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Although there is an extensive body of work concerning the relationship between narrative, rhetoric, and imaginative literature on the one hand and scientific writing on the other, the nature of the relationship is more often assumed than analysed. Literature theorists treat science as a thematic input into creative writing, while science theorists look for ways for scientists to tell better stories. This essay describes a principled, coherent and enabling theory to inform the narratology of scientific writing. It describes the framework of narrative codes set out by Roland Barthes which he applied to short fiction, but considered could be applied to other sorts of writing. Application of the codes to a recent scientific paper shows that they can analyse scientific writing as well as literary writing. The implications of this, notably that a common narrative framework does not diminish scientific writing, and that Barthes’ approach may have something useful to say about the nature of scientific models, is discussed.

This poster presents a suite of Python utilities for interacting with the DICES database of metadata on Greek and Latin epic speeches and for connecting DICES data with a broader ecosystem of linked open data for Classics.

Taking an interdisciplinary approach that draws on narrative theory, composition scholarship, and investigations into the affective dimensions of the research process, this article discusses stories written by college students about their experiences locating, evaluating, and using information in the context of academic research. These narratives provide insight into how students conceptualize the research process and perceive their often tenuous roles as researchers. A textual analysis of a selection of student narratives is included, demonstrating how narrative not only enhances our understanding of the research experience but also enables students to raise larger questions about authenticity and power in the classroom.

This work deals with pen & paper role-playing games as an oral and collective way to create fiction. It shows RPGs set up game procedures to oblige players to co-create narrative and diegetic contents, according to what we call intercreativity. Intercreativity,which is specific to RPGs, blends fictional creation and reader-response together. It reconsiders the definition of literature as a written text. First, we study how intercreativity has been built during the RPGs’ history. Then we show RPG is a link between fantasy literature and geek culture. RPGs are considered as co-created worlds, pioneers of shared worlds, RPG video games and systematization of imaginary worlds, which sets the base of interactivity. Finally, we explain that intercreativity is a narrative process, a collective and immediate experience of creating fiction with oral language. We show how these tools for creation inspire writers to produce classic literary works. We broach these games as tools to create fiction. RPGs smash and systematize fiction, and the narrative reorganization is the players’ creation. Intercreativity makes reappear a Dionysian way to consider literature, which has been annihilated during the Industrialization.; Cette recherche traite du jeu de rôle sur table comme moyen oral et collectif de création fictionnelle et littéraire. Elle montre que les JdR mettent en place des dispositifs ludiques qui obligent les joueurs à co-générer un contenu fictionnel diégétique et narratif, selon le principe qui est nommé l’intercréativité. L’intercréativité propre aux JdR fusionne les actes de création et de réception de la fiction et met en crise le rapport de la littérature à l’écrit. Dans un premier temps, nous étudions la manière dont s’est élaboré le concept d’intercréativité tout au long de l’histoire des JdR. Ensuite, nous les intégrons à un ensemble dont ils sont un élément fondateur, la culture geek. Nous montrons que le JdR est un héritier des littératures de l’imaginaire et qu’il fait la jonction entre ces deux sphères. Les JdR y sont également envisagés comme des mondes fictionnels intercréés, précurseurs d’une part des univers partagés et des jeux vidéo RPG, et d’autre part de la systématisation des mondes fictionnels qui induisent une réception interactive. Dans notre troisième partie, nous expliquons en quoi l’intercréativité fictionnelle mise en place par le JdR est un processus narratif et littéraire, une expérience collective et immédiate de la création de la fiction par le langage oral. Nous nous penchons sur les spécificités narratives de ce médium. Nous montrons également comment ces outils de création fictionnelle dépassent, pour certains écrivains, le cadre des JdR pour déboucher sur une création littéraire classique. Enfin, nous abordons le ludique comme un ensemble de dispositifs qui obligent les joueuses à créer un contenu fictionnel ensemble, ce que nous nommons l’intercréativité. Le JdR accomplit une disruption et une systématisation du matériau fictionnel, dont la réorganisation narrative est la création des joueurs. Avec l’intercréativité, c’est un rapport dionysiaque à la littérature qui ressurgit, alors qu’il avait été annihilé par l’industrialisation.

The rapid rise in cinema attendance amongst the general population in the 1920s and 1930s has been well documented as a social and cultural phenomenon. The appeal of cinema was just as strong for children, so how did this expansion of children’s cultural lives affect their reading? How are story paper reading habits connected to cinema attendance, and in what ways did the cinema influence the story papers? Making meaning from cultural acts does not happen in isolation — that is to say that story paper reading should not be seen as a discrete act with meaning in and of itself. This chapter explores the ways in which children took messages and meanings from story paper reading in the context of their wider social and cultural lives, bringing together visual (cinematic) and written (story paper) textual experiences. Using film theory and narrative theory it shows how story paper and film narratives of the period intersect and draw from each other, setting up structural parallels. Weekly story papers carry obvious comparisons with weekly cinema serials, but beyond superficial similarities some key points can be drawn out about the roles of producers and consumers, authors and directors.

Germany is facing a contemporary mainstreaming of the far right, which has a long tradition of wanting “Turks out!” Turkish immigrants have been the main strangers in Germany following the guest-worker treaty signed in 1961, physically close as friends, yet culturally distant as foes. From September 2015 onwards, German–Turkish politics of belonging, the Turkish issue, underwent a contentious period resulting in secessions between German and Turkish authorities in September 2017. Against this background, this article asks: How did mainstream political actors in Germany emplot the Turkish issue while a far-right challenger party sought to establish a far-right narrative of ethno-national rebirth? The temporal unfolding of the Turkish issue is explored by drawing on media analysis (n = 1120), interpretive process-tracing and narrative genre analysis of claims raised by political actors in German and Turkish newspapers. In order to visualize how the Turkish issue evolved between 2000 and 2017 in media discourse, 546 articles in the mainstream quality newspaper Frankfurter Allgemeine Zeitung were collected. The Great Secession period between 2015 and 2017 was selected for an in-depth case study. To conduct interpretive process-tracing and narrative genre analysis of this case, another 574 articles in the German Süddeutsche Zeitung and Turkish Hürriyet were analysed. In so doing, this article contributes to (1) the study of belonging and identity by adopting a novel approach to boundary studies, combining narrative genre analysis with Habermas’ communicative action theory, and (2) the study of political strategies of adapting, ignoring or demarcating far-right contenders by, again, introducing a narrative approach to political communication and mobilization processes. The analysis shows that, in the first stage of the Great Secession period, inclusionary and exclusionary boundaries competed, while in later stages inclusionary boundaries were cast aside by exclusionary boundaries after reputable mainstream party-political actors adopted and thus legitimized far-right story elements.

Heart of Darkness is a novella that is roughly 38,000 words long and divided into three sections. The longest paragraph in the text, the nexus, is in the second half of the second of the three sections. It is structurally central to the text, making it a tale3 (the nexus) within a tale2 (Marlow’s tale) within a tale1 (the unnamed narrator’s tale). Within the nexus we find a phrase, a so-called Latour Litany, that spans the ontological dimensions of the story. This paper concludes with an annotated copy of the nexus paragraph.

