NARRATIVE最新文献_第3页

Instructing the Reader of Metafiction: Nabokov & Gombrowicz 指导读者阅读元小说:纳博科夫与冈布罗维奇

IF 0.9 2区文学

NARRATIVE Pub Date : 2023-05-01 DOI: 10.1353/nar.2023.0008

Kate Kokinova

{"title":"Instructing the Reader of Metafiction: Nabokov & Gombrowicz","authors":"Kate Kokinova","doi":"10.1353/nar.2023.0008","DOIUrl":"https://doi.org/10.1353/nar.2023.0008","url":null,"abstract":"ABSTRACT:This article compares and contrasts Vladimir Nabokov's and Witold Gombrowicz's various kinds of instructions in order to find out how they work in metafiction. The complicated relationship with the readerdom—a struggle (Gombrowicz) or a clash (Nabokov)—is discussed within an intertwined framework of theoretical approaches to audiences, readers, and the texts. This examination aims at a shift of the study of metafiction—fiction which problematizes its fictional reality—to an aesthetic-response perspective while characterizing a specific type: instructive metafiction. In Gombrowicz's case, one and the same instruction may appear several times, because it is only that way that mythology is created, and instructions turn out to be what Gombrowicz calls \"Form,\" which is to be wrestled with by the implied reader. In Nabokov's case, instructions place the implied reader in the created world, in which he is \"the perfect dictator\" so that he could also control the reader as a fictional character, for as long as we \"live\" in his house, we ought to obey his house rules. Thus, this essay probes a scholarly discussion on metafiction with a self-reflexive layer by not only (re) reading with authorial instructions, and (un)reading against them, but also by analyzing instructions themselves and their interaction with various audiences.","PeriodicalId":45865,"journal":{"name":"NARRATIVE","volume":"31 1","pages":"117 - 137"},"PeriodicalIF":0.9,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46141897","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The Book of Ashes: Authorial Instructions, Incorporations, and House Rules in Jimmy Corrigan: The Smartest Kid on Earth 灰烬之书:《吉米·科里根:地球上最聪明的孩子》中的作者说明、公司和家规

IF 0.9 2区文学

NARRATIVE Pub Date : 2023-05-01 DOI: 10.1353/nar.2023.0012

Russell Samolsky

引用次数: 0

Character Change in Mainstream Movies: Structures of Moral Development 主流电影中的人物变化:道德发展的结构

IF 0.9 2区文学

NARRATIVE Pub Date : 2023-05-01 DOI: 10.1353/nar.2023.0011

Rory Kelly

{"title":"Character Change in Mainstream Movies: Structures of Moral Development","authors":"Rory Kelly","doi":"10.1353/nar.2023.0011","DOIUrl":"https://doi.org/10.1353/nar.2023.0011","url":null,"abstract":"ABSTRACT:Character change is an essential component of Hollywood storytelling, yet little has been written about how it is typically structured. This paper addresses that deficit. Through close formal analysis of a small but narratively diverse group of films—Casablanca (1942), The Apartment (1960), About a Boy (2002) and Wild (2014)—evidence is presented for the existence of a common schema, one that is used to organize the ethical development of morally-flawed protagonists. While this represents only one type of character change, specifying its structural dynamics productively extends our knowledge of commercial cinema's narrative norms as they have persisted in history. It also provides a basis for challenging the view, most fully developed by Carroll (1984), Smith (1995) and Plantinga (2018), that sympathy with or allegiance to characters is a matter of general moral assessment. I argue that because the schema requires a protagonist to repeatedly fall short of an ideal morality, one that is always clearly delineated in the narrative, then allegiance to them cannot be the result of moral approval or their ethical development would be meaningless. My solution is to propose a pluralist account of allegiance, one which emphasizes the role of viewer concern for flawed protagonists who, in all of my examples, suffer sustained emotional and psychological distress.","PeriodicalId":45865,"journal":{"name":"NARRATIVE","volume":"31 1","pages":"213 - 233"},"PeriodicalIF":0.9,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48234443","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Drowned Places: Sea-Level Rise and Narrative Crisis in Elizabeth Rush's Rising 被淹没的地方：海平面上升与伊丽莎白·拉什小说中的叙事危机

