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In writing this discussion I have chosen a narrative structure to resonate with that of the paper, an unconventional episodic style in which I try to enter the work through the parts of the paper that speak to me. The lines in bold are direct quotes, followed by my associations and thoughts. In witnessing this beautiful unfolding of subjectivity, we are also witness to the complex way in which the processes of negation are enacted. I explore the transformation that occurs and the challenges this type of work places on the relational analyst. [ABSTRACT FROM PUBLISHER]

In the last decades, narrative theory has collaborated with sociology and anthropology of health to account for the importance that illness narratives hold for those who are or have been sick, for those who live with them, for the organizations where they work – if they do, and for public administration. The reason for the link between the two disciplines is that the way in which one explains one's illness to him or herself, as well as to others, has a crucial impact on one's experience of being ill as well as on others' reactions. This paper focuses on the work of one the most influential sociologists who has combined both disciplines: Frank's The Wounded Storyteller. To our mind, Frank's lucid account misses the importance of the biocapitalistic forces in his otherwise compelling reflection on illness narratives and proposal of three narrative types. In this paper, we suggest how the logic of the messianic narratives of Benjamin and Derrida can help identify the biocapitalistic forces that inform one of the illness narratives Frank studies and criticizes – the restitution narrative- and can help complement the narrative type Frank most praises – the quest narrative. [ABSTRACT FROM AUTHOR]

This paper examines methods for narrating consciousness in game theory. In order to represent how players process their environment, posture towards one another, and hold themselves accountable to their own thinking, I find two distinct ways that game theorists narrate the consciousness of their players. Quoted monologue is a player's internal language, which can be articulated to show a player's perspective to the reader. The other narrative mode is psycho-narration, which puts the external technical skills of the game-theorist into the narrator's hands to describe a player's mental activity with more complexity than quoted monologue. Quoted monologue and psycho-narration communicate players' thoughts in ways that convince the readers of the players' positions, clarify game solution concepts, and enliven the written text. [ABSTRACT FROM AUTHOR]

Brands have recently begun to take a brand activism strategy through which they align themselves with a sociopolitical cause to increase their relevance and strengthen customer relationships. This paper brings together three streams of research: narrative transportation theory, narratology, and narrative comprehension, in order to propose how brands can increase their potential to be brand-activism change agents in the context of their sociopolitical stance. We define brand activism change agents as the brand's potential to further their aligned cause through the fortification of an engaged customer base. However, this can be a risky strategy, and brands often alienate a significant part of their existing market. We propose a theoretical model to explain how brands can minimize alienation of their existing audience (stakeholders and especially customers) and increase overall support and brand activism impact. [ABSTRACT FROM AUTHOR]

The author revisits his previous papers on dramatology published in 2009, 2011, and 2015, adding the results of new research. The additions are ideas about dramatic action by philosophers William James and John Dewey and literary theorist Kenneth Burke. There is a new discussion of the relation between dramatology and narratology. The approach is a retrospective application of dramatization to Freud’s method in analyzing the famous cases of Dora and Schreber. A new finding is dramatization in DSM-5 diagnoses. Another new interest is applying dramatology to Freud’s mass psychology and world-wide events as dramas of history. [ABSTRACT FROM AUTHOR]

The paper traces the trope of partitioning and de-partitioning in Sherley Anne Williams's neo-slave narrative Dessa Rose (1986) to argue that the richly structured, polyvocal narrative reveals a political impetus: it privileges the protagonist's voice and vision in order to comment on the representational paradigm endemic to mainstream cultural representations of the American South. Dessa Rose challenges those well-known, white-authored representations of the South that either emit or distort the Black perspective. Its structure, especially its initial reliance on the monocular, fragmenting white gaze and its subsequent disruption of this mode of seeing ultimately allow Dessa to emerge as the only reliable narrator, thus amplifying – what is more, enabling – the eventual catharsis while producing a complexly fragmented vision of the South. [ABSTRACT FROM AUTHOR]

TV advertisements are multimodal and can effectively unfold social meanings through the representation of narratives and storytelling. To explore the social meanings through the multimodal narrative construction in the visuals of TV advertisements, this article analyses a Pakistani TV advertisement featuring Shan Thematic 2020's #MoreThanJustACook. It is argued that a multi-perspective approach can significantly facilitate interpreting the social meanings of visual texts. Therefore, the current study draws on social semiotics by Kress & van Leeuwen for its analytical framework, along with Ryan's narratological insights and Fog et al.'s storytelling elements. The investigation of multimodal narrative processes in the TVC unveils physical and psychological behaviours of the actors in the visuals, which represent social relationships through the description of a family from a Pakistani socio-cultural context. The story in the visual composition of the TVC aims to promote the idea of strong family ties, gender roles and women empowerment. This paper contributes towards knowledge on the application of multimodal socio-semiotic and narrativity theories. It is hoped that the proposed analytical approach can serve as a foundation for effective multimodal narratives in TV advertisements. [ABSTRACT FROM AUTHOR]

