paradigm of the written text by assessing their capacity to actively configure characters and events into a meaningful whole; thereby introducing a linguistic aspect in the theory of technological mediation. Secondly, we consider the extent to which technologies have the capacity to abstract from the public narrative time of actual characters and events by constructing quasi-characters and quasi-events, thereby introducing the social in our conception of technological mediation. This leads us to the outlines of a theory of narrative technologies that revolves around four hermeneutic categories. In order to show the merits of this theory, we discuss the categories by analysing paradigmatic examples of narrative technologies: the bridge, the hydroelectric power plant, video games, and electronic money.

Journal ArticleDOI
28 Oct 2016-Religion
TL;DR: In this paper, the authors draw on narrative semiotics to explain why some fictional narratives afford religious use and have hence given rise to fiction-based religions, such as Star Wars and The Lord of the Rings, and identify and discuss textual "veracity mechanisms" that in various ways can help achieve such a sense of factuality.

01 Jan 2016
TL;DR: The a companion to narrative theory is universally compatible with any devices to read, and can be downloaded instantly from the authors' digital library.
Abstract: Thank you very much for downloading a companion to narrative theory. As you may know, people have search numerous times for their favorite books like this a companion to narrative theory, but end up in infectious downloads. Rather than enjoying a good book with a cup of coffee in the afternoon, instead they juggled with some harmful bugs inside their computer. a companion to narrative theory is available in our digital library an online access to it is set as public so you can download it instantly. Our books collection spans in multiple countries, allowing you to get the most less latency time to download any of our books like this one. Kindly say, the a companion to narrative theory is universally compatible with any devices to read.

Book
Ridvan Askin1
04 Aug 2016
TL;DR: Askin this article proposes a new model for understanding narrative, grounded in the philosophy of Gilles Deleuze, and argues for an understanding of narrative as fundamentally nonhuman, unconscious, and expressive.
Abstract: Proposes a new model for understanding narrative, grounded in the philosophy of Gilles Deleuze What is narrative? Ridvan Askin answers this question by bringing together aesthetics, contemporary North American fiction, Gilles Deleuze, narrative theory, and the recent speculative turn. Through this process he develops a transcendental empiricist concept of narrative. Against the established consensus of narrative theory he argues for an understanding of narrative as fundamentally nonhuman, unconscious, and expressive. Narrative and Becoming provides close readings of a number of contemporary North American fictions, most prominently Ana Castillo's The Mixquiahuala Letters (1986), Michael Ondaatje's The Collected Works of Billy the Kid (1970), Colson Whitehead's The Intuitionist , and Mark Z. Danielewski's House of Leaves (2000), showcasing their genuine metaphysical quality.

Journal ArticleDOI
TL;DR: In this paper, the importance of story-telling as a way to explain differentiated gender requirements within transitional justice processes is discussed and a critical narrative theory of transitional justice is outlined, which confirms the need for narrative agency in telling or withholding stories.
Abstract: Stories told about violence, trauma, and loss inform knowledge of post-conflict societies. Stories have a context which is part of the story-teller’s life narrative. Reasons for silences are varied. This article affirms the importance of telling and listening to stories and notes the significance of silences within transitional justice’s narratives. It does this in three ways. First, it outlines a critical narrative theory of transitional justice which confirms the importance of narrative agency in telling or withholding stories. Relatedly, it affirms the importance of story-telling as a way to explain differentiated gender requirements within transitional justice processes. Second, it examines gendered differences in the ways that women are silenced by shame, choose silence to retain self-respect, use silence as a strategy of survival, or an agential act. Third, it argues that compassionate listening requires gender-sensitive responses that recognize the narrator’s sense of self and needs.

Journal ArticleDOI
TL;DR: The authors argue that traditional narrative theory relies on masculine, heteronormative conceptualizations of a necessarily reproductive climax, while gaming narratives focus on the pleasurable possibilities embedded in the middle of the narrative.
Abstract: In recent years, scholars have theorized about the narrative potential of video games. These conversations have helped to situate a complex new medium into the parameters of older forms of storytelling. This paper argues that these debates often privilege heteronormative formulations of narrative structure. Building on the work of Judith Roof (1996. Come as you are: Sexuality and narrative. New York: Columbia University Press), I illustrate how traditional narrative theory relies on masculine, heteronormative conceptualizations of a necessarily reproductive climax. Queer narrative theory, in contrast, focuses on the pleasurable possibilities embedded in the middle of the narrative. Similarly, gaming narratives play in the middle spaces where queer narrative thrives. Using this as a theoretical model, I explore how games are more effective in the narrative middle and provide a new lens for both narrative scholars and gaming scholars.

