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Copyright of Libri & Liberi is the property of Croatian Association of Researchers in Children's Literature 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 describes an art and Afrofuturism art experience that took place during the summer of 2020. Led by an art museum educator, the virtual experience was held over Zoom with a group of ten white adults. The art experience focused on alternative narratives and introduced participants to Afrofuturism as contemporary artistic practice and pedagogical approach. A critical multiculturalism theoretical framework informed the experience, and participants analyzed Afrofuturist art and representations in mass media to interrogate the ways that whiteness influences conceptions of the future in western culture and their own lives. Participants built on what they learned to create collages where they imagined more equitable futures developed from the Afrofuturist themes discussed in the experience. [ABSTRACT FROM AUTHOR]

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]

Memory narratives, like all fictional narratives, are characterized by variation in narrative pace, resulting from a variety of staging strategies. In memory literature, the change in narrative pace is particularly evident because the representation of memory encourages a variety of narrative pacing strategies – from acceleration to deceleration. A great deal of attention is given to the representation of memory content when reviewing narratology from a memory studies perspective. There is, however, one aspect that is often overlooked, namely the way in which memories themselves determine the pace of the narrative. Memory content not only affects the narrative pace in significant ways but in most cases, the representation of memory also dictates the narrative pace by employing several memory-elicited pace strategies. As part of this paper, we propose a narratological approach that emphasizes narrative pace as the basis for analyzing the memory literature related to transgenerational memory communication. This paper examines the narrative techniques in the the construction of memory-elicited narrative pace. Furthermore, this paper discusses how memory itself takes on different roles based on varying narrative paces and how memory itself can influence narrative pace. The paper uses three memory novels as case studies: Herzklappen von Johnson & Johnson by Valerie Fritsch, Briefe nach Breslau: Meine Geschichte über drei Generation by Maya Lasker-Wallfisch, and Zurück nach Berlin: wie mein Vater mit mir in seine Vergangenheit reiste by Jonathan Lichtenstein. Each of these novels focuses on the transmission of a transgenerational memory of World War II. Using examples from these novels, this paper explains how the suturing of memory content generates the five primary rhythms of narrative movement: ellipsis, summary, stretch, pause, and scene. [ABSTRACT FROM AUTHOR]

This paper examines the convergence of affect theory and cognitive narratology. I investigate the methodological potential of a cognitive narratology informed by affect as found in the (autonomous) intensities and resonances that circulate about and between bodies (Gregory J. Seigworth and Melissa Gregg). By adopting Brian Massumi's configuration of affect (as asymbolic, autonomous and asubjective), I aim to explore how this conception can account for nonhuman (narrative) agents and open up space for alternative forms of environmental situatedness in cognitive narratology. Expanding upon the "4E" cognitive model, I trace the enmeshment of human and non-human agents within the metaphorical pattern of Ann Pancake's 2007 novel Strange as This Weather Has Been. I undertake an analysis of multiple extra- and inter-textual vectors to show how these metaphors underscore a view of cognition as participating in a field of affective intensities and becomings and highlight its emergence as entangled in a world of material interdependencies. [ABSTRACT FROM AUTHOR]

This paper reads fin-de-siècle and Edwardian British occult detective fiction as a form of proto-science fiction, suggesting that the epistemological focus on the occult typical of these texts can be usefully envisioned as formally and functionally equivalent to the focus of modern science fiction on orthodox science. Drawing from Stephen Halliwell's studies on mimesis and recent developments in the field of unnatural narratology, the paper thus shows how the subgenre of occult detective fiction anticipates and participates in the systematic rationalization of the impossible that distinguishes the discourse of modern science fiction. [ABSTRACT FROM AUTHOR]

Can the Markan disciples still be viewed as potential role models for the Gospel audience if Mark's writing is identified as a biography? This long-standing line of narrative interpretation has recently been rejected as anachronistic by Helen K. Bond, who maintains that in Graeco-Roman biographies, secondary characters are only included for what they bring to the portrait of the protagonist. In response, this paper demonstrates that ancient biographies regularly use followers of their main characters to provide multiple mimetic patterns that clarify, broaden, and mitigate what it means to imitate their heroes. In particular, Mark's cast of secondary characters offers three alternative patterns of behaviour for potential followers of Jesus: apostles, who emulate his itinerant lifestyle of preaching, healing, and exorcism; hosts, who provide apostles with food and shelter in their homes; and supporters, who serve the movement in other ways in accordance with their abilities and social status. [ABSTRACT FROM AUTHOR]