Focusing on migrants' experiences of moving house in the country of settlement, the study explores the housing pathways of Russian-speaking migrants in Japan over their life courses. This paper emphasizes the need for the anthropology of migration to consider not only the housing events but also the housing pathways experienced by cross-border migrants in receiving countries. It is argued that the act of moving from one accommodation to another plays a crucial role in how migrants develop their biographies and perceptions of self. In addition to investigating house relocation, the study borrows from the Russian formalist school of narratology to examine how migrants narrativize their experiences in stories that intertwine housing pathways and movers' identities. The study reveals how the instances of moving—and not necessarily the physical qualities of housing—emerge as dynamic forces that initiate migrants into their desired statuses. [ABSTRACT FROM AUTHOR]

This paper investigates how plot-advancement routines, i.e. 'what-if', 'if-do', and forking-path story alternatives, are generated in narrative composition and dramatic writing by exploring cognitive representations such as schemata and problem-solving mechanisms. The complexity of narrative synthesis and problem-solving involves the integration, organisation and recall of data relations in a systemic way through identification of logical inconsistencies. Cognitively, the advancement of plot is not based solely on the consolidation of narrative information. Authors have to base their strategic decisions also on architectural and structural, goal-oriented routines and sub-routines, all of which are investigated in this paper through a comparative analysis of topics from behavioural and cognitive psychology, cognitive narratology and narrative theory, artificial intelligence and narrative causality, aiming to elucidate a multifaceted process during dramatic writing and narrative composition. [ABSTRACT FROM AUTHOR]

The 1980s, an era in the wake of opening-up policy after the cultural revolution, witnessed an unprecedented passion for Chinese critics to read, embrace and import Western theories, among which French narrative theory deserves a particular mention. To a large extent, it is French narrative theory that has led to the upsurge and explosion of Chinese narrative studies, which prevails in the 21st century. This paper, first of all, connects the boom of Chinese narrative studies with French narrative theory which was translated and warmly received in Chinese academia in the 1980s. Second, it attempts to examine the travelling, the impact and the after-life of French narrative theory in China, arguing that inspired by their French predecessors, Chinese narrative theorists have cultivated their increasing interest in the narrative form of literary works and developed Chinese narratology with special reference to Chinese narrative traditions. Third, it investigates how Chinese narratologists foster theoretical dialogues with their French colleagues by challenging and revising some narratological concepts. Finally, it calls for a narratology beyond French structuralism by proposing comparative and transcultural perspectives on narrative studies with the aim to draw scholarly attention to those neglected and peripheral narratives and to subvert the hegemony of Anglo-American narrative theory. [ABSTRACT FROM AUTHOR]

This article examines how documentary films begin. Narrative theory has identified the opening sequences of a narrative as where a lack calls for a response which then propels the hero to undertake various tasks to resolve problems posed by the lack. This often involves a quest and the construction of a complex course laden with obstacles and graced with assistance that allow the narrative to conclude by resolving the original lack. Attention, though, has focused both on narrative fiction and on the central portion of the narrative, where issues of gender, on the one hand, and focalization or voice, on the other, have received much attention. The beginning has received relatively slight scrutiny, especially in documentary. This paper addresses two primary questions: how exactly the beginning scenes in documentaries launch a narrative trajectory by altering our sense of time, and how these beginnings stress different narrative qualities from identifying a problem to establishing a mood. The article stresses the centrality of narrative to documentary and the vital role of the beginning plays to draw the viewer into a particular perspective on the historical world. [ABSTRACT FROM AUTHOR]

This paper investigates narrative macrostructure in the novel with an emphasis on the practice of novel writing. Drawing on narratology (Genette and Chapman), formalism (Propp), and their historical antecedents (Aristotle, Freytag), as well as more recent studies in narrative theory, this paper reframes narrative theory in practice-led terms and builds bridges between the scholarship and practice of narrative. To this end, the reflections on novelistic practice by Henry James and John Gardner are used as departure points to discuss the act of novel writing. There is also a comparative analysis that takes into account the macrostructural implications for realist and modernist discourses. The main discovery of this inquiry centres on the identification and articulation of five local narrative schemas that serve the act of novel writing: time, point of view, events, character, and setting. Each schema, it will be argued, has its own structure, and it is the interaction of these schemas that forms the novel as a whole and where the work of narrative macrostructure takes place. [ABSTRACT FROM AUTHOR]