Journal ArticleDOI
Philippe Mongin1
TL;DR: Analytic narratives as mentioned in this paper are studies that combine the usual narrative way of historians with the analytic tools that economists and political scientists find in rational choice theory and game theory is prominent among these tools.
Abstract: The recently born expression "analytic narratives" refers to studies that have appeared at the boundaries of history, political science, and economics. These studies purport to explain specific historical events by combining the usual narrative way of historians with the analytic tools that economists and political scientists find in rational choice theory. Game theory is prominent among these tools. The paper explains what analytic narratives are by sampling from the eponymous book Analytic Narratives by Bates, Greif, Levi, Rosenthal, and Weingast (1998) and covering one outside study by Mongin (2008). It first evaluates the explanatory performance of the new genre, using some philosophy of historical explanation and then checks its discursive consistency, using some narratology. The paper concludes that analytic narratives can usefully complement standard narratives in historical explanation, provided they specialize in the gaps that these narratives reveal and that they are discursively consistent, despite the tension that combining a formal model with a narration creates. Two expository modes, called alternation and local supplementation, emerge from the discussion as the most appropriate ones to resolve this tension

Journal ArticleDOI
TL;DR: Propp’s morphology is revisits to build a system that generates instances of Russian folk tales and some issues that Propp declared relevant but did not explore in detail are given computational shape in the context of a broader architecture that captures all the aspects discussed by Propp.
Abstract: The plots of stories are known to follow general patterns in terms of their overall structure. This was the basic tenet of structuralist approaches to narratology. Vladimir Propp proposed a procedure for the generation of new tales based on his semi-formal description of the structure of Russian folk tales. This is one of the first existing instances of a creative process described procedurally. The present paper revisits Propp’s morphology to build a system that generates instances of Russian folk tales. Propp’s view of the folk tale as a rigid sequence of character functions is employed as a plot driver, and some issues that Propp declared relevant but did not explore in detail—such as long-range dependencies between functions or the importance of endings—are given computational shape in the context of a broader architecture that captures all the aspects discussed by Propp. A set of simple evaluation metrics for the resulting outputs is defined inspired on Propp’s formalism. The potential of the resulting system for providing a creative story generation system is discussed, and possible lines of future work are discussed.

Book
12 Sep 2016
TL;DR: In this article, the main building blocks of literary worlds are their oral, visual and written modes and three themes: challenge, perception and relation, which are blended and inflected in different ways by combinations of narratives and figures, indirection, thwarted aspirations, metausages, hypothetical action as well as hierarchies and blends of genres and text types.
Abstract: Literary studies still lack an extensive comparative analysis of different kinds of literature, including ancient and non-Western. How Literary Worlds Are Shaped. A Comparative Poetics of Literary Imagination aims to provide such a study. Literature, it claims, is based on individual and shared human imagination, which creates literary worlds that blend the real and the fantastic, mimesis and genre, often modulated by different kinds of unreliability. The main building blocks of literary worlds are their oral, visual and written modes and three themes: challenge, perception and relation. They are blended and inflected in different ways by combinations of narratives and figures, indirection, thwarted aspirations, meta-usages, hypothetical action as well as hierarchies and blends of genres and text types. Moreover, literary worlds are not only constructed by humans but also shape their lives and reinforce their sense of wonder. Finally, ten reasons are given in order to show how this comparative view can be of use in literary studies. In sum, How Literary Worlds Are Shaped is the first study to present a wide-ranging and detailed comparative account of the makings of literary worlds.