Characterization refers to the process of attributing character traits to narrative entities called 'characters'. While there is a long tradition of characterization theory in literary studies, the topic has not been examined extensively in game research. Based on insights from literary, film, and game studies, this article creates a theoretical model of how 'character,' or character traits, can be attributed in video games, and offers a methodological vocabulary for further character(ization) research. First, this paper synthesizes the tradition of characterization research in literary studies. Second, it identifies three participants in video game characterization (developers, actors, and players) and introduces the concept of ergodic characterization to describe those instances in which players produce nontrivial characterization efforts. Finally, the framework itself is presented through application to various game titles, and several answers to methodological problems within game characterization analysis are suggested. [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]

This paper enquires into SHEN Dan's interdisciplinary studies especially at the intersections of three apparently distinct disciplines, i.e. stylistics, narratology, and translatology, by focusing on her prolific international publications. First, it investigates how she combines linguistics and literary criticism and enriches stylistics through innovating linguistic models and proposing new critical concepts; secondly, it explicates how her approach of combining stylistics and narratology to the study of narratives has contributed to the development of both disciplines; thirdly, it discusses how her taking the combined interdisciplinary approach to fictional translation studies has remolded translatology from both disciplinary perspectives, and shows how her translation studies has retroactively transformed literary stylistics and narratology. It concludes from a semiotic point of view that Shen has theoretically and methodologically blazed new trails in the study of language and literature, broadened stylistics, narratology, and translatology by promoting their interactions, and offered insights into further interdisciplinary studies. [ABSTRACT FROM AUTHOR]

This overview essay on the implementation of narratology on reading and interpreting lyric poetry presents the main principles of the so-called lyricology, which is based on the thesis that narrative structures, such as the presence of agency, mediation and sequencing (the ordering of plot sequences), can also be observed in lyric poetry. This line of research has been followed by scholars at German universities, but has also found its way into the English-speaking academic world. The paper defines narratological concepts which are readily applicable to lyric poetry, such as focalisation, event, narrative reliability, and hierarchical stratification of the narrator (biographical author - abstract/implicit author - narrator/speaker - protagonist/character in the plot). The essay presents narratological analysis of lyric poetry as an innovative approach to the reading of lyric poetry, but also highlights the potential pitfalls of this approach and outlines appropriateness of its use. [ABSTRACT FROM AUTHOR]

This paper introduces 'translational narratology' (TN) as an eclectic conceptual model for studying translated narrative texts. As a source-based theory, TN investigates the status of three planes of the original narratology in translation: 'story', 'text', and 'narration'. In fact, as an eclectic model, TN aims to set a theoretical foundation for both the original narrative texts and their corresponding texts in translation. However, the process for the original writer and the translator is a little bit different: the writer usually begins with the elements of the 'story' plane, and then comes to the elements of 'narration' and 'text' planes, simultaneously; the translator, as a reader, begins with the 'text/narration', and then comes to the 'story' plane. The former is bottom-up; the latter is top-down. The translator may have nothing to do with the 'story' plane; however, he/she may deal with this plane in the process of reading, understanding, and, preferably, translating. Some theorists postulate that the original narrative models have made no room for the presence of the translator as the main agent of the translated narrative fiction. This paper sets the theoretical scene for the translator's discursive presence in the translated narrative texts. [ABSTRACT FROM AUTHOR]

As a distinctive form of art, video games feature a narrative element in a similar way that literature, theatre, and cinema do; however, there are certain characteristics that make video game narrative different from its counterparts in other art forms. Through the video games' brief history (as compared to other art forms), the narrative went from being almost absent and neglected to playing an integral role in the product. The goal of this paper is to research the narrative element present in the verbal mode of video games. Hence, the study focuses on the history and evolution of video games and narratives represented in them. It also considers the peculiarities of video game texts resulting in their analysis and detailed description. Methods used in the research include induction, deduction, synthesis and analysis; categorization; descriptive method, and historical method. Practical importance of the paper lies in that the results may become the basis for further investigation of narrative elements and the role texts play in video games. [ABSTRACT FROM AUTHOR]