This research article will discuss the manner in which multi-modal narratology anchors ecological consciousness in Indian literary and visual practices with special reference to Amruta Patil and Devdutt Pattanaik's Aranyaka: Book of the Forest. After mapping the different visual-verbal narrative technique and its implications in representing ecological concerns, the paper will show how Aranyaka triggers the 'ecological thought' of human and non-human entanglement in aranya, the 'contact zone' of multispecies. It further aims to reveal how the 'transmedial' narrative with its two tracks of narratology, involving image-narrative on one hand and word-narrative on the other, revives the life of aranya before the post-millennial city dwellers who are increasingly being removed from 'ecological awareness' in their highly mechanised world. The sketches accompanied by word bubbles render tactility to the entire narrative and bring together two apparently disparate entities, the human and the non-human, in the network of narratology. [ABSTRACT FROM AUTHOR]

This paper pursues three goals: First, to develop a lateral reading of Camus' Stranger. A lateral reading is characterized by the displacement of the central conflict. In the case of The Stranger, I argue that the central conflict in the novel lies in the relation between the author and the protagonist, not, as direct readings would have it, in the relation between the protagonist and his predicament. Second, to spell out more precisely why it should be read as an anti-existentialist novel. Here I argue that a lateral reading shows that the foundational existentialist opposition between telling and living is ironically dismantled by the very lateral structure of the novel. Third, to develop the notion of a lateral reading with a view to its potential advantages. Here, I point out that literalism involves positionalism and dynamicism. Positionalism refers to the reduction of fictional entities to their role in relation to each other. Dynamicism refers to the resulting view that those roles are further reducible to forces. I conclude that the lateral reading, with its commitments to positionalism and dynamicism is a model generalizable to the analysis of other fictional works. [ABSTRACT FROM AUTHOR]

Virtual reality (VR) and other immersive technologies introduce new opportunities for emotionally compelling narratives and user agency. Virtually mediated environments lie at the heart of immersive journalism (IJ) experiences, foregrounding a sense of presence and bridging the connection between the user and the character. Mediated environments in VR stories provide more than a setting since the user can interact with and respond to the surroundings. Drawing on the theory of spatial narrative, documentary and cinema literature and studies on media morality, this article examines the meaning of place in VR news stories and its ability to engage the user with the story. This study contributes to the discussion of creating and communicating places in journalism studies by examining spatial storytelling in immersive news stories, which are available in the NYT VR smartphone application. This paper argues that spatial storytelling eventually affects what is experienced and how it is experienced either by demonstrating the circumstances with aesthetical elements or via the selection of spaces. [ABSTRACT FROM AUTHOR]

Academic identity is fluid, slippery, and uncertain, academic developer identity even more so. This paper explores the author's use of photography as a medium through which to present, represent, and interpret her own practice and professional identity as a third space professional within higher education. Drawing on existing literature on academic identity, the author explores the ways in which she has attempted to negotiate her identity as an academic developer through photographs that represent milestones in the construction of this identity. The discussion of these pictures draws on autoethnographic approaches to identity formation combined with visual narratology and takes the form of a visual autoethnography. [ABSTRACT FROM AUTHOR]

Using Elbow's model of Expressivism and J. L. Austen's notion of writing as performance, this paper outlines how performative pedagogies of creative writing practice at our university have transformed the creative writing programme. Giving examples from classes I teach, I examine the performative aspects of teaching creativity in first year courses, in collaborative writing workshops, in literature courses for creative writers, and in courses where literary theory is taught, and demonstrate how Creative Writing is taught as a perlocutionary utterance, meaningful only in its effects and contexts, a performative act that becomes itself only in the act of doing. [ABSTRACT FROM AUTHOR]

This paper investigates how mental schemata are utilised in narrative composition by exploring the cognitive mechanisms that come into play during dramatic writing. Schemata are high-level cognitive structures that have the capacity to integrate data relations systematically, and which can organise existing information or serve as bedrocks for the acquisition of future information. In the effort to synthesise complex narrative systems where logical inconsistencies are minimised, schemata appear to hold a triple function. The first function is cognitive and explains the mental processes with which readers and viewers use existing information so to identify with the fictional characters and follow a story throughout. The second function is structural as schemas consolidate related narrative information in situations during which a decision must be made from the author for the advancement of plot; a process that is facilitated by the plotting schema. The third function supplements the second with further architectural differentiation by consolidating information pertaining to narrative activity; a process that is facilitated by the action schema. The analysis leads to the conclusion that in narrative composition correlation gives emergence to causality, and that the aim of authors must be the creation of narratives that are consistent but not complete. [ABSTRACT FROM AUTHOR]