The romance plot is one of the most pervasive narratives in Western society. It is a cultural masterplot: a story with which almost everyone is familiar, which can deeply and intrinsically shape the way we think about how we live. This article examines how people interact with the romance masterplot and how it affects their search for love on dating apps in Australia during the global pandemic in 2020. Using data drawn from interviews and focus groups, and combining sociological research and narrative theory, we explore the way the romance masterplot affects the way people approach romance in dating apps, and how this has been complicated by the pandemic. We propose that participants use of dating apps in this period was characterised by 'jagged love', which we have theorised in relation to Zygmunt Bauman's notion of 'liquid love'. This manifested cyclically, as participants turned to the apps seeking the security offered by the romance masterplot in a time of global uncertainty; swiped, matched, and messaged in large numbers, and lost faith in the apps ability to deliver on the romantic masterplot. While episodic behaviour on dating apps is not new, the pandemic heightened and accelerated the process as people desperately sought the certainty offered by the romance masterplot, quickly lost faith because of the limitations of the pandemic, and then returned again.

In picturebooks, the text, the image and the material book compete or cooperate with each other to convey and perform the narrative. The incorporation of material elements into the picturebook narrative at the same time extends reading beyond a purely cognitive activity: the reader enacts and interprets the narrative by interacting physically with the architectural space of the book. In Katsumi Komagata’s Blue to Blue, the paper steps forward to take up a significant narrative role rather than retreating as the decorative backdrop or mere material support for the visual and textual elements. Not only do the qualities of the paper like texture, transparency and luminosity evoke features of the landscapes and characters in the story, but the shapes of the paper and the die-cuts also create physical depth and form characters that spring into life at the turning, poking and caressing of the reader’s hands., U slikovnicama se tekst, slika i sama knjiga kao predmet međusobno natječu ili surađuju kako bi posredovali i predstavili pripovijed. Uključivanje materijalnih sastavnica u pripovjednu slikovnicu istodobno proširuje pojam čitanja preko granice čisto kognitivne aktivnosti: čitatelj izvodi i interpretira pripovijed na taj način tako što fizički surađuje s arhitektonskim prostorom knjige. U slikovnici Blue to Blue [Plavo do plavoga] Katsumija Komagate (1994), papir preuzima važnu pripovjednu ulogu umjesto povlačenja u ulogu dekorativne pozadine ili pukoga materijalnoga oslonca vizualnih i tekstualnih sastavnica. Osim što svojstva papira, kao na primjer tekstura, prozirnost i svjetlucavost, prizivaju značajke prikazanih krajolika i likova u priči, oblici papira i prorezi u njem također stvaraju dubinu i formiraju likove koji oživljavaju kad ih okreću, guraju ili miluju čitateljeve ruke.

In order to identify a personalized story, suitable for the needs of large masses of visitors and tourists, our work has been aimed at the definition of appropriate models and solutions of fruition that make the visit experience more appealing and immersive. This paper proposes the characteristic functionalities of narratology and of the techniques of storytelling for the dynamic creation of experiential stories on a sematic basis. Therefore, it represents a report about sceneries, implementation models and architectural and functional specifications of storytelling for the dynamic creation of functional contents for the visit. Our purpose is to indicate an approach for the realization of a dynamic storytelling engine that can allow the dynamic supply of narrative contents, not necessarily predetermined and pertinent to the needs and the dynamic behaviors of the users. In particular, we have chosen to employ an adaptive, social and mobile approach, using an ontological model in order to realize a dynamic digital storytelling system, able to collect and elaborate social information and contents about the users giving them a personalized story on the basis of the place they are visiting. A case of study and some experimental results are presented and discussed.

Narrative approaches are used increasingly in the health professions with a range of objectives. We must acquaint educators with this burgeoning field and prepare them for the incorporation of story-telling in their pedagogical practices. The authors describe a template for a faculty development workshop designed to foster self-reflection through the use of narrative techniques and prepare clinical teachers to deploy such approaches. The design is based on a six-year experience in delivering introductory workshops in narrative approaches to medical teachers. The workshops, which served as a model for the template, have been offered to a total of 92 clinicians being trained to mentor medical students. A generic template is described. It includes a table of core concepts from narrative theory, a set of probing questions useful in a basic technical analysis of texts and a list of initiating prompts for exercises in reflective writing. A workshop organized and deployed using this template is deliverable over a half-day. The model has proven to be feasible and highly valued by participants. It can be adapted for other contexts by educators across the continuum of health professional education.

Aiming to discuss the reading of semiotics in revealing the understanding story on Al Qur’an, this paper applies the narrative theory by A.J. Greimas on the story of the people of the Garden on QS. Al Qalam 17-32. This paper discusses the story due to the lack of research discussing about it, not limited to semiotics study. In fact, the story contains moral values that need to be elaborated. Therefore, starting from the assumption that the Qur'an through the story of the people of the garden has a moral ideal mission for mankind– especially Muslims, including both understanding within themselves and departing from outside scholar, this paper aims to prove the importance of the presence of stories in Al Qur'an through the integration of science outside Islam, namely semiotics. This research intends to answer the question on how to understand the narrative and moral ideals in the story of the garden owner in QS. Al-Qalam: 17-32 based on the narrative theory of A.J. Greimas.

This paper provides a close narratological and comparative analysis of Rachel Carson’s short story “A Fable for Tomorrow” (1962) and Susanne Antonetta’s memoir Body Toxic: An Environmental Memoir (2001), which both highlight the pragmatic and ecocritical potential of literature as a source of cultural responses to the Anthropocene challenge. Engaging in a critical dialogue with Brian Massumi’s concept of speculative pragmatism as presented in his Semblance and Event: Activist Philosophy and the Occurrent Arts (2011) and, more precisely, its aesthetic-political approach, the literary readings in this article build on other notions such as the unnarrated and the toxic sublime which complicate and enrich the literary discourse on environmental disruption. The literary works of environmental (non)fiction studied offer examples of how literature negotiates the (in)visibility, (un)representability, and (non)narratability of forms of environmental pollution through the use of the trope of the sublime as well as of olfactory and gustatory perception while they both portray the authors’ evident rhetorical intention to foster ecological awareness and responsibility. Article received: April 23, 2020; Article accepted: May 30, 2020; Published online: October 15, 2020; Original scholarly paper How to cite this article: Lombard, David. "Toward a Speculative-Pragmatic Sublime: A Narratological Analysis of the Toxic Sublime and the Unnarrated in Contemporary U.S. Literature." AM Journal of Art and Media Studies 23 (2020): 121-132. doi: 10.25038/am.v0i23.401

This paper traces the major shifts that have taken place in the field of homiletics over the last century, focusing especially on the formation of the “New Homiletic,” a reversal of the movement of preaching from deduction (essay-like) to induction (story-like). Next, the paper engages the so-called poststructural turn in literary theory and philosophy, articulating the ways that these developments challenge the movement of homiletics. Lastly, in critical conversation with the history of homiletics as well as the impact of poststructural theory, this paper offers a new way of conceiving the movement of preaching as neither deductive nor inductive, but conductive.