In the Illustrations in Roll and Codex (1947), Kurt Weitzmann developed a methodological apparatus for studying Byzantine and medieval narrative book illumination. His approach had two important features: an evolutionary narrative typology that paid attention to the narrative strategies the painter chose for presenting a story and a comparative narrative analysis that observed stories in illustrations in relation to their textual source. The focus of this paper is the personal and institutional background of this method, its context, dissemination, and legacy. Weitzmann advanced the study of pictorial storytelling through his pedagogical work and introduced it into the academic curriculum. Alongside stylistic analysis and iconography, it soon became an essential methodological tool in art history that constituted a link between the art of the Byzantine East and the Latin West. This approach also had a key influence on the style of his autobiographical writings. Weitzmann propagated the study of visual narratives through his extremely productive oeuvre and effective personal influence. In the dissemination of Weitzmann's ideas, three institutions played a key role: Princeton University, Dumbarton Oaks, and the University of Chicago. Weitzmann's circle made Byzantine studies the leading field for research into visual narratives over the period from around 1940 to 1980. [ABSTRACT FROM AUTHOR]

Children's literature adaptation research is an interface study between children's literature study and adaptation studies. It has the common characteristics of two relatively marginalized research fields, and also shows distinct interdisciplinary attributes due to its interface nature. In the current situation where literary research is constantly seeking innovation and going in-depth, the interdisciplinarity and corresponding interdisciplinary practices of children's literature adaptation research reflect its cutting-edge research directions, while also mapping out some development trends of literary research as a whole. This paper starts from the theoretical discussion of children's literature adaptation studies, reflects on its conjunction points of education studies (with a special focus), narrative studies, cognitive studies, and digital humanities to scrutinize its interdisciplinary theoretical resources, and attempts to explore how the underlying attributes of children's literature adaptation research combine with interdisciplinary theoretical resources to promote its own development. [ABSTRACT FROM AUTHOR]

Copyright of Acta Iuris Stetinensis is the property of Wydawnictwo Naukowe Uniwersytetu Szczecinskiego / University of Szczecin Press 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.)

In professional sports physicality is closely connected to an omnipresent capitalist logic. Therefore, professional sports constitute an arena in which bodies are produced, serve as revenue increasing entities, and are ultimately consumed. By taking a closer look at the National Basketball Association's (NBA) as well as affiliated companies' narratological marketing efforts, this paper tries to identify dominant narratives. The NBA constitutes a particularly interesting case, as a racial component highlights the (un)conscious decisions made by corporate leaders. This racial division in fans and athletes could not be bridged for a long time and made the league financially unsuccessful. This changed with David Stern's tenure as commissioner. Theoretically, this paper draws on Stanley Deetz's (1992) concept of "corporate colonization" which implies that, in the act of making sense of the world, interpretations which primarily consider efficiency and/or revenue aspects are selected over other possibilities. This paper highlights the selected modes of (re-)presentation by looking at one of the sport's most recognizable icons, Michael Jordan. [ABSTRACT FROM AUTHOR]

The paper attempts to understand the reconfiguring of mainstream gender specificities in tribal songs, myths and folklores of the hills of the Northeast. We intend to understand figure of the demonic/liberated/women artists in folklores and songs of tribal communities of the hills. We begin with Mizo women poets Hmuaki, Lianchhiadri, Saikuti, sang memorable folk songs and were required to be silenced since there was a fear that their poetic abilities would surpass the men of the community. The next section will deal with Chhurbura, the greatest male figure in Mizo folklore who doubles as a male nurse besides being a traveler and person of immense wisdom. The gender boundaries grip around these forms of oral narrative in strange and complicated ways. While understanding the politics of Northeast and the effect of imperialism on indigenous language we would move onto discuss Garo Literature and configuration of the woman in their songs and myths. While there is an intense feminization of nature and land according to their myths the creator Tatara Rabuga wanted the earth to be born of a woman, Nostu Nopantu. However, poison also within the same cultural imagination is a woman Kontilognma Amebima and Chengmebima whose body is the repository of poison. The female body which nurtures, heals and rejuvenates is instantly demonized and rendered fearful. The paper negotiates with these imaginings which masculinizes females and feminizes males. In the Lepcha folklores which the paper intends to deal with only peripherally owing to the short time scope demonizes by recording a female Yeti who is very brutal and ugly. Thus, the paper finally attempts to understand and question the nature of the audience and their receptions of such aberrant femininity and through it understands the complex hierarchies existing in within the ethnic tribal communities. [ABSTRACT FROM AUTHOR]