One of the foundations of picturebook studies is that the visual- and verbal-texts together create an integrated experience of the whole text. However, for poetry in picturebooks, the designation of "poem" is traditionally applied only to the verbal-text. In this paper I argue that visual techniques can be more than simply "poetic" and can be part of the structural and technical choices that make a poem. I apply this theoretical discussion to the example of Maurice Sendak's Where the Wild Things Are concluding that combined visual and verbal techniques create an integrated visual-verbal poem. [ABSTRACT FROM AUTHOR]

This paper examines narratological changes made in Bhāī Vīr Singh's Purātan Janamsākhī (1926). These changes encode an alternate narrative logic for producing images of a past that entrenches 'religious' identity at the center of cognitive self-becoming for individual Sikh moderns. Philology enacts a philosophical transgression to invent an autodialogic structure through grammatological changes and the incorporation of the paratextual apparatus. Two effects include: (1) facilitating a ratiocinating reading phenomenology to produce colonized, subjugated Sikh religious identity; (2) ignoring gurbānī, the language of the Srī Guru Granth Sāhib, and its poiesis. Alternate engagements begin after this recognition. [ABSTRACT FROM AUTHOR]

The history of ancient Greek literature can, in some way, be regarded and written as a history of epic poetry. While Homer and Hesiod have always been a key factor and constant reference points in the study of Greek epic, later (Hellenistic and, especially, imperial) epic used to be regarded as "second-rate", imitative, non-original poetry for a long time.[3] There has, however, been a considerable increase in studies on, and re-evaluation of, post-archaic epic in the past few decades. First and foremost, the diachronization of narratology in the study of Greek epic will of course look at how specific narrative parameters travel through the history of Greek epic, how and under which factors they change, and how these changes affect the understanding and interpretation of single epic poems and/or the history of Greek epic poetry. The next two papers turn to characteristic devices of the epic narrator and of the Greek epic style. [Extracted from the article]

In this article, I examine the process of autobiographical self-translation from narratological perspectives, using examples from the self-translation process I experienced translating my autobiography from Japanese into English. The main question asked is: What is the self-translation process like when the translator is also the author, narrator and protagonist? Self-translation is a complex process, and it becomes even more so, as in my case, when the author-translator serves as a historian, family biographer, autobiographer and nostalgic storyteller. Although the narrator remains constant throughout the story, her role, tone and persona change as the story develops, events occur, stages shift and different participants come and go. By depicting such complexities, the paper aims to demonstrate that autobiographical self-translation is a process in which the translator lives his or her life once again while translating the self from one language to another. [ABSTRACT FROM AUTHOR]

In this paper I seek to clarify the role of narrative in personal unity. Examining the narrative self-constitution view developed by Marya Schechtman, I use a case of radical personal change to identify a tension in the account. The tension arises because a narrative can be regarded either to capture a continuing agent with a loosely coherent, consistent self-conception - or to unify over change and inconsistency. Two possible ways of responding, by distinguishing senses of identity or distinguishing identity and autonomy, are examined, but I argue that neither precisely maps this tension. I then develop a distinction between two ways in which narrative can unify: through "bottom-up" processes related to the connection between agency and self-conception; and "top-down" processes related to self-interpretative activity. The account provides ways to resolve some criticisms of narrative theories of identity, in particular in better accounting for the role of repudiated characteristics in narrative identity. [ABSTRACT FROM AUTHOR]

This paper explores how fund managers continue to do their job when on one level they know they cannot all be exceptional. They do this by telling stories, constructing satisfying narratives to explain to themselves, as well as others, why their investments work out and providing equally plausible reasons for when they underperform. Using the story typology of Gabriel (2000.Storytelling in Organizations: Facts, Fictions, and Fantasies. Oxford: Oxford University Press.) – epic, tragic, comic and romantic, we explore two sets of fund manager narratives.First, we analyse the transcripts of interviews with 50 equity fund managers in some of the world's largest investment houses.Second, we examine a similar number of published fund manager reports to their investors. In both cases, we show how storytelling is used by asset managers to make sense of what they do and justify their value to themselves as well their clients and employers. Similar processes are employed in both sets of narratives, one verbal and informal, the other written and formal. Our study serves to highlight how storytelling is an integral part of the work of the professional investor. [ABSTRACT FROM PUBLISHER]

