Sociolinguistic Implications of Narratology : Focalization and ‘Double Deixis’ in Conversational Storytelling

Over the last few decades, literary narratology has branched out into a wide array of ‘post-classical’ narratologies that have borrowed concepts from cognitive psychology, sociology, anthropology, history, linguistics, and other disciplines. The question arises to what extent ‘classical’ narratological concepts can also be successfully exported to other disciplines which have an interest in narrative. In this article, I apply the concept of ‘focalization’ as well as David Herman’s insights into doubly-deictic ‘you’ in second-person narratives to an interview narrative and further materials from my empirical sociolinguistic study on general practitioners’ narrative discourse on intimate partner abuse. I consider how the narrative positioning of the GP as storyteller and ‘protagonist’ of his story corresponds with his social and professional positioning with regard to his patients in the context of intimate partner violence cases and vis-à-vis the interviewer during the research interview. Focalization and double deixis are shown to become part of a narrative strategy whereby the narrator distances himself from his own personal self in the narrative and at the same time tries to align the interviewer with his viewpoint

Fictional Dialogue as Poiesis.: Elizabeth Alsop’s Making Conversation in Modernist Fiction

Elizabeth Alsop: Making Conversation in Modernist Fiction. Columbus, OH 201

Dialogical Functions of You-Narration in Auto/Biography: Anne Harich’s “Wenn ich das gewußt hätte…”: Erinnerungen an Wolfgang Harich (2007)

Ever since the 1970s, if not before, second-person narration has been used as an alternative storytelling format in auto/biography to expand the narrative possibilities of engaging with one’s own or someone else’s life. The second-person pronoun can support the author’s project of self-exploration while also offering a means for self-distancing. When someone else’s story is addressed to that person, this raises questions concerning the epistemics of the narrated events as well as the teller’s storytelling rights and authority. This article explores the use of you-narration in an auto/biographical text by Anne Harich about her dead husband, Marxist philosopher Wolfgang Harich. The second-person narrative form is shown to serve various functions, ranging from creating an imaginary dialogue with the dead to expressing the author’s personal feelings about and perspectives on the life she lived with her husband. The analysis shows how Anne Harich, in imagining a conversation with her husband, vents her own pent-up frustration and points to her ambivalent attitude towards her marriage. The you-narrative parts fictionalize the otherwise non-fictional account and show that one needs to distinguish between the aspects of address at the level of the communication between narrator and narratee and reference in the story world of the you-narration

Constructing dialogues, (re)constructing the past : "remembered" conversations in Frank McCourt’s Angela’s ashes

This article explores the uses and functions of dialogue in Frank McCourt’s memoir Angela’s Ashes. Taking conversational dialogue and fictional dialogue as points of comparison, the article argues that dialogue in autobiographical writing is essentially constructed, albeit not in the same way as fictional dialogue is. Dialogue as a means of dramatisation raises questions regarding factuality and fictionality. In McCourt’s memoir, dialogue is shown to serve numerous functions: characterisation and stereotyping; selfpositioning and indirect stance-marking; the creation of verisimilitude, humour and reader involvement

Storying Domestic Violence Constructions and Stereotypes of Abuse in the Discourse of General Practitioners

Globally, at least one in four women experiences domestic violence at some point in her life, according to World Bank figures, which are confirmed by local surveys throughout the world. Since domestic violence can cause both acute physical injuries and long-term chronic illness, an abused woman is likely to appeal to a family doctor or general practitioner as one of her first resources for help.Intro -- Contents -- Preface -- Acknowledgments -- Transcription Conventions -- 1. Introduction -- 2. Narrative: Theoretical Background -- 3. Domestic Violence and the Role of General Practice: A Narrative-Analytic Approach -- 4. Signs of Abuse: "Classic" Disclosures and Narrative Trajectories -- 5. Setting the Scene of Abuse: Metaphors and Spatiotemporal Mapping -- 6. Mythologizing Time, Mythologizing Violence: Backgrounds and Explanations of Domestic Abuse -- 7. Agents of Their Own Victimization: The Women's Role in the GPs' Narratives -- 8. Evaluating Abuse: Storied Knowledge and Salient Facts -- 9. Conclusion -- Appendix: The GPs' Narratives -- Notes -- Bibliography -- IndexGlobally, at least one in four women experiences domestic violence at some point in her life, according to World Bank figures, which are confirmed by local surveys throughout the world. Since domestic violence can cause both acute physical injuries and long-term chronic illness, an abused woman is likely to appeal to a family doctor or general practitioner as one of her first resources for help.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries

Audionarratology : lessons from radio drama

Radio drama has been around for more than one hundred years and is still vibrant in many countries. A narrative-dramatic genre and art form in its own right, radio drama has traditionally crossed medial and generic boundaries and continues to do so in our age of digitization. Audionarratology: Lessons from Audio Drama, edited by Lars Bernaerts and Jarmila Mildorf, explores radio drama from a narratological angle. The contributions cover key questions surrounding audiophonic meaning-making, storyworld creation, mediation, focalization, suspense, unreliability, and ambiguity as well as the relationship between script and performance, seriality, antinarrative tendencies, and radio drama’s political implications now and in its early days. The book thus explores the interplay between sound, voices, music, language, silence, electroacoustic manipulation, and narrative structures. Providing examples from American, Australian, British, Dutch, and German radio drama—such as I Love a Mystery, The War of the Worlds, and The Hitchhiker’s Guide to the Galaxy—this book has important insights for scholars working in transmedial narratology, media studies, literary and cultural studies, theatre and performance studies, and communication studies as well as for practitioners and lovers of radio drama alike