Journal ArticleDOI
22 Dec 2016-Style
TL;DR: Unnatural narrative theory is the theory of fictional narratives that defy the conventions of non-fictional narratives and of fiction that closely resembles non-fiction as mentioned in this paper, and it is defined as "fiction that is able to display its own fictionality, and focuses on works that break (or only partially enter into) the mimetic illusion".
Abstract: Unnatural narrative theory is the theory of fictional narratives that defy the conventions of nonfictional narratives and of fiction that closely resembles nonfiction. It theorizes fiction that displays its own fictionality, and focuses on works that break (or only partly enter into) the mimetic illusion. Paradigmatic examples of unnatural narratives include Samuel Beckett's The Unnamable and many of his later texts, Alain Robbe-Grillet's La Jalousie (and other works that employ this kind of construction), Italo Calvino's Invisible Cities, Anna Kavan's Ice, Angela Carter's The Infernal Desire Machines of Doctor Hoffman, and Salman Rushdie's The Satanic Verses. For a pithy example of the unnatural in a single phrase, one may go to Christine Brooke-Rose's line in Thru: "Whoever you invented invented you too" (53). Shlomith Rimmon-Kenan comments on that line--and the narrative as a whole--in the following terms: "The novel repeatedly reverses the hierarchy [of narrative levels], transforming a narrated object into a narrating agent and vice versa. The very distinction between outside and inside, container and contained, narrating subject and narrated object, higher and lower level collapses" (94). For an example centered on events, we may adduce the following passage from Mark Leyner in My Cousin, My Gastroenterologist: "He's got a car bomb. He puts the keys in the ignition and turns it--the car blows up. He gets out. He opens the hood and makes a cursory inspection. He closes the hood and gets back in. He turns the key in the ignition. The car blows up. He gets out and slams the door shut disgustedly" (59). Here, an impossible sequence of events is depicted. Unnatural fiction is different not only from mimetic fiction but also from what I call nonmimetic or nonnatural fiction. Nonmimetic narratives include conventional fairy tales, animal fables, ghost stories, and other kinds of fiction that invoke magical or supernatural elements. Such narratives employ consistent storyworlds and obey established generic conventions or, in some cases, merely add a single supernatural component to an otherwise naturalistic world. By contrast, unnatural texts do not attempt to extend the boundaries of the mimetic, but rather play with the very conventions of mimesis. (1) EXIGENCY In most models of narrative theory, both ancient and modern, there has been little consideration of or space for highly imaginative, experimental, antirealistic, impossible, or parodic figures and events. Instead, we generally find a pronounced inclination or even a strong bias in favor of mimetic or realistic concepts; often, fictional characters, events, and settings are analyzed in the same terms or perspectives that are normally used for actual persons, events, and settings. (2) In many types of narrative theory, the model or default type of narrative was and still is a more or less mimetic one. (3) This is even largely true of structuralist narratology, despite its scientific posture and desire to transcend humanism, as Luc Herman and Bart Vervaeck have thoroughly established (41-101, esp. 63-65, 69-70, 82-86, 101). To be sure, there have been a number of exceptional theorists who have attempted to go well beyond the parameters of the mimetic, including Viktor Shklovsky, Mikhail Bakhtin, Jean Ricardou, Christine Brooke-Rose, David Hayman, Leonard Orr, Brian McHale, J. Hillis Miller, and Werner Wolf (see Richardson, Unnatural Narrative 23-27). The fact remains, however, that most current narratological accounts continue to employ substantially or exclusively mimetic models. Thus, on the subject of narrative time, nearly all general works of narrative theory or narratological handbooks employ and limit themselves to Genette's categories of order, duration, and frequency. The category of order contrasts the sequence of events presented in the text (recit, sjuzet) with the sequence of events we can derive from the text and place into a chronological order (histoire, fabula). …

Journal ArticleDOI
TL;DR: It is suggested that comics should be used in public health to value the audience as non-experts and communicate narratives of lived experience, both of which can positively impact health behaviours.
Abstract: In health communication, comics are an unlikely but viable channel. Through the psychological and cognitive effects of embodiment and narrative, the translation of lived experiences into stories can powerfully instruct. In this article I discuss comics as a crucial tool for public health communication, given their ability to reflect cultural norms and to resonate within specific social contexts. My discussion draws on theories of cognition, narratology, comic scholarship and the social cognitive theory of health. I also narrate an autography of two projects that use comics to educate underserved communities about diabetes management. In this article I suggest that comics should be used in public health to (1) value the audience as non-experts and (2) communicate narratives of lived experience. Both can positively impact health behaviours.