Jade McGleughlin’s textured paper frameswriting enactmentsthat help describe breaches in narrative consequent to trauma. I work from my own understanding of enactmentas a particular readerof McGleughlin’s fieldwork: moving from ceramics to photography to Bionian Field Theory to ethnography to Betty Woodman to Gadamer’s player/played distinction to call attention to the anticipatory processes involved inreadingand inreading enactments—by which I meanthe enacted dimensions of the act of readingthat pertain to the experience ofreading about enactments. [ABSTRACT FROM PUBLISHER]

Considering the questions bound with modern problems of the post-human literature (re)readings, this essay tries to indicate the role of food culture in determining the human-animal relation on the basis of two literary works by the Dutch writer Albert Helman: Mijn aap schreit and Mijn aap lacht. The leading methods are narratological analysis as described by Mieke Bal and William Nelles, as well as some close reading postulates. In the analysis I consider the role of food in both of the stories. I try to answer such questions as: What does a monkey eat? Who decides what a monkey should eat? Is there any symbolic role of food? Are there any food-taboos, especially ones bound with the human-animal relation? [ABSTRACT FROM AUTHOR]

Twenty years after the final hearings of the Truth and Reconciliation Commission in South Africa, researchers are unearthing and examining the stories, discourses and processes that formed the transition from the apartheid to post-apartheid periods. In this paper, I investigate the story of Phila Ndwandwe, killed by the security police in the late 1980s, whose body was the first to be exhumed by the commission. Ndwandwe’s story has been framed through various narrative devices, most prominently by an artwork by Judith Mason colloquially titled the Blue Dress. Tracing the stories constructed about Ndwandwe, I consider the performative and transformative potentials of storytelling and argue for a commitment to listening that resists mere understanding. [ABSTRACT FROM AUTHOR]

This article sits on the critical-creative boundary and draws upon aspects of the field of cognitive poetics – the principled study of what happens in the mind as readers read – to explore how an understanding of these processes might benefit the creative writer. The paper is pioneering in that it considers the implications of cognitive poetic approaches for the ‘mechanics’ of prose fiction explicitly in terms of creative practice rather than from the perspective of the stylistician or literary critic. It is in providing a principled and rigorous account of the way readers read that cognitive poetics has much to offer the writer. Indeed, the article will argue that writing and reading, rather than being separate activities, should be seen as interrelated positions along a cline. [ABSTRACT FROM PUBLISHER]

Copyright of Hispanic Research Journal is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper offers a prelude to the reconsideration of the writing life and contribution of an African intellectual and nationalist who, studiously and courageously, subjected the concepts of race, culture and nationalism to critical evaluation. Molema's engagement with popular politics began after his return from years of studying medicine at Glasgow University. However, from 1912 to 1921, he engaged with the history of South Africa intellectually, only later producing essays and speeches for more popular audiences. His study of black South Africans, The Bantu Past and Present (1920) challenged racist interpretations of the past, while also taking subtle aim at racism in Scotland during and after World War I. The text is multi-layered, moving from first- to third-person narration, which suggests that the author's own identity was subtly entangled with this project. In the Preface, the young writer defines his writing identity, revealing that the book's purpose is historical, ethnographical and, implicitly, nationalist. This paper examines the Preface's crucial role in defining the author's writing identity as nationalist and intellectual. Molema used his standpoint knowledge as ‘a member of the race’ whose story he ‘unfold[ed] to the world’ to begin the task of carefully reclaiming black history from the margins of South African cultural life. [ABSTRACT FROM PUBLISHER]

This paper discusses some theoretical approaches to the question of how culture, technologies and the social interact. These considerations result from the author's research in the genesis of digital cultures in the 1980s. The paper begins by outlining the author's research project, and then continues with a discussion of some of the most influential approaches in the cultural studies of technology.This article then presents a small sample of the author's analysis, which combines narratological and discourse analytical methods with practice-oriented cultural theories, such as those of Pierre Bourdieu, Régis Debray and Bruno Latour. [ABSTRACT FROM AUTHOR]

This paper considers natural history as a narrative intervention – disruptive, creative and ecological – in Elizabeth Hay’s bestselling 2007 novelLate Nights on Airand Jennifer Kingsley’sPaddlenorth:Adventure, Resilience, and Renewal in the Arctic Wild(2014). These books tell stories of ambitious canoe trips through parts of the Canadian Arctic. They also showcase the vital relationship between travel writing, plotted along the linear trajectory of the canoe route, and natural history, the significance of which might easily be overlooked. The conflict between the propulsion of the canoe route and the pauses of the naturalist dramatises a narrative tension between the human-centred story and the wider environment that both authors seek to overcome. Drawing from Tim Ingold and Timothy Morton, I argue that natural history makes it possible to write about the wilderness, not as a “backdrop”, but as a dynamic set of intersecting stories conducive to ecological thinking. [ABSTRACT FROM AUTHOR]