This paper aims at locating complex patterns of ambivalence in the narratology of Daniel Silva’s Second World War thriller, The Unlikely Spy, published in 1996, by contending that it recreates a historically justifiable picture of the 1940s in a manner that highlights the typical historicist episteme of the 1990s. This is because its plot retains an apparent structural wholeness as far as the atmospheric evocation through archival research is concerned in spite of the fact that its narratorial focus is informed by characteristic postulates of postmodernist historiography. The argument's theoretical exposition of the latter depends, through an emphasis on notions of simulations, evasions and self-deconstruction, on Jean Baudrillard's proclamation that history’ is no longer possible. The paper employs techniques of qualitative discourse analysis for studying the novel’s narratological patterns and historicist constructs. It shall be seen how, along with narrativity that combines motifs of linearity and temporal-spatial chaos, the text philosophically problematizes the ‘reality’ of the War through an ambivalent intermingling of confrontation and evasion by metonymically representing the entire War-dynamic – completely dispensing with any first-hand account of the uniformed soldiers’ battlefield – in devious circles of executive offices and spies stalking the streets during the blackout. It is further contended that the novel’s historicist vision draws attention to, and even symbolically represents, the ambivalent nature of the relationship between modernism and postmodernism.

童話「ごんぎつね」の草稿と定稿を中心に、小学校国語教科書に掲載された9種の文章と合わせて計11種類の異本を比較検討した。 視点を示唆する言語指標をもとに分析したところ、（1）草稿と（2）定稿における語りの特徴的な差異として次の3点を確認した。草稿は、（1a）キツネがヒトの村に出て「行く」物語である。（1b）語り手はキツネの側からの「見え」を一定の距離感を保って語り、（1c）伝統的な民話風の語り方がなされる。定稿は、（2a）ヒトの村にキツネが出て「来る」物語である。（2b）語りはヒトからの「見え」を基調とするが、キツネの視線に重ね合わせた語りも交える。（2c）外側と内側から状況に応じた語りを組み合わせ、現代の小説に通じる心理描写がなされる。 教科書は、（3）平成末年の5種と、（4）昭和30～40年代の4種を調査した。（3）平成の教科書は、典拠とする（2）定稿を尊重し、作品をほぼそのまま掲載している。しかし、（2）定稿の特に最終節が、（1）草稿に比べて、視点を示す言語指標に乏しく混乱が生じがちなため、一部の教科書は最終節の段落構成を再編し、読みを誘導している。（4）昭和の教科書は、原典の尊重よりも、視点の整合性や、物語展開の平明さなどの教材性を優先し、改作や圧縮などの加工を施している。, This paper compares eleven texts of the children’s story Gon-Gitsune, mainly investigating viewpoint changes between the text of the original manuscript and that of the first publication. Results revealed the following four points (1)―(4). (1a) In the original draft, Gon goes out of the mountains to the village. (1b) The narrator tells the story from an external, objective perspective. (1c) The narration keeps a traditional folk-tale style. (2a) In the first published version, Gon comes to the village from the mountains. (2b) The narrator tells the story based on the villagers’ point of view, mixed with Gon’s viewpoint. (2c) The narrator describes events combining an external, objective perspective with internal, subjective ones, and this combination evokes the style of modern novels. (3) The paper also investigates nine versions of the story found in elementary school textbooks. Five of the textbooks, all published in 2014, reproduced the text of the first published version unaltered, with the exception of paragraphing. Since the first published version has fewer linguistic markers which indicate viewpoints than the original draft, some texts in 2014 changed the paragraphing. Elaboration in paragraphing made it easier for readers to recognize the different viewpoints. (4) Four textbooks in the 1950s and ’60s prioritized perspective consistency and plot simplicity over text preservation, so they adapted and omitted some parts of the first published version.

This paper will explore the concept of “fakeness” in Julian Barnes’ Flaubert’s Parrot. Defining “fake” as something “formed by or adapted to an artificial or conventional standard,” I will show how Barnes’ novel exposes the “fakeness” of historical knowledge. Utilizing Linda Hutcheon’s theories regarding postmodern literature—as well has Hayden White’s theories regarding historiography—I will analyze how Flaubert’s Parrot fakes literary biography, historical documents, academic conventions, female voices, and even the novel itself. This paper shows how Flaubert’s Parrot exposes the weaknesses in our understanding of history, as well as our willingness to believe in problematic historical narratives. More than this, my paper will show how Barnes’ novel ultimately succumbs to the narrative conventionality that it claims to subvert—illustrating how it is impossible to escape factitious conventions if one wants to impart a sense of meaning. Flaubert’s Parrot serves as a case study within the fields of deconstruction, narrative theory, and historiography—showing how problematic historical accounts can easily mime conventional academic standards and be readily accepted by readers. My study of Flaubert’s Parrot is particularly relevant with regard to our “Post-Truth” political era, as it shows how the quest to include multiple truths in the historical narrative can be taken advantage of in order to include lies. Flaubert’s Parrot emphasizes Linda Hutcheon’s claim that our understanding of history is based upon unreliable “traces” and “relics,” and is susceptible to being radically altered by the addition or subtraction of historical “relics” (Hutcheon 119). Although Flaubert’s Parrot problematizes our system of historical knowledge, its ultimate submission to the conventional novel form shows that it may be impossible to escape from the factitious conventions that shape our modes of knowledge.

In this paper I intend to revisit the established chronology of the Metamorphoses. I will be arguing that an ellipsis of nearly a year occurs following Charite’s wedding at 7.14, a period presumed to span merely a few weeks heretofore in Apuleian studies. Prompted by this discovery, I will conduct a re-evaluation of how Lucius handles time within his narrative by comparing this ellipsis with similar instances of temporal distortion in the novel. I will conclude by claiming that this ellipsis is a version of a temporal topos familiar from Greek romance novels, which further serves to strengthen the analogies between Lucius’ initiation and the weddings of Charite and Psyche. Both the theoretical approach and terminology employed in this paper draw primarily from Gérard Genette’s Narrative Discourse (1980) and Mieke Bal’s Narratology ([1985]2009). I will be following the scholarly edition by Robertson ([1940-1945]1985-1992), but will also note any discrepancies between scholars which are relevant to my argument.

The main purpose of this study is to trace the ways the body language is incorporated into contemporary Ukrainian women’s short story narrative modes. The paper seeks to elucidate the differences between various narrative models in expressing the protagonists’ feelings and emotions throw the body language. Drawing upon the narratology, comparative and descriptive methods the author examines storytelling manners of the three stories by O. Derkachova (“Tango. Love Story”), O. Zabuzhko (“After the Third Call the Entrance to the Hall is Prohibited”) and T. Zarivna (“Notes on the Edge”). The author gives particular attention to the narrative representation of the women’s attitudes towards themselves and their previous somatic and mental traumas, such as abortion, sexual violence, forced marriage etc. Therefore, the paper argues that these sufferings are clearly articulated through the images of glance, heart, mirror, soul, tears, voice, even body language absence. Furthermore, the author claims that their indicating depth depends on the narrative types. In other words, heterodiegetic narrative in O. Zabuzhko’s and T. Zarivna’s works offers concise body’s characteristics. On the contrary, extensive internal focalization in these stories and O. Derkachova’s homodiegetic narrative is much more attentive to the female sensibility. For example, the characters’ multiple retrospections in O. Zabuzhko’s story reveal exceptional importance of heeding and understanding her feelings. The author concludes that the body language actively integrated into contemporary Ukrainian female story narration predominantly asserts feelings of misery and anxiety experienced by their female protagonists. Their perception and comprehension is more highlighted in the retrospective homodiegetic and internal focalization narrative processes.

