Concepts of Narrative

Transposed to media like film, drama, opera, music, and the visual arts, “narrative” is no longer characterized by either temporality or an act of telling, both required by earlier narratological theories. Transposed to other disciplines, “narrative” is often a substitute for “assumption”, “hypothesis”, a disguised ideological stance, a cognitive scheme, and even life itself. The potential for broadening the concept lay dormant in narratology, both in the double use of “narrative” for the medium-free fabula and for the medium-bound sjuzet, and in changing interpretations of “event”. Some advantages of the broad use of “narrative” are an evocation of commonalities among media and disciplines, an invitation to re-think the term within the originating discipline, a constructivist challenge to positivistic and foundational views, an emphasis on a plurality of competing “truths”, and an empowerment of minority voices. Conversely, disadvantages of the broad use are an illusion of sameness whenever the term is used and the obliteration of specificity. In a Wittgensteinian spirit, the essay agrees that concepts of narrative are mutually related by “family resemblance”, but wishes to probe the resemblances further. It thus postulates two necessary features: double temporality and a transmitting (or mediating) agency, and an additional cluster of variable optional characteristics. When the necessary features are not dominant, the configuration may have “narrative elements” but is not “a narrative”

A glance beyond doubt: narration, representation, subjectivity

(print) xi, 160 p. ; 23 cmAcknowledgments ix -- A Note on Terminology xi -- Introduction 1 -- 1 Narration, Representation, Subjectivity 7 -- 2 William Faulkner, Absalom, Absalom! "Something is always missing" 30 -- 3 Vladimir Nabokov, The Real Life of Sebastian Knight "The painting of different ways of painting" 55 -- 4 Christine Brooke-Rose, Thru "Whoever you invented invented you too" 75 -- 5 Samuel Beckett, Company "Devised deviser devising it all for company" 93 -- 6 Toni Morrison, Beloved "It was not a story to pass on" 104 -- Conclusion 125 -- Appendix 133 -- Notes 135 -- Bibliography 145 -- Index 15

The sadism of the author or the masochism of the reader?

The symposium giving rise to this collection and the thriving of the B.S. Johnson Society both indicate that there is something exceptional going on with the literary and academic community’s relationship with this author, something we (collectively) still haven’t quite fathomed. In order to attempt to identify the source of Johnson’s fascination, I want to discuss the author-reader relationship as it comes into focus in his novels since, implicitly and explicitly, this is a recurring issue in academic studies of Johnson’s work (see White 2011)

Collaborative writing with young people with disabilities: raising new questions of authorship and agency

The process of communication between author and reader is a critical issue in examining any text. When considering the communication of ideas from young people whose voices are seldom heard, the journey from author to audience has particular significance. The construction of children and young people as ‘authors’ is important, especially for those with learning difficulties or who struggle to comply with the current emphasis on spelling, punctuation and grammar. This article relates to a UK Research-Council-funded three-year collaborative research project involving the co-creation of fictional stories with young people with disabilities to represent aspects of their lives. Drawing on frameworks from narratology, I analyse the co-creation of one of the stories, and present an interpretation and elaboration of the discourse structure of narrative fiction to illustrate the complexities of the relationship between the multi-faceted ‘author’ and community ‘reader’ of these stories. The combination of qualitative research and fictional prose has particular characteristics and implications for the dissemination and communication of research findings; while extending feminist critique of Barthes’ claim for the death of the author provides new insights for engaging children in writing with their own voice

Channelling figurativity through narrative : the paranarrative in fiction and non-fiction

Contrary to wide-spread assumptions, metaphor in narrative is not a pre-established, extra-textual form appearing in different instances of discourse, but rather an event resulting from a strategic distribution of information in the narrative process. Hence, the appeal to conceptual cultural knowledge is to be considered as a consequence, and not as a prerequisite of metaphor interpretation. By means of the concept of the paranarrative, we highlight the rhetorical interconnectedness of metaphor with other figures of speech (such as metonymy) and we explore the narrative integration of diacritic forms of indirectness. In order to illustrate the terminology that can address these focal concerns, the paper discusses the relation between tropes and narrative, via selected examples from narrative texts (both fictional and non-fictional) written by Juli Zeh, Herta Müller, Jürgen Nieraad, and Siddhartha Mukherjee. As their common denominator, these examples channel through narrative figurative domains considered to be known intuitively to wit: personifications; iconic pars pro toto references to concentration camps; and metaphors for cancer in disease biographies

Planning Technologies for Interactive Storytelling

Since AI planning was first proposed for the task of narrative generation in interactive storytelling (IS), it has emerged as the dominant approach in this field. This chapter traces the use of planning technologies in this area, considers the core issues involved in the application of planning technologies in IS, and identifies some of the remaining challenges

Dignity and Narrative Medicine

Critiques of the dehumanising aspects of contemporary medical practice have generated increasing interest in the ways in which health care can foster a holistic sense of wellbeing. We examine the relationship between two areas of this humanistic endeavour: narrative and dignity. This paper makes two simple arguments that are intuitive but have not yet been explored in detail: that narrative competence of carers is required for maintaining or recreating dignity, and that dignity promotion in health care practice is primarily narrative in form. The multiple meanings that dignity has in a person’s life are what give the concept power and can only be captured by narrative. This has implications for health care practice where narrative work will be increasingly required to support patient dignity in under-resourced and over-subscribed health care system

Mind-modelling with corpus stylistics in David Copperfield

We suggest an innovative approach to literary discourse by using corpus linguistic methods to address research questions from cognitive poetics. In this article, we focus on the way that readers engage in mind-modelling in the process of characterisation. The article sets out our cognitive poetic model of characterisation that emphasises the continuity between literary characterisation and real-life human relationships. The model also aims to deal with the modelling of the author’s mind in line with the modelling of the minds of fictional characters. Crucially, our approach to mind-modelling is text-driven. Therefore we are able to employ corpus linguistic techniques systematically to identify textual patterns that function as cues triggering character information. In this article, we explore our understanding of mind-modelling through the characterisation of Mr. Dick from David Copperfield by Charles Dickens. Using the CLiC tool (Corpus Linguistics in Cheshire) developed for the exploration of 19th-century fiction, we investigate the textual traces in non-quotations around this character, in order to draw out the techniques of characterisation other than speech presentation. We show that Mr. Dick is a thematically and authorially significant character in the novel, and we move towards a rigorous account of the reader’s modelling of authorial intention

For public (and recontextualized) sociology: The promises and perils of public engagement in an age of mediated communication

This article argues for the analysis of public engagement as an essentially mediated activity. Although recent studies note that academic knowledge is increasingly available for consumption by nonacademic audiences, they tell us little about how it gets recontextualized while passing through the hands of media professionals on its way toward such audiences. In Burawoy’s (2005) influential call for the rebirth of public sociology, as in the debates his work provoked, the media is treated solely as a means for the transportation of knowledge. But as this article demonstrates, the media does not simply transport knowledge; it also, and at the same time, translates that knowledge in various, rhetorically consequential ways. Focusing on the mediated trajectory of an attempt by a group of academics to connect with audiences beyond academia, their initial contribution is compared to its subsequent translation(s) across various British newspapers. A discursive analysis reveals the techniques via which a classic form of public sociology came to be recontextualized such that, remarkably, these authors were left appearing to voice nothing but their own petty prejudices. The article concludes by noting that where public engagement involves mediation, public sociology should pay more attention to the recontextualizing affordances of media discourse