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

Contemporary travel literature provides many examples of the ways in which writers navigate the liminal space between memoir and fiction. Damon Galgut's Man Booker Prize-shortlisted In a Strange Room: Three Journeys, Robert Dessaix's Arabesques: A Tale of Double Lives and Gao Xingjian's Nobel Prize-winning Soul Mountain challenge readers to question the boundaries of genre and reassess the importance placed on the separation of fact from fiction. In this paper, I examine the process of creating my own autobiographically-inspired travel narrative, Travelling Without Moving, which is poised in this same complex, delicate and problematic space. I consider narratology and the portrayal of emotional truth, the rhetorical shift from reportage to lyricism, and the paradoxical protecting and exposing of oneself. As a component of my practice-based PhD thesis, my creative work explores the primal psychological trauma of travel and questions whether travel can affectively transform us, which remains a point of contention between Emerson, Thoreau and their contemporaries. [ABSTRACT FROM AUTHOR]

This paper considers the preface to Johann Wilhelm Ritter's Fragmente aus dem Nachlasse eines jungen Physikers in conjunction with Ritter's own scientific practice. As in the case of self-experimentation, in the preface Ritter takes on the role of both the narrating subject and the narrated object of his biography. The inward-directed nature of this literary and scientific approach suggests a scientific ideal contrary to modern ideals of objectivity in which one aspect of the self must be suppressed. Ritter's work, on the other hand, demonstrates a continuous engagement with the various aspects of the self, which, instead of precluding the possibility of scientific investigation, proves to be fundamental for scientific inquiry. [ABSTRACT FROM AUTHOR]

In this article I wish to examine the psychological significance of a phenomena that I have termed "an empty moment", and its possible contribution to psychological healing in analysis, in the presence of a selfobject. I'll start by defining three characteristics of empty moments. Then, I'll show that designating this moment "empty" invokes the Buddhist notion of "emptiness." It thus points to the potential of such moments to liberate from suffering, in keeping with Buddhist thought, or—in psychological language—to lessen a patient's distress. I'll demonstrate the characteristics of the empty moment using the analysis of Israeli poet Natan Alterman's poem; I'll go on claiming that although the experience of emptiness supposedly takes place outside of the ones psyche, separate from our emergent existence, history, pain, relationships and transference, this is nonetheless an encounter with the psychological existence and hints at the possibility that suffering is not an unavoidable fate, potentially generating deep psychological change. The article ends with a rumination on the responsibility of the analyst to identify such empty moments, and to give them their appropriate weight in psychoanalysis. [ABSTRACT FROM AUTHOR]

Cross-modal (intersemiotic) translation is the general task of audio description but not the specific problem faced by audio describers of narrative texts. Their specific task for this textual subgenre is to select those discourse elements which produce narrative force (narrativity), and thus to attain a degree of narrative equivalence between source film and audio described film. This task is potentially difficult for two reasons: because narrative force is not just the realized action on screen: it is the receiver's state of mind, induced by the assumably realized events and by the discursively suggested hypothetical events; and because the suggestive, ‘intentional’ discourse triggers can be small. The following problem-solving procedure is proposed: equipped with a cogent definition of narrative force, audio describers can learn to recognize their narrative states of mind and become aware of the (possibly small) discursive triggers that generate those mental states. The second part of this paper argues that audio describers may also attempt to measure the spatial equivalence between the film images and the visual imagery that their descriptions produce – because such equivalence may be relevant for impaired people with residual mental imagery. Wallace Chafe's Pear Film is used to illustrate these ideas. [ABSTRACT FROM AUTHOR]

Using notions such as aspectuality, metarepresentation, extended cognition, and distributed identity, which were first developed by cognitive psychology and philosophy of mind and later adapted to the study of fictional consciousness by cognitive narratology, this paper explores the social construction of Flora Saunt's identity in Henry James's 'Glasses' (1896). This short story is a fine specimen of a group of first-person Jamesian narratives which could be summarily characterised as tales of absent or effaced protagonists for the simple reason that their alleged central figures are seldom, if ever, directly available to the reader and mostly exist as sets of consensual or conflicted images lodged in the minds of other inhabitants of the storyworld. In the specific case of 'Glasses', for instance, an analysis of its cognitive make-up provides sufficient evidence to conclude that the construction of Flora as a vain, deceitful woman is heavily contingent on the gender peculiarities of the sources that represent and metarepresent her mind. [ABSTRACT FROM AUTHOR]