This paper draws on discourse analysis and narrative theory to uncover the strategies exploited by authors who voice the perpetrators’ perspectives on war and conflict. As an “extreme” form of literature on both a formal and an ethical level, perpetrators’ testimonies cannot be but a “relayed” and therefore layered story, calling for a particular mise en scène. The paper assesses the importance of testimonial scenography in Une Saison de machettes, an account written by former war reporter Jean Hatzfeld that presents transcribed interviews with Rwandan génocidaires. An analysis of excerpts from the English and Dutch translations of Hatzfeld’s book reveals the polyphonic nature of the killers’ testimony and subverts the idea of a “consonant” translation as promoted by Hatzfeld himself. Cet article propose une analyse du discours pour faire ressortir les stratégies employées par les auteurs qui donnent la parole au bourreau. En tant que forme « extrême » de littérature tant sur un niveau formel qu’éthique, le témoignage du bourreau sera forcément un récit « relayé » et, par conséquent, stratifié et reposant sur une mise en scène élaborée. L’article met en avant l’importance de la scénographie testimoniale dans Une Saison de machettes, un « rapport » rédigé par l’ancien reporter de guerre Jean Hatzfeld et qui propose des entretiens transcrits avec des génocidaires rwandais. Une analyse des traductions anglaise et néerlandaise du livre révèlera la nature polyphonique du témoignage des tueurs, s’opposant ainsi à l’idée d’une traduction « consonante » promue par Hatzfeld lui‑même.

This paper presents work-in-progress for the development of a semi-automatic methodology for the analysis of shifts in narrator profile in translated fiction. Such a methodology is developed for a comparative quantitative analysis of electronic source and target texts organized in a parallel corpus. The first and main part of this paper presents the theoreti-cal motivation for the organization of two systems of categories focusing on the relationship between the two discursive centres involved in reported speech - narrator and character (but also quoter and quotee in other text types) - by developing the proposals of dialogistic/intertextual and attitu-dinal positioning in Appraisal Theory. The second part of this paper ana-lyses a selection of examples illustrative of such cate gories, and presents and comments the results of the comparative quantitative analysis of Charles Dickens's Oliver Twist and eight European Portuguese translations for juvenile and adult readerships. This comparative analysis proves the methodology operative and shows evidence of two tendencies: ‘levelling-out’ and ‘explicitation’, which, although elsewhere identified as trans-lational universals, may here be identified as norms because they correlate with the independent variable target readership. The purpose of developing this methodology is to help describe the way interlingual translation may transform narrator profile as well as contribute to the formulation of trans-lational norms.

Since Serge Doubrovsky coined the term autofiction in 1977, it has taken on a wide variety of meanings, and recent scholarship has framed autofiction as the inability of the reader to interpret a text within either a fictional or factual framework alone. Often this is expressed by an integration of the Spectral into the narrative, for the ghost inhabits the murky space between the ontological poles of fiction and referentiality. Despite this broader conception, scholarly discussion of autofiction has considered only literary sources, and it has not yet been associated with other forms, such as film. This paper takes autofiction as a point of departure and suggests that it provides a neat framework with which to analyse Mark Cousins' genre-blurring film of 2015 I Am Belfast, in which he attempts to tell the story of his home city, with particular focus on the presence of the Spectral as a means to articulate the traumatic history of Northern Ireland's capital city. Although a tale of one city, the film is a tale of two ghosts. Firstly, while Cousins is ever-present in a documentary-like voice-over, he communicates with a ghostly 10,000-year-old woman called "Belfast" who guides the viewer through the city and narrates its traumatic story, and secondly, the spectre of Belfast's ill-fated ocean liner, the Titanic, stalks the cinematography, as if the Titanic's tragic demise prefigured the political crisis. In short, this paper suggests that the interplay between the fictional and the real in the process of traumatic testimony, led by the inclusion of the spectral, renders I Am Belfast a fitting example of autofictional film.

Since Serge Doubrovsky coined the term autofiction in 1977, it has taken on a wide variety of meanings, and recent scholarship has framed autofiction as the inability of the reader to interpret a text within either a fictional or factual framework alone. Often this is expressed by an integration of the Spectral into the narrative, for the ghost inhabits the murky space between the ontological poles of fiction and referentiality. Despite this broader conception, scholarly discussion of autofiction has considered only literary sources, and it has not yet been associated with other forms, such as film. This paper takes autofiction as a point of departure and suggests that it provides a neat framework with which to analyse Mark Cousins' genre-blurring film of 2015 I Am Belfast, in which he attempts to tell the story of his home city, with particular focus on the presence of the Spectral as a means to articulate the traumatic history of Northern Ireland's capital city. Although a tale of one city, the film is a tale of two ghosts. Firstly, while Cousins is ever-present in a documentary-like voice-over, he communicates with a ghostly 10,000-year-old woman called "Belfast" who guides the viewer through the city and narrates its traumatic story, and secondly, the spectre of Belfast's ill-fated ocean liner, the Titanic, stalks the cinematography, as if the Titanic's tragic demise prefigured the political crisis. In short, this paper suggests that the interplay between the fictional and the real in the process of traumatic testimony, led by the inclusion of the spectral, renders I Am Belfast a fitting example of autofictional film.

Since Serge Doubrovsky coined the term autofiction in 1977, it has taken on a wide variety of meanings, and recent scholarship has framed autofiction as the inability of the reader to interpret a text within either a fictional or factual framework alone. Often this is expressed by an integration of the Spectral into the narrative, for the ghost inhabits the murky space between the ontological poles of fiction and referentiality. Despite this broader conception, scholarly discussion of autofiction has considered only literary sources, and it has not yet been associated with other forms, such as film. This paper takes autofiction as a point of departure and suggests that it provides a neat framework with which to analyse Mark Cousins' genre-blurring film of 2015 I Am Belfast, in which he attempts to tell the story of his home city, with particular focus on the presence of the Spectral as a means to articulate the traumatic history of Northern Ireland's capital city. Although a tale of one city, the film is a tale of two ghosts. Firstly, while Cousins is ever-present in a documentary-like voice-over, he communicates with a ghostly 10,000-year-old woman called "Belfast" who guides the viewer through the city and narrates its traumatic story, and secondly, the spectre of Belfast's ill-fated ocean liner, the Titanic, stalks the cinematography, as if the Titanic's tragic demise prefigured the political crisis. In short, this paper suggests that the interplay between the fictional and the real in the process of traumatic testimony, led by the inclusion of the spectral, renders I Am Belfast a fitting example of autofictional film.