Dissertation
01 Sep 2016
TL;DR: This article used the Systemic Functional model of research in descriptive translation studies to identify translational shifts by mapping the lexicogrammatical systems (lower level) of the source text onto these of the target texts may result in shifts at the global level of translated narrative texts (point of view).
Abstract: Located within the framework of narratology, linguistics, stylistics and translation studies, the present thesis principally probes the nature of the translator’s voice/presence with the purpose of identifying its effects on translated narrative texts and uncovering his or her certain linguistic habits. The thesis adopts the Systemic Functional model of research in descriptive translation studies. That is, identifying translational shifts by mapping the lexicogrammatical systems (lower level) of the source text onto these of the target texts may result in shifts at the global level of translated narrative texts (point of view). The present study sets out to construct J. M. Coetzee’s systemic profiles in his novel Waiting for the Barbarians ([1980] 2004) and compare them against those of the two Arabic translators of his novel, ʔibtisām ʕabdullāh (2004) and Ṣaḫr Al-Ḥājj Ḥusayn (2004). In particular, it looks into the renderings of the linguistic triggers of the original narrative viewpoints, namely deixis (i.e., tense and time and place deictic terms), thematic structures, modal expressions and techniques of discourse representation. The comparative analyses show varying degrees of discrepancy at the lexicogrammatical stratum between the original and its two translations, mostly attributable to the two translators’ linguistic preferences and interpretations of the original. These discrepancies, in turn, bring about radical transformations to the original mode of narration, the modification of its perspectivization and the portrayal of the principal character, blurring the narrative style of the author and thus offering a different readerly experience to the target audience.

Journal ArticleDOI
TL;DR: In this paper, a survey of the influence of affect theory in posthumanism, queer theory, history, sociology, the new materialism, and narratology, arguing that "affect" has replaced literature as the other of law in law and literature.
Abstract: Affect, this essay argues, has replaced literature as the other of law in law and literature. It begins with a survey of the influence of affect theory in posthumanism, queer theory, history, sociology, the new materialism, and narratology, arguing that “affect” – an umbrella term that describes assemblages of nodes, waves, materials, and intensities – has replaced Foucauldian “discourse” as the leading term in current critical commentary. The consequences of this affective turn for law and literature scholarship and conceptions of legal personhood are then explored. Whereas a more traditional view proposes that law's task is to mediate humans’ worst passions and sublate affectively particular conflicts, newer work contends that law is a source of pain rather than its antidote. This entails an end to law and literature as we have known it. Examples of alternative justice offered through literary narratives are now deemed less productive in querying legalist prescription than non-linguistic and non...

Book
15 Jul 2016
TL;DR: Computational and Cognitive Approaches to Narratology discusses issues of narrative-related information and communication technologies, cognitive mechanism and analyses, and theoretical perspectives on narratives and the story generation process.
Abstract: Studying narratives is often the best way to gain a good understanding of how various aspects of human information are organized and integratedthe narrator employs specific informational methods to build the whole structure of a narrative through combining temporally constructed events in light of an array of relationships to the narratee and these methods reveal the interaction of the rational and the sensitive aspects of human information. Computational and Cognitive Approaches to Narratology discusses issues of narrative-related information and communication technologies, cognitive mechanism and analyses, and theoretical perspectives on narratives and the story generation process. Focusing on emerging research as well as applications in a variety of fields including marketing, philosophy, psychology, art, and literature, this timely publication is an essential reference source for researchers, professionals, and graduate students in various information technology, cognitive studies, design, and creative fields.

Dissertation
01 Aug 2016
TL;DR: Moments of Rupture: Narratological Readings of Contemporary German Literature as mentioned in this paper ) is a collection of contemporary German literature texts with a focus on the moments of transformation.
Abstract: Moments of Rupture: Narratological Readings of Contemporary German Literature

01 Jan 2016
TL;DR: In this paper, the authors present a GIS-based longue duree, Roman ceramics, and settlement history of Sicily degree type Dissertation Degree Name Doctor of Philosophy (PhD) Graduate Group Romance Languages First Advisor Gerald J. Prince Second Advisor Christophe Martin
Abstract: Archaeological survey, GIS, Longue duree, Roman ceramics, Settlement history, Sicily Degree Type Dissertation Degree Name Doctor of Philosophy (PhD) Graduate Group Romance Languages First Advisor Gerald J. Prince Second Advisor Christophe Martin

Dissertation
21 Mar 2016
TL;DR: Tacitus, Dialogus de Oratoribus, Annales, Histories, Agricola, Seneca, Pliny, Cicero, Octavia, Julio-Claudians, Tragedy, Rhetoric; Oratory; Fictional Indices; Direct Discourse; Indirect Discourse as discussed by the authors.
Abstract: Tacitus; Dialogus de Oratoribus; Annales; Histories; Agricola; Date of Composition; Narratology; Role of Reader; Audience; Intertext; Seneca; Pliny; Cicero; Octavia; Julio-Claudians; Tragedy; Rhetoric; Oratory; Fictional Indices; Direct Discourse; Indirect Discourse