This paper explores affinities of Umberto Eco's narratological writings with the hermeneutic tradition: comparison with Paul Ricœur shows these extending well beyond early debts to Luigi Pareyson and marginal jousts with Gianni Vattimo into one of the main avenues of Eco's thought. The paper compares Ricœur's and Eco's use of Aristotle's Poetics as the foundational text of a modern hermeneutic narratology, and their respective interpretations (with Gadamer's assistance) of narrativity as a principle of human identity. In both these areas Eco precedes Ricœur. Also considered are their common interest in complementing the theory of narrative identity with one of objective textual meaning, for which Eco is better known and which the critical literature has tended to censure. The effect of the comparison is to emphasize the way Eco's different texts in this area complement each other, constituting a whole greater than the sum of its parts, and whose originality and fertility have not been widely recognized. [ABSTRACT FROM AUTHOR]

Copyright of Language & Intercultural Communication is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

'Lihāf' by Ismat Chughtai is widely read as a tale of feminist and queer rebellion but it also narrates a complex account of a young girl's initiation into sexuality as a result of her molestation by a much older woman. In this narratological study that also draws upon the historical context of the Urdu world of letters which framed Chughtai's own self-fashioning as a writer and intellectual, I argue that the case for a feminist and queer-positive reading of 'Lihāf' often misses or downplays the sexual molestation of the narrator as a child and remains inattentive to the ways in which Chughtai constructs conflict and tension between the two voices that narrate the story: that of the adult narrator, a Muslim woman, who opens the tale and then, deploying the voice and perspective of a child, recalls and reconstructs the memory of the fateful events of her childhood. Central to my reading is the point of view of the child whose movement in and through the female-dominated zenānā re-presents the case for viewing 'a women's utopia' in dystopic ways. By splitting the female perspective into two overlapping realms – those of the adult and the child – Chughtai rewrites desire as experienced by the 'New Woman,' a historical figure of feminist emancipation often identified in established literary and critical readings with Begum Jān. Such an identification, I argue, is, in fact, unidimensional and is trenchantly undermined in the story by the brutal and intersecting logic of patriarchal domination and class exploitation, a logic at whose fulcrum is the figure of the child as the dark Other of the New Woman. [ABSTRACT FROM AUTHOR]

Within narratology, viewpoint construction refers to the perspective from which the story is told and examines the interplay of narrative levels, including metafictive intrusion and fictional characters speaking directly to the reader. This research looks beyond narratology's focus on the linguistic means of viewpoint construction through the examination of graphic memoir and ephemera. Graphic memoir provides fertile ground for the exploration into the ways in which creators of comics and other visual narrative establish, challenge, and extend narrative viewpoint. This article aims to navigate the use of ephemera in graphic memoir including, personal diaries, photo albums, and newspaper clippings. I begin by summarising viewpoint construction from a narratological perspective and then discuss the works of Art Spiegelman and Alison Bechdel. I then turn my attention to The Fate of the Artist by Eddie Campbell and discuss how ephemera is used to invoke the elusive, fragmentary, and embodied nature of memory and identity via a process of narrative embedding. I conclude that the use of ephemera invokes multiperspectivity and mise en abyme, making it a valuable multimodal tool for the analysis of viewpoint construction in graphic memoir. [ABSTRACT FROM AUTHOR]

As China's narratology studies begin to draw attention from international scholarship, this article aspires to map the current development of narratology in China with the main focus on renowned Chinese narratologists such as Dan Shen, Biwu Shang, Xiuyan Fu, and Weisheng Tang. In particular, this article seeks to comb the Chinese narrative research underpinned by and further contributing to the tenets of Western narratology, as well as to scrutinize the thriving schools of Chinese narratology that take Chinese narrative as its main concern. Based on a review of the situations of narratology in China, especially during this decade, this article concludes with tentative suggestions for the future evolution of narratology in China, and looks forward to the future when narratology with unique Chinese nationality can be widely recognized by the world. [ABSTRACT FROM AUTHOR]

Celia Pearce,[37] for example, sets out six forms of game narrative, one of which, descriptive narrative, refers to the secondary narratives re-told by the audience viewing the players playing as a form of game narrative. The Woes of Game Narrative The first years of game studies were dominated by an argument involving two divergent perspectives on the relationship between games and narrative, and more broadly speaking the ontological status of games in the broader media-scape. At times the player also acts as a character in other players' game-worlds, generating narrative events for them that are beyond the control of both the game creators and the player witnessing such events unfold. This approach stretches the concept of narrative beyond the scope of emergent narrative as we are discussing it here, especially because it confuses narratives about the game, or secondary texts related to the playing of the game but not the game-world itself, as forms of game narrative, the vagueness of which calls into question the validity of such a concept in the first place. [Extracted from the article]