U radu se iznosi narav odnosa digitalne humanistike i tradicionalne humanistike (ponajprije iz perspektive književnosti) te poveznice između digitalne humanistike i informacijskih i komunikacijskih znanosti. S obzirom na to da je glavni fokus rada računalno potpomognuta analiza književnih likova, objašnjava se kako naratologija tumači likove, njihovu klasifikaciju i karakterizaciju, što predstavlja književnoteorijsko polazište za analizu likova u središnjem dijelu rada. Također, navode se i objašnjavaju računalne metode koje se koriste prilikom računalno potpomognute analize književnih likova. U istraživanju se upotrebljavaju sljedeći književni tekstovi: Posljednji Stipančići (Vjenceslav Novak), Krvavi most u Zagrebu (Mirko Bogović), Šuma Striborova (Ivana Brlić-Mažuranić), Oprava (Josip Kozarac) i Oko Lobora (Antun Gustav Matoš), koji su dostupni na internetskoj stranici e-lektire. Istraživanje je usredotočeno na naratološku analizu književnih likova potpomognutu računalnim metodama i alatima. Analiza rezultata pokazuje korisnost računalnih metoda i alata u naratološkoj analizi likova. Proučavanje glagola koji se vežu uz pojedini lik, traženje podataka o interakciji likova, analiza GDEX primjera izravnih definicija, statistički podaci o udjelima vlastitih imenica i osobnih zamjenica postupci su kojima se ostvaruje karakterizacija. Navode se i prijedlozi za budući rad i razvoj računalno potpomognutog proučavanja književih likova. This paper presents the nature of the relationship between digital humanities and traditional humanities (primarily from the perspective of literature) as well as the link between digital humanities and information and communication sciences. Given that the main focus of the paper is computer-aided analysis of literary characters, it describes narratological character interpretation, character classification and characterization, which represents the literary theory starting point for character analysis in the central part of the paper. Furthermore, the computer methods used in computer-aided character analysis are listed and explained. The following literary texts are used in the research: Posljednji Stipančići (Vjenceslav Novak), Krvavi most u Zagrebu (Mirko Bogović), Šuma Striborova (Ivana Brlić-Mažuranić), Oprava (Josip Kozarac) and Oko Lobora (Antun Gustav Matoš) which are available on the e-lektire website. The research focuses on the narratological analysis of literary characters aided by computer methods and tools. The analysis of the results shows the usefulness of computer methods and tools in narratological analysis of characters. The study of verbs related to a particular character, searching for data on the interaction of characters, analysis of GDEX examples of direct definitions, statistics on the shares of proper nouns and personal pronouns are procedures by which characterization is accomplished. Suggestions for future work and development of computer-aided study of literary characters are also given.

This paper aims to examine the sonnet of the English Romantic writer, Mary Fitchett Johnson’s “The Widow’s Remarriage” within the framework of psychoanalysis and narratology. Published in 1810, the sonnet narrates the poignant story of a widow who must remarry. Remaining entirely faithful to her deceased husband, the grieving woman accepts the marriage proposal solely for the sake of her child and reveals her agony during the wedding to the eyes of the invited guests. This study analyses the emotional suffering and psychology of this character from the viewpoint of the narrator that is presented as one of the guests at the wedding. It employs narratology to examine the function of the narrator within the textual realm and makes use of the theory of neurosis suggested by Karen Horney to provide a detailed analysis of the protagonist. The study suggests that the female character experiences intricate situation neuroses and adopts unique attitudes towards each one to overcome her pain and manage her emotional state., Bu makale, İngiliz Romantik yazarı Mary Fitchett Johnson'ın “Dulun Yeniden Evlenmesi” başıklı sonesini psikanaliz ve anlatıbilim çerçevesinde incelemeyi amaçlamaktadır. 1810'da yayınlanan sone, yeniden evlenmek zorunda kalan dul bir kadının acıklı hikâyesini anlatmaktadır. Vefat eden kocasına hâlâ sadık olan matemli kadın, sadece çocuğu için evlenme teklifini kabul eder ve acısını düğün sırasında davetlilere açığa vurur. Bu çalışma, düğünün konuklarından biri olarak sunulan anlatıcının bakış açısından bu karakterin duygusal acısını ve psikolojisini analiz etmektedir. Çalışma, anlatıcının metinsel düzlemdeki işlevini incelemek için anlatıbilimi kullanmakta ve baş karakterin ayrıntılı bir analizini sunmak için Karen Horney tarafından ileri sürülen nevroz psikoloji teorisinden yararlanmaktadır. Çalışma, kadın karakterin iç içe geçmiş birden çok durum nevrozu yaşadığını, acısının üstesinden gelebilmek ve duygusal durumunu yönetebilmek için her birine karşı benzersiz tutumlar benimsediğini öne sürmektedir.

Purpose Arguably, how psychohistorians treat entrepreneur life-writing interiorizes the autobiographer’s self, thereby limiting the extent to which self can be accessed by researchers. By advocating a different approach, based on socio-narratology, this paper provides insight into how entrepreneurs in both the distant and recent past construct narrative identities – the textual corollary of “storied selves” – within their autobiographies. Design/methodology/approach The object of analysis is the failed entrepreneur autobiography, straddling two sub-genres – “projective” and “confessional” – which both serve to rehabilitate the author. Findings Narratological analysis of Nick Leeson’s Rogue Trader autobiography reveals how the author deftly draws upon the culturally recognizable trope of the “rogue as trickster” and “rogue as critic” to contextualize his deceptive and illegal activities, before signaling his desire for rehabilitation by exiting banking and futures trading – thereby enacting the “rogue as family man”. Practical implications The application of a narratological methodology opens up new avenues for understanding the interplay between Western cultural institutions, entrepreneur selves, and autobiographical writing. Originality/value This paper shows that narratology provides a new methodological window through which management historians can view entrepreneur autobiographies.

Little research has yet explored the impact of (re)translation on narrative characterization, that is, on the process through which the various actors depicted in a narrative are attributed particular traits and qualities. Moreover, the few studies that have been published on this topic are either rather more anecdotal than systematic, or their focus is primarily on the losses in character information that inevitably occur when a narrative is retold for a new audience in a new linguistic context. They do not explore how the translator’s own background knowledge and ideological beliefs might affect the characterization process for readers of their target-language text. Consequently, this paper seeks to make two contributions to the field: first, it presents a corpus-based methodology developed as part of the Genealogies of Knowledge project for the comparative analysis of characterization patterns in multiple retranslations of a single source text. Such an approach is valuable, it is argued, because it can enhance our ability to engage in a more systematic manner with the accumulation of characterization cues spread throughout a narrative. Second, the paper seeks to move discussions of the effects of translation on narrative characterization away from a paradigm of loss, deficiency and failure, promoting instead a perspective which embraces the productive role translators often play in reconfiguring the countless narratives through which we come to know, imagine and make sense of the past, our present and imagined futures. The potential of this methodology and theoretical standpoint is illustrated through a case study exploring changes in the characterization of ‘the common people’ in two English-language versions of classical Greek historian Thucydides’ History of the Peloponnesian War, the first produced by Samuel Bloomfield in 1829 and the second by Steven Lattimore in 1998. Particular attention is paid to the referring expressions used by each translator—such as the multitude vs. the common people—as well as the specific attributes assigned to this narrative actor. In this way, the study attempts to gain deeper insight into the ways in which these translations reflect important shifts in attitudes within key political debates concerning the benefits and dangers of democracy.

application/pdf, Originally titled “Two Marriages,” D.H. Lawrence’s “Daughters of the Vicar” received numerous additions and changes until it was finally included in a collection of Lawrence’s short stories. The revisions resulted in significant developments in character portrayal and narrative coherence. More specifically, the textual amendment led to more perceptive descriptions of Mary, Louisa, and Alfred as well as a more extensive focus on the relationship of Louisa and Alfred. The purpose of this paper is to consider these revised features of “Daughters of the Vicar” from a narratological perspective. Although narratology is applicable to different kinds of genres, we employ it as a means for literary analysis in order to explore the climactic moments of Lawrence’s story, involving Mary, Louisa, and Alfred. The discussion consists of three sections. The first section identifies the revised material closely related to the representations of the main events. The second and third sections highlight the effects of narrative devices such as anachorony, (literary) functions, and focalization to consider Mary’s ordeal regarding her marriage, Louisa and Alfred’s revelatory experiences, and their eventual union as well as the overall structure of the story. By emphasizing the ways in which the narrative devices dramatize the most intense moments of “Daughters of the Vicar,” this paper demonstrates the relevance of narrative theory to Lawrence’s short story.

