Narratology

About: Narratology is a research topic. Over the lifetime, 2833 publications have been published within this topic receiving 50998 citations. The topic is also known as: narrative theory.

An automated pipeline for the discovery of conspiracy and conspiracy theory narrative frameworks: Bridgegate, Pizzagate and storytelling on the web

Abstract: Although a great deal of attention has been paid to how conspiracy theories circulate on social media, and the deleterious effect that they, and their factual counterpart conspiracies, have on political institutions, there has been little computational work done on describing their narrative structures. Predicating our work on narrative theory, we present an automated pipeline for the discovery and description of the generative narrative frameworks of conspiracy theories that circulate on social media, and actual conspiracies reported in the news media. We base this work on two separate comprehensive repositories of blog posts and news articles describing the well-known conspiracy theory Pizzagate from 2016, and the New Jersey political conspiracy Bridgegate from 2013. Inspired by the qualitative narrative theory of Greimas, we formulate a graphical generative machine learning model where nodes represent actors/actants, and multi-edges and self-loops among nodes capture context-specific relationships. Posts and news items are viewed as samples of subgraphs of the hidden narrative framework network. The problem of reconstructing the underlying narrative structure is then posed as a latent model estimation problem. To derive the narrative frameworks in our target corpora, we automatically extract and aggregate the actants (people, places, objects) and their relationships from the posts and articles. We capture context specific actants and interactant relationships by developing a system of supernodes and subnodes. We use these to construct an actant-relationship network, which constitutes the underlying generative narrative framework for each of the corpora. We show how the Pizzagate framework relies on the conspiracy theorists' interpretation of "hidden knowledge" to link otherwise unlinked domains of human interaction, and hypothesize that this multi-domain focus is an important feature of conspiracy theories. We contrast this to the single domain focus of an actual conspiracy. While Pizzagate relies on the alignment of multiple domains, Bridgegate remains firmly rooted in the single domain of New Jersey politics. We hypothesize that the narrative framework of a conspiracy theory might stabilize quickly in contrast to the narrative framework of an actual conspiracy, which might develop more slowly as revelations come to light. By highlighting the structural differences between the two narrative frameworks, our approach could be used by private and public analysts to help distinguish between conspiracy theories and conspiracies.

Literary geography: setting and narrative space

Abstract: This paper explores some of the ways in which analytical strategies developed within narrative theory might be combined with recent developments in literary geography in the study of setting and narrative space. It suggests that despite narrative theory's urge toward categorization and its associated tendency to conceive of space as relatively stable and fixed, the technical vocabulary developed within the discipline has much to offer the literary geographer. The first section of the paper reviews some of the areas of potential collaboration in this cross-disciplinary overlap, while the second section offers three brief case study readings designed to suggest the potential of a combination of the analytical specificity of narrative studies with the imaginative stretch of spatial theory. The case studies look at setting and narrative space as they emerge in relation to narrative voices and multiple audiences in three case study texts: P.K. Dick's The Man in the High Castle (1962), J.A. Mitchell's The Last ...

Narrative Theory and the Intentional Stance

Abstract: Drawing on treatments of the problem of intentionality in fields encompassed by the umbrella discipline of cognitive science, including language theory, psychology, and the philosophy of mind, this paper explores issues underlying recent debates about the role of intentions in narrative contexts To avoid entering the debate on the terms set by antiintentionalists, my analysis shifts the focus away from questions about the boundary for legitimate ascriptions of communicative intention, the tipping-point where those ascriptions become illicit projections of readerly intuitions onto an imagined authorial consciousness Instead, I propose a two-part strategy for examining how storytelling practices are bound up with inferences about intention The first part uses Hemingway's 1927 short story "Hills Like White Elephants" to argue that narrative interpretation requires adopting the heuristic strategy that Daniel Dennett has characterized as "the intentional stance" In other words, it makes sense to assume that stories like Hemingway's are told for particular reasons, in the service of communicative goals about which interpreters are justified in framing at least provisional hypotheses This first part of my analysis is tantamount to grounding stories in intentional systems The second part, which draws on work on folk psychology (and research in the philosophy of mind more generally), describes narrative as a means by which humans learn to take up the intentional stance in the first place, and later practice using it in the safe zone afforded by storyworlds This part of my analysis involves grounding intentional systems in stories Here I argue that narrative constitutes in its own right a discipline for reading for intentions, a primordial basis for making the ascriptions of intentionality that lie at the heart of folk psychology, or everyday reasoning concerning one's own and others' minds

The Implied Author: Concept and Controversy

Abstract: This book addresses itself to the concept of the implied author, which has been the cause of controversy in cultural studies for some fifty years. The opening chapters examine the introduction of the concept in Wayne C. Booth's "Rhetoric of Fiction" and the discussion of the concept in narratology and in the theory and practice of interpretation. The final chapter develops proposals for clarifying or replacing the concept.

Gothic Fiction/gothic Form

Abstract: This work offers a new perspective on Gothic fiction and reassesses its place in literary history. After defining his concept of "affective form" and summarizing the problematic assumptions behind recent critical approaches to the Gothic, George Haggerty introduces a startling theoretical discussion of the Gothic Tale, and he explains in what ways the tale, as a form with identifiable affective properties, is ideally suited to Gothic concerns. Having established a direct relation between this study and recent discussions of narratology and generic identity, Haggerty develops his argument as it applies to major Gothic works in both England and America, including works by Walpole, Radcliffe, Lewis, Maturin, Shelley, Bronte, Poe, Hawthorne, and James. He examines the Gothic Tale as a form that resolves the inconsistency and incoherence of many Gothic novels and offers even the best of them a center of focus and a way of achieving their fullest affective power. In this study, the Gothic Tale emerges as a means of heightening the emotional intelligibility of Gothic fiction and answering Walpole's confused desire to unite "two kinds of romance" in the Gothic. It is a form that can answer the ontological and epistemological, as well as the structural, challenge of the Gothic writers. From its first hints within the Gothic novel as an alternative literary mode offering the Gothicists various expressive advantages to its eerie success in a work such as James's "The Jolly Corner," the Gothic Tale offers insight into generic distinction and literary expression. This is a major statement about an important literary form.