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Stories of personal experience have been a staple of research on narrative, while stories of vicarious experience have remained largely ignored, though they offer special insights into issues of epistemic authority, telling rights, and evaluation. This article seeks to show that stories of vicarious experience can fulfill the same functions as stories of personal experience in conversation, illustrating a point in an argument, sharing news, and for their entertainment value. Discrepancies between stories of vicarious experience and stories of personal experience follow from the distinction between third person and first person narrative along with corresponding differences in their participation frameworks in the sense of Goffman (1981): conversationalists cannot deploy third person stories of vicarious experience in functions such as mutual self-disclosure or to display resistance to troubles; conversely, stories of vicarious experience offer greater opportunities for co-narration. (Epistemic authority, evaluation, identity, narrative, participation frameworks, telling rights, vicarious experience) [ABSTRACT FROM AUTHOR]

The article discusses focalization theory in the context of digital fiction. The author analyzes two digital fiction stories "The Lair of the Marrow Monkey” by Erik Loyer and “The Last Day of Betty Nkomo” by Young-Hae Chang Heavy Industries. He explains focalization in print narratives, describes how digital fiction incorporates focalization, and explores the concepts of cybernetic narration and point of action.

This article considers how narrative constructs could be used to strengthen the writing process. The authors outline the narratological devices of plot, point of view, authorial distance, and character, and examine how these concepts can be used when writing with qualitative data. Narratological tools equip the researcher to selectively manage the presentation of data to tell an appropriate story. As part of the research process, scholars should consider what kind of story they seek to tell through the data. [ABSTRACT FROM PUBLISHER]

This article takes a new approach to the study of narrative technique in Chariton's Callirhoe. Following Chariton's self-identification at the start of the novel, considerable emphasis is placed upon the narrator, who makes his presence felt throughout the narrative and whose role is further underscored by self-reflexive comments about storytelling made by various characters. This, combined with the fact that the novelist appears to have delegated all responsibility for the shaping of the plot to personified deities, allows the author to remain 'concealed' for most of the narrative, thus giving him a voice independent from that of the narrator. With assistance from divine agents, author and narrator operate a suspense-generating system of forewarnings, false predictive signs, and intervention, which enhances the anticipation of the expected happy ending. In the last Book, with the finale drawing near, the narrator hints at the authorial presence behind the novel, but it is only in the last sentence and after the story has reached its dénouement that the auctor's voice can be heard loud and clear in an undisputed authorial statement. [ABSTRACT FROM AUTHOR]

This essay explores the various meanings and connotations of the term 'vorführen' in order to highlight a particular movement in Kleist's narrative technique (and one which, I argue, represents a 'post-metaphysical' stance in his œuvre). In Kleist's prose fiction in particular, this term encapsulates a multitude of complex tensions that arise when plot devices, individual figures, or the narrator (willingly or often unwillingly, knowingly or often unknowingly) tackle sets of metaphysical assumptions, seemingly consensual presuppositions, and presumed ideological certainties. Kleist's protagonists demonstrate a particular metaphysical system, act it out, exhibit it, but at the same time sport it, summon it, set it up, and expose it. The result invariably is that narrator, hero, and reader alike get caught in their own strategies and - though often unnoticed by both hero and narrator, and barely noticed by the reader - end up as the ones exposed, set up, fooled, undermined, and 'vorgeführt'. This narrative performance ('Vorführung') is demonstrated on the basis of a close reading of individual scenes, dialogues, monologues, figurations, descriptions, and narrative (auctorial) comments from a range of texts, including Das Erdbeben in Chili and Der Zweikampf. [ABSTRACT FROM AUTHOR]

Although narratives and particularly personal narratives have been widely investigated, their use in academic lectures has received comparatively little attention. This study focuses on the narratives employed in 20 university lectures of 4 different academic disciplines using two corpora: the MICASE (Michigan Corpus of Spoken Academic English) from the University of Michigan, and a corpus recorded in several British universities. This paper reveals important results about the use of narratives in lectures, especially related to the narrative types and their connection with the lecture content, the narrative function, how narratives embed in the lecturer's discourse, and the structure of the narrative. [ABSTRACT FROM AUTHOR]

The article explores the unreliable narration style on the literary works of French artist Théodore Géricault and English poet Alfred Tennyson through employing a certain 19th-century medical case study as a rhetoric model. The author investigated the origins of the medical case study. According to the author, the "unreliable narrative voice" present in both authors' work, was a 19th-century device used to express a point of view.

The article focuses on the mimetic epistemology violations of fictional narratives. It examines the consequences of naturalizing and narrativizing the narratives. The possibilities and limitations of the narrativization based on assumptions of literary scholar James Phelan are discussed. It also presents a tentative typology of paraleptic narrators in first person narrative fiction. These include the illusory paralepsis, humorous paralepsis, mnemonic paralepsis, global paralepsis and local paralepsis.

The article discusses the recurring themes and writing technique in Adelaida García Morales' novels. In her novel "El silencio de las sirenas," García shows the complexity in her narrative as she intertwines elements of different writing traditions to create a postmodern literary work. Several recurring themes in her work is the use of the first person narrative, often a woman's voice recalling their past as a method of self-discovery. The objective of the paper is to explore how the various elements that García utilizes in her works create and unify her narrative corpus.