The article examines the notion of point of view (POV) in translation by drawing on examples from selected Polish translations of Edgar Allan Poe’s The Cask of Amontillado. First, the paper deals with the question of narratologically-oriented research in translation studies and outlines a short history of the concept of point of view with an overview of definitions proposed by literary scholars. It is argued that recent linguistic analyses of point of view have contributed to examining the notion of POV in literary translations. The article also systematises different research approaches that have been developed to study “point of view in translation.” Finally, the paper follows the linguistically-oriented conception of point of view in order to examine translation shifts with regard to the linguistic indicators of POV, including time markers and modality, based on examples from Polish translations of Poe’s short story.

A narrative is a means through which people can experience the worldwhich Mona Baker (2006) defines as the stories people tell themselves aboutthe world to construct reality and guide people’s behaviors. There are variousforms of narratives, and the genre of autobiography in which the writer decidesto share his/her experience with others is just an example of the ontologicalnarrative where the writer narrates his/her story. The significance ofautobiographies as an ontological narrative coincides with the rise of femaleautobiographers who chronicle their lives to guide other women towardsleading a better life. Autobiographers give themselves a certain position in thenarrative world which can be subjected to change and alteration when theautobiography is translated into another language. Retaining theautobiographer’s position is one of the challenges facing translators,especially, if the autobiography and its translation do not belong to the sameculture. Baker’s (2006) Narrative Theory is one of the theories which canaccount for the changes occurring to the autobiographer’s position whentranslated. The paper uses Baker’s (re)framing scheme to examine therepositioning of the autobiographer, Elizabeth Gilbert, in the Arabictranslation of Eat, pray, love: One woman’s search for everything across Italy,India and Indonesia. The study attempts to identify the (re)framing techniquescapable of changing the autobiographer’s. It also highlights the importance ofthe integration between the Narrative Theory (Baker, 2006) and thePositioning Theory (Davies & Harre, 1990), especially, that the narrative typecan change in the translation

S’ancrant dans un travail de recherche-création, l’article propose d’abord de distinguer au sein des dispositifs les effets de sensibilisation, liés aux affects et à l’immersion, et les effets de conscientisation, liés à l’analyse et la réflexivité. Confronter les catégories théoriques à un processus de design concret permet ensuite d’observer leur enchevêtrement au sein d’un dispositif ludique. L’analyse formaliste du jeu RecovR permet de formuler une hypothèse plus générale pour la conception de jeux à impact social : privilégier un design chaotique qui travaille sur les tensions entre des effets et des postures différents serait une piste pour augmenter le pouvoir d’agir des joueurs et des joueuses et les inciter aux actions prosociales. Anchored in a research-creation project, this paper first distinguishes sensitization effects (related to affect and immersion) and conscientization effects (related to analysing and reflexivity). Confronting theoretical categories to a particular and practical design process shows that these effects can be profoundly intertwined in a specific game. The formalist analysis of RecovR allows to formulate a more general design idea for games for social change: favouring a chaotic design focusing on tensions between different effects could be a way to increase player’s awareness of social issues and to engage in prosocial behavior.

Paper presented at the HCI 2021 conference. Abstract. In this paper, we propose an interdisciplinary theoretical and empirical framework to investigate the particular faculties related to human “narrative cog-nition”, in general, and in relation to MRT in particular. In order to contextualize our approach, we shortly review the cognitive turn in narratology, as well as state of the art in different domains that have undertaken psychophysiological studies that either characterize aspects that are relevant to narrative cognition, or which investigate mixed reality experiences. The idea is to bring together knowledge and insights from narratology, different branches of semiotics and cognitive sci-ences, with empirical strategies that bridge the gap between first-person phenom-enological approaches and psychophysiological and behavioural methods. We propose a rationale in order to combine tools and techniques from MRT/VR/AR, interactive digital narratives and storytelling, with a suite of integrated psycho-physiological methods (such as EEG, HR, GSR and eye tracking) and phenome-nological-subjective approaches.

This paper explores the particular role of narrative in developing futures literacy. As literacy denotes the ability to express and absorb meaning through language, enabling individuals to parse information and relate to others, then futures literacy also needs to draw on the insights of narrative to embrace its full emancipatory potential. We set out the importance of narrative in (1) framing, (2) shaping, and (3) critiquing the world-building techniques that form the foundation of futures thinking and futures literacy. These insights into the “storiness” of futurity, we argue, enhance critical reflexivity and illuminate our wider understanding of the dynamics that drive assumptions about the future(s). This paper offers three examples of how working with narrative tools can enhance futures literacy. First, we show how narrative theory can help us understand the limitations of the human imagination when it comes to futures thinking. Second, we offer an overview of how collaborative, character-led storytelling can activate an agentic relationship with uncertain and complex futures. Finally, we explore how speculative fiction reveals the importance of context in futures thinking. Overall, we demonstrate how proficiency in narrative theory and literary studies can shed more light on the cultural and ontological perspectives and specificities to be considered in how we anticipate and engage in futures thinking.

In the last decades formalistic and structuralist narratology has been intensively recovered and reinterpreted in a cognitive perspective, and with a new focus on transmedial dissemination. The goal is, as Marie-Laure Ryan and Jean-Nöel Thon state, a media-conscious narratology. In particular focalization appears to be a crucial category to define the various narrative techniques through different media. The paper will deal first with the theoretical debate on focalization, analyzing the shift from Genette’s canonical triadic pattern to the more fluid scale proposed by cognitive narratology (for example by Manfred Jahn), and the coexistence between different meanings and applications (basically: perceptual, emotional, informational). The second part will be devoted to some significant examples: the iconographic motif of the character (usually a woman) at the window; Alfonso Cuaron’s recent movie Roma, as a vivid example of central focus in cinema; focalization in videogames; and the 360° multifocalization practiced by new media, which radically change the notion of point of view itself. In the last decades formalistic and structuralist narratology has been intensively recovered and reinterpreted in a cognitive perspective, and with a new focus on transmedial dissemination. The goal is, as Marie-Laure Ryan and Jean-Nöel Thon state, a media-conscious narratology. In particular focalization appears to be a crucial category to define the various narrative techniques through different media. The paper will deal first with the theoretical debate on focalization, analyzing the shift from Genette’s canonical triadic pattern to the more fluid scale proposed by cognitive narratology (for example by Manfred Jahn), and the coexistence between different meanings and applications (basically: perceptual, emotional, informational). The second part will be devoted to some significant examples: the iconographic motif of the character (usually a woman) at the window; Alfonso Cuaron’s recent movie Roma, as a vivid example of central focus in cinema; focalization in videogames; and the 360° multifocalization practiced by new media, which radically change the notion of point of view itself., Between, V. 10 N. 20 (2020): Transmediality / Intermediality / Crossmediality: Problems of Definition, Eds. H.-J. Backe, M. Fusillo, M. Lino, with the focus section Intermedial Dante: Reception, Appropriation, Metamorphosis, Eds. C. Fischer and M. Petricola

Hitomaro’s poems 1: 29 to 31 depict the ideas, memories, and feelings of the narrator at the sight of the overgrown ruins of Ōmi no Ōtsu no Miyako, the decayed capital at Lake Biwa. The sequence comprises one long poem (chōka) and two short poems (tanka) . These compositions are followed by two more short poems by another poet. These poems are assigned by the author of this paper to the preceding sequence in a narratological reading. A narratological reading must also importantly consider peritexts such as the title, preface, postscript, and annotations. There exists a long history of research on Hitomaro’s three poems, which have also been analyzed from the narratological perspective (Misaki Hisashi 2005). However, the extant article dealt only with the aspects of time and space, and the narrator was not examined. The present study attempts a new approach based on the elaborate analysis of narratological poetry, probing whether a narratological lyric analysis of Hitomaro’s poems can offer new insights.