The paper deals with the computer-aided analysis of characters in the following texts of Croatian literature: Šuma Striborova (Ivana Brlić-Mažuranić), Oprava (Josip Kozarac), Krvavi most u Zagrebu (Mirko Bogović), Oko Lobora (Antun Gustav Matoš), Posljednji Stipančići (Vjenceslav Novak). In the theoretical part, digital humanities and its subfield digital philology are defined. Basic terms from the fields of natural language processing and narratology are explained, since they are the theoretical and practical basis of the research. The rest of the paper is research conducted on the texts above in the internet program called Sketch Engine. The research question is stated as follows: whether it is possible to obtain data that is useful for the interpretation of literary characters through computer-assisted analysis, based on narratology and the existing literary-theoretical elements of characterization. Based on the results, the affirmative answer is given to the formulated research question, and the potential and challenges of digital humanities are highlighted. [ABSTRACT FROM AUTHOR]

Despite the challenges posed to film production by the lockdown during the pandemic and post-pandemic period, some filmmakers still explored new technological media to express their creative ideas about the situation in which the nation and world were enmeshed. With the need for continuity editing in the construction of visual narratives, it appears that the psychological effect of a narrative is dependent on the mode in which it is constructed to represent the ideologies to be construed. This paper examines the communicative potentials of shots in Obi Emelonye's Heart 2 Heart (2020) shot within the Pandemic era with the use of phones, coordinated and collated with the zoom communication application before editing. It highlights the aggressive psychological and emotional impact of the pandemic as x-rayed in the narrative anchoring on Kipendoff's and Urajav, Begum & Pavadai's cognitive semiotic theories to explain the communicative impact of the film narrative and technical possibilities in this 21st century brought together through film. It is hoped that the paper would provoke film scholars and filmmakers to explore new ideas in film and the need for more study on cognitive semiotics. [ABSTRACT FROM AUTHOR]

Copyright of Comparative Literature / Primerjalna Književnost is the property of Slovenian Comparative Literature Association 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.)

Bone is the impressive first novel written by Fae Myenne Ng, a first-generation Chinese American woman writer. Under the guidance of Gaston Bachelard’s and M. M. Bakhtin’s theories of space and Gérard Genette’s theories of narrative discourse, this paper probes into the narrative space and time in Ng’s Bone, trying to detect the protagonist’s escape consciousness revealed in the form of spatial and narrative escape. Leila’s individual escape, which derives from the family tragedy under the exploitation and expulsion of racial minorities in America, is, in fact, the epitome of every anxious Chinese American’s impulse to run away. [ABSTRACT FROM AUTHOR]

Copyright of Sino-Iberoamerican Interaction / Interacción Sino-Iberoamericana is the property of De Gruyter 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.)

Over the past two decades, there has been a renewed interest in the analysis of character and characterization in the Hebrew Bible. Many studies have focused on the major characters and their company. However, insufficient attention has been given to characters on the margins of the narrative I identify as 'marginal characters'. In this paper, I investigate the narratological function of these characters through an examination of select marginal characters in 1–2 Samuel. Drawing upon a conceptual framework for analyzing anonymous characters in Greek Tragedy, I propose two functions for these marginal characters: 1) they serve as a reflection of the narrator's disposition toward the complex characters of Saul and David; 2) they serve as manifestations of divine providence. These functions are not mutually exclusive. In both cases, however, the marginal characters contribute to a strategy of narrative persuasion, leading the audience to certain ideological and theological conclusions. [ABSTRACT FROM AUTHOR]

Copyright of Humanities Journal of University of Zakho (HJUOZ) is the property of Humanities Journal of University of Zakho 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.)