IF 0.9 2区文学

NARRATIVE Pub Date : 2023-05-01 DOI: 10.1353/nar.2023.0010

K. Quigley

{"title":"Drowned Places: Sea-Level Rise and Narrative Crisis in Elizabeth Rush's Rising","authors":"K. Quigley","doi":"10.1353/nar.2023.0010","DOIUrl":"https://doi.org/10.1353/nar.2023.0010","url":null,"abstract":"ABSTRACT:Anthropogenic sea-level rise is forcing—and will force—extraordinary measures in adaptation and retreat. At the same time, it is compelling conventions in aesthetics, geography, and narrative to contend with fundamental challenges to description, reference, perception, and place. This article examines Elizabeth Rush's Rising: Dispatches from the New American Shore (2018), an ambitious and sensitive account of the impacts of sea-level rise on coastal communities in the United States. Among Rising's proliferating seascapes, inundation tends to entail a fundamental loss of place, and open waters tend to prove inhospitable to history and memory. The article situates these tendencies among theories of aqueous and marine location, systems of narrative reference, and settler-colonial traditions in spatiality. I read Rising as a statement, poignant and perturbing, of anthropogenic sea-level rise as a creeping catastrophe for certain conventions in interpretation, imagination, and representation—and an impetus to recognize and amplify alternate ontologies. My wider purpose is threefold: to furnish one method for accessing and interpreting the literatures of sea-level rise; to identify the imaginative constraints impinging on certain liquid imaginaries; and to gesture toward the presence and promise of other visions. I aim, ultimately, to help demonstrate the poetic polysemy that incoming waters can be heard, and read, to supply—and to make place for the voices of those who are helping situate their, and \"our,\" watery futures.","PeriodicalId":45865,"journal":{"name":"NARRATIVE","volume":"31 1","pages":"198 - 212"},"PeriodicalIF":0.9,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45866815","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Disrupted Lines: The Illegitimately Born Narrator in Dostoevsky and Hurston 支离破碎的台词：陀思妥耶夫斯基与赫斯特笔下的“天生的叙述者”

IF 0.9 2区文学

NARRATIVE Pub Date : 2023-05-01 DOI: 10.1353/nar.2023.0009

Chloë Kitzinger

引用次数: 0

Introduction: "House Rules"—Reading with Authorial Instructions 简介:“家规”-阅读与作者的指示

IF 0.9 2区文学

NARRATIVE Pub Date : 2023-05-01 DOI: 10.1353/nar.2023.0007

Tatyana Gershkovich

引用次数: 0

Storyminds and Readingminds: Cognitive Plots in David Small’s Stitches and Virginia Woolf ’s “In the Orchard” 故事心与阅读心:大卫·斯莫尔《缝线》与弗吉尼亚·伍尔夫《果园里》的认知情节

IF 0.9 2区文学

NARRATIVE Pub Date : 2023-01-01 DOI: 10.1353/nar.2023.0000

Melba Cuddy‐Keane, Matthew Martello, Terence Patrick Murphy, Nanna Sophie Zheng, C. Fenton, Tung-An Wei, Jan Alber, B. Richardson, Ellen Peel

{"title":"Storyminds and Readingminds: Cognitive Plots in David Small’s Stitches and Virginia Woolf ’s “In the Orchard”","authors":"Melba Cuddy‐Keane, Matthew Martello, Terence Patrick Murphy, Nanna Sophie Zheng, C. Fenton, Tung-An Wei, Jan Alber, B. Richardson, Ellen Peel","doi":"10.1353/nar.2023.0000","DOIUrl":"https://doi.org/10.1353/nar.2023.0000","url":null,"abstract":"ABSTRACT:Beginning with Virginia Woolf ’s question, when writing a novel, “Who thinks it?,” this article proposes that behind every storyworld is a storymind whose action constitutes a cognitive plot. Redeploying Gérard Genette’s “narrativization by focalization,” I argue that description is always focalized, focalizing is an act of perception, and unfolding perceptions inscribe narrative paths. Urging increased attention to percepts, my approach supplements James Phelan’s communicative-oriented model of Author-Resources-Audience with a process-oriented model of storymind-reading-mind-reader’s mind. In this model, readingminds vary along a sliding scale between what I term allodeictic (storymind-oriented) and egodeictic (reader-oriented) poles. In David Small’s graphic memoir Stitches, allodeictic location leads readingminds to experience a cognitive plot of therapeutic self-healing enacted in the drawings themselves. In Virginia Woolf ’s “In the Orchard,” three conflicting allodeictic perceptions of a single scene challenge the coherent logic of egodeictic critical frames, until we grasp the storymind’s kaleidoscopic effects. Visualization, I posit, tells stories through embodied cognition, a supposition supported by neural linkages between imagined and actual body experiences. My conclusion summarizes the new dimensions that the construct of storyminds add to rhetorical theory in the areas of plot, readerly participation, narrativity, and ethics.","PeriodicalId":45865,"journal":{"name":"NARRATIVE","volume":"31 1","pages":"1 - 101 - 102 - 105 - 106 - 109 - 25 - 26 - 48 - 49 - 68 - 69 - 88 - 89"},"PeriodicalIF":0.9,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43114558","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Julian Barnes and the Subversion of the Sense of an Ending 朱利安·巴恩斯和终结感的颠覆