The focus of this paper is the explication of the empathic-ethical model of reading, developed on the basis of the theory of narrative empathy by Suzanne Keen, the psychological studies on connection of empathy and moral development by Martin Hoffman and the ethical criticism by Marta Nussbaum. This approach, based on a broader field of affective narratology and psychology of fiction (postulated in the works by Patrick C. Hogan, James Phelan, Keith Oatley, etc.), explores the narrative techniques leading to more effective empathic impact of a literary text, linking it to the reinforcement of the reader’s moral values, altruistic behavior and pro-social behavior. In this paper, we determined the links with the basic methodical-methodological principles of the modern methods of teaching literature, where the theory of narrative empathy and empathic-ethical reading may be important in establishing the teaching strategies for motivating students to read and interpret works of literature, and they are also strongly aligned with fulfilling the character-building educational goals. The presented insights on narrative empathy, empathic imagination and ethical criticism, introduced in the methodical context, are also evidence of existing but insufficiently utilized methodical potential of the modern interdisciplinary cognitive-narratological studies. As an integral part of the expertise-based teaching methodology, various theoretical concepts in studying narrativity and particularly the relationship between the emotions and the narrative may enrich the methodology with innovative approaches to works of literature, more inspiring both for the teacher and the students. In the final chapter of this paper, the methodological potentials of empathic-ethical model of reading were discussed on the examples of novels included in the school literature courses: A. Nanetti, My grandfather was a cherry tree and A. Cruz, The books that devoured my father.

This paper argues that the corporate annual report is not only a document comprising retrospective accounts of financial position and performance, but also a text that points to the future by means of presenting dreams, aspirations and fantasies. However, these dreams are not to be seen as irrational deviations from the rationalistically oriented discourse of accounting. Quite to the contrary, the three corporate dreams identified in this study – the colonial dream, the evolutionary dream and the efficiency dream – are part of the ongoing self-narration of the company, in which it tries to display an allegiance to a set of appropriate aspirations that are considered legitimate in contemporary global capitalism. Drawing upon ideas from narrative theory, annual reports from 2005 to 2010 collected from NASDAQ OMX Stockholm have been analyzed with the purpose of understanding how corporate dreams are used in financial communication. These corporate dreams contribute, the paper argues, to the construction of legitimacy and trust.

The day-to-day activities of a higher education institution usuallyinvolve the implementation of its institutional mandate. The achievement of the organizational objective in the direction of itsRoadmap is also a common priority. It is misleading that the administration lies only on the shoulder of the President of theState College as the chief manager and head of the institution. The administration also takes place in the institution, however, as soonas the staff enters the institution. Institutional administration by the President of the State College is also based on guidingprinciples and philosophical administrative thought. Thisphilosophy will be explored in this paper and will be interpretedthrough a well-managed higher education institution. This paperwill provide an explanation of the philosophical administrativethought of the President of Bulacan Agricultural State College inthe field of institutional administration. This paper will alsogenerate a philosophic/theoretical model that will describe thecurrent philosophy as the president, being in the top managementof the organization, practicing leadership and management at thestate college &nbsp

This paper analyzes Bret Easton Ellis’ American Psycho (1991), and more specifically, the protagonist-narrator Patrick Bateman. He is analyzed through the theoretical framework known as narratology, and more specifically, the designation of “unreliable narrator,” in order to analyze the interplay between the character and the postmodernist society of which he is a product. This paper also uses the critical approach of close reading as a method. Close reading will be used in order to analyze Bateman and his narration. This essay will argue that in American Psycho, the protagonist-narrator Bateman’s loss of control over reality is described as arising because of how postmodern society works to fit people into a mould and remove individuality. Bateman displays the excesses of the 1980s, and he conforms to the expectations of postmodern society, which emphasizes consumerism and trends but no substance. He lives in a postmodern society that highlights materialism, consumerism, and reality versus hyperreality. He tries to find his identity, away from superficiality and wealth, but fails. He takes out his frustration on people who are in a lower social class than him, and he murders and tortures his victims as a result. Bateman does not only live like someone out of a magazine, but he also copies serial killers, but: he has no real identity or even original method of murder. Bateman takes on an identity as a serial killer and imitates their crimes. He finds himself torn between the postmodern reality and the reality he creates in his mind.

The change of methodological paradigms, introduced by postclassical narratology and especially its cognitivist orientation, has thus far not reflected on the phenomenon of atmosphere. This is somewhat surprising, if we consider that the contemporary conceptualization of atmosphere and the increased interest in the questions it brings forth arise from new phenomenology and phenomenological aesthetics, fields that have directly initiated the development of postclassical narratology. Starting with the phenomenological concept of atmosphere of M. Merleau-Ponty and H. Schmitz (atmosphere as an ecstasy of experience, a specific modus of presence with a quasi-objective and inter-subjective status fitting into the extra-linguistic framework, atmospheric perception as seizing the surfaceless space) and the aesthetic relevance of the concept (G. Böhme, T. Griffero, E. Fischer-Lichte), this paper will present the terminological instability and semantic vagueness of atmosphere and related terms within the narratological discourse of M. Bal, G. Prince, M-L. Ryan and P. Abbott (atmosphere as receptive and narrative disposition, the accompanying factor of morphological categories, the thematic-psychological distinctive characteristic of genre). The primary objective of the paper is to reexamine the methodological legitimacy of the concept of atmosphere, both regarding the limits of narrative understanding and its interpretative potential which might become relevant within cognitive theories of intertextuality (E. Panagiotidy, M. Juvan), while also being a humanistic response to the challenges of new epistemological paradigms and a return to the transcendental essence of literature. Spremenjene metodološke paradigme, ki jih je prinesla postklasična naratologija in še posebej njena kognitivistična usmeritev, fenomenu atmosfere do zdaj niso posvečale veliko razmisleka. To nekoliko preseneča, če upoštevamo, da sodobna konceptualizacija atmosfere in povečano zanimanje za vprašanja, ki jih prinaša, izhajata iz nove fenomenologije in fenomenološke estetike, področij torej, ki sta neposredno prispevali k razvoju postklasične naratologije. V prispevku začenjam s fenomenološkim konceptom atmosfere po M. Merleau-Pontyju in H. Schmitzu (atmosfera kot ekstaza izkušnje, poseben način prisotnosti s kvaziobjektivnim in intersubjektivnim statusom, ki se prilega zunajjezikovnemu okviru, dojemanje atmosfere kot brezpovršinskosti prostora) in estetskim pomenom tega koncepta (G. Böhme, T. Griffero, E. Fischer-Lichte), nato pa predstavljam terminološko nestabilnost in semantično nejasnost atmosfere ter povezanih izrazov znotraj naratološkega diskurza M. Bal, G. Princea, M-L. Ryan and P. Abbotta (atmosfera kot receptivna in pripovedna naravnanost, spremljevalni dejavnik morfoloških kategorij, tematsko-psihološka značilnost žanra). Najpomembnejši cilj prispevka je, da ponovno preuči metodološko legitimnost koncepta atmosfere, tako kar zadeva meje pripovednega razumevanja kot njenega interpretativnega potenciala, ki bi lahko postal relevanten v okviru kognitivnih teorij intertekstualnosti (E. Panagiotidy, M. Juvan), po drugi strani pa gre tudi za humanistični odgovor na izzive novih epistemoloških paradigem in povratek k transcendentalnemu bistvu literature.

