The Character as subjective interface

This paper re-frames virtual interactive characters as " subjective interfaces " with the purpose of highlighting original affordances for interactive story-telling through conversation. This notion is theoretically unpacked in the perspectives of narratology, interaction design and game design. Existing and imagined scenarios are presented in which subjective interfaces are elevated as core interaction mechanics. Finally, technical challenges posed by this approach are reviewed alongside relevant existing research leads.Fonds de Recherche du Québec - Société et Cultur

“some kind of thing it aint us but yet its in us”: David Mitchell, Russell Hoban, and metafiction after the millennium

This article appraises the debt that David Mitchell’s Cloud Atlas owes to the novels of Russell Hoban, including, but not limited to, Riddley Walker. After clearly mapping a history of Hoban’s philosophical perspectives and Mitchell’s inter-textual genre-impersonation practice, the article assesses the degree to which Mitchell’s metatextual methods indicate a nostalgia for by-gone radical aesthetics rather than reaching for new modes of its own. The article not only proposes several new backdrops against which Mitchell’s novel can be read but also conducts the first in-depth appraisal of Mitchell’s formal linguistic replication of Riddley Walker

Attributing minds to vampires in Richard Matheson’s I Am Legend

For Palmer (2004, 2010), and other proponents of a cognitive narratology, research into real-world minds in the cognitive sciences provides insights into readers’ experiences of fictional minds. In this article, I explore the application of such research to the minds constructed for the vampire characters in Richard Matheson’s (1954) science fiction/horror novel I Am Legend. I draw upon empirical research into ‘mind attribution’ in social psychology, and apply Cognitive Grammar (Langacker, 2008), and its notion of ‘construal’, as a framework for the application of such findings to narrative. In my analysis, I suggest that readers’ attribution of mental-states to the vampires in Matheson’s novel is strategically limited through a number of choices in their linguistic construal. Drawing on online reader responses to the novel, I argue that readers’ understanding of these other minds plays an important role in their empathetic experience and their ethical judgement of the novel’s main character and focaliser, Robert Neville. Finally, I suggest that the limited mind attribution for the vampires invited through their construal contributes to the presentation of a ‘mind style’ (Fowler, 1977) for this character

The influence of fictional narrative experience on work outcomes:a conceptual analysis and research model

Fictional narrative experience is assumed to have a profound impact on human behavior, but the possible outcomes and the processes through which fictional narrative experience influence behaviors have rarely been studied. This paper introduces a model of the consequences of fictional narrative experience through transportation and transformation processes. We discuss a framework for understanding the effects of fictional narrative experience, distinguishing affective and behavioral effects, and temporality of effects (short-term or persistent). Exemplary outcomes of fictional narrative experience are presented, including recovery, creativity and interpersonal behavior. Finally, we propose that the effects of fictional narrative experience are dependent upon a person’s frame of reference, as well the extent to which a reader can identify with the main characters, the perceived usefulness of a narrative, and degree of verisimilitude in the narrative

Midlands Cadences: Narrative Voices in the Work of Alan Sillitoe

This paper will examine excerpts from a range of Alan Sillitoe’s prose fiction, most notably Saturday Night and Sunday Morning (1958) and short stories from the collection The Loneliness of the Long-Distance Runner (1958), via a comparative exploration of the texts’ representations of Midlands English demotic. Both texts enact Bakhtin’s notion of novelistic dialogism and find much expressive capital in the tension between discourses: between the oral and the written. Indeed, it could be argued that much of Sillitoe’s work functions as a direct challenge to dominant notions of the literary. The narrative discourse attempts to trace a link between the quotidian experience of the Midlands English working classes represented and the demotic language which they speak. His technique also explores the link between language and sensibility; i.e. verbal articulacy need not be a limit to expression of a character’s distinctive identity. In contrast to the more radical techniques of novelists like James Kelman and Irvine Welsh, all instances of phonetically-rendered demotic remain imprisoned by what Joyce called ‘perverted commas’ – as direct speech. However, the diegetic narrative discourse itself is redolent of registers rooted in 1950s English working class life. The texts also contain different methods of representing their protagonists’ consciousness through their own idiolect. In Saturday Night and Sunday Morning, this is evidenced by the use of the second person ‘you’. It functions simultaneously as a representation of Seaton’s consciousness in the oral register which he might choose to articulate it, and as a dialogic ‘sideways glance’ at the reader and assumed shared experience. The second is more redolent of internal monologue, using the first-person form (as seen in the homodiegetic narration of the second novel); crucially, though, it remains in Standard English, if explicitly orientated towards oral register. Sillitoe’s is a novelistic discourse which refuses to normalise itself to accord with the conventions of classic realism, and as such prefigures the ambitions of many contemporary writers who incline their narrative voices towards the oral – asserting the right of a character’s dialect/idiolect to be the principal register of the narrative. The paper will demonstrate this thesis through the ideas of Bakhtin, and through an analytical taxonomy derived from literary stylistics. It aims to propose a model which can be used to analyse and explore any fiction which has been labelled as ‘working class’, and asserts that such an approach leads to a more principled characterisation of working class fiction (based on its use of language) than current literary-critical discussions based simply on cultural/social context and biography

The Fragmented Digital Gaze: The Effects of Multimodal Composition on Narrative Perspective

As society as a whole moves more and more into the multiplicative frames of the digital world, it is important to understand how using these interfaces affects how we think and how we communicate. In this article, the focus is on a creative genre of human communication: narrative. Emerging technologies have historically had various impacts on narrative fiction, from the emergence of mimetic narratives in novel form, to the camera’s influence on techniques such as flashback, and character gaze and perspective. These technologies can be seen to engage in an authorial partnership with the composer, “collaborating to create new media,” new narrative forms and practices. The specific affordances of digital media introduce multimodality, polylinearity, and reader/player interaction to fiction; the practice of composing such multimodal works affects narrative perspective, leading to fragmented and layered narration, metalepsis, and “unnatural narrators.” This article presents research based in the practice of creating a multimodal project, Færwhile (the digital component of this article), examining the progression of narrative perspective from mimetic to unnatural, analyzing the various narrative perspectives. While Richardson argues that the postmodern narrative perspective (utilizing contradictory, permeable, and dis-framed narrators) leads to “postmodern unreliability,” this examination of the Færwhile multimodal narrative will argue that a cohesive voice and its communicated metaphor can be created from the layering of disparate narrative perspectives. The effects described herein have implications for digital engagement and communication on a wider scale, as we attempt to understand how our rapidly evolving technology is also effecting change in our cognition, composition, and understanding of events communicated in digital spaces

Perspectivization and modes of quoting in Hungarian

This paper examines modes of quoting with special regard to the organization of perspective. Due to the pragmatic interest of the study, our focus is on the functioning of two context-dependent vantage points, the subject of consciousness and the referential centre. Our key question about the former is to whom speaking as a sign of active consciousness is attributed and how this is linguistically marked. As regards the latter, the central issue is from where and how the spatio-temporal and interpersonal relations of the quoted discourse are represented.Further problems to be discussed include the questions of how and to what extent quoting is associated with pragmatic or metapragmatic awareness, and how various quoting modes may differ along this dimension.Although the paper is mostly concerned with a ‘universal pragmatic’ characterization of the functioning of perspective in quotations, it also highlights some language-particular features of Hungarian quoting strategies and touches on their evolution in the history of the language