{"title":"Narrative mapping as cognitive activity and as active participation in storyworlds","authors":"Marie-Laure Ryan","doi":"10.1515/fns-2018-0020","DOIUrl":null,"url":null,"abstract":"Abstract Ever the devil’s advocate, Richard Walsh argues in a 2017 article that drawing maps based on narrative fiction is a meaningless activity, because (1) narrative cognition is temporal and not spatial; (2) narrative fiction does not project worlds in any experiential sense of the term (i. e. worlds as immersive environments) but only “worlds” as textual constructs, as products of écriture; and (3) reading should lead to meaningful interpretations, and inferences should be limited by a principle of relevance. His example of futile map-making is the floor plan which is included in the English editions of Alain Robbe-Grillet’s La Jalousie but is absent from the original French edition. In this article, I argue that narrative cognition is not a specialized ability distinct from the forms of cognition that we use in practical life, but rather, the product of these abilities; and I defend the validity of narrative mapping as way to engage the imagination with – yes – a storyworld. This is not to say that narrative understanding requires the drawing or mental contemplation of a comprehensive representation of the storyworld; usually the formation of partial mental maps is sufficient to follow the plot. But for some readers (among them Nabokov) drawing graphic maps is a way to engage the imagination with the storyworld and to enhance comprehension. This map-making activity can go far beyond making sense of the text and become an autonomous activity comparable to writing fan fiction. To support this view, I invoke the numerous maps found on the Internet for narratives ranging from Proust’s A la recherche du temps perdu to Tolkien’s Lord of the Rings. While the strictly “textualist” aesthetics of orthodox literary theory would regard these maps as frivolous, a world-oriented approach regards the urge to map and diagram as a legitimate form of active participation in narrative, because, while you can imagine too little to appreciate these texts, you cannot imagine too much.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":null,"pages":null},"PeriodicalIF":0.1000,"publicationDate":"2018-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"3","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Frontiers of Narrative Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1515/fns-2018-0020","RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"LITERARY THEORY & CRITICISM","Score":null,"Total":0}
引用次数: 3
Abstract
Abstract Ever the devil’s advocate, Richard Walsh argues in a 2017 article that drawing maps based on narrative fiction is a meaningless activity, because (1) narrative cognition is temporal and not spatial; (2) narrative fiction does not project worlds in any experiential sense of the term (i. e. worlds as immersive environments) but only “worlds” as textual constructs, as products of écriture; and (3) reading should lead to meaningful interpretations, and inferences should be limited by a principle of relevance. His example of futile map-making is the floor plan which is included in the English editions of Alain Robbe-Grillet’s La Jalousie but is absent from the original French edition. In this article, I argue that narrative cognition is not a specialized ability distinct from the forms of cognition that we use in practical life, but rather, the product of these abilities; and I defend the validity of narrative mapping as way to engage the imagination with – yes – a storyworld. This is not to say that narrative understanding requires the drawing or mental contemplation of a comprehensive representation of the storyworld; usually the formation of partial mental maps is sufficient to follow the plot. But for some readers (among them Nabokov) drawing graphic maps is a way to engage the imagination with the storyworld and to enhance comprehension. This map-making activity can go far beyond making sense of the text and become an autonomous activity comparable to writing fan fiction. To support this view, I invoke the numerous maps found on the Internet for narratives ranging from Proust’s A la recherche du temps perdu to Tolkien’s Lord of the Rings. While the strictly “textualist” aesthetics of orthodox literary theory would regard these maps as frivolous, a world-oriented approach regards the urge to map and diagram as a legitimate form of active participation in narrative, because, while you can imagine too little to appreciate these texts, you cannot imagine too much.
Richard Walsh在2017年的一篇文章中指出,基于叙事小说绘制地图是一种毫无意义的活动,因为:(1)叙事认知是时间的,而不是空间的;(2)叙事性小说不投射任何经验意义上的世界(即作为沉浸式环境的世界),而只是作为文本结构的“世界”,作为文学的产物;(3)阅读应该导致有意义的解释,推断应该受到关联原则的限制。他的徒劳无获的地图制作的例子是楼面平面图,它被收录在阿兰·罗布-格里耶的《La Jalousie》英文版中,但在法文原版中却没有。在本文中,我认为叙事认知不是一种区别于我们在实际生活中使用的认知形式的专门能力,而是这些能力的产物;我为叙事映射的有效性辩护,它是一种让想象力融入故事世界的方式。这并不是说叙事理解需要对故事世界的全面呈现进行绘画或心理思考;通常,在脑海中形成部分地图就足以跟上情节的发展。但对于一些读者(包括纳博科夫)来说,绘制图形地图是一种将想象力与故事世界结合起来、增强理解力的方式。这种绘制地图的活动可以远远超越文本的意义,成为一种可以与写同人小说相媲美的自主活动。为了支持这一观点,我引用了从互联网上找到的大量地图,从普鲁斯特的《追根查根》到托尔金的《指环王》。正统文学理论的严格“文本主义”美学认为这些地图是轻佻的,而以世界为导向的方法则认为,绘制地图和图表的冲动是积极参与叙事的一种合法形式,因为,尽管你可以想象得太少,无法欣赏这些文本,但你不能想象得太多。