Syftet med denna uppsats är att undersöka berättarna och narraterna i Rick Riordans The Lightning Thief (2005) och The Lost Hero (2010), samt att se vilka implikationer de har på berättandet i sig självt. Uppsatsen fokuserar på en komparativ undersökning av romanerna i fråga, och gör allt detta från en narratologisk utgångspunkt. Det narratologiska perspektivet kommer framför allt ifrån Gérard Genettes Narrative discourse och hans termer extra-, intra-, hetero- och homodiegetiskt berättande. Studien av narraten gör detsamma men med Gerald Prince artikel ”Introduction to the Study of the Narratee” i Reader-response criticism: from formalism to post-structuralism. För ett bredare perspektiv på flera, både nyare och äldre, narratologiska studier använder uppsatsen också Manfred Jahns ”Narratology 2.1: A Guide to the Theory of Narrative”. Genom analysen kan man utläsa att The Lightning Thief antar ett homo- och extradiegetiskt berättande med en specifik grupp av narrater. Detta kontrasteras med The Lost Heros hetero- och extradiegetiska berättande med en grundnarrat utan uppenbara kännetecken. I förlängningen kan man också upptäcka att det finns en skillnad mellan berättarens och narratens förhållande till en verklig läsare och hur, speciellt i The Lightning Thief, läsaren är tvingad att fundera på hur den relaterar till både narraten och berättaren. This paper aims to study the narrators and the narratees in Rick Riordan's The Lightning Thief (2005) and The Lost Hero (2010), and to see what implications they have on the narrative itself. The paper focuses on a comparative examination of the novels in question and does all this from a narratological standpoint. The narratological perspective first and foremost comes from Gérard Genette's Narrative discourse and his terms extra-, intra-, hetero-, and homodiegetic narrative. The study of the narratee does the same but with Gerald Prince's article "Introduction to the Study of the Narratee" in Reader-response criticism: from formalism to post-structuralism. For a wider perspective of several, both new and old, narratological studies the paper also uses Manfred Jahn's "Narratology 2.1: A Guide to the Theory of Narrative". Through the analysis, one can gather that The Lightning Thief takes on a homo- and extradiegetic narrative with a specific group of narratees. This is contrasted with The Lost Hero's hetero- and extradiegetic narrative with a "zero-degree narratee" that has no apparent characteristics. By extension, one can also notice that a difference lies with the narrator's and narratee's relationship to an actual reader and how, especially in The Lightning Thief, the reader is forced to figure out how it relates to both the narratee and the narrator.

Entrepreneurial ecosystems, the set of forces that generate and sustain regional entrepreneurial activity, are a growing focus of scholars and practitioners. Studies are beginning to draw attention to the role of cultural artifacts, including narratives, in the functioning of entrepreneurial ecosystems. However, the mechanisms driving narratives’ effects on ecosystem participants are unexamined. The purpose of this paper is to develop theory that explains the influence of entrepreneurial ecosystem narratives on how audiences process information. It is theorized that differences among ecosystems can, in part, be explained by differences in the properties of the narratives that take hold in them. Specifically, propositions are developed about four properties that represent sources of variation among ecosystem narratives: their ability to capture attention, influence the cognitive and emotional encoding of information, and be memorable. Further, it is argued that the maturity of the entrepreneurial ecosystem influences the novelty and potency of narrative effects. By integrating theories of cognitive and social psychology, narrative theory, and entrepreneurship, this paper advances our understanding of how narratives about entrepreneurial ecosystems influence audiences.

Although Gerard Genette mentioned the possibility of a collective narrator as a version of the narrator as witness only in a footnote of his Narrative discourse, narrative theory started showing vivid interest in collective narratives and narration about two decades ago. This paper looks at a kind of Hungarian narrative tradition in this context. In that tradition the collective voice of a community is frequently heard, a voice that usually cannot be attached to any particular speaker, but expresses a collective knowledge, the collective interpretation and evaluation of events and persons. Herczeg (A modern magyar proza stilusformai [Stylistic forms in the Hungarian modernist prose], Tankonyvkiado, Budapest, 1975) coined the expression “communis opinio” to describe this narrative tool, and it was welcomed by some Hungarian narratologists, criticised by others. This usage of “communis opinio” has nothing to do with common sense; it rather explains opinions that do not belong to just one person, but to a community. The paper discusses Herczeg’s ideas and describes the related phenomena in Kalman Mikszath’s The good people of Palocz, where the interplay of various collective voices creates not only the representation of a collective mind (although Palmer’s results can be very fruitfully applied here), but also the impression that the community disposes over a collective treasury of stories, any piece of which can be told by and to members of the community when the occasion of storytelling is given.

This article considers the “narrating-I” in African American fiction, reexamining its significance for narratological and sociopolitical theorizations of literature. First-person narratives can normally be understood as autodiegetic, in which the narrators present their experiences from their own perspectives at the expense of access to the viewpoints of other characters. However, African American narratives sometimes present their readers with first-person narrators who are seemingly more omniscient. Able to slip across the boundaries that demarcate their experience from that of others, these narrators can adopt the subject positions of other characters, shifting narrative focalization in ways that would normatively be impossible. Unlike “we” narratives that rely on the first-person plural to evoke collective storytelling, these works pluralize an otherwise singular narrator into a different sort of collective multiplicity. This paper argues that this plurality and multiplicity problematize the limitations of first-person narration, and in so doing resonate with issues surrounding the sociopolitical imagining of community. Through an investigation into the innovative narrative structures of John Edgar Wideman’sSent for you yesterday, this paper thus hopes to contribute to ongoing conversations in narrative studies by reassessing its standard narrative frameworks, as well as argue for the applicability of narratology to contemporary sociopolitical thought.

In this paper I discuss the thorny issue of how we deal with the question of ‘the death of the subject’ within feminist narratology and beyond. In doing this, I bring forward the notion of the ‘narrative persona’, a configuration that I have come up with over the years that I have been writing feminist genealogies by drawing on women’s auto/biographical narratives. The narrative personae of my inquiries emerge from Deleuze and Guattari’s philosophy, and Arendt’s political thought: they are taken as conceptual and aesthetic figures, who narrate and act and whose stories create a scene for dialogic exchanges, communication, understanding, ethical responsibility and action. In fleshing out the concept of the ‘narrative persona’, I draw on my research with women workers’ narratives particularly focusing on Desiree Veret-Gay, the seamstress who founded the first feminist newspaper La Femme Libre in nineteenth century France. Her political writings in the form of letters, petitions and journal articles have become a significant body in the archives of feminist history. But although she lived a fully active political life she did not reveal much about her inner thoughts and passions, with the exception of a few letters that I will discuss in this paper entering into the dialogue of her epistolary discourse.