Mankind, especially the intelligentsia, must reflect on how our species came to be so numb to the worsening state of life in all its forms on Earth in this era of enormous anthropogenic ecological destruction. This kind of reflection could suggest corrective actions to avert the worst impending disasters. In other words, we need to reconsider how we feel about nonhumans. To carry out such a study, we must choose the appropriate starting point, strategy, and tools. To start with, our stories, whether fictional or real, are instrumental in shaping our perception towards the nonhuman world. Regardless of our realworld experiences, our fear of and fascination with nonhumans are in many respects a result of how we connect with stories presented in various media. Therefore, rethinking and reconstructing nature as it is described in our stories helps us comprehend how civilizations have been conditioned to view the environment. In order to accomplish this, econarratology promises to provide efficient methods and instruments for conducting a systemic analysis of the narrative arts. However, there is little scholarship available in Indian literary circles, though it is gaining ground elsewhere. By conducting a quick review of the most recent scholarly attempts signaling potential new avenues in the field, this paper provides an outline of the theory of econarratology and also offers a brief summary of some of the recent and interesting applications of the theory, besides an econarratological reading of Atwood's short story titled "Giving Birth" to underscore its practical efficacy. [ABSTRACT FROM AUTHOR]

The paper, employing the narratological method, examines and systematises self-referential speeches in Cestopis obsahující cestu do Horní Italie ([Travelogue containing a journey to Upper Italy], 1843) by Ján Kollár (1793 -- 1852). Drawing on materials included in the kollar.elte.hu database, it maps typical forms of narrator's self-referential speeches: the name of the author and his family members in the narration; the use and interpretation of the author's own works in the narrative; the various forms of the author's taste manifested in the text; the preferred literary, artistic, and architectural works he encounters or quotes; the presentation of the author's ecclesiastical, philological, pedagogical, and other activities in the travelogue; and the narrative forms of self-referentiality that provide the narrator with the opportunity to express himself on an ideological level. The article also examines the various narrative roles which can be attributed to self-referential speeches and which point to the existence of an ideological system generally characteristic of the Enlightenment and Romantic periods in Central Europe. In this way, it reveals the characteristic features of Slavic national emblematism in the text and a certain broad system of ideas which can understood as religio triplex, which by merging revealed, natural, and national devoutness provides the narrator with a unified narrative framework. [ABSTRACT FROM AUTHOR]

This paper discusses Kazuo Ishiguro’s latest novel Klara and the Sun. This paper contends that the book tackles the politics and ethics of human enhancement through technology while simultaneously challenging the anthropocentric view of the world. This latter point is discernible in the decision to narrate the story through the eyes and vocabulary of a human simulacrum, that is, through Klara’s naïve yet attentive perspective. This paper also argues that Ishiguro concocts a moral and oblique apologue on the supposed uniqueness of humans through a clever manipulation of generic tropes and rhetorical devices, both of which go into constructing Klara’s peculiar gaze. The analysis will benefit from a recontextualization of the novel’s themes and forms within the author’s body of work. If The Remains of the Day and Never Let Me Go are evidence of an interest in the perspective of subsidiary and inhuman figures like, respectively, butlers and clones, Klara and the Sun initially moves in between the same subdued territories only to enact a different take on these themes, ultimately staging a confrontation between humans and androids, and their relationship with external entities framed as supreme beings, such as the titular Sun. [ABSTRACT FROM AUTHOR]

This paper presents a correlation between second-person narration and the more-than-human perspectivity in animal narratives. The analysis focuses on representations of "you" narration in Andrzej Zaniewski's novel Rat, published for the first time in 1995. "Rat-centric" fiction, as Marco Caracciolo describes it, talks about various experiences of the title animal. Although the dominant diegetic form in the novel is the first-person narrative, the appearing parts of the text told from a second-person point of view turn out to be a significant element of a non-anthropocentric perspective. Considering the influence of form on the posthuman message, the paper is based on research in the field of animal studies and contemporary narratology, including, among others, Irene Kacandes's "literary performative", David Herman's "double deixis" or Dominique Lestel's "thinking with fur". In this article, I propose to distinguish three functions of the second-person narrative in Rat: immersive, empathetic and identity roles. The immersive function participates in adapting a sensorimotor repertoire to the intersubjective perception of the non-human world. The second of them, the empathetic function, by bonding the human narratee with the animal character, opens a possibility of embodied co-experience and verification of anthropocentric norms. The third, identity function, participates in (de)constructing the rat selfhood. Findings of the proposed perspective of second-person zoonarration sheds new light on its formal opportunities for creating posthuman agency, thinking, and storytelling. [ABSTRACT FROM AUTHOR]