The article presents a systems-theoretical perspective on early German romanticism. The first point of view is pragmatic and it argues that the idea of incomprehensibility allows comprehension in a substantial way. The second assumes a representational point of view supported by the thought that words and concepts acquire meaning by representing something that they are not and not through their usage.

Abstract: This paper analyses falsely implicating from the point of view of Gricean theory of implicature, focusing on the Story of the Mate and the Captain which is a classical example of lying while saying the truth. It is argued that the case of falsely implicating should be included within a general definition of lying. Whether Particularised Conversational Implicatures (PCI), as in the Story of the Mate and the Captain, and Generalised Conversational Implicatures (GCI) behave differently with regard to falsely implicating is discussed with reference to Levinson''s theory of presumptive meaning [Levinson, Stephen C., 2000. Presumptive Meanings. The Theory of Generalised Conversational Implicature. MIT Press, Cambridge, Mass]. It turns out that, in contrast to PCIs, the case where the assertion is false and the implicature is true is not possible with GCIs. In addition, tautology and irony are analysed, and some repercussions on the speech act notion of lying are pointed out. [Copyright &y& Elsevier]

This discusses a method for teaching the point of view in literature. The short story "Born of Man and Woman," was narrataed by Richard Matheson. Also discussed is the plot and theme of "Born of Man and Woman" as well as an analysis of the short story "That Only a Mother," by Judith Merril.

This article demonstrates that the practice of impersonated authorship articulates the disparate domains addressed in the recent debates on the textual and vocal dispositions of early republic discourses. When the impersonation crosses gender and class boundaries, this act of rhetorical drag produces a constellation of effects that display a deeply imbricated model of voice and text, of speech and writing, one premised on appropriate gender and class norms. Arguing for the cultural force of voice in the new republic, Christopher Looby asserts the difference between the abstract, alienated, rational polis of print culture and the more passionately attached, quasi-somatically experienced nation for which many Americans longed. Authorial impersonation rendered in the first person bridges this difference by providing the textual marker for the speaking body, the soma that experiences, and thereby creates a credible instrument when the author him- or herself might lack the experience that underwrites that credibility. Moreover, gender norms are crucial to this operation. As current feminist and queer theories indicate, when the voice is female, the text most commonly reproduces sex/gender regimes that recurrently, even obsessively, deploy an unstable mind/body split across a male/female axis.

In current commentaries and translations, the first stanza of Sappho fr. 17 is read as a prayer for Hera's presence. This understanding was created by modifying Wilamowitz's interpretation of the fragment as a dream narrative, but it depends on an improbable use of the opening word πλασιον involves an awkward third-person periphrasis for the second-person appeal, and creates insoluble difficulties of supplementation and usage in the third line. It is more fruitful to read the stanza as a deprecation of the god's anger, as in fr. 1.1-4; a suggested reading of χαλεπην ϑυελλαν (cf.Il. 21.335) gives αραταν a meaning within its normal, somewhat pejorative connotation, and allows a more plausible reconstruction of the end of line 3; attributing the source of the Atridae's distress to Hera is consistent with a number of indications of a narrative pattern in which Hera sends disruptive storms. [ABSTRACT FROM AUTHOR]

The analyses and discussions in this article are all aimed at clarifying a question that most people don't even ask because the answer seems self-evident: "Who narrates in first-person narrative fiction?" The author hypothesises, that in literary fiction, as opposed to oral narrative, one cannot be certain that it is the person referred to as "I" who speaks or narrates, and therefore that there is a need to posit an impersonal voice of the narrative. This phenomenon can be observed whenever something is narrated that the "narrating-I" cannot possibly know, as happens in Moby Dick, The Great Gatsby, and other fictional narratives, some of which I'll examine later. The article begins with a brief review of some contemporary discussions of voice in literature. It then proceeds to use the authors proposal to examine passages of first-person fiction that seem difficult to explain without the concept of the impersonal voice. Finally, the author compares my interpretations to some alternative proposals about similar textual phenomena.

The article examines the deliberately fragmented narrative in Milo Dor's trilogy "Die Raikow Saga," describing it as multiple, omniscient and detached in perspective. It also explores the autobiographical trait of the novel and relates it with the detached character of the narrative. Dor distanced himself from the horror of his experience of torture in prison by creating a fictional main character, who is related to, but not to be identified, as him.

Discusses the use of the concept of point of view in narrative literature. Highlights of the study 'The Narrative Act Point of View in Prose Fiction,' by Susan Sniader Lanser; Factor which contributed to the interest of Lanser in the use of point of view in narrative; Criticism on the study.

The article focuses on Blaise Pascal, the mathematician, physicist and philosopher and his notion of delectation. The first text which Pascal devotes to analyzing unbelief and the process of persuasion is the "Art de persuader." The text clearly shows the influence of the Port-Royal tradition but its shifting terminology poses a number of problems. Pascal begins by stating that there are two ways in which opinions can be received into the soul, through the entendement, the natural but not the most common method or through the volonté the normal method but one which people are ashamed to admit to. But how without appeal to the intellect can Pascal hope to change the unbeliever's emotional responses. It is of course evident that the choice of facts is made particularly with a mondain unbeliever in mind, for while the success of Pascal's presentation from the unbeliever's point of view lies in the accuracy of its observation, its success from Pascal's lies in the way he can, through his observation, modify the way the unbeliever sees the world. His aim is to alter his angle of vision, to offer him a new perspective.