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The complexity of online narratives and their important influence on events, attitudes, and emotions in society make visible certain limitations in the explication of such narratives found in traditional narrative theory. Their generative mechanism provides the logical starting point for understanding online communication. Event correlatives, text assemblage and specific texts, as the organic structure of online narratives, shape the intertextual existence and dynamic accumulation of the online text. A universal multidirectional co-construction forms around event correlatives and between specific texts and the pre-text, post-text and synchronous text within the text assemblage, while the textual object, the communicating subject and the online group communication context together build up the interpretive system of online narrative meanings. The generative mechanism and vitality of online narratives not only provide guarantees for the active nature of online communication, but also become a huge variable in social development, profoundly influencing social communication and even our way of thinking. [ABSTRACT FROM AUTHOR]

In our article, we study how Finnish historians produced historical texts to be applied inside the Finnish army to give lessons, speeches, and informal talks to the rank-and-file soldiers during two periods: first during the Winter War of 1939–40 and then in the last stages of the Continuation War in 1944. Employing narratological methodology to this task, we examine the purposeful construction of a master narrative of the national past by telling the story of 'Finland' and the 'Finnish people' in their perpetual, existential fight against Russia. We approach the history texts as emergent scripts that were offered to the particular audience of soldiers so that they would internalize the historical framework of their current situation and experiences. The history texts underline the inevitable continuity and teleology of Finnish history. This is done by constructing a vast historical context into which the hardships of the present moment are embedded through repeating crucial past images and analogues, which reserved the role of sufferer and experiencer for the Finnish people. The historians' wartime accounts offer a case where the master narrative is purposefully built and propagated under official auspices. [ABSTRACT FROM AUTHOR]

This article addresses two subjects relating to the topic of this issue of Scandinavian Journal of History from a 'difference approach' in narratology. This means that we assume that words like 'narrative' and 'fiction' are used to denote different things and that it is important to distinguish between these uses. We also assume that narrative texts that share similar surface structures can still 'do' different things and are approached differently by readers. The first issue we focus on concerns history writing and narrative. We are especially interested in the discussion about the distinction between narrative history writing and literary fiction. When discussing this issue, we distinguish between different uses of terms like 'narrative', 'fictiveness', and 'fiction'. The second issue concerns the application of narratology as a method in the analysis of oral and written texts. We suggest that narratological concepts like narrator and perspective do not have the same denotation in the analysis of literary fiction as in the analysis of non-fictional narratives, and hence that narratology with its many concepts cannot be applied indiscriminately. In the discussion of these issues, we refer to factual and fictional written and oral texts concerned with migration. [ABSTRACT FROM AUTHOR]

This introduction discusses key elements in the connections between narrative and experience from the viewpoints of narratology and historical studies. The linguistic turn and the several narrative turns have brought narratology and historiography close together, and a key concept in this development has been experience. Postclassical narratology emphasizes experientiality as the core of narrative, and new trends in historiography foreground the salience of experience in social and cultural history. We consider how historical narratives can be located and interpreted, assess cooperation between narratology and history, and suggest possible lines for further collaboration. Whereas the linguistic turn in historical scholarship has produced extensive theoretical and philosophical discussions on the premises of writing history, we aim to promote a methodological application of recent narratological approaches to history that will help to answer concrete empirical questions. Simultaneously, historical research turns out to be a useful partner for narratological analysis, providing a necessary understanding of time- and situation-bound contexts for interpreting particular narratives and even more, showing that narratological schemes and models of explanations are not universal, but historically constituted. [ABSTRACT FROM AUTHOR]

This article studies the collapse of the Soviet Union as a historical event by investigating how it was perceived while it occurred and what subsequent interpretations have been provided of the event and its significance. The event is studied both as meaningful past experience and as a relevant part of the present argument, since retellings generate historical experience. Our digitized corpus includes parliamentary records of plenary sessions from 1980 and oral history interviews of former MPs cover the period between 1988 and 2018. The corpus is grammatically parsed, allowing us to locate mentions of the Soviet collapse. We combine analytical methods for the study of an event from conceptual history, with its emphasis on the recycling and reinterpretation of concepts, and narratology, with its emphasis on how happenings past and unfolding are narrated into meaningful events at the time of the telling. The abrupt changes in Finland's powerful neighbour caused both cautious predictions in a quest for stability as well as hypotheses of change and even rejoicing over an ideological victory early on. The significance of the event unfolding was quickly noticed, and our analysis reveals the many uses of the event in politics during the decades to come. [ABSTRACT FROM AUTHOR]