IF 0.9 2区文学

NARRATIVE Pub Date : 2023-01-01 DOI: 10.1353/nar.2023.0004

Tung-An Wei

{"title":"Julian Barnes and the Subversion of the Sense of an Ending","authors":"Tung-An Wei","doi":"10.1353/nar.2023.0004","DOIUrl":"https://doi.org/10.1353/nar.2023.0004","url":null,"abstract":"ABSTRACT:Much theoretical attention has been devoted to the surprise ending, but it is still unclear how fully a surprise ending must resolve global instabilities for it to be aesthetically satisfying. To refine James Phelan’s theory, I argue that in character narration with multiple global instabilities the surprise ending must resolve the global instabilities which are most important to the narrator. My example is Julian Barnes’s The Sense of an Ending (2011), which presents a surprise ending that generally fits well with the progression—which focuses on the global instability of Tony’s relationship with his past—even though it fails to account for the global instability of Mrs. Ford’s inheritance, which more explicitly initiates Tony’s reevaluation of his past. I draw on Armine Kotin Mortimer’s concept of the “second story,” which refers to the reader’s reconstruction, based on given cues, of a significant submerged element that constitutes a complete narrative. Mortimer is helpful for my inquiry because, in terms of the completeness of plot, the criterion for the second story is more rigorous than the existing ones for the surprise ending. Even though Barnes’s ending does not meet Mortimer’s criterion, it is successful because it supplies the narrator’s motivations for storytelling and resolves the more important of the two global instabilities, namely the narrator’s relationship with his past. In turn, Barnes’s ending offers us a more or less complete progression concerning the development of the character narrator.","PeriodicalId":45865,"journal":{"name":"NARRATIVE","volume":"31 1","pages":"101 - 89"},"PeriodicalIF":0.9,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44896743","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Dramatic Poetry as Rhetorical Form: The Case of Sarah Piatt’s “Mock Diamonds” 戏剧诗歌作为修辞形式:莎拉·皮亚特的《假钻石》

IF 0.9 2区文学

NARRATIVE Pub Date : 2023-01-01 DOI: 10.1353/nar.2023.0001

Matthew Martello

{"title":"Dramatic Poetry as Rhetorical Form: The Case of Sarah Piatt’s “Mock Diamonds”","authors":"Matthew Martello","doi":"10.1353/nar.2023.0001","DOIUrl":"https://doi.org/10.1353/nar.2023.0001","url":null,"abstract":"ABSTRACT:The programmatic study of narrative and poetry has stalled without engaging many approaches to narrative inquiry and without comprehending the sui generis achievements of poetical representation. This essay attempts to rejuvenate narratological and specifically rhetorical interest in poetry by carefully examining the dramatic poem—where poetic form intersects with several of narrative theory’s abiding enthusiasms: character, voice, perspective, performance. Marrying theoretical speculation to both practical criticism and literary history, the argument extrapolates from Sarah Piatt’s “Mock Diamonds” a twofold rhetoric of the dramatic-poetic mode. It posits first that, often through segmentation and related phenomena, dramatic poems formally enact a competition between individual communicants and the discursive contexts that threaten to supplant their perspectival authority. Second, it maintains that dramatic poems coordinate a dialogic interplay between (1) character speech, whose semantic content manifests the character-speaker’s intentions, and (2) versification, whose formal qualities signify outside the represented scene. The recitative performance conventionally mandated by poetry integrates these two communicative channels such that they mean the embodied expression they specify together. That culminative detail underscores the essay’s broadest implication: namely, that poetry’s emphases on readerly enactment and sonic, somatic, and typographic patterning generate rhetorical effects not readily available in other representational discourses. Dramatic poetry, as epitomized by “Mock Diamonds,” demonstrates the power of poetic form to renovate, and hence to augment, prevailing theories of even the most familiar narrative constituents.","PeriodicalId":45865,"journal":{"name":"NARRATIVE","volume":"31 1","pages":"26 - 48"},"PeriodicalIF":0.9,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41694693","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Restorying the Sport Performance Masterplot: Jaclyn Gilbert’s Late Air 重述体育表演主线：杰奎琳·吉尔伯特的《深夜空气》

IF 0.9 2区文学

NARRATIVE Pub Date : 2023-01-01 DOI: 10.1353/nar.2023.0003

C. Fenton

{"title":"Restorying the Sport Performance Masterplot: Jaclyn Gilbert’s Late Air","authors":"C. Fenton","doi":"10.1353/nar.2023.0003","DOIUrl":"https://doi.org/10.1353/nar.2023.0003","url":null,"abstract":"ABSTRACT:Sport and exercise studies (SES) scholars have begun harnessing the power of fictional discourse to communicate research. However, they have not yet considered how generic fictions may serve as an interlocutor for athlete/coach/fan negotiation of SES-identified (and potentially harmful) concepts such as the performance storyline, nor have they duly considered the role generic fictions play in interpellating readers to a sporting narrative habitus. I use Jaclyn Gilbert’s novel Late Air as a case study to demonstrate how a rhetorical and socio-formal approach to fiction can serve as a vital resource for identifying, critiquing, and restorying away from the performance masterplot in athletics, particularly when directed towards athletes, coaches, and consumers of sport media. Fiction as thought experiment allows for these readers to mediate their engagement with represented “truths” of fictional worlds relevant to their own life. Fiction writers use a wide range of resources, including narration, characterization, and plotting to conduct these experiments. My inquiry is one that seeks a synthesis between sport studies and narrative theories of fiction that will result in each field contributing to the other. This article represents one case study and concludes with ideas for future collaboration.","PeriodicalId":45865,"journal":{"name":"NARRATIVE","volume":"31 1","pages":"69 - 88"},"PeriodicalIF":0.9,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42755535","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0